just asking, what if an iterator possibly gets too hot or cold? What happens if they can’t get to safer temps with out outside forces? What if they can’t get to safer temps at all?
Do you mean superstructures or puppet-bound iterators? I'm sure superstructures have a lot of failsafes to deal with temperature fluctuations, mostly via processing water intake. They're living saunas! They probably have an incredible resistance to both hot and cold, as evidence shows.
I'll talk about puppets here, but if you meant superstructures, well... a lot of what I'll say here could apply to superstructures too.
(For puppet-bound iterators, I am referring to my AU CDSS)
For heat: Puppet-bound iterators, like their former superstructure bodies, run hot and need to stay hydrated. They rely on liquid coolant that runs throughout their bodies. Ruptures in the coolant system are one of their many common problems, but with medical aid, they're not too serious. Many cases are self-healing, or the rupture will seal itself off and reroute around the blockage - like with collateral circulation. Leaks into essential systems are more of a concern than the actual loss of coolant. As long as they stay cool and drink water while waiting to get fixed, they tend to be fine.
If they are stuck in a hot region and can't escape, they'll suffer from dehydration, heat stroke, fried components, damage to organic tissue, seizures... pretty much what you'd expect. As a superstructure, Moon probably suffered from all this leading up to her collapse.
For cold: They're fairly resistant for a few reasons. One is the antifreeze in coolant. Another is the heat that they naturally produce. I'm thinking they have silicone-based skin, which is very cold resistant. They have hemocyanin, which tends to function better in extreme cold than hemoglobin. (Hemocyanin can also work at hotter temperatures. I have like a whole essay about this that I still intend to post lol.) However, the puppets have been modified to have more flexible and sensitive skin - dexterity in exchange for some durability. They're more susceptible to the perception of cold than they would be if they were a still a superstructure. Many of them also dislike snowscapes on principle, because they've been freezing their decaying metal butts off for centuries by the time CDSS happens.
Iterators in both forms are very moist, so if it's cold past their limits, their mechanical components will freeze. And like with hypothermia in fully organic beings, prolonged time in extreme cold will lead to tissue death and organ failure. Superstructures with fractured exteriors (direct exposure of internal parts to the cold air) are especially susceptible to this.
Misc theory about superstructures: Moon's superstructure was able to stay intact into Saint's era because she collapsed straight down into the water, preserving most of her shape. The canyon water could have provided the pressure and circulation she needed in the absence of gravity cores, as well as protection against land pests and insulation against the cold. Remnant slag could have her generate excess heat as well, which would keep the water surrounding her unfrozen. In a way, dying like that could have helped her live longer?!
Thanks for the question anon, this was very fun :P
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this is a genuine question not at all meant as a rude gotcha, but I feel like I've seen lots of people cite the relatively low barrier of entry as a huge advantage of podcasts as a medium, "if you have access to decent audio tech you can make a podcast" etc etc. So where does the need to sell a script come in? Is it a financial thing, and IP thing, something else?
this doesn't read like a rude gotcha at all, it's a really good question! there is a much lower barrier to entry when it comes to podcasts compared to tv, film, theater, etc. (though not as low as writing a book if we're talking about hard resources - you can technically write a book with just a laptop and a dream and then self publish! though as a writer who has written a lot of scripts and four books (3 published) writing a book is a much bigger psychological burden imo lol).
the need to sell a script, for me, is entirely a financial thing. if I had the money to produce podcasts at the level I want to entirely independently, I would! I know how to do it! but, unfortunately, I really only have the funds to produce something like @breakerwhiskey - a single narrator daily podcast that I make entirely on my own.
and that show is actually a great example of just how low the barrier is: I actually record the whole thing on a CB radio I got off of ebay for 30 bucks, my editing software is $50/month (I do a lot of editing, so this is an expense that isn't just for that show) and there are no hosting costs for it. the only thing it truly costs me is time and effort.
not every show I want to make is single narrator. a lot of the shows I've made involve large casts, full sound design, other writers, studio recording, scoring, and sometimes full cast albums (my first show, The Bright Sessions had all of those). I've worked on shows that have had budgets of 100 dollars and worked on shows that cost nearly half a million dollars. if anyone is curious about the nitty gritty of budgets, I made a huge amount of public, free resources about making audio drama earlier this year that has example budgets in these ranges!
back in the beginning of my career, I asked actors to work for free or sound designers to work for a tiny fee, because I was doing it all for free and we were all starting out. I don't like doing that anymore. so even if I'm making a show with only a few actors and a single sound designer...well, if you want an experienced sound designer and to pay everyone fairly (which I do!), it's going to cost you at least a few thousand dollars. when you're already writing something for free, it can be hard to justify spending that kind of money. I've sound designed in the past - and will be doing so again in the near future for another indie show of mine - but I'm not very good at it. that's usually the biggest expense that I want to have covered by an outside budget.
but if I'm being really honest, I want to be paid to write! while I do a lot of things - direct, produce, act, consult, etc. - writing is my main love and I want it to be the majority of my income. I'm really fortunate to be a full-time creative and I still do a lot of work independently for no money, but when I have a show that would be too expensive to produce on my own, ideally I want someone else footing the bill and paying me to write the scripts.
I love that audio fiction has the low barrier to entry it does, because I think hobbyists are incredible - it is a beautiful and generous thing to provide your labor freely to something creative and then share it with the world - but the barrier to being a professional audio drama writer is certainly higher. I'm very lucky to already be there, but, as every creative will tell you, even after you've had several successes and established yourself in the field, it can still be hard to make a living!
anyway, I hope this answers your question! I love talking about this stuff, so if anyone else is curious about this kind of thing, please ask away.
