don't want to see every shipwrecked part of me

For public libraries, one of the ways we secure funding year to year is lending. Governments don’t want to fund more books if they’re not being used and the way we measure use is by issues. Regardless of whether you read it or not, whether you have it for a day or a month, if you issue it to your library card, we get the stats! It makes the library look good!

The following has been copied over from our new Substack.

Dear reader,

OFIC Mag is back! Here’s what we’ve been up to:

We ended our print run with issue #13 last October. It was not an easy or willing choice for us. Being a print publication was part of our initial vision for OFIC. Unfortunately our subscription platform of choice was Patreon, which eliminated its “per creation” billing option last fall. We publish three issues per year, so we charged three times a year. With that change forcing us to reconsider our workflow, we decided that the complications of printing and distribution were no longer conducive to our long-term goals—our long-term goals being: keep going for as long as possible.

Initially I intended to pivot to a fully online publication with stories posted on our website, because that’s how most digital lit mags work. But I started doing research into how other mags operate, and I discovered that while I love the aesthetic of many of them and the work they produce, I really hate how they’re organized. Namely, you click a random title of a random piece and start reading. With print, you can just turn pages; there’s an inherent order to it. But with online magazines presented as tables of contents with no information but a work’s title and its author, there’s nothing that really encourages you to read.

What I found myself thinking repeatedly was, “Just send me a story. I just want to read a story.” I don’t want to click on a link to a page with the story on it. I don’t want to click on a link that takes me to a page of other links, especially if those links are just author names I don’t recognize. I don’t want to be met with a paywall after three paragraphs. I just want a story, in full, in my inbox at regular intervals.

Then I thought, “Hey, why don’t I just...do that?”

And here we are.

How it works

We’re keeping it simple. Free subscribers receive one story every other week. No paywalls.

In addition to the above, paid subscribers ($5 per month or $30 per year) receive the PDF and EPUB files of each issue as it releases. New issues come out on April 1, July 1, and October 1 each year. You can also purchase them on our website for $8. We understand that’s a weird price discrepancy, but $5/month and $30/year is the lowest Substack will let us go.

Funds from paid subscriptions go toward our operational expenses and contributor honorariums.

Subscribe

More info under the cut

Our latest is live! 🏒 Kayti Burt reports on the fallout around the recent document attempting to identify fanfiction authors using AI, and how Heated Rivalry is ground zero for fandom's broader reckoning with AI-generated text on all sides:

“Fandom Has A Hidden Generative AI Problem” gives shape to a breakdown in a basic social contract for online fandom and all online community and discourse. While fanfiction writing is  generally pseudonymous, readers have historically at least been able to rely on the assumption that a fellow human being is writing the story they are reading. With the introduction of AI, that fundamental pact between fic writer and fic reader has been fractured. Fandom is a place for people to be in community together—to bond over shared obsessions in a way that can make us feel a little less alone. Realizing someone has outsourced that connection to a machine can make us feel even more alone.

Giveaw@y: We’re giving away 12 vintage paperback classics! (Included are four editions from the collection of Alan Churchill Jones.) Won’t these look lovely on your shelf? Enter to win by: 1) following macrolit on Tumblr (yes, we will check. :P), and 2) reblogging this post. We will choose a random winner on 16 August 2026. Good luck!

He and Adam Adamowicz were the two primary concept artists for Skyrim and Ray did extensive concept work for Fallout 4 and Starfield and did work on Fallout 76 as well.

Ilya Nazarov (primary Fallout 4 concept artist) made a very good decision when he decided to move to a different company a while back.

To 2025:

Hell, they even cover the devastating heaviness of MASS SHOOTINGS without censoring or watering anything down.

They've been doing this for YEARS, and it's ALWAYS handled with dignity, respect, seriousness, understanding, and love.

Or how about when someone is put into the foster care system because their home isn't safe anymore and their needs aren't being met?

Maybe some discussions about group therapy/getting help and support?

Hey look! Here's a segment about gender expression vs taught expectation, including unlearning harmful biases and what to do when you hurt someone on accident because you didn't know it was wrong!

