#it just presents you with Very Basic Children's SciFi and goes

[yellowocaballero]

hi! i know that i'm fated to read your every work despite not knowing the media half the time. this time i would like to finally be one step ahead. so uhh. where do i read orv? do i go for the webtoon or the novel? to clarify, i did try to search, but got confused by reddit. also i am going to watch trigun. i've been eyeing animorphs too but the 54 (?) books are making me go hmm. thank you for existing you're pretty great. you're like the spiderman of writing but instead you got asbestos rat'd.

THIS ASK IS INSANE. WE'RE REFERENCING MY LORE NOW?

But thank you, you're insane. People ask why I have stupid high standards for the fics i post on AO3 and it is because there are people like you who will just read whatever regardless of whether or not it's good. I have a responsibility.

This ask also made me wonder if I have good taste. Because every time somebody says this my first reaction is "oh god and the source materials aren't even good". I read a lot of trashy stuff (but, like, define trashy), and I consume too many bad things to be able to say I have discerning taste. If I enjoy something I almost never call it bad, because things were made to be enjoyed and I enjoyed them then they had value in at least one aspect. If you were to ask me if my favorite TV show of all time the Incredible Hulk 1974 was actually, unironically, good, then I'd break into a cold sweat. Is somebody bad because it's camp? Is something bad only if it's unintentional camp?

Regardless, I never write fic for something that isn't only like 80% good - there's a sweet spot of 'good enough for me to obsess over' and 'bad enough that I'm rewriting it in my head'. It's rare I write for anything I find completely good. Which is why I feel bad when people say that they're reading this thing I'm writing fic for jalksdf there's better things out there I SWEAR.

ORV is in the sweet spot of "this isn't high literature" and "this has given me brain worms". Definitely for sure start with the webtoon - the webnovel is clunkily translated, you don't read it for the writing at all, and it is also a literal million words. Don't read the webnovel unless you're like "I'm going insane and I need more of this". It starts off kind of slow ("This is a well executed very banal isekai") and you're like a frog in the pot of it slowly going more insane until you're a ways in and you are in a tangle of ridiculously complicated gambits and convoluted storytelling. There is literally no other way to describe it than the Homestuck of webnovels. If you're completely unfamiliar with isekai that's fine, but as a warning - ORV being your first webtoon/webnovel isekai is like your first shoujo manga being Ouran High Schol Host Club, or your first magical girl show being Madoka, or your first mecha anime to be Neon Genesis Evangelion. It's one of the best works in its genre but it's supposed to be viewed in context of the genre. Or maybe it's more like if Homura starred in Evangelion, which was Ouran. I'm just saying words.

Animorphs is kind of like Mother 3 in which everybody who has ever read/played it said that it changed them as a person, it changed their relationship with media and storytelling forever, if you read/play it you will be born again from the world's egg, etc. Works that genuinely become part of your personality. I also never recommend it to people because it is incredibly hit or miss. I remember using a spreadsheet of just "what books are skippable or not" because some of them are incredibly weird and some of them are incredibly weird in the bad way. The only Animorphs fic I've ever written is from 2019 so it's also not that great. Each book only takes an hour to read and the pdfs are free online, so it's incredibly accessible in terms of the reading experience, but it's kinda the Animorphs gestalt that changes you forever and not the individual books. I try not to recommend stuff that's like 25% bad.

Watch Trigun if you like what Trigun is - it's not going to deliver on something it's not. Also watch 98 first. Watch Stampede/read Trimax if you want more Trigun. The Trigun fic is based off Stampede but refer to my "I only write fic for smth that's 80% good and not 100% good" statement.

Also I think being bit by an asbestos rat just means that I probably have mold and drywall in my lungs, which would explain a lot about this blog. Thanks for the ask I love it.

#you have to feel kind of guilty saying “this is the homestuck of webnovels” and reccomending it with a straight face #and like i wouldn't outright reccomend it #it has plenty of problems. but also you dont care about the problems much ya know. #my asks #my writing #it is genuinely so funny that Animorphs and M3 girlies are Like That #sir this is a children's novel where a teenager vomits crocodiles #and it's not as good when you just hear people describe it like “oh read animorphs its sooo fucked up and edgy and people die” #like. yes its good because its fucked up. but also #the humor and levity and silliness is important and makes the fuckery meaningful #i think mostly it's the fact that animorphs will present to you some very shallow stuff and then ask you to engage with it like its real #its not realism or grittiness or edge #it just presents you with Very Basic Children's SciFi and goes #these are real children. all life is real sentient life. #yes the CIA really did do that. #when the enemy is killed the enemy is dead. do you understand. #thats what makes it a rly good childrens novel but also what makes it so disturbing as an adult #whose been asked to fictionalize suffering countless times in scifi #and on the tv. and in the news. and from each other. #and when we're presented with normal fictional suffering and the narrative is like No - Look At This #it changes how you engage with scifi and media in general #there's a lot of 'Jake' characters out there. but you can't look at them the same way. #did not expect the tag essay to be about animorphs this time.

[terramythos]

TerraMythos' 2020 Reading Challenge - Book 33 of 26

Title: The Edge of Worlds (2016) (The Books of the Raksura #4)

Author: Martha Wells

Genre/Tags: Fantasy, Adventure, LGBT Protagonist, Third-Person

Rating: 9/10

Date Began: 11/28/2020

Date Finished: 12/09/2020

Two turns after The Siren Depths, Moon has settled into life in the Indigo Cloud colony with young children of his own. But when all the adult Raksura experience a disturbing, shared nightmare that foretells the destruction of their home at the hands of the Fell, things are about to change. Soon an expedition of strange groundlings visit The Reaches, claiming they need the Raksura to help investigate a mysterious abandoned city far to the west. Believing the two events are linked, Moon and the others embark on a journey to avert disaster. However, they soon find more than they bargained for when a Fell attack traps them in the deadly, labyrinthine city ruins.  

