If You Relate To Having An Idea For A Story For 4 To 8 Years With Almost Zero Progress Towards Actually

@coppermarigolds, this speaks for itself.

well life just isnt fucking fair is it humpback whale 85

This is why Bryke didn’t want to introduce guns in The Legend of Korra.

The perfect match. @lazarus-cell

There was also the Tox Uthat, the MacGuffin from the third-season episode “Captain’s Holiday”, that could perform the same trick. No explanation is ever given as to how the device works, beyond the Treknobabble description of “quantum phase inhibitor”, so beyond “piece of alien technology from three centuries after TNG that works by Trek science rules”, there isn’t much room to speculate as to how it shuts down stellar fusion reactions.

In Star Trek Generations, the bad guys had a substance which could stop the fusion inside a star, making it collapse and produce a solar-system-obliterating shockwave. This is actually somewhat feasible compared to your average Star Trek science: for various reasons I don't think it could actually exist in the way it does in the movie, but you could conceive of a substance that acted as "fusion poison", producing more of itself when it collided with energetic hydrogen but was not itself able to be fused further. Even the bit about the shockwave was really plausible: it's pretty much exactly what happens in an actual core collapse supernova.

The one really unfeasible part was that it couldn't happen instantaneously like it did in the movie. Even in the core of starts, most hydrogen atom collisions don't result in fusion - they can't overcome the Coulomb barrier. If you introduced a self-replicating fusion poison into the core of the Sun, it would grow only very slowly, at least at first. You could imagine a fusion poison produced almost no notable effects for centuries or millennia, then maybe a one-lifetime period of noticeable effects, then the Sun went out and everyone died.

Which I actually think would be a better story. Suppose you knew that there was a fusion poison, but not exactly when the Sun would collapse, since astrophysical time scales are immense and imprecise. It's going to be in the next 10,000 years, but beyond that you're not certain. Would people try to escape the Solar System? What would life be look in an era of certain doom but highly-uncertain timing?

I am so goddamn excited for this, and I eagerly await the return of Punished Akira.

we recorded anime club today. it should be up in the next few days. it’ll be an incredibly raw episode with lots of hollering, and some more, Madiha Lore

Good to see this post making the rounds again. I forgot to include that link in my first response, so here it is again for good measure. It digs a bit more into the matter and makes a point that Kuvira may be more of an modernizing authoritarian than an out-and-out fascist. (A very fine point, yes, but an important one to keep in mind.) Come to think of it, I’ve been wondering for the longest time if Amon may have been the actual Nazi. Certainly when you look at Book 1 of Korra as a whole, it’s not hard to make a case that for all the talk of equality and the downtrodden nonbender, Amon’s ultimate goal was the elimination or expulsion of all benders from the United Republic, and his first act upon seizing control of Republic City was to round up the benders and strip them of their powers by force. While I don’t know the correct word to describe benders as a subset of all humans in the universe of Avatar, I don’t think anyone could disagree that Amon’s plan for all benders was essentially ethnic cleansing.

A piece I did for avatarfanzine - Children of the Earth zine, which if you pre-ordered it, should be getting it real soon. I wished Kuvira would’ve had a longer season to shine a lot more. She genuinely saw herself as the hero of the people.

This has become something of a critical issue for sf/f writers in the past few decades. Way back in the early 2000s, when blogs were still a thing, the British author M. John Harrison caused something of a tempest in the online genre community criticizing the concept of “worldbuilding” as detrimental to the creation of literature. The original posts are long gone, but there is a Reddit post copying Harrison’s final summation of his thoughts on the matter.

Even though I’m not a “proper” writer yet, this is an issue I’ve worried about over the years. While I don’t have the philosophical background of Mr. Harrison, my own objections to the primacy of worldbuilding stem from a key complaint Harrison makes: the idea that worldbuilding “literalizes the act of creation.” The essay talks about Harrison’s interpretation of the matter, but here I’ll quickly over my own.

The problem with believing that worldbuilding is all is that it changes the reader’s relationship to the text. If a reader believes that the mechanics and details of a setting are the most important part of a story, they will end up seeing stories not as stories, ambiguous creatures of metaphor and meaning, but as documentaries of alternate worlds. When this happens, the reader both forgoes the suspension of disbelief required to make any story work and unknowingly imposes their own worldview on the story under the guise of “objective reality.” Rather than developing a symbiotic relationship with the story wherein the story is accepted on its own terms, the reader instead becomes an anthropologist in a duck blind scanning the story from afar, compiling a list of points observed. This is how you end up with situations where people complain that characters don’t act “logically” without considering the thematic reasons for their motivations. Obviously no one will ever be able to suspend their disbelief for every part of every story, but some level of acceptance is always required. Without it, the forest just becomes a big bunch of trees.

This attitude also poses problems for the writer, who is no longer expected to be a storyteller, but a God who dreams up and fashions every aspect of their creation from the wings of an aphid to the greatest supergiant stars. Needless to say, this is an awful attitude to have as a writer. Rather than having the reader accept your story and go along for the ride, the entire burden of creating the world falls on you, and the sad fact of the matter is that most of us aren’t God. A few of us out there are polymaths and Renaissance men that can shoulder the burden, but most of us, myself included, aren’t. What happens with most of us is that we develop the belief that we must understand everything before we can create something, which often leads to writers putting their stories off to research things they don’t really need. I’ve been guilty of this myself with things like starting work on a fantasy novel by working out the layout of the solar system and worrying about getting myself up to speed on introductory economics (so much economics in fiction these days...I’m sick of it). Some of this would have been important thematically, but my problem was that I was doing in first instead of figuring out what I actually wanted to tell a story about. I’m sure many of you have similar stories to share.

