a few things at the end of the week

Jul. 4th, 2025 08:51 am
tielan: four lemming toys at the grand canyon (travel)
[personal profile] tielan
Working this Saturday - about 4 hours. I get time off in lieu, which is better than nothing but also...kind of annoying. I didn't have that much on anyway, and can spend the day in my room, crafting and waiting for a ping of notifications.

Project Manager acknowledged the holiday. Still haven't received notification that my contract is being renewed though, but I can't imagine they have anyone else positioned to do my job yet...

All my holiday tours are paid for. Once I have the renewal of work contract, I shall go ahead and book/check my places to stay.

--

B2's strata management (HOA, but less about aesthetics more about practicalities) is wanting another payment for the 'collective kitty' for works around the building. I am personally of the opinion that this is being driven by a retiree who has invested in an apartment in the building and doesn't really care if the works are too expensive for the owner-occupiers, because she can just raise the rent on her renters and unless they want to be kicked out.

Anyway, that stresses B2 out and she comes and stresses on us...

(I tend to hide out in the study when that happens, I love B2, but she is very loud and present and I'm not always up for that. B1 seems to enjoy her being here...except when B2 is stressing on B1.)

And she won't accept assistance from the parentals (which I understand, because financial assistance to the parental generation tends to mean they feel they have a right to have a say in your life which...even I - living pretty much in a way they don't criticise as much - don't want that).

--

Will try to join in with [community profile] sunshine_revival but I feel...out of it. I'm not involved in any of the fandoms that most people are involved in, and my characters and pairings are all out of joint (mostly thx to TPTB, who never seem to see in my favourites what I see in them).

I have adjusted my sign-ups and profiles and stuff to state that I'm against AI. But even putting those statements out there feels like waving a flag telling people to kick me, I'm so used to having my fannish preferences weaponised.

Birthday Sale

Jul. 3rd, 2025 06:50 pm
osprey_archer: (books)
[personal profile] osprey_archer
As always on my birthday, I am having my annual birthday sale. This year, since I’m planning to raise prices post-sale ($3.99 for a novella, $5.99 for a novel), I decided to put everything on sale for one big final blow-out. So currently all my novellas are $0.99, and all my novels are $2.99.

Do you like Cold War spies falling in love on an American road trip, even though they're from opposite sides of the Iron Curtain? Then give Honeytrap a try!

If a Civil War soldier woke up from an enchanted sleep in 1965, how long would it take for him to cotton on that men are no longer allowed to touch? Find out in The Sleeping Soldier!

Are you interested in an m/m World War II retelling of Beauty and the Beast? Then Briarley may be for you!

How about a couple of boys riding the rails and falling in love during the Great Depression? Tramps and Vagabonds has your back.

Do you like watching post-World War I woobies suffer beautifully by the seaside? The Larks Still Bravely Singing may be warbling your name.

More Cold War spies, but this time CHRISTMAS! Deck the Halls with Secret Agents is a holly jolly short return to a favorite theme.

Do you like throuples and World War II and retellings of Sir Gawain and the Green Knight? Then A Garter as a Lesser Gift may be coming to a Green Chapel near you.

Do you like throuples and pining and strawberry shortcake in post-Civil War America? Then give The Threefold Tie a try.

Do you want Cold War spies (again!), but this time they're the leads in the fandom that our two heroines are obsessed with? And kind of role-play as while trying out the joys of "your interpretation of this character is so incorrect" hatesex? Enemies to Lovers is calling your name.

You know it is when there's this new girl in school that you're sooo obsessed with because you both love art, and then you have an obsessive friendship ending in a terrible falling out, and then meet again years later in Florence? Have a gelato with Ashlin and Olivia.

And finally, a couple of oddballs. A retelling of Little Red Riding Hood in pre-Revolutionary Russia! Kind of f/f if you want to be! The Wolf and the Girl features forays both into the Russian forest and the nascent French silent film industry.

Last but not least, if your inner eleven-year-old yearns for a magical timeslip story, there's The Time Traveling Popcorn Ball

Julé! 03/31 - Quote of the Day

Jul. 3rd, 2025 09:48 pm
kat_lair: (EXPANSE - alex contemplative)
[personal profile] kat_lair
***

"I like Scandinavians, skiing, swimming and socialists who realize it is our business to promote social progress by peaceful methods. I dislike football, economists, eugenicists, Fascists, Stalinists, and Scottish conservatives. I think that sex is necessary and bankers are not."
- Lancelot Hogben

From Kunitz, S.J. and Haycraft, H. (1950) Twentieth century authors: A biographical dictionary of modern literature (3rd edn), New York: The H.W. Wilson Company, pp 658-9, as referenced on the Wiki page. 

***

Meida Round Up: Girls and Demons

Jul. 3rd, 2025 11:21 am
forestofglory: Cup of tea on a pile of books (books)
[personal profile] forestofglory
It's that time again! More thoughts on media:

The Truth Season 3 case 8 (I think, the numbering is confusing now)— this case featured Chinese style horror, and it was very creepy but in a fun way. I also enjoyed the earthly 20th inspired costumes

I Got Abducted by Aliens and Now I'm Trapped in a Rom-Com by Kimberly Lemming— I’m writing about this even though I didn’t finish it because I think some of you might enjoy this. The first bit was really fun! The main character is a wildlife biology PhD student, who when she finds herself on an alien planet is upset that it's full of dinosaurs all from different time periods from each other! (Very relatable really) The book has a very fun voice. Unfortunately it ends up becoming too much sex for me.