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I'm going to do a more serious/sweet one but while trying to write Es-Fuuta sibling dynamic this happened adsfdsf
Es squinted around the scene of the crime. Amane was sitting closest to ground zero: the plate that used to hold Es’ breakfast. Mikoto was at the stove cooking eggs. Fuuta was getting a drink over at the counter. Mahiru sat on the other side of Amane, enjoying some tea. She was the first to notice their expression.
“Is everything alright, Warden?”
They drew themselves up, glad their uniform heels gave them a bit of extra height. “Do you know where my pastry went?”
“Ah, I had one ready for everyone! I left one out for you near the toaster~”
“Yes, and I put it on the table. Now it’s gone.” They gestured to the empty plate. Mikoto glanced over. “I was looking forward to it.”
It was an understatement. Mahiru had baked them the night before, and Es had thought about the treat the entirety of the night, and all of the morning. Their stomach grumbled, as if agreeing.
Mahiru shook her head. “I’m sorry, I didn’t see anyone move it,” she said.
“Neither have I,” Amane said.
“I don’t know where it went,” Mikoto said.
Fuuta shrugged.
Es squinted at him. He still stood with his back turned, fumbling with his drink. “Fuuta?”
There was no ‘I didn’t take your fucking pastry!’, no ‘what the hell are you blaming me for?’, no ‘how dare you?’ He just shrugged again, more exaggerated.
Es moved around the table. “Fuuta…”
He hurried to turn his body away from them. In doing so, he revealed himself to the others. Mahiru gasped.
“You ate it!”
Finally he spoke, his voice desperate through the mouthful of food. “I didn’t know!”
But Es was ready to take down the criminal.
“You ate it??” They grabbed him from behind, preventing his escape.
“Hey,” came Fuuta’s muddled words, “get off!”
They weren’t really sure what their next move was – it wasn’t like he could give the pasty back. Still, they clung tight. Fuuta tried to shrug them off, but Es would show him they weren't some weak kid he could mess with.
“You think you can just go around stealing my breakfast with no consequences?” They yanked him back, throwing him off balance.
He did his best to stand his ground “I told you –” he swallowed, erasing all evidence of the awful deed, “– I didn’t even know it was yours!”
“Ha! A convenient excuse!”
The two struggled back and forth. The others looked on with a mix of unease and amusement. They decided not to intervene. Fuuta managed to gain a moment of freedom, only for Es to use the momentum to take them both to the ground.
They lay sprawled, still arguing about the bygone breakfast, when Jackalope hopped into the kitchen. He stared the two right in the eye.
“A-ah. Jackalope.” Es scrambled to their feet. They coughed. “My apologies. I was simply… delivering some justice.”
Fuuta stood as well, brushing himself off. “Some justice! This was as shoddy as your usual warden duties…”
They glared at one another.
The rabbit just stared.
Es bowed their head, their expression calming down. “My apologies. I may have gotten a bit carried away.” Jackalope started hopping away. Es moved to follow him, muttering, “Fuuta was the one who started it, though.”
“Like hell I did!”
“The pastry didn’t eat itself, now did it?”
“I didn’t just fucking fall to the ground myself, did I?”
“I’ve seen you do it before…”
“I swear, I’m gonna…!”
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Ok. TRT business and a question, cause I need feedback from readers at this point.
First: the final chapter of the Raven What If fic should be posted this week, I'm about done editing it.
The bigger, much more important question:
So I have a potential chapter for tomorrow. I've been worrying and fretting over posting it, not because I think it's bad, but because it's short by TRT standards, currently around 2k words, and it both frustrates me and makes me feel weirdly guilty at the thought of dropping what's so much less than my usual. I'm used to being able to write longer chapters, being able to squeeze everything I want into them, and I have a literal outline of this goddamn chapter that has this good stuff in it and I know what needs to be written. I can see it right there. The movie is playing in my head just fine.
But the truth of it is, my writing is slow at the moment thanks to post-covid brain fog. I'm checking in with my doctor, I've started taking specific supplements (which I'm hoping to see results from in the next few weeks), I'm clawing my way back bit by bit, but I continue to write slowly, mostly because I either can't focus or I have to stop every few sentences to struggle with a word I can't remember. It's incredibly frustrating. The thing is though, at least I *am* writing, which gives me hope. But this is where you - the readers - come in. Because right now we have two possible paths for updates going forward for a bit.
Option 1: Longer gaps between our usual chapters. If we go this road, it'll take longer but as I chip away, I'll eventually have the full planned chapter, which I'd post. This would be a chapter closer to what we've had most weeks for the past oh god like 2 years. At current speed I'd drop it in a few weeks, and then hopefully the next one would come a little faster, until eventually we're back to our usual. So basically, you'd get your big chunks when the updates do come, and the same natural endpoints and arcs as before. Drawback is obviously the time between updates, so you won't be fed as often (though I'd try to find things in my editing folder to clean up and drop, like the Raven fic).
Option 2: Shorter chapters but more regular updates. If we go this road, we'd be back to weekly updates of our adventures with Matt and Jane. There'd just be less than usual for a bit and then, hopefully as I improve, you'll see the word count begin to climb back up. So in this case, you'd be getting a weekly dose of TRT, the usual fluff and angst and action, but the catch is less overall to read (likely individual scenes rather than multiples), and potentially sudden endpoints/more cliffhangers as I 'end' at what was outlined as a scene change.
Which way I go will mostly depend on ya'll tbh. I think I can make either work, since I've managed to start writing a little again and I really, really am hoping the supplements help. But since this'll potentially alter the update schedule we've had for years, I wanted to see which you'd prefer.
So, Option One - longer gaps but long chapters - or Option Two - shorter chapters weekly. Which would you prefer?
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