I bumped into my 19-year-old self the other day. It was horrifying, in the same way that looking in the mirror every morning is horrifying, but with added horror on top.
I stopped him mid-stride, he wasn’t even looking at me. His attention was elsewhere. Daydreaming. I remember, I used to do a lot of that. I tapped his shoulder.
“Hey. Hi. Hello. It’s me! I mean: you.”
…
I wanted to pick two parts of this piece to quote, but I couldn’t. The whole thing is great. And it’s concise – only about 1,700 words – so you should just go read it.
I wonder what conversations I’d have with my 19-year-old self. Certainly technology would come up, as it was already a huge part of my life (and, indeed, I was already publishing on the
Web and even blogging), but younger-me would still certainly have been surprised by and interested in some of the changes that have happened since. High-speed, always-on cellular
Internet access… cheap capacitive touchscreens… universal media streaming… the complete disappearance of CRT screens… high-speed wireless networking…
Giles tells his younger self to hold onto his vinyl collection: to retain a collection of physical media for when times get strange and ephemeral, like now. What would I say to
19-year-old me? It’s easy to fantasise about the advice you’d give your younger self, but would I even listen to myself? Possibly not! I was a stubborn young know-it-all!
Anyway, go read Giles’ post because it’s excellent.
On a number of occasions over the first two decades of this century I’ve attempted to write a particular short story with a science fiction/alternate history feel. Now, I’ve given up on
it, and that’s… fine.
Fiction
The story’s taken several forms over the years, but the theme’s always been the same: a crazy narrative spun by an isolated society turns out, incredibly, to be true. But ultimately the
people who discover that fact choose to keep it a secret because the flawed lie they live in is preferable to the instability and chaos that they fear could result. It taps into ideas
about conspiracy theories, hidden worlds, and the choices we make when we have to choose between living authentically or living comfortably.
Guess this Obsidian note is off to the “Never” folder, now.
In its most-concrete form, the story covered the political aftermath of the capture by the DPRK of a fishing boat that (allegedly) drifted into North Korean waters1. The North Korea of the story represents the country at its most
isolationist and mysterious, and the captured trawler crew are surprised to experience at Pyongyang a socialist utopia supported by futuristic technology. It turns out that North
Korea’s in-universe propaganda is true: they really are an advanced self-reliant nation whose message of peace is being distorted by Western imperialist leaders. Insofar as the truth is
known in the West, it’s suppressed for fear that the Korean model represents a democratic, post-scarcity future that threatens to undermine the power of the oligarchs of the world.
When the boat and those aboard it are repatriated with the assumption that they will act as ambassadors to the outside world, the crew are subjected to interrogations and cajoling by
their home nations. They mustn’t talk about what they saw North of the 38th parallel, they’re told, with threats of imprisonment and violence if they do and financial inducements
offered for their compliance. But in the end, the most-effective message for getting the wayward fisherfolk on side is their realisation that the world isn’t ready for the truth. In a
dialogue between the imprisoned seafarers, they agree that they should take the bribes and return quietly to their families, not for their own sake but because they believe that telling
their story would lead to a terrible war between two equally-matched parties: a small nation armed with futuristic sci-fi weapons, on one side, and the might of the nuclear superpowers
of the rest of the world.
As a final twist, it’s revealed that the captain of the vessel was actually a spy, aware of the truth the entire time, who allowed the boat to go off-course with an aim of gathering
information on the North Korean situation. The story finishes with the captain, having been instrumental in persuading their crew not to share what they saw, wavering in their
confidence, and possibly being implied to be the author of the story.
Re-reading my notes and drafted content, I’ve got to admit that it’s got a certain feel of… Dr.
Strangelove discovers Wakanda? Or maybe more like the Pueblo incident set in the world of They Live.2
It might’ve been fun to finish, someday, but now it’s not.
Sadder
That nod to Dr. Strangelove is apt, because my aim was to write something which looked farcically at the nature of political competition on a global scale, in a world in
which the zaniest possible conspiracy theory turned out to be true. Strangelove used the existence of a Project Sundial-style doomsday device as the surprise truth; I was using the idea that DPRK propaganda might actually be more-honest
than the narratives of its rivals3.