The Girl Who Fell Beneath the Sea by Axie Oh— A Korean inspired fantasy YA novel about a girl who chooses to sacrifice herself in place of the designated Sea God’s Bride and enters a spirit world full of mythical beings and complex politics. (I read this even though the mom is dead, and really there’s no narrative reason for it) This was lovely and very atmospheric, though the ending left me a little dissatisfied. (Content Note: Infant death)

Painted Devils by Margaret Owen— Second book in the Little Thieves trilogy. Very fun and twisty in a similar way to the 1st book.

Kpop Demon Hunters — It's an animated movie about a kpop girl band that are magical girl-sque demon hunters, there's lot of musical numbers.A Koren friend of mine described it as “an American movie set in Korea” and I think that’s spot on. She specifically complained about how the worldbuiling/theology feels too christian. It doesn't fully work through the consequences of all the violence but the flight scenes are very swooshy and fun, and I liked the themes a lot. I also really liked the female friendship aspect.
duckprintspress: (Default)
[personal profile] duckprintspress
The cover of a book. Stylized text at the top reads: Duck Prints Press presents Scholarly Pursuits. Bottom text reads A Queer Anthology of Cozy Academia Stories. The artwork is of a a red dragon with gold horns, beard, chest, tail, and eyes. The dragon holds a quill as it writes something, unseen, on a wooden counter. It is wearing glasses. It looks at a tiny white mouse, also wearing glasses, sitting on a pile of books and holding an open book. They are surrounded by bookshelves and a bright burning candle. A bat holding a scroll flies over the dragon, and two other bats hang from the counter. The book spines are in the colors of pride flags.

We’re scant weeks from the crowdfunding campaign to fund our next general imprint anthology, Scholarly Pursuits: A Queer Anthology of Cozy Academia Stories! We’re delighted, today, to share our cover art by the unbeatable Liz Lee Illustration!

Transforming the core settings of “dark academia” to be cozy and snug, Scholarly Pursuits features 22 delightful, charming science fiction and fantasy stories set at colleges, universities, libraries, and other places where people pursue academic excellence – and all feature queer characters! From field research shenanigans to cooking adventures, from space-station education departments to eldritch libraries, our awesome authors have brought their vivid imaginings to life in this collection, and we can’t wait to share it with you! You can learn all about our contributors by reading up on their contributor biographies.

This campaign launches in mid-July. Make sure you follow our Kickstarter pre-launch page today to be notified when it goes live!

Our Patreon backers can check out teasers and more right now! Consider becoming a backer today for access to our backer blog and many other awesome benefits!

(by the way, psst… the art is wrap-around…)
Digital artwork of a red dragon with golden accents leaning against a counter, with an arch over their head and bookshelves all around them. Beside the dragon is a tiny white mouse, holding books. Both wear glasses. Three bats also are present. The bookcases include books, divination items, jugs, candles, and a skull, and many of the book spines are in pride flag colors. Dark green plants drape down the left side, covering some of the shelves.




July chat thread

Jul. 3rd, 2025 03:46 pm
profiterole_reads: (Sakura)
[personal profile] profiterole_reads posting in [community profile] raikantopeni
Hi! Here's the monthly chat thread.

"…a lot more cut and dry"?

Jul. 3rd, 2025 12:45 pm
[syndicated profile] languagelog_feed

Posted by Mark Liberman

Over the years, we've taken many self-appointed usage authorities to task for ignorant pronouncements presenting their personal reactions as facts of the standard language, or even as logical necessities. But everybody has similar reactions, and the point is not to deny the existence of usage conventions, or to pretend that you don't ever perceive something as a violation.  As in all areas of cultural judgment, however, it's a good idea to examine the foundations of your responses, because sometimes it turns out that you're wrong about the facts or the logic.

I recently documented an experience of that general kind in a June 20 post "Incredulous, incredible, whatever…", where a usage that I perceived as a malapropism turned out to go back to Shakespeare.

This morning's example is even more surprising to me — "cut and dry" where I expected "cut and dried".

In an online video clip, Julia Jacobs explains the recent Sean Combs verdict — "Sean Combs Acquitted of Sex Trafficking but Found Guilty on Lesser Charges", NYT 7/2/2025:

Sean Combs, the hip-hop mogul who built a business empire around his personal brand, was convicted on Wednesday of transporting prostitutes to participate in his drug-fueled sex marathons, but acquitted of racketeering and sex trafficking, the most serious charges against him. Julia Jacobs, a New York Times culture reporter, explains the verdict.

At about 1:12 in the clip, she says [emphasis added]:

That charge is a lot more cut and dry, in that it has to do
with transporting
people over state lines
for the purposes of prostitution.

That triggered my usage alarm: "Gee, that's an interesting but illogical development. Dry as a participle parallel to cut? " (Much later in the process, I realized that cut and dry can be parallel adjectives…)

I had enough sense to look around, and found plenty of current examples. In fact, in the COCA corpus,  there are 180 instances of "cut and dried" and 183 instances of "cut and dry".

The OED traces the modifier "cut and dry" back to 1643:

Originally Scottish, later North American. Designating tobacco leaves which have been dried and shredded.

And the extended meaning back to 1684:

Already decided, settled, or prepared; ready-made. Hence: (in later use) clear-cut, straightforward.
Originally in the phrase ready cut and dry.

