They literally sail over the edge of it after passing through a hole in a wall of ice. They fall off. They get back to the other side by passing through the whole ocean.
But also thereās a globe on, like, everyoneās desk.
See, part of the conceit of the PotC trilogy is that all myths are true. Nearly every supernatural element in the franchise has a root in some real world mythology or pirate lore, although some of them are mashed together.
Another thing is that they take place at the end of the Golden Age of Piracy, and the more the map gets filled in, and the more the Royal Navy takes power, there less room there is for the mystical and supernatural in the world. This is explicitly called out in At World's End with the death of the kraken:
Barbossa: The world used to be a bigger place.
Jack: The world's still the same. There's just... less in it.
The only way to access the world of the supernatural is through the supernatural itself. You can only get to the Isla de Muerta with Jack's compass that points to whatever you desire, or if you already know where its is. You need Tia Dalma's map to find the edge of the world. To access the supernatural, you need to already be immersed in it.
The pirates world isn't flat, it's round - but because the edge of the world exists in myth, it therefore exists in reality. The pirates are able to find it through supernatural means, but if, say, someone like Norrington just sailed in the same general direction, he wouldn't end up in the same place.
If you look at it in a particular way, the Pirates specifically function by FAIRY RULES: obscure codes of law and formality that they are irrevocably bound to abide by...except when you get the wording wrong.
When we go to Tortuga (or any pirate controlled space) we leave behind the sensibilities of the real world and enter this bizarre perpetual revel of debauchery and violence that could never sustain itself in a world bound by sense.
That makes Jack our Puck character, a trickster of tricksters who can invert your fortunes just by letting him talk to you.
It also makes Will into a changeling, born of the fairyworld, adopted by mortals, and fated to return to it in what makes for a doomed love story. Hell, one might say that the reason Will's swords are SO GOOD is because they contain an element of myth about them: they're the IDEA of swords, true to how they would be in myth.
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Long thought lost, a piece of writing by the prolific Middle Ages scholar Ibid provides an insight into the extent to which kennings - poetic allusions to events in myth or metaphors for a thingās nature - are endemic in the Norse language.
The fragment recounts an otherwise unrecorded tale of the creation of one of the nine worlds that hang from Yggdrasil. In this myth, the ice giants originally inhabited Asgard along with the Aesir; there is an implication that this was one attributed reason for the antipathy between the two groups.
The war is a bloody stalemate until Odin stakes everything on a bold and controversial push towards the ice giantsā greatest hall, atop a vast mountain. The two hosts face each other, trading insults in preparation for a contest of champions. Odin mocks the enemy chiefās reliance on strength and numbers over strategy, but is in turn mocked for his desperation - the giant notes particularly that Thor is nowhere to be seen, and belittles Odin for the lack of loyalty his family show.
Then Odin and the champion of the ice giants (it is not entirely clear whether this is their chieftain or another figure) fight a duel; three exchanges of blows before full battle is joined.
Each time, Odin makes a powerful overhand strike with his spear,Ā āsplitting earth stone to its root,ā but the ice giant steps away and is unharmed; then swings his sword in a powerful cut, which Odin dodges,Ā āleaping clear over the hallā and laterĀ āleaping clear over the mountainā.
Each time, Odin stands his ground and the giant strides over to face him down, mocking his cowardice and making clear that his stamina is more than enough that tiring him out by making him climb up and down the mountain is futile. Odinās reply translates asĀ āJust so.ā
After the third exchange, neither combatant has struck the other, so the duel is inconclusive; thus, the matter will be settled by open battle between the two armies. The two sides make their war-cries. At this signal, Thor reveals himself - he is in a small caveĀ āat the mountainās root,ā waiting to do as Odin has commanded.
Thor grasps the mountain by its root, lifts it into the air, andĀ āwith a cry that will echo across the worlds until the end of time,ā flings it away from Asgard.
The mountain of the ice giants catches on a branch lower down Yggdrasil, and is now considered a new world, ninth of the nine. It takes its name, Ibid writes, as a kenning from its creation - it is the thrown home, Yotenheim, and its people the Yoten.
Text of tweet under the cut because it is loooong.
But... Stochastic Parrots.
Timnit Gebru was fired from Google in December 2020 for refusing to retract a research paper, and every single warning that paper made about large language models has now happened at a scale the industry spent 4 years trying to make people forget about.
Her name is Timnit Gebru.
She co-led the Ethical AI team at Google. She co-wrote a paper called "On the Dangers of Stochastic Parrots" with Emily Bender at the University of Washington and two other researchers. The paper was 14 pages long. It was submitted to a top AI ethics conference. And it was the reason Google decided that one of the most senior Black women in AI research could no longer work there.
The story Google told publicly was that she resigned. The story she told, confirmed by 2,695 of her colleagues in an open letter, was that she was fired by email while on vacation because she refused to either retract the paper or remove her name from it.
The paper had not even been published yet.