If eyes fall on this, and no one is here to greet you, then we have failed. Yet you exist, so our failure is not complete. 

Full review, some spoilers, and content warning(s) under the cut.

Content warnings for the book:  Graphic violence and action. Some mind control stuff (par for the course at this point). 

This is a difficult book to review because it is, for all intents and purposes, part one of a longer two-part story. While the three previous books were all self-contained, The Edge of Worlds isn't, even ending on a cliffhanger. I feel like this duology might have been written as a single book but got split for publishing reasons. As of this writing I have not read the next book, The Harbors of the Sun. So take what I say with a grain of salt, because my commentary assumes the next book will address certain things.

The Edge of Worlds’ core plot builds on threads from the previous book-- mysterious ancestors, bizarre dead cities, the Fell/Raksura crossbreeds, and so on. This book doesn't include any new details about the ancestors, which are just called "the forerunners", but I expect the next book to touch on this more, as it’s been a consistent Thing in the series. There's also another mysterious, ancient ruin critical to the plot. However, it’s pretty different than the underwater city in The Siren Depths, so doesn't seem repetitive. Oddly, it reminds me of House Of Leaves with its vast size, impenetrable darkness, and sentient (?) traps.

The book also explores Fell/Raksura crossbreeds in yet another way. Previous books depicted them as terrifying weapons (The Cloud Roads) or just weird looking Raksura (The Siren Depths). The Edge of Worlds splits the difference, introducing a Fell flight that seems much more sympathetic and reasonable than any encountered thus far-- led by a crossbreed queen. My criticism of the Fell way back in The Cloud Roads is they're basically an Always Chaotic Evil horde of predators, but this new idea adds a lot of nuance. Though I am assuming the next book goes into this more, as they’re just introduced here. It's important to remember the Fell and Raksura are descended from the same ancestor, and even though Raksura are the heroes of the story, there are a lot of similarities between the two species. Overall this is one of the most intriguing threads in the series, and I'm glad we keep coming back to it in new ways.

Another thing this book does differently is perspective. Moon is the POV character in the other main entries. While that's still true, there are several interludes from the perspectives of others. For practical purposes this is to show what's going on outside of the main party, particularly so Malachite showing up at the end doesn't feel like an asspull. Also, certain events really do need to be explained when Moon isn't present. I can respect that.

From a reading standpoint I really like these alternate points of view. They're all minor characters-- Lithe, Ember, Merit, River, and Niran-- which is an interesting choice. Ember's interlude is actually my favorite part of the book. It's fun to see a more "traditional" consort approach an awkward situation, and I like his initial struggle to accept and treat Shade (one of the crossbreeds and a personal fave of mine from the last book) as a regular consort. Ember comes off as very submissive in the rest of the series so it's fun to see him take charge. Also this part features a scene in which two intimidating Raksuran queens, Pearl and Malachite, have the most tense tea service of all time. It's just hilarious. 

This book actually has a trans analogue with the Janderan, the primary groundling species, who apparently choose their gender when they reach adulthood. Specifically there’s a focus on a young man named Kalam, who just took that step. This doesn't feel like the standard fantasy/scifi copout because humans literally do not exist in the series. Wells handles trans/nonbinary/agender characters (human and otherwise) extremely well in The Murderbot Diaries so I feel it’s in good faith. LGBT rep in the Raksura series has been great so far, honestly. Moon/Jade/Chime is like... canon, man.

Another general observation I haven't previously noted... I love how many interesting and varied flying ships there are in this world. They're all boat-like (nothing like airplanes) but there has been a different kind in each book. Considering that most of the main cast can fly it's interesting that flying ships are consistently integral to the plot. It would be so easy to cop out and design one ship that every society uses, but Wells really makes them all unique despite serving similar functions to the story. The ship in this one is organic, powered by living, cultivated moss. I dunno! I just think it’s neat. 

I do have one criticism for The Edge of Worlds, keeping in mind it's part one of a longer story. The pacing. This book is pretty slow; it takes a while to get going and then there are lots of lengthy travel sequences. As long as there’s interesting flavor to it, I generally don't mind this approach. It allows for breathing room and character interaction. But even I started feeling bored at points and had to power through. It feels like a lot of the travel could have been cut from the book without losing much. For example, the journey to the colony tree in The Serpent Sea took up maybe a few chapters. I appreciate travel in this series from a worldbuilding perspective, but in this case I think some time gaps would have been fine. The action doesn't pick up until the party arrives at the ruin, in the latter half of the book.

Also, this isn't really a criticism, but there are several references to the Raksura novellas and short stories. I haven't read them (yet) so they’re totally lost on me. I can't blame Wells for including references, both as a wink/nudge to people who have read them and because ignoring relevant ideas makes no sense. But as someone lacking context it comes off as awkward to have a character think “WOW, this is just like that one time Jade had to do this one thing!” and I’m just like “...it is???” 

