Posts made by nephilim

They know what they’re doing

The wires definitely crossed early in life; and the current began running through them, much later, around puberty, and that’s when the inklings of what I liked crystallized around my sexuality.

I’m an observer that enjoys watching macro/micro: the Escher painting, the impossible perspective (especially when the micro is transiting the macro’s innards) but if I had to identify with a sub-type, I would say I, myself, would absolutely prefer to be micro

@olo Ohho ho, so the plot thickens

@olo Inspired by Steve o Reno are we

@kisupure said in Petrichor - a novel in "open beta" - [M/f, minigiant, post-apocalyptic dystopia, slavery, military setting]:

@Nyx Thank you SO MUCH Nyx. I was told by someone else on another platform that the way I write is still very “purple”,

Christ. I must be maroon or something, then.

No; I love how you slice, dice, dissect the characters’ inner worlds. Don’t stop it. Don’t ever stop it. It’s a talent that’s woefully overlooked, I think. Too many people get praise for the heavy logistics of moving set pieces in a story (like Snyder); I would rather see their inner world, because painting that fearsomely, but believably, whilst still providing peripheral story and ongoing narrative without missing a beat? That’s talent.

I enjoy Gray and her inner musings. Don’t stop. I mean, entire literary empires have been erected on the inner-world premise ('hem, George RR Martin has entered the chat. And so does Stephen King of his older works, to be fair, we’re talking Lisey’s-Story-era).

Forget those idiots. They don’t know what they’re talking about.

However;
I’m going to use that from now on: “stylistic overwhelm.” Love it.

I am very particular about what I write, and even more particular about what I read, because - as a writer - there’s a certain emotional labor in having to read other people’s work. It can be exhausting; you’re expected to have a critique (or two); and you’re unable to dip below the current of the story and lose yourself to it because it’s altogether uninteresting.

I usually know within a sentence or two if something is worth reading.

This is it.

This is worth reading.

I love how you indoctrinate your audience in a sort of hyper-meta-critical nod of something that’s fearsomely alien but also unrelentingly familiar. We learn of this world in a very wide, instinctive way without being patronized. The pacing, the dialogue, the connective language that weave together elements of plot, narrative, and action are very well done.

I love the small but vital clues that I can excavate like a treasure-hunter. There are some anachronisms in some of the scenes, and outright contradictions (oil lamps coexist with lightbulbs) I think, much like an an extended conceit of how something obsolete (human) can coexist with something futuristic (lightbulb) which appears to be the driving force in this story. And this juxtaposition continues throughout in a way that isn’t frustrating: the mystery and the intrigue you have lain at our feet is arousing.

It’s slick. It’s provocative. It’s accessible without losing its center: an unapologetic dystopian cyber-punk war-drama that doesn’t feel like a caricature of the real thing.

I’m invested. I want to know what happens next.

After thought I often like to tease out what a writer’s subconscious passion is (aside from the obvious), in not the elements of the plot or the theme, even; but, I see a sort of affectionately-loaded attention placed on trees! How uniquely refreshing!

@olo Movie magic, I hope.