The "cut and dried" alternative has OED citations for the tobacco-leaf sense back to 1680, and for the "decided, settled, or prepared" sense back to 1664.  So the two version have been in (free?) variation since the beginning — although I had managed to remain totally unaware of the "cut and dry" version until today.

In my defense, Google Ngrams shows that "cut and dried" had a more than 95% share in the 1940s, falling to around 2/3 in recent years:

(Though maybe that tells us more about proofreader than writers?)

Update — Based on the small sample in the comments, some people have always thought it was "cut and dry", others have always thought it was "cut and dried", and nobody (?) was ever aware of the alternative…

 

spikedluv: (summer: sunflowers by candi)
[personal profile] spikedluv
I had the morning off of ‘mom-duty’ because of appointments. I told my sister S I’d be there by noon definitely, but would try to get there earlier, just so I didn’t have to rush. I got there around 11:30am.

I had a chiropractic appointment this morning (to go over results of last week’s tests and an adjustment) followed by a pedicure (I cancelled the last appointment because mom was still in the hospital so I really need it as I have an ingrown toe nail issue that needs addressing almost every visit). I chose a pretty lilac purple for my toes. I also got in a walk around the park.

I was also relieved early because my one sister has ‘summer hours’ and gets out early, and since she wasn’t staying the night, she bridged me and our other sister. I was home early enough to grill baby back ribs for Pip’s supper (saving the frozen GF pizza for another night). I also did a load of laundry, emptied the dishwasher, hand-washed dishes, and scooped kitty litter.

I started the second Lily Adler book, watched an HGTV program, and showered.

Temps started out at 66.7(F) and reached 84.4 that I saw. It was beautiful today, hot but not humid and there was a lovely breeze. A perfect day, really.


Mom Update:

Mom was up and sitting at the table with my sister, who was putting together a puzzle, when I got there. Mom didn’t seem that interested in the puzzle, but she was eating a yogurt. She later got on her tablet and then ate some rice krispies. I turned on Matlock while I was eating lunch, but it was a bust because it was two eps that my mom didn't like to watch (with Matlock being locked inside a prison to solve a crime).

I asked my sister S about scheduling for Friday and she was like, I can barely think about Thursday. *rolls eyes* I told my sister A (can't recall if I mentioned it to S) that I want to have a meal free to cook something for the holiday, either lunch or supper. I'm happy to spend the day there as long as I can get off early enough to grill (and it better not rain). We'll see what happens.
mbarker: (Burp)
[personal profile] mbarker posting in [community profile] wetranscripts
Writing Excuses 20.26: Gaming as a Writing Metaphor 
 
 
Key points: What's the difference between experiencing a narrative as a game or prose? Choice, direct agency? Narrative games? Energy and complexity? Games are simulations. What are the actions, what are the verbs? Buy-in! Between games and writing, there's a middle ground of control in games. Competence. Not all books or games are for everybody.  What makes a narrative game? Obvious narrative? Present me with a story, don't make me randomly discover it. Make room for the audience. Let them make their own interpretations, draw their own conclusions. How much do I love the characters? How much do I care what happens to them? What are the levers in your game or narrative? Invite the reader in... 
 
[Season 20, Episode 26]
 
[Mary Robinette] This episode of Writing Excuses has been brought to you by our listeners, patrons, and friends. If you would like to learn how to support this podcast, visit www.patreon.com/writingexcuses.
 
[Season 20, Episode 26]
 
[Howard] This is Writing Excuses. 
[Erin] Gaming as a writing metaphor.
[Howard] I'm Howard.
[Erin] I'm Erin.
[DongWon] I'm DongWon.
[Dan] And I'm Dan.
 
[Erin] And we get to talk about gaming...
[DongWon] Yay! Prepare for a six hour long episode.
[Erin] Yeah. Yeah, I know. I was like, this is actually sort of hard because there's so much that...
[Dan] Yeah.
[Erin] You can talk about when it comes...
[Howard] This play-through of Writing Excuses...
[Erin] Exactly.
[Dan] Kind of a speed run.
[Erin] Oh, my gosh. Yes. But I've been thinking about sort of what is it that separates the way that we game from the way that we write, the way that we experience prose narration from the way we experience being in a game. And the thing that I... the reason I really love games is I actually think that sometimes giving the person experiencing the narrative more choice and more direct agency over what happens, whether that's true or you just make them feel that it's true, changes the way that we experience story. And, for me, that's the big difference between them. But I'm curious, for you all, like, what makes you pick up a game instead of a book for that day? Like, what is the difference between having the same story as a television show versus a game that that show was based on?
[DongWon] Yeah, I mean, it's interesting. I love narrative, but I don't love narrative games a lot of the time, like, if a game is very story heavy, I'll often be like… Like I tried to play Last of Us a little while ago, and I just was like, I'm putting this down, I'm going to watch the TV show. Because it… The way it was giving me the story felt so slow compared to what I wanted in terms of my ability to consume a narrative, and then all the opportunities for player choice were so constrained to things that felt like they didn't matter, a.k.a., how I searched the drawers in this room versus the big narrative stuff I was interested in, which is, what do we do about this outbreak plague situation? Right? And so, I think, for me, when it comes to what am I looking for from game experience, I want something that's more energetic and more complex than you can get from somebody telling me a story. Right? So this is why I love FromSoft games so much, where I build the narrative by interacting with the world rather than them telling me what the story is.
[Howard] I think it was… It must've been 15 years ago now. I was at a convention and had the opportunity to go out to lunch with Steve Jackson. And he dropped a bit of wisdom that I have never been able to shake. He said, "All games are physics simulations." And I thought, now, that's not true. That's… Wait. Crap. Every game… Chess! Is a physics simulation, at some level, all games are simulations. And so, when I sit down, when I think of gaming or playing a game as a metaphor for writing, I often think, why would I want to play a game like Burger Time instead of working fast food? Why would I want to play a simulation of fast food restaurants instead of working fast food? Well, because I don't want to smell like hamburgers at the end of the day. But these simulations that we play can teach us things. And in many cases, they can teach us the same things that the job would teach us, only without the risk of smelling like [frieda?].
 