Despite this I like just about everything else in the story, especially the second half. It really does feel like a proper finale, bringing back notable characters from throughout the series (not anyone from The Serpent Sea yet... I do have my suspicions here, though). River seems to be getting a mini redemption? The labyrinthine, dark city is creepy, and the artifact they find inside it is super unsettling. All the climactic action is intriguing, particularly regarding the new Fell crossbreeds. The novel ends abruptly, but that’s understandable since the next book leads right off from it. I'm really excited to see how the Raksura story concludes.

#taylor reads #2020 reading challenge #BONUS ROUND #9/10 #me: well that line is foreboding and probably foreshadowing let's use it with no context

[jewlwpet]

Space Pirate Mito, overall impression

This is a shounen anime from 1999. It’s sci-fi, as you might expect from the name. It has a wacky sense of humor, an endearing cast of characters, a fascinating and unique storyline, and some deeply affecting emotional scenes. It also featured numerous LGBT elements, the execution of which was... so-so. Could’ve been much worse, but also could’ve been much better. I do think it tries to present a positive message, and it isn’t always effective, but it is certainly memorable. There are numerous things that could’ve been improved, but I think the show as-is has a lot of value mainly coming from its uniqueness.

If you live in the U.S., it’s available for free (both seasons) on youtube from Nozomi Entertainment, just like Revolutionary Girl Utena is. Season 1 is also on both Crunchyroll and Amazon Prime; I don’t know what other countries this applies to. Piracy sites have this show too, of course, so you have options regardless. It’s also available on DVD for a surprisingly reasonable price, 22.49 USD from rightstuf, and that’s if you get it new.

Here’s the synopsis I like best for season 1, the one from animenewsnetwork:

Mito isn't just another space pirate, she's a three foot tall childlike alien with enough guts to outshine a supernova. She's known as the galaxy's most dangerous pirate, a wanted criminal who destroys a dozen police space cruisers every day before breakfast. But all she really wants is to be called "Mom."

Incidentally, Mito is voiced by the late Tomoko Kawakami, who also voiced Utena Tenjou! This was shocking for me to learn; they sound nothing alike, which just shows the versatility of her talent.

Wikipedia gives the following synopsis:

The first series of the farcical sci-fi title mainly revolves around the small space pirate Mito and her fights with and flights from the galactic police force, as well as her relationship with her half-human Earthling son Aoi, initially largely ignorant of his mother's spacefaring life.

This is basically accurate; however, there’s also a complex and compelling story that begins to unfold in the later episodes.

It’s in the unravelling of this story that the show’s LGBT themes are first introduced. I’ll insert a readmore here, because this post is getting long, so I might as well cut off before getting into plot spoilers: But if any of you goes off to watch it based on the above, there is a high chance you’ll end up checking back here at some point to determine if it’s worth sticking with.

If you’ve watched Simoun--another LGBT-related series that I adore and appreciate for its originality despite some serious flaws--this’ll sound familiar to you.

For Mito’s species, “sex differentiation” happens once a person is 10,000 years old. It’s not something that happens by itself, though; it is undergone by “choice.” I’m putting that in quotation marks because it certainly isn’t a free decision. Children are allowed to be flexible with their gender presentation, but “growing up,” in the eyes of society, means to become either a man or a woman, by fixed, preset standards. Those who don’t are socially ostracized.

In Simoun, at least, if you have your heart set on one role or the other, you can be sure to get it. Here... it’s not really clear, it seems that there is no such guarantee (I’m not sure if it’s just random, or if it’s arranged by one’s parents). Hence, it’s easy to imagine why some would find such an event absolutely horrifying.

One of the characters has a backstory that involves resisting this; I was really impressed with how this was established, except for the fact that this character did happen to be a villain. However, he (the character is shown saying “I’m a boy! I’ve already been differentiated” in his backstory, so that’s what I’m going with) joins the heroes’ side in the second season and is never made to conform, nor are the show’s protagonists ever anything but respectful.

However. For plot reasons that really do make sense in context (...sort of. it’s still contrived), Aoi ends up having to undergo sexual differentiation even though Aoi had been following a human pattern of physiological development up to that point. Aoi has no control over the process, and when it ends, everyone is shocked to find that Aoi is now “a girl.”

...Well, the humans are shocked. The aliens mostly take it in stride.

Aoi is also queen of the galaxy now, because sometimes that just happens.

For the record, this all happens in the final episode of season 1. This means that we don’t get to see the initial period of Aoi adjusting to this new role. Ultimately, I think that’s probably a good thing because it leads to many of the usual uncomfortable tropes being glossed over, but it also limits our insight into Aoi’s thoughts and feelings about this, which is pretty important. There are some mixed messages.

Something decidedly Bad is the way that the viewers are clued in on what happened to Aoi, which is... a couple of girls accidentally seeing under Aoi’s clothes and being shocked... and then the teacher wanted to look, ugh. That’s as bad as it ever got but it’s Pretty Bad for sure.

Onto Aoi’s reaction.

This is going to require some context. What first happened was that Aoi’s body became impossible for the aliens’ machines to detect as male or female, which led Mito to realize and explain that Aoi must be going through Sex Differentiation now. Only, the one weapon that could defeat the villain requires the user to have undergone it and be recognizably one or the other. This was the villain’s plan all along; he did “experiments” on Aoi to induce this, not out of a desire to cause suffering but for pragmatic reasons which still sound extremely contrived (though I was pleased to find that season 2 actually addressed why the weapons were built like this, whose decision it was, who was benefiting from it and how).

