one of my favorite doctor who moments without context:
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ive been listening to a lot more audiobooks recently and i find it really bizarre how these silly voices have become kind of standard like theres definitely narrators who do a very good job with them and it can help differentiate the characters in a subtle way but it also can take on a really strange vibe where they put on some frankly offensive voices that both diminish the writing and flatten the characters because they sound like strange racist or sexist stereotypes or it can take on a quite weird xenophobic edge when the narrator attempts a foreign accent quite badly and it comes up quite a lot and even when its not like actively offensive or harming someone it can simply take you out of the story if the voices are done badly like a british woman narrating attempted a godawful american man voice and it just totally broke the immersion but again i really do wonder what the hells going on with these standards that so many women come out sounding intentionally dumb and shrewish or people put on offensive racist caricature affectations or stereotypical accents that i dont even understand how this got past someone or is considered acceptable in the audiobook space idk very strange
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Regarding my last post on the subject:
ok at this point I'm mildly curious so i wanna ask
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Man, some days it really does feel like I ought to be allowed to shed my old skin, slip below the waves, and swim forever with my immortal grandmothers in cyclopean and many-columned Y'ha-nthlei, but no, I have to go to work instead.
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I'm super curious, do yall play or used to play any sports???
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Letters from Watson: Favorite Case poll 3
Which of the below is your favorite case?
A Case of Identity
The Red-Headed League
The Dying Detective
The Blue Carbuncle
The Yellow Face
Undecided/ See Results
We've got a few classics here; which will pull ahead, or will there be a surprise favorite? I'd also love to know your runners-up in the tags!
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Letters from Watson: Worst Client poll 3
Which is the worst Sherlock Holmes client of the below?
Mary Sutherland (A Case of Identity)
Jabez Wilson (The Red-Headed League)
Sherlock Holmes (The Dying Detective)
Commissionaire Peterson (The Blue Carbuncle)
Grant Munro (The Yellow Face)
Undecided/ See Results
I really had to stretch the definition of "client" for this one, but I'm dead set on including one from each case. I am excited to see the results for this one--don't forget to include your rationale in the tags!
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Speaking of books it's been a while since I've seen one of these posts going around & I'm curious so everyone could you tell me what you are reading rn in the tags please
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she’s helping!
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So, I learned to knit English style and for a while, it seemed like any time I knit in public, I would get other knitters coming up to me to talk to me about how much better Continental style was. It’s so much quicker! they would tell me.
Being by nature stubborn and contrary, the fact that so many people told me this made me determined not to become a Continental knitting person. I eventually did learn to knit Continental style, but only for stranded colorwork - it’s much easier if you knit one color English and one Continental, rather than dropping and picking up strands all the time. Everything else, I exclusively knit English because I like it better, goddammit.
But right now, I am doing hateful knitting and it’s mostly stockinette and it’s boring, so to keep myself interested, I knit a row Continental style. It is faster, if you care about that (I don’t), but what I really hate is that my hands don’t get tired as fast when I knit that way.
I’m still not switching but I guess I might do it sometimes, as a sort of rest. I’m so mad about this.
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Digest a dead god. Create a new world.
I just published Decomposer, a one-page RPG about life after death for 1-6 players! Take on the role of a larva, a fungal spore, a seed, or some other miniscule critter. Eat the remains of a beast too enormous to fathom, and digest its bits and pieces into a new plane of existence.
Decomposer is inspired by Norse & Mesopotamian creation myths, games like The Quiet Year, and by the humble creatures that form the foundation of our ecosystems.
You can get it (for free!) on itch.io.
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i feel like this year a lot of dracula takes have focused in an interesting way on the ways that the horror of dracula includes how he makes his victims be or at least feel complicit in their own victimization. some of this is supernatural vampire stuff like the prohibition against entering uninvited or the ways that vampiric hypnotism seems to include as part of its nightmarish quality the experience of a desire that you don’t actually have, which we see the vampire ladies exert on jonathan in the castle and can extrapolate as a drac-power as well. but a lot of it is the straight up weird psychological manipulations and power play dracula does to jonathan in the castle - the emphasis on “enter freely and of your own free will,” all the little moments of dialogue where he makes something jonathan’s fault or purports to presume jonathan’s desires in a way that leaves no room for jonathan to dissent. it’s a kind of horror that still rings as genuinely unsettling today because it remains an unfortunately familiar and very human kind of violation. and actually even the more magical vampire stuff translates pretty easily to a metaphor for familiar human experiences, right? how many people in the midst of a traumatic event have frozen, like jonathan does when the ladies set upon him, and felt the shame afterwards of their inability to fight against what was unfolding? (cw sexual assault) it’s also well attested to that human bodies sometimes react in situations of sexual assault/abuse with physical responses that overlap with those that accompany consensual sexual experiences, something survivors of sexual violence have spoken about as part of what can make it so difficult to emotionally process what happened - and that’s not even getting into situations of coerced consent or other forms of manipulation that result in experiences only recognized as nonconsensual in retrospect and often with much difficulty and doubt.
anyway. it’s a really rich vein in the novel for me on this reread and i’m grateful for all the posts pointing out the count’s language games in particular, which didn’t jump out at me but once my attention was drawn i couldn’t stop seeing them. but while i am on principle neutral about any individual adaptation doing Whatever with the material, tracking this aspect of the novel’s horror has given me a new dimension of But Why for the sheer prevalence of adaptational choices and academic analyses that have looked at a novel that so viscerally captures so many aspects of violation and gone, “but don’t you think she kinda wanted it?” or even that have looked at dracula’s choice of victims and tried to find or place in them some appeal or weakness inherent in their essences rather than their status as victims of opportunity and vulnerability and dracula’s ability to use them to demonstrate his own power and control, which is how he operates in the novel and which is also an extremely strong parallel for how serial predators operate in the actual world. like any individual movie or retelling or whatever can do whatever it wants, but it is hard to look at the ways the contours of the story as “known” through cultural osmosis have morphed across the century-plus of its popularity and not feel like the versions of it that have lingered have done so in ways that ultimately tone down the horror by placing it more in line with many common cultural misapprehensions about abuse & sexual violence.
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D&D has become so much more fun since it clicked for me that I'm not the character, I'm the writer in charge of the character
If you're the character, bad rolls and bad calls reflect badly on you. You want to Win because that means you're doing D&D right, and if things go wrong, it's because you're doing it wrong.
If you're the writer, your number one job is to do things to your character that the character does not like because that gives them the chance to be interesting.
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How does one hate a country, or love one?…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry? Then it's not a good thing.
Ursula K. Le Guin, The Left Hand of Darkness