[Erin] And, I think that also they create a game play loop. So if you're writing a game, the main thing you have to figure out is what are the actions of the game? What are the things that the game lets you do?
[DongWon] What are the verbs?
[Erin] What are the verbs of the game? And so, like, in a… And it limits them. There are always less than the verbs that you can experience in life. Because a game is not going to be able to, like, do, like, and then I scratched my nose for three seconds for no reason. I mean, who knows… Maybe in the future. But it's hard to get to that level of granularity. And so, they then have to make those verbs things that you are going to want to choose. And, it's funny, I'm thinking back to, like, weeks and weeks and weeks ago, when we talked about second person and how second person requires buy-in. And games are often a second person medium, and, similarly, you have to get the player to buy-in to this is the situation I want to be in. These are the verbs that I want to be able to use to navigate that situation. Like, you may not like the… I love a narrative game. But where it feels like I don't have enough verbs to, like…
[DongWon] Yeah.
[Erin] Move this narrative forward. Whereas I'm like, oh, actually, for me, the listen, the experience, the watch it unravel is a verb that is one that works well for me. Which is why different people have different desires and loves of games. Like, some people like a puzzle game, like I do. Some people like a narrative, some people like I want to shoot the thing from a weird angle.
[DongWon] I mean, this is why tabletop can be so interesting too, because even in this case, buy-in is so important and difficult to get. So when you're trying to get someone to play a new game system they've never played before, just the lift of getting them to understand what the core metaphors and verbs of the game are can be three hours of sitting there and walking someone through the session or whatever it is. And so how you get that buy-in in terms of, like, what are the world building hooks, what are the character hooks, what's the setting hooks, to get them on board with the idea of these are interesting verbs I want to interact with. I think that can be such a challenge with really effective game writing.
[Dan] Yeah. Erin, I'm glad that you enjoy narrative games…
[Laughter]
[Erin] I'm buying them all.
 
[Dan] Because I'm with DongWon on this one. And I find that I don't like the way games tell stories often. Which is strange to me, and I'm trying to figure out why, and I don't know if I can articulate it. But, relating this back to writing, I… There's an interesting middle ground of control. And we talked about this a little bit. Whereas I'm going to just go and work in a burger restaurant, then I have control over what I'm doing. Maybe not as much, because I am an employee. Right? Where is if I'm going to read a book about that, I have no control whatsoever. And games exist in that very intriguing middle ground, where there's a lot of interaction, there's a lot of input from both sides. And that's… Writing for that is very different.
[Erin] Yeah. I was just thinking about, like, the competence thing as well. Like, we people love a competent character. If you want people to love your characters, one way to do it is to show them being really good at something. Because for some reason, we like it. We like feeling competent. And in a game, like in a burger… There's a game that I play on VR called Star Tenders, where you are tending bar for aliens. And the entire game is just like increasingly complex drink orders, that you have to try to make before your customers get mad…
[Chuckles]
[Erin] And wander off in an alien type way. And so what I like about it is, like, you're not expected to master it the first time.
[DongWon] Yeah.
[Erin] It's like learn… You get to learn a skill and then they add a little bit more. They had a slightly more complex thing, and all of a sudden, like, the verb that was hard for you in the beginning is one of a much larger sentence that you're able to manage. And that gives us a feeling of competence that really makes us feel like we are able to advance. But I think it's hard to do in prose. Like, you can show a character going through that journey, and have you really relate to that character, and therefore you go through that. But in games, because you're the one who has to make the physical motion, it often feels like in that physics simulation, like, you got a chance to level up.
[Howard] I had a friend tell me years ago. It was the very first of the Batman Arkham games. And he said, "Oh, my gosh, this game was so good." And he described this one scene that plays out. And he says, "And I was Batman. I got to be every bit… I got to do all of the Batman. I did all of the moves, I used all the tools, I used all the whatever." And I played that game and realized, I do not get to be Batman. I was not good enough. I did not learn fast enough. And I got tired and I moved away from it. And that's fine. You play a game for a little while, you decide it's not for you, you play something else. But the idea that the simulation of whatever can map out players differently, where a player gets to have an experience that they've been dreaming about their whole life and maybe didn't know it. My friend Joey, a Batman book would not have made him feel the same way that game made him feel.
[DongWon] Well, and I think that kind of ties into what makes Hades such a big success, is the way they tied narrative to failure. Right? When you fail, you get a little more piece of story, you get a little more piece of interaction. And then you repeat the loop. Right? Like, they were able to build the storytelling into the road like nature of the game. As you go back through it, you learn more about the world, you learn more about the characters, deepening your investment in the character and in their relationships when you do fail. So where something like the Rock City game kind of falls down is, if you fail at being Batman, now you just don't get to progress. You don't get more Batman because you were a bad Batman. If you fail at being [Zacharias], then you're… He's a failure. That's the whole point of the story. That is, you engaging with it and getting more of it as you build those skills and learn. Right? So, like, whether it's your aliens walking away from you in an alienating way because they're upset, or it's being spotted by the criminals because you're a bad Batman, like, the way in which we participate in the stories has to be fluid in that way, or has to be a rewarding experience in that way, or our buy-in starts to break down.
[Erin] I was laughing when you said that because I remembered the time I tried to play Grand Theft Auto, and there's a tutorial quest where you just get on a skateboard, and I don't drive…
[Chuckles]
[Erin] And I'm not good at driving related tasks. I could not finish. Like, it's a thing that they mean for it to take three seconds…
[DongWon] Yeah.
[Erin] And, like an hour and a half later, I was like, obviously, this game was not meant for me because I can't even get a car…
[Howard] I have decided that my… I should not be stealing automobiles.
[DongWon] I think that comes back to books in that way though, because not… Books unfold… Not all books are for everybody. Right? Like, what makes sense to you and what you have buy-in for and what is an engaging world building character narrative to you will be really different than the next reader. Right? In the same way, that a game about stealing cars is probably not for someone who has never driven a car before. Right? And I think that can be true in fiction as well. And understanding who your reader is is also really important there.
[Erin] All right. I'm going to interrogate you about narrative games and yellow boxes, but first, we're going to press pause.
 