Consequently, Mito was demanding that Aoi “become either a man or a woman immediately.” Because Aoi had no idea how to control the process, the decision was made for Aoi’s (female) love interest to kiss Aoi and potentially “turn him into a man.” The reason I’m bringing this up is because notably, Aoi is not necessarily very keen on this idea, saying, “What about my feelings?” But it happens, and even, annoyingly, works long enough for the weapon to be used. (Not gonna lie, I was totally hoping that the opposite would happen and this would be the catalyst for Aoi taking on her True Form as a lesbian. That would’ve been epic). That said, it doesn’t last, and s2 leaves absolutely no room for the idea that kissing girls is inherently a “male” thing, so I don’t consider it a big deal on the whole, just such a missed opportunity.

Mutsumi, Aoi’s love interest, said in the end that her feelings for Aoi were the same regardless of what happened, but then ruined it by adding “Besides, I’m sure I can turn him back into a man.” (Aoi had not said a single word this point; she just thought that was something she could decide on her own, ugh--Mutsumi has clearly gotten over this by season 2, though; it never comes up again). At this point Aoi ran away “to find a planet where I can become a man,” according to the note left behind. It’s very possible Aoi just wanted to escape from everyone’s incessant comments and questioning, but that’s only speculation on my part. The next thing we see is Aoi being crowned queen, appearing somewhat exasperated and resigned.

Now onto season 2! Things get better... a lot better. Season 2 has its own unique and compelling story arc, with a new, more powerful villain. But the first thing to talk about how it opens, with an OP that seems to show a typical romcom with a scifi twist, one that happens to be about two girls. I love it.

S1′s OP centers around Mito, with this one centering around Aoi; because of that, it doesn’t feel like “now that we have a Female Protagonist we must make it a Love Story.” Just in case that was on anyone’s mind.

What the song tells us about Aoi’s perspective is interesting, but it can be hard to connect it to what’s shown in the show itself. It starts out with the line, “I’m a happy but lonely girl,” and includes the line “Hey, can you understand a maiden’s heart?” but Aoi certainly makes no such pronouncements withing the show (this would really make the show more comfortable to watch, because then it would certainly be Good and Right that everyone considers Aoi a girl now) and in my opinion would probably not feel comfortable doing so. I can imagine Aoi listening to a song like this and secretly strongly identifying, but that’s just speculation on my part.

I’m probably taking it more seriously than it was ever intended, but I will say, I don’t think it was made to be a mean-spirited joke. It doesn’t feel ironic. The visuals match the lyrics and melody rather than contrasting with them, and the upbeat tone is the same as that of the first OP. My best guess as to the motivation behind making it is that it’s to really bring the point home to the viewers that Aoi is a girl now and that that wasn’t just a silly joke ending to the first season but represented a major change in the status quo.

Early on in the season, Aoi has a dream about becoming a boy again and being with Mutsumi. If you want to believe the OP you could say that this is because Aoi feels that being with Mutsumi (romantically) would necessarily require being a boy. And this is a worry that Aoi canonically had, early on, but I think that most viewers would take the scene at face value and it might not be any deeper that that.

There was one other scene in the season that suggested Aoi would prefer to live as a boy, this one towards the end. In fact, Aoi shouts outright, “I would go back to being a guy if I could.” That said, the context is that a villain is torturing Aoi in an attempt to make that happen. Considering Aoi had already surrendered to that villain to save others (don’t worry, it all works out in the end), this could be as simple as “I would do what you wanted if I knew how.”

What I was hoping for, and what I think would have been awesome, is if at the end, Aoi would get a choice and would choose staying queen of the galaxy over becoming a man. Unfortunately, we didn’t get that. We do see that the experience has made Aoi a stronger person, more confident and expressive, and the show does end on a good note: The galaxy has been saved, and Aoi is free to be with the girl she loves, and looking as happy as in the OP for the first time ever, and has taken control of her life in general at last.

I didn’t mention this, but there’s another girl who has a huge crush on Aoi in season 2, and I was worried she’d be a “predatory lesbian” stereotype, but to my relief, this was not the case, and she ended up being one of my favorites.

She’s just like Nanami (from Utena--the director of this show actually directed Utena’s third ep, On The Night of the Ball) but openly gay and I LIVE for that. She has some great character development too.

#space pirate mito #uchuu kaizoku mito no boukugen #stellar buster mito #aoi mitsukuni #mito mitsukuni

[bludlight]

The other night I had a really, really wild scifi dream. This is long as fuck so I do not blame you for not reading!

Prior knowledge (what I’ve gathered about the backstory / what was not in my dream but was obvious upon my waking up):

The setting was a small American town that was pretty much functioning as a secret military base. The story focused on a teenage boy named June, and his three friends Kurt, Cal, and Ashley. (For the majority of the actual dream, I am June. So I’ll refer to him in the second or third person until the second part of this post.)

June and the two other boys stumble upon some sort of XXXXX while exploring the town’s surrounding forest area and are exposed to military technology which grants them each the ability of foresight. This prophetic power manifests in the ability for the boys to see ghostly white lights overlaying the environment in areas where significant activity relating to the mysteries of the town are going to happen. These lights (reminiscent in aesthetic to the game Everybody’s Gone to the Rapture) help guide the group through the plot to an understanding of the experiments and murders that would be inevitable. They are also given enough prophetic knowledge of the situation to narrow down their actions into, essentially, a single choice. As an example, June may be walking down the street with Kurt and they see glowing white footsteps that no one else can see. The apparition of these footsteps inherently means to the boys that it has something to do with the secrets they are trying to uncover. Upon pursuing the light (and following the footsteps) the boys will be mysteriously/psychically? given a choice- for example-- to Follow The Gray Man or to Knock on the Restaurant Door. Depending on how the situation goes, they make the choice they think is the best one.