In short, if you’re the sort of person who loves creating all this intricate background for their fantasy settings, knock yourself out, but just remember that for the sake of both you and you reader that they can’t be everything.

(As a final note, I have actually seen some people drop traditional narrative entirely and write what are essentially fictional textbooks. It’s something you tend to see in the online alternate history community, where the primary attraction is seeing the raw mechanics of historical change play out over centuries across nations filled with millions upon millions of people, the scale of which the human-focused modern novel has some difficulty capturing. They rarely appear on bookshelves because they don’t fit in with the publishing industry’s classifications of genre, but you sometimes get odd anomalies like Robert Sobel’s 1973 work For Want of a Nail: If Burgoyne Had Won at Saratoga.)

I think the best writing tip I can give (this is untrue, I can probably give many writing tips, but this is the writing tip foremost in my mind at the moment and I needed a good hook to start this post) is that not everything that is read as Lore needs to be important or explicable to what you’re writing. Often times you need a detail or a character to appear to make another detail or character sound more convincing or to appropriately place it in the world, people will latch on, but maybe that’s not the story you’re telling or what’s actually important to you. For me, for example, it’s not important to detail say, the histories of Nochtish tank design bureaus. It’s enough to know that they exist and what they’re making, but the staff and position of Rescholdt-Kolt are not actually crucial to the story.

I think because of wiki culture and general curiosity we want every capital letter noun to be drawn out to us, but some things just exist solely to be a cool name.

As someone who has an interest in sf/fantasy depictions of WWI, I’ve been puzzling for years as to why authors dabbling in steampunk have been reluctant to tackle the conflict. My own theory is that steampunk is, at heart, an American creation, and the Great War is an event that has mostly vanished from the American consciousness. For most American writers, steampunk is a fantasy world set in an imagined version of 19th-century Britain or America which draws more from other stories than from reality, and the question of international politics and war doesn’t really come into it. That said, I have found British authors working in steampunk to be far more willing to broach the subject of World War I, both because the war had such a huge impact on the British national psyche, and because it ties into the greater question of what Britain is, its relationship to the empire, what role Britain has in the world after empire, and so on. As for examples, two authors stand out to me. While a hard sf writer by trade, Stephen Baxter’s steampunk excursions always seem to be haunted by the war. His 1993 novel Anti-Ice is for the most part a romp about a 19th-century excursion from the Earth to the Moon thanks to the titular substance, an exotic form of antimatter. However, by the end of the book the use and exploitation of anti-ice has led to Britain, France, and Germany locking themselves into a Cold War-style nuclear arms race. His 1995 book The Time Ships is a sequel to the The Time Machine that riffs in all manner of ways on HG Wells’ work, but the middle third of the book is set in an alternate 1938 where the First World War has dragged on for decades, transforming Britain into a dystopian state influences by Wells’ most pessimistic views. (While I haven’t read Baxter’s 2017 followup to The War of the Worlds, entitled The Massacre of Mankind, some of the elements I’ve seen, like a police-state Britain and a bloody Russo-German war in Eastern Europe, suggests that the Martian invasion of the original book has become the Great War of the sequel’s world.) For something a little more literary, Ian R. MacLeod’s Aether duology, The Light Ages (2003) and The House of Storms (2005), is set in an England where a magical substance called “aether” has locked the country (and by extension the rest of the world) in a sort of static industrial revolution for centuries in some ways reminiscent of Keith Roberts’ Pavane (1968). Change does eventually come to this static eternal England, sadly in the form of a civil war whose depiction draws heavily from that of the Western Front.

I didn’t include it in the list of favorite stories because I like it more in idea than in execution, but Caitlin R, Kiernan’s story Goggles really hit me hard.  She says it was her idea of where all steampunk is leading, but most authors don’t want to admit: the conflict that became World War I in our world destroys the steampunk world in technologically advanced nuclear fire.  I read it yesterday and I can’t get the concept out of my head.

“Cats that look like Lenin” really should be a thing.

Котик революционер

Isn’t this the final level of Hitman: Codename 47? Is there a mass grave full of dead bald guys in suits in back of this place?

GOOD EVENING

i just found the most fucked up property currently for sale in austria

THIS LOOKS NICE RIGHT JUST A BIG OLD HALL

CUTE RIGHT? NO. FUCK NO

I FEEL SO MUCH DREAD SEEING THIS HALLWAY

YOU WON`T LEAVE THIS ALIVE

IT HAS AN INDUSTRIAL KITCHEN AND BATHROOM IDK FOR WHAT BUT I HATE IT

THIS CUBE IS WHERE YOU GO TO DIE

like this is advertised as just a curious amazing thing with no explaination to what the fuck is going on or what THE ACTUAL FUCK HAPPENED IN THERE

but you can buy it for 99,000€. you might die looking at it but like. you can fucking try to get this

here is a link to the listing i guess. i hate this so much https://www.immowelt.at/expose/2b46g4c