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[Erin] And now we're back. And so… Un-pause.
[DongWon] How was that load screen for you?
[Erin] Hope you enjoyed it. So [garbled] interested in is I'm like people who don't like narrative games? I must find out why? As somebody who enjoys writing the narratives of games. And I think it's interesting, like, the wanting to tell a story versus how much gamers experience it is fascinating. If you write for games, you know that you're writing the item description that, like, 89 percent of people will just be like, nope. X out. It's like you're writing the dialogue that people are trying to skip in order to get to their next action. But I'm wondering, like, when you say I don't like narrative games, I'm wondering what makes something a narrative game? Is it just how obvious it is in its narrative? Is it an outside category? Like, what does that mean for you?
[Dan] Well, I don't think it comes down to the obvious nature of it, because I, for example, really don't like Hades because it is not presenting me with a story. I mean, that's not the only reason. But it's a story you have to discover. And that's a place where DongWon and I diverge, because I don't like that in games, I enjoy being told this is the story that we have to fulfill, go do it. Here's what this is about, go do it. And the idea that I have to just randomly discover what the story is by talking to people or by reading books that I find laying around the environment always just rubs me the wrong way.
[Howard] Sorry. I'm giggling over here. Railroad Tycoon, The Linear Narrative.
[Chuckles]
[Howard] I… No, I totally feel you here. One of the things that I love about games where a lot of the story is in front of you, but there's a lot of open space is that… And no, fair listeners, I'm not going to become a streamer of games… But I will often talk back to the characters on screen and say stuff that is just funny to me and is sort of in universe or not in universe, and I get joy out of that. Even though the story is maybe a little flat, I enjoy fluffing it up a little on my own.
[Erin] And thinking about this as a metaphor for writing, it's interesting, because it's, like, how strong… How, like, is the power of the narrative? Like, how much is the narrative saying, like, a story is happening here?
[DongWon] Yeah.
[Erin] How much is it making you discover it? Because there are prose pieces where the story is not, like, a very clear, like, plot point to plot point type of thing.
[DongWon] Yeah.
[Erin] But it feels a little more like you're kind of wandering through and story is occurring. And it's interesting thinking about, like, how much are we guiding, how much are we controlling our readers? I mean, we're always controlling everything, but how much is that control felt by them versus is it just feels like they're having to put it together for themselves?
[DongWon] Well, I'm getting on my soapbox for a second here of my obsession with FromSoft games. Right? And so, these are the Dark Souls games, Blood-Borne, Elven Ring, and the reason I love these games so much is they're deeply authored experiences. Like, there's no question that there isn't a very specific point of view behind those blows and that they are creating an experience for the player that has thematics and characters and all the things we expect from story. But you're just getting that story in big cut scenes, where people are talking to each other and there's story being told to you. You're having to discover that story by doing things like reading the item descriptions, by piecing together, like, oh, I thought this boss. This boss was like… Said this one thing that's related to this other boss. Like, you're trying to, like, weave string theory together, the world building and the plot. And I recognize that it's not for everybody, and completely understand why. But what I love about it is I think it gets something… Or gets at something that's really true about all storytelling that we do, which is you have to make room for the audience. Right? And this is a thing I talk about a lot as I'm putting together an actual play show and things like that. One thing I talk about with my players and with the rest of my cast is we need to make room at the table for the audience. There is a fifth seat at the table here, and it's the audience who is here participating in this with us. And it's why I love actual play shows like Dimension 20 or [What's My Number?] or Friends at the Table, because they understand that I am also a participant in this story in an active way. Right? And I think that's true of a book, too. When you write a book, you're writing a book for someone. You have to understand that the reader is there picking it up and interacting with it. Now, their verb is limited to turn the page and continue reading. They have one verb, which is keep reading, don't keep reading. Right? How they feel about that, how they engage with it on a moment to moment basis can change and evolve. But the more you make space for them to make their own interpretations, to engage in a certain way, and to draw their own conclusions from stuff, I think that's where interaction with fiction can be so exciting and so deep and rich.
[Erin] It's funny, thinking about, like, the verbs of games, I'm reminded of… So I used to do writing for Zombies Run, which is a game with only the verb run.
[DongWon] Yeah.
[Erin] And so, years and years and years of narrative, of, like, small scene of, like, people talking and then something has to happen at the end of the scene to force you to run. And to go to the next thing. Which is like… Was really interesting in figuring out what are the ways to continue to get audience buy-in. Because, if you think of tabletop games, some have extraordinarily complex mechanics that will take you…
[DongWon] Exactly.
[Erin] 10 years to figure out. Or, like that boardgame, where you're like, our first eight hour session…
[Chuckles]
[Erin] Is going to be figuring out…
[DongWon] Yeah.
[Erin] How this boardgame works. And then, eventually, we'll become experts. But thinking about, do you need that level… Like, how much complexity is too much? Like… And that can be true in a game, but also in a narrative. How much just becomes distracting where it becomes about the experience of the narrative as opposed to the narrative itself.
[Howard] When we look at audience buy-in, it's useful to look at improvisational theater, where the audience is literally shouting suggestions at the stage. And if the audience is not engaged, the show falls flat pretty quickly. By the same token, comedy acts on stage in comedy clubs, the audience is buying in by laughing. They make noise. If the audience does not make noise, we say that the comedian is dying. Because that's what that experience is like. And if the audience is making noise, if there laughing all the way through, the comedian is killing. Why is it so violent? Probably because public speaking is the thing we're all scared of the most. And so we tie it to death this way. But the sense of audience buy-in is very, very visible in improvisational theater and in comedy clubs. And if you think about how important the audience participation is to the performers, and then look at what an audience means to you as a writer, that contrast might change the way you think about what you're writing.
 