Here is what she actually wrote, and why every prediction inside it has now come true.
The first warning was about scale itself. Bender and Gebru argued that training ever-larger models on ever-larger scrapes of the internet would produce systems that appeared fluent but had no actual understanding of language. They called these systems stochastic parrots because they would repeat patterns from training data with statistical confidence and zero comprehension. The paper predicted that this apparent intelligence would fool both users and developers into trusting outputs that were structurally incapable of being reliable.
This was 2020. GPT-3 had just come out. The paper predicted the hallucination problem before anyone had a word for it.
The second warning was about bias amplification. The paper documented in detail that internet-scale training data contains systematic overrepresentation of dominant viewpoints and underrepresentation of marginalized ones. The models would not just absorb this bias. They would amplify it, because the optimization process rewards confident outputs, and confidence in language patterns tracks frequency in the training set.
The prediction was that hiring tools built on these models would discriminate against women. That healthcare triage tools would underperform on Black patients. That loan approval systems would entrench inequality while presenting their decisions as neutral algorithmic judgment.
Every one of those things has now been documented in deployment.
Amazon's hiring algorithm penalized resumes that contained the word "women" in any context. Healthcare risk scoring algorithms used by major US hospitals were found to systematically underestimate the medical needs of Black patients. Apple Card's credit algorithm gave wives credit lines 10x lower than their husbands for the same financial profile.
The third warning was about environmental cost. The paper calculated that training a single large language model produced emissions equivalent to the lifetime output of 5 cars. The prediction was that the race to scale would create an environmental footprint that would eventually rival entire industries.
In 2024, Google's emissions were up 48% from 2019, and the company explicitly blamed AI infrastructure. Microsoft's were up 29%, same reason. Both companies have now quietly abandoned the climate commitments they were publicly celebrating the year Gebru was fired.
The fourth warning was about documentation. The paper argued that the training datasets being assembled were too large for anyone to actually audit. Nobody at Google, OpenAI, Meta, or any other lab could tell you with confidence what was in the data their models were trained on. This was not a temporary problem to be solved later. It was a permanent feature of the approach.
In 2023, researchers discovered that the LAION-5B dataset, used to train Stable Diffusion and other major image models, contained thousands of images of child sexual abuse material. The companies that had trained on the dataset had no way of knowing. The paper predicted that category of failure 3 years before it was found.
The fifth warning was the one Google cared about most.
Bender and Gebru argued that the deployment of these systems would centralize linguistic and cultural power in the hands of the small number of companies that could afford to train them. The internet would become a place where the dominant voice was a statistical average of dominant voices, presented as a neutral assistant. Languages underrepresented in the training data would degrade over time as more web content was generated by these systems and fed back into the next training run.
This is now happening in real time. A 2024 study found that 57% of new web content in English is AI-generated or AI-assisted. Researchers studying low-resource languages have documented active degradation in translation quality, because the synthetic content fed back into training is itself worse in those languages.
The paper Google fired her for predicted the model collapse problem before model collapse had a name.
The mechanism behind why this all happened is the part of her work that nobody quotes.
Gebru's argument was not that AI is dangerous in some abstract sci-fi sense. Her argument was that AI is dangerous in a very specific structural sense. The technology was being built by a small group of researchers who shared similar backgrounds, worked at similar companies, and were rewarded for shipping products faster than competitors. The incentive structure made it impossible for safety, ethics, and bias concerns to slow anything down. Anyone inside the system who raised those concerns was either ignored, sidelined, or removed.
She was making that argument from inside Google.
Then Google proved her right by removing her.
The team Google had built to make sure their AI was safe was dismantled in 90 days because they did the job they had been hired to do. Margaret Mitchell, the other co-lead of the Ethical AI team, was fired two months after Gebru for searching through her own emails for evidence of how Gebru had been treated.
Gebru did not stop. She founded DAIR, the Distributed AI Research Institute, in 2021. The mission is to do AI research outside the control of the companies that have a financial interest in not hearing the answers.
Every prediction in the Stochastic Parrots paper has now been validated by deployment. Hallucinations are an industry-wide problem the largest labs cannot solve. Bias amplification has been documented in hiring, healthcare, lending, and criminal justice. Environmental costs are larger than entire small countries. Training data audits remain impossible. Model collapse is an active research crisis at every major lab.
The question worth sitting with is the one almost no one in the industry will say out loud.
Every researcher with the technical credibility to call out these problems watched what happened to her in December 2020 and made a calculation about their own career. The number of people willing to speak publicly about safety and ethics issues inside the major AI labs collapsed after that firing and has not recovered.
The researcher Google fired for warning about exactly what is now happening was right.
The company that fired her is now the second-largest deployer of the technology she warned about.
And the people inside that company who agree with her are not allowed to say so.
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I'm trying to reorganise my bookshelves. Maybe if I segregate the sizes really strictly to make maximum use of the space then eveything will finally fit? It's worth a try! (It's splitting authors across multiple shelves for different sized books and I hate it. But it's efficient and I don't have any space for more shelves so efficiency is a necessary evil.)