(I think this in particular was my brain blurring the line between watching a movie and playing a video game, giving me some semblance of interaction while still working within a much greater plot. So think of it as a story-heavy video game where you mostly wander and then every once in a while are given a choice by the game mechanics of how to react. Except, interestingly, the characters are self aware enough to ‘see the choices on the screen and know they have to choose one’, if you will.)

The catch, I’m assuming, was this: The boys didn’t know how long they would have to wait for those ghostly footsteps to become, you know, real ones. My brain asked the question: Are these boys going to wait 10 minutes, an hour? before the Significant Thing happens? How far in the future are they seeing, exactly? How the hell does that work? To which, my brain came up with this detail: Ashley.

(It would make a lot more sense for the lights to just show up momentarily before activity, but it would take away from the story in ways I can barely explain.)

After at least gathering that they have acquired powers that are obviously tied to strange things happening in the town (people have started to go missing, etc.) June, Kurt, and Cal confide in their friend Ashley and lead her to where they were exposed to these abilities. There they find only two things: the Device and the Switch (thanks brain). Whatever wild thing gave them powers is gone, but these pieces of technology are worthwhile. The Device is a set of goggles that Ashley can wear to see the lights that the boys can already see. And the Switch is a literal switch that somehow pushes the boys into the future, just a few minutes before the Significant Thing is supposed to happen. 

So if Ashley were with June and Kurt when they saw the footsteps, instead of waiting an undetermined amount of time, she would use the Switch to cross them over to the future immediately. They would disappear from beside her upon the Switch being activated, because although they would technically still be on that sidewalk, they would be there in the future. (She could apparently still see them while using the Device, but not without it.)

Does that make any sense? Maybe? Partially? Abstractly? Good. Now here’s

What actually happened in my dream:

I immediately got the sense that this was the end. Or at least, very near it. Last episode vibes. Showdown feelings. I was June, first person. And it was terrifying.

We were in some sort of old school bus yard with huge rusted pieces of metal bumpers and tires and overgrown open-air garages and overhangs. Now that I’ve set the scene, below is what I actually woke up and wrote at 4:30 in the morning:

That’s when we came upon it. Faint white smears of white light, glowing in front of us. A lot of smears. I knew immediately that it was all blood. It was in pools in front of us, and in a winding trail, and splashed across chunks of scrap metal.

No doubt it was ours.

And this was where we would cross over. I could feel it in my gut. This is where we would finally come face to face with the beast.

My heart pounded in my chest. I knew this would be the moment. The last time we crossed over, because the light showed the activity to come, and it was too much light. I felt sick because I knew. I knew that there would be death.

But we had to do it. I had to do it. I still felt so unready though. We had come this far, had solved this much, and we couldn’t turn back now. But I was still completely terrified. I didn’t want to die. I wanted to go home. I didn’t want this to happen.

And there was only one more Choice to make: blindly. This one made no sense to me like the other ones did. I didn’t understand this Choice. I didn’t know what it meant. But the voice inside of me gave it to me anyway, and it would demand an answer regardless:

Bushes or dirt?

That was it. Past Choices had made sense, had been much more sophisticated. This one was cruel in its brevity and ambiguity. I had no idea what it meant.

But we had to go, and go we did. Ashley operated the Switch and we crossed over. She was suddenly gone, like all the other times, disappeared to the past- or were we disappeared to the future?

The air was still and everything was quiet and I started to talk to Kurt and Cal about what we should do. But after barely two sentences were spoken in this terrifying Future, now so quickly and horrifyingly becoming the present without means of stopping, I heard rapid pattering footsteps approaching us. We all whipped our heads around to look and we all felt the Choice at the same time, but it was only mine to make and we all knew, and Cal screamed:

“June, choose! Bushes or dirt!”

It came for us. It looked like a velociraptor, broken at the joints and tilting from side to side as it ran at full speed.

“Bushes!”

It drove into Cal and clamped its huge, pointed teeth around his arm and ripped it away from his body. Blood spurted from my best friend’s socket. I was right next to Cal and the thing ran passed me, spinning me around, and bit at the skin of my arm, my back, my hip, tearing off seemingly huge chunks of flesh with no effort whatsoever. (I could feel this very vividly in my dream. Being ripped at. Definitely on my list of Top 5 Most Painful Dreams.) It grabbed me by the waist, pulled its head back, and launched me away from it, where I landed in a crowd of tall shrubbery. Now out of sight, the thing turned its attention to finishing the job of killing my friends.

Lying there and still in icy shock, I realized what the decision had meant. I had been given, and had made, the choice to be the one who lived. I had made the choice that saved my life, and Kurt and Cal would die from it.

Through the pain and the sound of screams, I found no time to process this grief. A voice inside of me that was only mine now told me what to do:

RUN.

---

I woke up at suuuum point after this I can’t really remember, but basically knew that I/June was going to run back to the area where I/he found the military technology and there was going to be some sort of story conclusion revealing cool/scary plots of inter-dimensional travel and time travel Gone Horribly Wrong- hence the fucking raptor monster that literally annihilated two innocent children we had (presumably) spent the whole adventure bonding with.

I feel like a lot of things could happen after that point; there are so many missing details to this story, so many plot holes it looks like someone took a shotgun to it. But I’ll keep them to myself because if I think about this dream too much I start to completely zone out lol.