[Dan] I've been sitting here trying to think about what narrative is in games I enjoy. And it comes back to a lesson that I have learned for my own writing, which is, how much do I love the characters? How much do I care about what happens to these characters? Because there are plenty of games, and I apologize for continuing to rip on Hades…
[Chuckles]
[Dan] Because it's a beloved game that everyone other than me adores.
[DongWon] You're alienating our whole audience.
[Dan] I know. I could not possibly have cared less about any of the characters in that, and so…
[DongWon] [gasp] Dash…
[Dan] I know. And so, playing the game didn't really hold a lot of appeal for me, after the basic gameplay loop, I figured out the narrative side of it didn't work for me. Whereas something like Cyberpunk 2077 and this… So much of this comes down to personal preference… Those characters I fell in love with. And I wanted to spend time with them. And so when I am doing my own writing, I… That's what I keep coming back to is the lesson I learned, which is, I'm asking my readers to spend however many hours it takes to read this book, to invite this character into their brain and spend time with them. It has to be somebody that they love and care about.
[DongWon] Well, it's so interesting, because I played Hades because I love the characters and I played a billion hours of Cyberpunk 2077… I really love that game, I play that game not for the characters but for the world. I find the characters… They're fine, I enjoy engaging with them a lot of time, but mostly, what I want to do is run around that city stealing and driving cars…
[Chuckles]
[DongWon] And…
[Erin] No!
[DongWon] Getting…
[Dan] Yeah.
[DongWon] In fights with weird criminals. Like, that's the thing that I really… Like, mechanically and vibes-wise, being in that world… To me, Cyberpunk is a game that's all about vibes. Like, the aesthetics of it, the culture of it, all of that are things that I really, really enjoy, and so… I think it's, like, also [garbled] the lesson when I say make room for your audience in terms of crafting your narrative experience, whether that's a game or novel or short story or a film, it's… You also can't predict what part of your story that people are going to attach to. Right? I know people who play Hades and have never read a single piece of the text… They just like the combat. They enjoy the mechanical aspect of the combat. And I know people who have never played an action game in their life that somehow saw credits on Hades, the thing that I, who play a lot of action games, have never been able to do, because they just love the characters so much that they just kept playing this thing and learned a whole set of skills that they never had before in their entire life. And so, watching what your audience will connect to is something you can't necessarily predict. Right? And you can't control for that. You can have guesses, you can have focuses, but that's why you kind of gotta chase your own interests as much as anything else.
[Howard] I… Dan, I remember a comment you made on the Borderlands games years ago, which was, yeah, this is cute games, and one of them is really fun, the one where you run around shooting things and exploring the world. And then there's the game of comparing red arrows and green arrows on your gear, and I don't like that game at all.
[Dan] Yeah.
[Howard] And…
[DongWon] 100 percent.
[Howard] And I love that principle, that there can be a thing that we just love that is inextricably fused to a thing we despise, and are we going to play anyway? Are we going to continue to consume or are we going to look for something that doesn't have the up down arrows game in it?
[DongWon] This is me and Destiny's death grip on my brain, but… Yeah.
[Chuckles]
 