Look! The topic of race and diversity! The importance of unity and equity!

They even also have a more allegorical take on discrimination and being looked down on for who you are, featuring Big Bird. The conflict is about how he's not being let into a club because the one bird running the club personally decided he didn't want someone like Big Bird there.

Big Bird goes out of his way to keep changing parts of himself in order to "prove" he can fit into this club if he just changed enough. The truth comes out though, and there's nothing he can do to gain the approval of that bird. He will never be good enough in his eyes, and Big Bird starts to hate himself. His real friends see this finally put their feet down, emphasizing that you should never change yourself just to fit into one singular narrow idea someone else has.

There's A LOT of different situations this can be an allegory for. Racism, sexism, homophobia, basically ANY form of exclusion is put on full blast in this 15 minute clip. Sesame Street can be both blunt and allegorical when approaching difficult topics, and it NEVER misses or looses the point.

It does an exceptional job in both styles of representation WITHOUT watering anything down. The more sanitized everything gets, the more radical Sesame Street is suddenly considered, hence why so many "particular groups" want it gone. Hmmm! I can only imagine why that could be, in this current political climate! (I'm being sarcastic)

When Sesame Street is suddenly labeled as "questionable" or "politically/agenda motivated" content...it says A LOT about where we currently are and who gets to decide what's "best" for kids or not. Don't fall for the censorship and topic-dodging excuses that are covered by the "But think of the children!!!" movement. Never fall for it, because you know which side you're on if you do.

Sesame Street proves kids can be taught and trusted with learning about these topics when it's handled with the right amount of understanding and care. It shows what all this "controversy" is all really about. What it's always been about, actually.

Decades of sexual violence. Not in the last few years.

Let me explain:

Grotesque fascist grifter, Nigel Farage, is the leader of Reform, the racist far right party he created because UKIP got what it wanted (Brexit) and it sucked.

Having tried and failed to be an MP many times (but somehow getting more screentime than any Liberal Democrat or Green politician), he finally succeeded in the last election because people were so overwhelmingly pissed off with the Conservatives, and many right-wing people saw Reform as the new Conservative Party; partly because it's full of rejects from the Conservative Party.

Speculation: he doesn't really want to be an MP, he wants to be a fascist grifter. He's annoyed by suggestions he do things like Be In His Constituency and Serve His Constituents.

He's recently been caught having accepted a VERY large amount of money from some unsavory people that he insists was a totally legitimate 'donation' and not breaking any rules.

Only it did break the rules and it's very clear that it did and things are in motion to hold him to account.

To avoid this, he has resigned as an MP, saying this is a protest at his treatment by the 'establisment' (he is a rich fascist grifter, but he likes to cosplay as a Man of the People). This has triggered a by-election, in which he is standing, with the hope that the people of his constituency will either elect him in a resounding win, indicating they don't care that he's corrupt (having not heard everything the investigation is uncovering), or someone from Labour or the Conservatives will win and he can swan off to America, free to grift again because of what the 'establishment' did to him.

Only, all the major political parties have agreed not to stand, stating openly that this is an obvious stunt and they won't legitimise it. So if he doesn't win, he can't say it was because he was too much of a rebel and the Establishment went against him, he'll just be a loser, which doesn't play too well with the right-wingers he wants to grift. And if he does get back in the investigation will go forward without any kind of 'mandate' from his constituency buoying him up.

But. There is another option.

COUNT BINFACE IS RUNNING.

Count Binface is part of the grand British tradition of joke candidates who stand as a protest option. They usually don't get enough votes to get their deposit back (which is supposed to deter unserious people) but they don't care, because DEMOCRACY.

Of course, Count Binface has never won, but it is hilarious to see a completely serious pathetic fascist concede defeat while standing next to a man with a bin on his head to whom they are democratically equal.

But if nobody else is standing. And if enough people in Clacton-on-Sea are finally cheesed off enough with Farage not doing anything for them, there is just a chance that one of the funniest things to ever happen in politics will happen.

Imagine. Imagine for just a moment that the Grotesque Fascist not only loses, but loses to Count Binface.