Did I mention this dream happened only a few nights after I dreamt about a post-climate disaster world that humans could only explore via anatomically correct human-shaped robots that are 600 times the size of the person operating it? And that the main character was named Halifax Girl and was part of a troop of operators that would essentially be sent out to discover what the rest of the world now looked like so they could create a new world map?

[terramythos]

TerraMythos' 2020 Reading Challenge - Book 27 of 26

Title: How Long ‘Til Black Future Month? (2018)

Author: N. K. Jemisin

Genre/Tags: Short Story Collection, Fantasy, Science Fiction, Horror, Dystopia, Magical Realism, Steampunk, Cyberpunk, Post-Apocalyptic, Female Protagonist(s), LGBT Protagonist(s).

Rating: 8/10 (Note: This is an average of all the stories -- see below the cut for individual story blurbs/ratings).

Date Began: 9/27/2020

Date Finished: 10/4/2020

I really liked this collection! Jemisin wrote my favorite fanstasy/scifi series ever with The Broken Earth trilogy, and I really enjoyed her recent novel The City We Became. I was in the mindset for shorter fiction so decided to read this collection of short stories. Of these 22 stories, my absolute favorites (9/10 or higher) were:

The City Born Great - 10/10

The Effluent Engine - 9/10

Cloud Dragon Skies - 9/10

The Trojan Girl -10/10

Valedictorian - 9/10

The Evaluators - 10/10

Stone Hunger - 9/10

The Narcomancer - 9/10

Too Many Yesterdays, Not Enough Tomorrows - 9/10

Sinners, Saints, Dragons, and Haints, in the City Beneath the Still Waters - 9/10

A more detailed summary/reaction to each story under the cut. WARNING: IT��S LONG.

1. Those Who Stay and Fight - 8/10  

Describes a utopia called Um-Helat that exists solely because no one is seen as superior or inferior to anyone else. Over time we learn it's a future, or potential future, of America. But America today is pure anathema to it due to rampant structural inequality. In order to achieve its utopian ideal, Um-Helatians have to root out and destroy people corrupted by the past.

This story was apparently written as a tribute/response to the Ursula K. Le Guin story “The Ones Who Walk Away from Omelas”. I first read this without context, then went and read the Le Guin story. I definitely see the parallels. Both feature a narrator describing a wonderful utopia in the midst of festival, trying to convince the reader of the place's existence, before introducing something dark that is the price of the utopia. In the Le Guin story, the utopia exists at the price of the horrible misery and suffering of one child, and everyone is aware of it. Most live with it, but a few leave for the unknown rather than continue to live there (hence the title). In Jemisin's story, the price is instead the annihilation of those tainted by exposure to the evils of the past. The choice, instead of leaving, is for those tainted yet capable to become protectors of the new world, or die.

The thesis is pretty clear: that only by abandoning horrible ideologies and refusing to give them any ground or quarter can a utopian society truly exist. I will say that rings clear, especially when one considers Naziism and fascism. Not all ideologies deserve the light of day or debate, and even entertaining them as valid allows it to take hold. I liked this story, though it comes off as a social justice essay more than a story in and of itself.

2. The City Born Great - 10/10

This one is told from the perspective of a homeless young black man who feels a strange resonance with New York City. He meets a mysterious figure named Paulo, who tells him the city is about to be born as a full-fledged entity, and the man has been chosen to assist with its birth. However, there’s an eldritch force known simply as The Enemy that seeks to prevent this from happening.

I've read this one before since it's the prologue to The City We Became. And honestly it was one of my favorite parts of that book. New York City is a phenomenal character. I love that the proto-avatar of NYC is a young homeless black man, one of the most denigrated groups out there. Cops being the harbingers of eldritch destruction is... yeah. It was fun to reread this. The ending is a little different, because in the novel, something goes terribly wrong that doesn't happen in this short story. There is also a flash forward where he is, apparently, about to awaken the avatar of Los Angeles. Makes me wonder if that is ultimately the endgame of the series. But otherwise it's the same thing with absolutely phenomenal character voice and creativity regarding cities as living creatures. I'm glad Jemisin expanded this idea into a full series.

3. Red Dirt Witch - 7/10

Takes place before the (1960s) Civil Rights Movement in Pratt City, AL. The main character is Emmaline, a witch with three kids. A creepy figure called The White Lady comes to visit and steal one of her children.

I love the little twist that The White Lady is a faerie. And the different take on rowan/ash/thorn instead being rosemary/sage/sycamore fig. There is a lot of touching bits about the horrible trials and human rights abuses during the Civil Rights marches (which are unfortunately all too relevant still), but ultimately a hopeful glimpse of the future of black people in America, though hard-won.

4. L'Alchimista - 6/10

Stars a Milanese master chef named Franca, who fell from glory for Reasons, who now works as head chef at a run-down inn. She feeds a mysterious stranger, who then challenges her to fix a seemingly impossible recipe.

This one was fun and charming. I thought the food (and magical food) descriptions were very vibrant and interesting, especially the last meal. I can tell this is an earlier story and it's pretty light hearted, but I enjoyed it. It felt like it needed a little more of.. something.  

5. The Effluent Engine - 9/10

In an interesting steampunk take, Haitian spy Jessaline comes to the city of New Orleans to meet one of its foremost scientists. Her goal is to find a viable, unique energy source to strengthen Haiti in a world that wants to see her nation dead.

I really liked this; it's one of the longer stories so there's more time for character development and worldbuilding. And it's gay. I'm not hugely into pure steampunk because a lot of it comes off as very... samey (hyper Eurocentric/Victorian, etc) but I thought this take was fresh.