[Erin] I think one of the reasons I really love games and game writing is because there are all these different levers you can be pushing in any narrative.
[DongWon] Yeah.
[Erin] You can be pushing the character lever, you can be pushing the world lever, you can be pushing the what are the actions lever, which is often a plot lever. But it's like in games, they're all sort of… They are more discrete. They feel more discrete from each other. Like, in a prose narrative, you can really weave in… Like, the world is happening, what the characters, with the action is all at once. But the way that games are designed, like, someone makes the world and then they sort of put characters in it who have their own set of actions. And they can't 100 percent control how you use those actions and that character to experience the world. And because of that, there are intersections that will happen that they will never be able to anticipate as public… Emergent gameplay is here. Somebody is having a gameplay experience you did not intend.
[DongWon] Yeah.
[Erin] But they were able to find those connections in interesting different ways. And I think it's nice when we think about our stories to think about how are all the levers that we're pulling different? And, like, how… If we separate out the way that were talking about lenses, it's sort of a version of doing that, of thinking about what are all the different lenses, what are all the different levers, and how are we combining them in really interesting ways to make stories?
[DongWon] And also just letting… Learning to realize that you don't have full control over the audience experience. Right? And that they are going to bring their own lenses, they're going to bring their own verbs, the going to bring their own ways of interacting with the story to that experience. And once it's out of your hands, you don't get to tell people you're reading this wrong. Right? Or you can try. Sure. But, like, you're going to get…
[Howard] Feel free to say that. It's probably not going to work out the way…
[Chuckles]
[DongWon] And so I think one of the things that I found really exciting about this topic of gaming, not just because I clearly love games, as do we all, but because it is this thing that I think is really, really hard for people who create prose to wrap their heads around, is learning to… Not just, like, ease off of the control, but actively invite in the reader into making this experience with us. And I think learning how to do that is a thing that can really take your fiction from being exciting to truly connecting with a huge fan base.
[Erin] And with that, we're at the end of this game session. And we are going to move to the homework.
 
[Erin] And for the homework, I'm going to challenge you a little. There are probably folks who are listening to this who are like, I only… Last game I played was tag. But I would like you to think about… Take a project that you're working on and imagine that someone is making a game of it. And figure out what would that game be. What would be the actions that the characters would be doing? What would be the parts of the world that the game would be focused on? And just write out sort of, like, a here's the game of my amazing work of art. If you need help with this, you can look at things that are games that were made from things like Lord of the Rings game. Just read a description of it, see if anything comes to you. And then as you're writing that out, is there anything you've discovered about your story that was unexpected?
 
[Howard] This has been Writing Excuses. You're out of excuses. Now go write.
 
muccamukk: Close up of the barb on a wire fence, covered in frost, Background of blue fading to pink. (Misc: Bi-Wire)
[personal profile] muccamukk
The whole Diddy thing. It doesn't matter how much proof there is.

Brad Pitt, who is known to have struck his wife and his children then perpetuated lawfare on them for years to the point where several of his kids no longer want contact with him, has the number one movie right now. Best opening weekend of his career. Most of the coverage doesn't even mention the violence.

On the anniversary of Tortoise Media publishing allegations of rape and sexual assault against Neil Gaiman, Netflix is dropping season two of The Sandman. Meanwhile, Gaiman is forcing one of his victims into arbitration. Not because she's libling him, but because she broke an NDA. Everything's gone very quiet, which I assume is what he wanted.

Some thoughts from smarter people:

Rebecca Solnit: Cynicism Is the Enemy of Action.

Tarana Burke: Tarana Burke doesn’t define #MeToo’s success by society’s failure.
Some people want to judge the movement on specific outcomes, so when a case is overturned, Burke said, “people are like, ‘Oh the #MeToo movement has failed.’” Instead, she said, such outcomes are proof of the difficulty of the work.

“It’s not about the failure of the movement; it’s the failure of the systems,” Burke explained. “These systems are not designed to help survivors, they’re not designed to give us justice, they’re not designed to end sexual violence.”

“When we bind ourselves to the outcomes of these cases, we are constantly up and down with our disappointment, our highs and lows,” Burke continued. “What they tell us is just how much work we need to change the laws and the policies but most importantly, to change the culture that creates the people who commit, who perpetrate acts of harm.”
[syndicated profile] languagelog_feed

Posted by Victor Mair

When I was a wee lad and went to bible school each week, I had a hard time comprehending just whom were all of those epistles in the New Testament addressed to.  Of course, there are many other books in the New Testament, a total of 27, but the ones that intrigued me most were the 9 Pauline letters to Christian churches that we refer to as "epistles".  I was most captivated by these 9 books and I wanted to know what kind of people they were, what their communities were like, what their ethnicities were, and, above all, even way back then, what languages they spoke.

These communities were called:

Romans
Corinthians — Paul wrote two epistles to them
Galatians
Ephesians
Philippians
Colossians
Thessalonians — Paul also wrote two epistles to them

I knew who the Romans were, and what language they spoke, so no problem there.  Moreover, I was aware from a sense of architectural history that a Corinthian capital column was a Greek creation.  Several of the others had a Greek ring to them as well.  But the one that attracted my attention above all the others was the letter to the Galatians, who were located in a region of Anatolia known as Galatia.  Somehow Galatians didn't seem to fit the Mediterranean paradigm that I suspected for the other communities.

Only much later did I learn that the Galatians were a type of Gauls, i.e., Celts, who had migrated from what is now France to what is now Türkiye.  What, pray tell, would have driven them there so far from the north to the south, when most population movements during the Holocene Epoch (last ten thousand years) generally were from south to north?

