After my post on New York, I got really curious about a bunch of other monster media locations.
New York City area is a popular spot because: long history of immigration on the east coast (pointed out by @jedipirateking) high population, variety of cultures, one of the oldest cities in post-colonial America.
California is the second most popular spot: long history of immigration on the west coast, high population, variety of cultures, large amount of immigration on west coast.
Massachusetts is a hot spot for Witch media (Salem witch trials)
Kansas being nearly the center of the USA is a good spot for isolation and very Americana aesthetic.
Lilo and Stitch being set in Hawaii not only makes it that much more special, but the fact that it is one of the few set there is why we need to support more native writer's work (it's just good to support native writers in general).
In general, it would be fun to see monster media take place in more spots in America. There is so much history and culture to reflect on in these kinds of stories.
That's why I put up my webcomic Legend Catcher, being in the northwest I didn't see enough stories set there. Growing up they were big into environmental/forestry education and that has seeped pretty deep into my work.
If there are any others I missed, please add them in!
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When a non-horror game has a horror section, I often find it a little more effective or memorable than a full-on horror title's horror, in a way. I think that's because, for characters in fiction, they usually don't know they're about to experience a horror story, so they aren't mentally prepared at all. As the audience, we know that when we boot up Silent Hill, we're gonna see some scary stuff and can mentally prepare accordingly. But when some innocuous children's platformer or RPG or whatever suddenly throws genuine horror elements at me, I'm taken out of my comfort zone much more roughly since I don't expect it at all.
I think that's neat :>
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I want to talk about this moment between Lovelace and Minkowski immediately after Cutter dies:
Lovelace GASPS in relief. Both women COLLAPSE, wounded, at the end of their ropes.
LOVELACE
Nice... shot.
MINKOWSKI
Couldn't... have done it... without you, Captain. You all right?
LOVELACE
No. You?
MINKOWSKI
No, I... I... yeah...
LOVELACE
Stay with me, Minkowski.
MINKOWSKI
Yeah... We're almost through this. We just... need to... get Eiffel...
And off of their attempts to hold onto consciousness, we -
Firstly, the acting of this scene is incredible. (The timestamp is 1:42:26 if you want to listen back.) I'm in awe of the way Emma Sherr-Ziarko and Ceilia Lynn-Jacobs convey the sense of pain and exhaustion and relief and trying to hold onto consciousness. The kind of damage they've undergone has been very different - Minkowski bleeding out from her gunshot wound, Lovelace recovering from the external control that caused her to inflict that gunshot wound. But the way these experiences manifest in their breathless pained voices is pretty similar. There's almost a kind of unity in that.
I love that the first thing Minkowski and Lovelace do after Cutter dies, even as they are struggling to speak, is to acknowledge each other's contribution to this moment.
"Nice shot" feels like a comment more suited to congratulating someone on doing well at a shooting range than as a response to a friend successfully harpooning their evil boss. There's a casualness to it as a phrase that feels almost humourous in this context, but it also reflects the fact that there isn't really an established thing to say in a situation like this. (More below the cut)
Minkowski could have just taken full credit here - after all she's the one who fired the killing shot - but she doesn't. It reflects the ethos of this show that neither Cutter nor Pryce, the major antagonists, is defeated by a single protagonist alone, and that the protagonists themselves are aware of that.
This scene is an example of a kind of exchange we get a few times throughout the show, where a character asks another character if they are okay and the answer is a clear no. There's an conversation like this between Eiffel and Minkowski in Ep12 (EIFFEL: You okay, Commander? / MINKOWSKI : No, Eiffel. My second in command just betrayed me and tried really, really hard to murder both us. I’m pretty damn far from “okay.”), and between Hera and Minkowski in Ep29 (HERA: Commander? Are you okay? / MINKOWSKI: No. You? / HERA: No. But I will be.), and between Eiffel and Hera in Ep41 (EIFFEL: Are you okay now? / HERA: No, Officer Eiffel. I'm not. But... I'm going to be.) I think I've said this before in tags on a post, but there's something about that type of exchange that fits the tone of this show so well to me. Of course none of these characters are all right, not with what they've been through. But the asking is still important, because of the care these characters have for each other. And the honest answer is still important, because this is a show partly about communication and because sometimes the awful things need to be acknowledged.
I should probably also say that there are also plenty of instances in Wolf 359 where people falsely claim to be fine in response to questions like this. There's an awful lot of emotional repression and compartmentalising on that space station. Which makes it more significant when characters are honest about not being okay.
In this scene, Minkowski and Lovelace don't need to waste words on saying why they aren't all right. I picture them both looking down at Minkowski's wound as she speaks here. And they laugh, or as well as they can do in their current condition, at how absurdly obvious it is that they aren't okay. Maybe that attempt at laughter is a way to keep going. And they are both so determined to keep going.
Lovelace tells Minkowski "stay with me", even though Lovelace is struggling to remain conscious herself. There's something so tender about that to me, and it's particularly heart-wrenching given that Lovelace was forced against her will to fire the bullet that wounded Minkowski.
When Minkowski says "We're almost through this", it feels like a call back to her conversation with Eiffel earlier in this episode, when he said "We're almost through. Just one more day, and then we're done." The "this" in "almost through this" somehow holds everything that they've been through on the Hephaestus. The repeated sense that this is the last confrontation that they will face on that station is perfect for a finale. But there's also something very emotionally heavy about that finality, especially when spoken by a woman who is bleeding out from a gunshot wound. And yet through her exhaustion and her pain, Minkowski expresses hope that they will get "through this", that they are "almost" on the other side of the whole nightmare.
Neither Minkowski nor Lovelace even consider the option of not going to look for Eiffel (and Hera). It would have been perfectly reasonable for them to have gone back to the Urania to try to patch Minkowski up and to wait to see if Eiffel and Hera were able to join them. But these characters would never do that.
They go to look for Eiffel even though Minkowski has been shot and Lovelace has been subject to horrific external control. They go to look for Eiffel even though both of them are "at the end of their ropes" and struggling to hold onto consciousness. They go to look for Eiffel even though waiting on the Urania was the plan they'd agreed upon with Hera. They go to look for Eiffel even though, for all they know, Eiffel and Hera might have the situation completely handled, or might even already be safely on the Urania. They go to look for Eiffel (and Hera) because only once they are all together can they consider themselves "through this".
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also when i say this i mean absolutely no criticism of the poll i like it i think it’s fun but just speaking generally, i try not to see any writing idea or theory as controversial or unpopular because all of them are valid ways to approach writing if it’s suitable for your story. im saying this as someone who changed parts of their writing when i was younger because i thought i needed to shape my stories a certain way, don’t ever be afraid to experiment with second person or a prose style or whatever just because it’s not popular on tumblr or your writing group or your genre or even the market, or people say it’s difficult to “pull off”, all ways of approaching craft and writing can be done well (and even “done well” is not an objective measurement, so just follow what feels right for your writing) and can be suitable for a story, and as a writer you should always trust your intuition about what is best for you and your story
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