Since I'm making changes anyway I decided that, instead of my usual vibes-based microgenre categorisation of Clearly These Authors Go Together, I'm going to arrange the SFF alphabetically by author. (I know, I know, who am I and what have I done with Redkite?) Anyway. I'm dubious about a system that puts Frances Hardinge between Joe Haldeman and Robert Heinlein, or Robert Jordan immediately after Diana Wynne Jones, but I'm hoping it'll grow on me once I'm used to it.
However, I am having a problem.
In moving a stack of Non-SFF out of the way, I found myself holding Nineteen Eighty-Four, Brave New World, Never Let Me Go, and The Handmaid's Tale. Under the old microgenre system those were Serious Literary Dystopia, which was filed under Literary with the rest of Margaret Atwood. It was fine. The vibes fit. But if I'm not doing vibes anymore then those have to go in SFF, and I don't know where/how to split the Margaret Atwood!!!
Well I mean Official Genre is just vibes-for-marketing-purposes right?
And like - the characteristic features of different genres aren't mutually exclusive - so it either comes down to making a call on which vibes are stronger, or giving up and just alphabetising all fiction, i guess?
(caveat that what I own in print is mostly nonfiction and I organise books by 'where I last put them down' so uhh... Your mileage will vary.)
(this stack contains some serious disagreement on the subject of furniture and woodworking technology...)
Official-Genre-is-just-vibes-for-marketing-purposes just thank someone that it's (mostly) a single slot property and not a tagging system. Can just imagine trying to shelve things when the publisher insists that it's a period, romantic, sf&f, thriller, cyberpunk, litrpg, true-crime, classic, fictional-nonfiction; and will invoke penality* clauses if not displayed as such.
(*the book police may or maynot be a thing, mostly reserved for people that fall asleep reading otherpeoples books in the bath.)
The answer to 'why did I start doing clothing / gear sketches' is obviously, you know, procrastination. Both from writing and from event packing.
Of course, most people, if they are going to draw their characters, will draw them with, uh, faces, and other distinguishing features. And more attention to body shape than 'traced generic dude outlines from height comparison website, realised partway through that their species probably have more hip than that'. I, however, don't know what a face looks like. (Or what anything looks like really, I have very little visual memory; I thought 'mind's eye' was a metaphor for about 40 years.)
This morning's realisation, looking at the amount of graphite smudge and contemplating the difficulty with fiddly detail, was: 'maybe this is... not a 4B pencil situation?'
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in other developments re german/anglo cultural exchange on breadstuffs, this image was posted to a facebook group yesterday
the following events ensued:
1. predictable lively discussion on the preparation of Wienerschnitzel, in which natives and wurstaboos are pro-puff and everybody else is like *confused dog head tilt* why wouldnāt you want the crust to stay ~attached to the thing you put it on? as with other fried foods?
2. thirty āBad Schnitzel is my band nameā jokes
3. thirty āBad Schnitzel is my stripper nameā jokes
4. one āah yes, Bad Schnitzel! a lovely spa townā joke
people needdddd to wear headphones in public because while on an otherwise very lovely walk in the park today i saw a guy sitting under a tree watching a porn parody of the star wars prequels
if nothing else trying to tune out the sounds of anakin and padme going to town as i contemplate the babbling brook gave me a brief but vivid window into what itās like to be obi wan kenobi
this tiktok screenshot ruined my life i need to see the serbian pigeon movie so so badly but it doesn't exist it's so foul to make this bad of a point with something so cool and then take it away from me.
Tiktok marvel fans really will be out here like "movie fan SHOCKED because i'd rather watch superhero movie #54 in blue and not a sensual 1987 french horror film about a man discovering his wife may not exist set in what is gradually revealed to be a space station" as if you're supposed to agree that superhero movie #54 is the clear winner in this comparison
Love the idea of a story about a complex issue that's told from the perspective of something that cannot comprehend or care about the issue. The way the story would be sliced up and moments that a human would consider pointless would be focused on because the pigeon happened to be there would be hype as fuck
MaliÅ”a, otherwise known as Little One, is a pet pigeon owned by a conservative butler of the Austro-Hungarian aristocracy. She is loved, and she is pamperedā until her owner is murdered in cold blood, and she is left to fend for herself in Sarajevo.
In the wilds of the city, she feeds from the poor, working nationalist radicals, and the vieux riches alike.
To MaliŔa, there are no ethical concerns. No politics. No burgeoning nationalism.
There are only hands that feed her, and hands that do not.
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I went downstairs to tell Jeff about this, and he replied "You are prescient!" and I said "well we do like a lot of the same tropes". "Like characters covered in blood?" says Jeff. "And insisting that they're fine," I qualify, helpfully. "Well they might be," Jeff agrees, "it might be someone else's blood."