The Gauls and their confrères were outstanding miners.  They mined a variety of minerals, including gold, iron, and tin.  The latter was important in its own right, but also for alloying with copper to produce bronze, the metallurgy of which the Celts were renowned for.  Above all, however, the Celts / Gauls were masters of saltmining, which is reflected in these toponyms:  Hallstatt, Hallein, Halle, G(h)alich.

Even today, though, when I think of Celts, a bucolic picture of shepherds with their flocks comes to mind, and it's not difficult to imagine that, just as the Celts went wandering in search of metal sources, so they were ever in quest of better pastures for their sheep.

It is no wonder that, being the skillful shepherds that they were, the Celts would become the premier wool weavers we know them to be.  It just so happens that one of the textile types they perfected was diagonal twill.  If you add some colored thread into the warp and the weft in a repeated pattern, you get plaid, beloved of the Gaelic Scots still to this day. It is not an accident that the earliest and best preserved plaids in the world are found in the salt mines of the Celtic areas of Europe, as well as in the bogs of northern Europe, whose tannin preserves organic materials, including plaids and other woolen textiles (not to mention human bodies!).  The only other place on earth I know of for the early conservation of woolen textiles, including very early plaids from the same period as those in the northern European bogs and Celtic salt mines of north central Europe, is the Tarim Basin, especially Qizilchoqa (near Qumul [Hami]) and Zaghunluq (near Chärchän [Qiemo]). both of which have highly saline soils and exquisite Bronze Age woolen textiles, including plaids.  I have tasted the deposits exposed in a tunnel 400 meters down at Hallstatt and from the tableland where Ur-David (Chärchän Man) was discovered.  You can use them as table salt to flavor your food.

The Celts / Gauls certainly had a wanderlust, and that would explain what brought them to Anatolia — and other far-flung places.

 

Selected readings

[Thanks to Elizabeth J. W. Barber, J. P. Mallory, and Douglas Q. Adams]

nuh_s: Sam Carter with pink cat ears (carter)
[personal profile] nuh_s posting in [community profile] stargateficrec
Show: SG-1

Rec Category: Self Rec
Characters: Samantha Carter, Original Character, Hathor, Teal'c, Daniel Jackson, Jack O'Neill
Pairings: Samantha Carter & Original Character friendship,
Categories: Gen, Angst, Whump, Episode-related, Episode: s03e01 Into the Fire (Stargate SG-1), Alternat Universe: Canon Divergence
Warnings: None
Author's Journal: [personal profile] nuh_s
Author's Website: My Ao3
Link: Hathor's New Jaffa

Why This Must Be Read: Written for Whumpex 2025, this one was really fun to play around with the concept, what if Carter was turned into a Jaffa by Hathor? I got to explore a few of my Jaffa cultural headcanons and, of course, whump Carter.

snippet of fic )

Mirror Image, by cmdonovann (G)

Jul. 2nd, 2025 02:36 pm
nuh_s: Sam Carter with pink cat ears (carter)
[personal profile] nuh_s posting in [community profile] stargateficrec
Show: SG-1

Rec Category: Samantha Carter
Characters: Samantha Carter, Daniel Jackson, There But For The Grace Of God!Samantha Carter, George Hammond, Catherine Langford
Pairings: Samantha Carter & Daniel Jackson friendship, Samantha Carter & Samantha Carter friendship
Categories: Gen, Episode Related, There But For The Grace Of God, Alternate Universe: Canon Divergence
Warnings: None
Author's Journal: [personal profile] cmdonovann
Author's Website: cmdonovann's Ao3
Link: Mirror Image

Why This Must Be Read: This is such a fun fic written for the Kill Your Double Exchange featuring Carter and TBFTGOG!Carter. What if Carter had followed Daniel through the quantum mirror? The treatment of Carter as a familiar face vs Daniel as an unfamiliar face in canon is interesting.

snippet of fic )

(no subject)

Jul. 2nd, 2025 10:31 pm
hunningham: Beautiful colourful pears (Default)
[personal profile] hunningham

It's been almost 30 years since Tony Blair's landslide victory. And I am still pissed off about the way he & his government dropped the issue of proportional representation as soon as they got into power.

Still pissed off about Tony Blair full-stop. Not sure what I expected - that he'd get elected and then nip into a handy phone booth & come out wearing his 'S for Socialist' t-shirt?

kat_lair: (Default)
[personal profile] kat_lair
***

Title: like what you (don't) see
Author:[personal profile] kat_lair
Fandom: K.A.R.D.
Pairing: Matthew Kim | BM/Kim Taehyung | J.Seph, Kim Taehyung | J.Seph/Original Male Character(s)
Tags: Ficlet, Canon Compliant, Jealousy, Denial of Feelings
Rating: G 
Word count: 720

Summary: “He’s looking at you,” Matthew murmurs under the guise of bending down to hand over a bottle of water.

Author notes: 
I was looking for a prompt to write something for the first challenge of [community profile] sunshine_revival and then K.A.R.D. dropped Touch. And listen, they know what their target audience (the thirsty bis and pans) want and keep them well fed. I've been low key wanting more fic for this pairing and the MV gave me this brief frame at 2.09 where the (very hot) dancer looks like he's checking Taehyung out and... Well. Longer fic has been written on a flimsier premise. Unbetaed so if you spot a typo you absolutely should tell me about it.

like what you (don't) see on AO3

like what you (don't) see )

***

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