Like much of Jemisin's work, there is a lot of racial under and overtones; this one specifically goes into the terrible atrocities committed against the Haitians during their Revolution, and the varied social classes of black/Creole people in New Orleans at the time. A lot of this is stuff I was unaware of or knew very little about. I thought it was interesting to bring all of these to the forefront in a steampunk story in addition to the dirigibles, clockwork, action, and subterfuge. Also, everything tries together in a very satisfying way by the end (the rum bottle!), which I love in short fiction.

6. Cloud Dragon Skies - 9/10

Takes place in a post-apoc future where some humans evacuated to space while others stayed behind and took on more indigenous traditions to heal the Earth. The sky has suddenly turned red on Earth, and some representatives from the "sky-people" come to study it and figure out why.

I really enjoyed this little story; fantasy/scifi fusions are my jam, but science fiction specifically told through a fantasy lens is just so cool to me. The cloud dragons were very interesting and imaginative. Also, I love how the opening statement's meaning isn't particularly clear until you read the whole thing.

7. The Trojan Girl - 10/10

This one is about sentient computer programs/viruses that struggle to survive in something called the Amorph, which is basically a more advanced, omnipresent version of the Internet.

Holy fucking shit was this a cool story. Probably the coolest take on cyberpunk I've ever read. The main character Moroe has formed a messed up little family of creatures like him who live and hunt in Amorph's code, but can upload to "the Static" (real life) if needed by hijacking human hosts. The way this is described is so damn creepy and unsettling. I love that while they're anthropomorphized, the characters are mostly feral and compared to a pack of wolves. Soooo much wolf pack imagery. And the ending is so fucking good and imaginative.

This was apparently a proof of concept story that Jemisin decided not to adapt to a longer series, which I'm kind of sad about, but it was REALLY cool nevertheless. The next story is apparently in the same universe and serves as the "conclusion".

8. Valedictorian - 9/10

This one is about a girl who is, well, top of her class in high school, and the stresses that mount as graduation approaches. But while it seems like a familiar setup, there is something decidedly Off about everything, which is revealed gradually over the course of the story.

I originally gave this an 8, but honestly I couldn't stop thinking about it so I boosted it to a 9. It doesn’t become clear how this connects to the previous story until the midpoint. I liked this one because it functions as a nice dystopian science fiction story but also biting social commentary on the modern American education system. I'm not going go say more on it because spoilers. While I personally like the first story more I think this is an interesting followup/conclusion with a more cerebral approach.  

9. The Storyteller's Replacement - 6/10

This one's presented as a traditional "once upon a time" fable told by a storyteller narrator, about a shitty despotic king named Paramenter. Desperate to prove his virility, he eats the heart of a dragon, which is said to be a cure-all for impotence. It's successful, but the six strange daughters that result seem to have plans of their own.

Not really my cup of tea-- it's pretty fucked up. But it's definitely cathartic by the end, which I appreciate, and I do like how creepy the daughters are.

10. The Brides of Heaven - 5/10

Framed as an interrogation in an offworld colony called Illiyin, in which a terrible accident occurred on the way that left all the adult men dead. Dihya, who lost her only son to an alien parasite, is caught trying to sabotage the colony's water supply for reasons unknown.

I like some things in this story. I love the trope of alien biology affecting human biology in unexpected ways. I'm not terribly familiar with Islam but thought it added an interesting faith vs practicality vs tradition element to the science fiction. However I found the sexual body horror REALLY squicky which turned me off the story as a whole.

11. The Evaluators - 10/10

Stylized as a collection of logs and excerpts from a First Contact team of humans visiting and studying a sapient alien species to potentially set up trade relations. There's a focus on one team member named Aihua and her conversations with one of the aliens, but there's miscellaneous important hints/excerpts from the survey that hint Something Creepy Is Going On.

This one was BIZARRE and took me two reads to fully appreciate, but it’s a great work of nontraditional science fiction horror. Just... the epitome of "*nervous laughter* 'what the fuck'". I can't say more without spoiling but dear lord. That whole Jesus bit hits different on a second read. Fucking hell.

12. Walking Awake - 7/10

Takes place in a dystopian society in which parasitic creatures known as Masters keep a small number of humans alive to be flesh suits for them, which they take over and trade around at will. The main character Sadie is a human "caretaker" responsible for propagandizing and raising well-bred human children that eventually become the Masters' hosts. She starts to have disturbing dreams when one takes over the body of a teenage boy she was particularly attached to.

This is apparently a response to Robert Heinlein's The Puppet Masters, which I have never read. It's a full damn novel so I probably won't. Google tells me it's about parasitic aliens, but was obviously also Red Scare paranoia about communist Russia. The argument in the Jemisin story is that the parasites are a result of human folly in an attempt to punish/control people their creators didn't like. This went poorly and resulted in the whole world being taken over.

The story itself is disturbing since the victims are innocent children, but it's ultimately about standing up and taking the first step toward revolution. I felt pretty neutral about the story itself; perhaps I would have liked it more if it was longer and I had more time with the world and protagonist. I wanted to connect to Sadie and her maternal relationship the boy who got killed more. Or maybe it's more impactful if you're familiar with the Heinlein novel and can see the nods/digs.

13. The Elevator Dancer - 7/10

A very short story that takes place in a Christian fundamentalist surveillance state. The protagonist is an unnamed security guard who occasionally sees a woman dancing alone in the elevator and obsesses over her.

