Eternal Cyclicality

*** The Lounge ***

"Thanks, Dusa. We'll catch up again, soon." ~Megaera, to Dusa

and then later when he SNEAKS INTO A CORNER TO FUCKING… facetime yoda… like “ok so we have these millions of identical human men who were apparently suspiciously ordered for us by someone???” and yodas fucking response is just “when countless sapient lemons life gives you…….. send those lemons into intergalactic battle you must”

Obi-Wan:

In short, that dialogue, more than anything, makes or breaks a fanfic. What do posts like "He would not fucking say that" and "They would NOT have communication skills that good" have in common? Talk. Characters expressing themselves to one another. The faithful recreation of identifiable speech patterns is weighted heavily in the evaluation of a fic's quality. By "speech patterns" I do not just mean the semantic content of a given character's expression, but idiosyncrasies of style and slang, vocabulary and idiom, even gesture, musicality, and rhythm.

Of course believable dialogue is far from the only thing that makes a good fanfic Good. And there are forms of fic writing, particularly highly abbreviated ones like drabbles and ficlets, that in practice tend to de-emphasize its significance. But if we are talking about the romantic, erotic shippy stuff that is the meat and potatoes of online fandom, dialogue does the heaviest lifting short of the consummation itself. Arguably more so! It's the real keystone to the catharsis, and often the catalyst for it. Is there a confession occurring? A provocation? An evasion or ultimatum? Zoom out, big picture: What is the most potent and fundamental mechanic for developing complexity, tension, and transformation within a relationship, getting it to go from one thing to another? Making these two idiots talk to each other! Often clumsily and indirectly and maladaptively, at the worst possible time and in the worst possible situation, about anything or everything but what they should be — but talk they usually do.

What makes fanfic specifically so challenging and rewarding in this regard is that the talking is as much a feat of translation as invention, because both reader and writer are working off an existing model. Liberties taken with plot, form, and even narrative voice have wider buffer zones; you can get creative with circumventing the events of canon while still conforming to its emotional and substantive essence.

the concept of star-eating microbes causing a crisis and the solution being the introduction of space wolves to space yellowstone to control the space elk population. i love a good trophic cascade

dr ryland grace immediately pitching "turn the spaceship into a giant centrifuge to generate gravity" and then not balancing his actual centrifuge later on

the entire "life is reason" scene really

grace forgetting to open the mystery alien container in a fume hood AND immediately sticking his nose in it. if we did this in chemistry lab we were executed on the spot

academia drama being one of the cornerstones of grace's character

grace switching through every spectrum setting on the microscope to try to see into the astrophages and not being able to (relatable)

also: the astrophage dying and grace going "ohhh it died..." (very relatable)

grace having his not-scientist buddy Carl to give him frank solutions when he's overthinking. yes, often the solution is just to put the box in another box

copious duct tape usage

just sticking a filter into the path of the petrova line to collect astrophage goop

eva going "so it's alive" when grace tells them the astrophage are moving, and him being like "WELL ok that could be for a lot of reasons" in the tone of someone who doesn't even know where to start explaining why that's a hasty assumption

grace referring to the first new astrophage as his and carl's baby multiple times (HIGHLY relatable)

They never learn

And a close up of the two gremlins