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like I mean this very seriously as writing advice. the character should experience events and make decisions that make them different at the end of the story. they should be changed. they do not have to be improved.
they can get worse. they can make decisions of an increasingly terrible nature. they can stop taking risks on kindness. they can discover how much they can get away with. they can find religion, or abandon it, with negative effects on their moral creed. the character has to develop. the character does not have to grow.
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one time i was making potato soup and i needed broth for it but i was out of broth. but in my dog food cabinet there was a carton of chicken broth that i had bought for my dog. now the box did say HUMAN GRADE and the ingredients were just bog standard chicken broth. it did say something about joint health for dogs on there. but the ingredients were normal. i even compared the ingredients list to some normal person broth and they were the same. so i did put dog broth in that soup and it did taste completely normal. but i did use the dog broth.
the town routinely sends a messenger up the mountain to beg the mighty dragoness not to eat them all and raze their town, and ask her what she wants for this month’s holy sacrifice in exchange for her allowing them to live in her territory. they have done this for centuries
the mighty dragoness did pass away recently. she was very old even for a dragon, so it was bound to happen. her niece inherited the cave, and she seems very sweet but she doesn’t really understand the traditional point of the sacrifices and has no interest in accruing further wealth so she just sort of asks for anything on her mind at the moment
a basket of onion rings is definitely not an ordinary sacrifice. but if the dragon wants onion rings, onion rings the dragon will get
the townspeople are banging ritual drums and singing the dragon's praises and a priest is delivering the standard litany to the dragon asking for her protection and her forgiveness that they should dare to build their settlement in her territory
a nervous girl wearing a flowy robe walks slowly along the aisle the service has made for her, a basket of golden brown beer-battered onion rings and a cup of honey dijon mustard in her outstretched arms. she sets them on the sacrificial altar and steps back as the dragon emerges from her cave and bends her nose down to sniff at them
everyone watches with bated breath as she gently picks one up and eats it. as she roars her approval, the mountain ledge explodes into cheering and applause
as everyone is leaving, she holds up a claw, and everyone falls silent again. she says it might be silly but she was going to watch a movie and if anyone wanted to come they're welcome to watch the movie and maybe play some board games with her? about half the congregation volunteers immediately
it's definitely an unorthodox request but the dragon gets what the dragon wants
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oh shit i didn't expect this to actually get notes lmao
these are all direct quotes from jeffrey jerome cohen's "monster culture (seven theses)" (full pdf linked)
i highly encourage you to read it yourself!
that said, while i think cohen's writing is evocative, it can be a little dense, so while i'm here, here's my capsule summary (you can also hear me talk about this in the first episode of my podcast) (listen to @ghostswerepeopletoo)
i. the monster's body is a cultural body - The monster is a work of fiction to be analyzed through tools of literary and sociological theory.
ii. the monster always escapes - As long as the cultural fear from which the monster stems persists, the monster will reappear in retellings, reimaginings, and sequels.
iii. the monster is the harbinger of category crisis - Monsters defy binaries and challenge easy comprehension or categorization.
iv. the monster dwells at the gates of difference - The monster represents the Other.
v. the monster polices the borders of the possible - Tales of the monster exist to discourage unacceptable or taboo behaviors.
vi. fear of the monster is really a kind of desire - Subjects can vicariously participate in the disruption of the social order through the monster.
vii. the monster stands at the threshold… of becoming - Within the monster we find information about the self.
"We're gonna achieve immortality by turning ourselves into machines" buddy I want you to find yourself a 15 year old laptop and try to run a 10 year old piece of software on it please. Connect to the internet, if you can, and attempt to log into any of your online accounts
fun fact this is a big issue that museums/archives/preservation professionals run into
This is something I bring up a lot. Digital preservation is not a thing to rely on. Anything digital is inherently ephemeral, fleeting.
All current and former digital storage will eventually fail. Paper tapes and punch cards cards wear and rot. Magnetic tape and disks grow mold and shed their magnetic coating. Hard drives seize and crash, their controllers fail. Optical media scratches, rots, or simply fades. Solid state media loses its charge over time. Cloud services shut down with no warning.
Long-term digital storage is a never-ending process of copying to new media.
And then there's the problem of format.
It took less than 30 years for digital works by Andy Worhol — one of the most popular artists of the 20th century — to be lost to obsolete technology.
A dozen previously unknown works created by Andy Warhol have been recovered from 30-year-old Amiga disks.
We had the disks, we had the computers, we had modern emulators for the computers. But reading the images (PDF Archive) required very specific combinations of operating system and software versions, and in some cases required reverse-engineering image formats for which the correct combination of software could not be found.
This wasn't some obscure machine. Millions of Amiga computers were sold, and Amiga users are among the most dedicated to keeping the platform going long after its discontinuation.
And still the image format had to be reverse-engineered to recover Worhol's images.
How much of our culture from the past 30 years has been entirely digital?
To be fair, this isn't exactly a new problem, or even one unique to the digital era. But I do wonder what will remain for future generations looking back. How much of human history has been pieced together from shards of pottery and clay tablets? With our communications, our documents, our art all moving to digital media, what will be left of us to dig up? What will it tell of our story, of who we are, what we believed, what challenges we overcame?
I think it’s time to start work on my high fire clay tablet, a miniature Rosetta Stone, preserving the lyrics of Always Look On The Bright Side Of Life in English, Hebrew, and Akkadian. This will be my primary grave goods.
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