I like this one but I'm not sure if I really get it. It's heavily implied the dancer is a hallucination, and the narrator gets "re-educated" but it's all a little ambiguous. I think it's about the struggle to find meaning and inspiration in an oppressive world.  

14. Cuisine des Mémoires - 8/10

This one's about a man named Harold who visits a strange restaurant that claims it can replicate any meal from any point in history. He orders a meal which his ex-wife, whom he still loves very much, fixed for him years ago.

This one was certainly different, but I really like the idea of food-as-memory, especially because that's an actual thing. This story just takes it to an extra level. Honestly this story made me feel things... the longing of memory and missed connections/opportunities. Jemisin did a great job with emotion on this one.

15. Stone Hunger - 9/10

Stars a girl in with the ability to manipulate the earth who's tracking down a man she senses in an unfamiliar city. It's heavily implied the world is in a perpetual post-apocalyptic state. When she's caught damaging the outer wall of the city to break in and injured/imprisoned, she's aided by a mysterious, humanoid statue creature with motives of its own.

I have to say it's really interesting to see an early beta concept of The Broken Earth. Orogeny is a little different (and not named)-- there's some kind of taste component to it? Though that's possibly unique to the main character? While hatred of orogenes exists I don't think it's a structural exploitation allegory at this point. Ykka + proto-Castrima existing this early is pretty funny to me. People also use metal, which is VERY funny if you’ve read the series. But I was thrilled to see stone eaters were Very Much A Thing this early and almost exactly how they appear in the series (a little more sinister I guess. At least the one in this story is. I think he basically gets integrated into the Steel/Gray character in the final version).

Anyway as a huge fan of The Broken Earth it's inspiring to see these early ideas and just how much got changed. It's hard for me to look at this as an independent story without the context of the series. I think I'd like it due to the creative setting and strange concepts, but I appreciate the final changes to narrative style and worldbuilding, which really made the series for me.

16. On The Banks of the River Lex - 8/10

Death explores a decaying, post-human version of New York City. He and various deities/ideas created by humans are all that survives in the future and they struggle to exist in the crumbling infrastructure of the city. But Death gradually observes new and different creatures developing amid the wreckage.

I liked this! Despite a typically bleak premise the story is very optimistic and hopeful for the future of the world post-humanity. I like anthropomorphized concepts/deities/etc in general. I thought the imagery of decay and life was gorgeous. Also octopuses are cool.

17. The Narcomancer - 9/10

Told from the perspective of Cet, a priest known as a Gatherer, who can take the life of someone through their dreams in order to bring them peace. When a village petitions his order to investigate a series of raids conducted by brigands using forbidden magic, Cet joins the party. However, he is troubled by his growing attraction to a strong-willed woman of the village.

This apparently takes place in the Dreamblood universe, which I have not read and know nothing about. However, I really enjoyed this story. It's the longest in the collection so I felt I really got to know the characters. The dream-based religion and fantasy was captivating to learn about. It was also romantic as hell, but not in the typical way you’d expect. I thought the central conflict of a priest struggling between an oath of celibacy and his duty to do the right thing (bring peace to someone who needs it) was fascinating.

18. Henosis - 4/10

A short piece, told anachronistically, about a lauded, award winning author on the way to an award ceremony. He gets kidnapped, but there's Something Else going on.

Honestly I get the sense this one is personal, lol. I will say I like the disturbing play on expectations, but I didn't connect much with it otherwise.  

19. Too Many Yesterdays, Not Enough Tomorrows - 9/10

Follows a group of bloggers who have found themselves caught in isolated quantum loops. Their only human contact is through tenuous online conversations with each other. Styled as various chat logs and emails interspersed with the thoughts and perspectives of Helen, a young black woman who before the loop was teaching English in Japan.

This one is real depressing and definitely Social Commentary (TM). The central thesis about loneliness and disconnect at the end made me pretty dang sad. Good stuff in an ouch kind of way and made me think.

20. The You Train - 6/10

Told from the perspective of an unnamed narrator talking (presumably on the phone) to a friend about her struggles adjusting to life in New York City. She regularly mentions seeing train lines that either don't exist or retired a long time ago.

This is the kind of story I'd normally really like. I think trains are interesting and like vaguely supernatural, inexplicable shit. The one-sided phone call is also an interesting narrative device. But I'm not sure I really got this one. It comes off as vaguely horror-y but also optimistic? I couldn't really figure this one out, and it was too short to feel much investment on top of that.

21. Non-Zero Probabilities - 7/10

Luck has gone completely out of whack in New York City. Highly improbable events suddenly become way more likely, both good and bad. This story follows a woman named Adele and coming to grips with the new ways of life this brings.

I liked this one well enough but I don't have a lot to say about it. I liked how the story looks at how people would adapt to a life where probability doesn't mean anything anymore.  

22. Sinners, Saints, Dragons, and Haints, in the City Beneath the Still Waters - 9/10

A magical realism story about a man named Tookie struggling to survive in New Orleans in the immediate aftermath of Hurricane Katrina. He meets a talking, winged lizard and the two help each other out. But it soon becomes clear there is something sinister lurking in the flooded ruins of the city.

This story was very imaginative and a great cap to the collection. I thought it was an intriguing time period to set a magical realism story in. I love the little details, especially those of omission -- the "lizard" is never called a dragon, for example. I can see echoes of this story in The City We Became, especially the themes of cities as powerful entities, vague eldritch fuckery centered around hatred, and certain people being guardians of the city.  

#2020 reading challenge #BONUS ROUND #taylor reads #8/10 #i am posting this Late but i was basically writing this review as i read so it's like. all done lol