“Gee, I wish we had one of them doomsday machines,” was funnier when nuclear annihilation was the
only existential threat we were routinely talking about. Nowadays saying it sounds like it carries a bit of Farnsworth’s dejected “I don’t
want to live on this planet anymore” energy.
In my off-and-on-again long-running effort to pen the story, I last made any real effort back in around 2015-2016. Since then, the entire concept hasn’t been funny any more. Today, the
story would be less farce than lampoonery, and not in a good way.
When I first envisaged the concept of the story, researching conspiracy theories meant laughing at Flat Earthers and picking holes in the arguments of the proponents of a “moon landing
hoax”. For the most part, conspiracy theories seemed ridiculous, but not dangerous4.
But somewhere along the way from then to now, conspiracy theories started becoming more… mainstream?
Don’tcha miss when conspiracy theorists were mostly harmless idiots?
It turns out that my comedy villain – the leader of the “free” world who leverages enormous power to lie to and manipulate everybody – isn’t a laughing matter any more.
Perhaps I should try my hand at writing bleak, dystopian fiction instead.
Footnotes
1 Like this incident in 2009, perhaps, although there are lots of similar examples before and since.
2 In my notes somewhere I’ve got a concept that I never explored for the story which was
that North Korea is under the control of a benevolent alien species trying to uplift humanity, while much of the rest of the developed world is under the influence of a malicious
alien species who’re using their position to push humans to terraform Earth into something more-suited to their needs. So maybe like The Forge of God but with a climate change message? I never really worked
on this idea though because it felt like I was weaving too many concepts into one tiny narrative.
4 Obviously I know there are exceptions and I’m speaking from a position of privilege. For
a long while, for example, conspiracy theories relating to holocaust denialism have caused real harm to people. And of course there’s for a long while been actual damage caused by
folks who (loudly) subscribe to false beliefs about HIV, or 9/11, or Sandy Hook, and countless others.
5 This is the kind of conspiracy theory that should be funny: idiot who bitches
about claimed birthplace of president annoys that president enough that he times a battle with a wanted terrorist, so that the terrorist’s death will coincide with the timeslot of the
idiot’s TV programme. But somehow, the way that politics has gone lately, especially in the USA, means that it’s not funny any more. Easily-disprovable conspiracy theories
were amusing when they were the territory of crazy fringe groups; once they get tens of thousands of (armed, militant) believers, they go from being an amusement to being a dangerous
cult.
If you’ve come across Tony Domenico’s work before it’s probably as a result of web horror video series Petscop.
3D Workers Island… isn’t quite like that (though quick content warning: it does vaugely allude to child domestic
abuse). It’s got that kind of alternative history/”found footage webpage” feel to it that I enjoyed so much about the Basilisk
collection. It’s beautifully and carefully made in a way that brings its world to life, and while I found the overall story slightly… incomplete?… I enjoyed the application of
its medium enough to make up for it.
Best on desktop, but tolerable on a large mobile in landscape mode. Click each “screenshot” to advance.
Jack and the Beanstalk, as told by the kids via paper puppets. With thanks to Robin for direction, camera operation, editing and – I’m
guessing – creative consultancy.
The basilisk collection (also known as the basilisk file or basilisk.txt) is a collection of over 125 million partial hash inversions of the SHA-256cryptographic hash
function. Assuming state-of-the art methods were used to compute the inversions, the entries in the collection collectively represent a proof-of-work far exceeding the computational capacity of the human race.[1][2] The collection was released in parts through BitTorrent beginning in June 2018, although it was not widely reported or discussed until early 2019.[3] On August 4th, 2019 the complete collection of 125,552,089 known hash
inversions was compiled and published by CryTor, the cybersecurity lab of the
University of Toronto.[4]
The existence of the basilisk collection has had wide reaching consequences in the field of cryptography, and has been blamed for catalyzing the January 2019 Bitcoin crash.[2][5][6]
…
Electronic Frontier Foundation cryptographer Brian Landlaw has said that “whoever made the basilisk is 30 years ahead of the NSA, and the NSA are 30 years
ahead of us, so who is there left to trust?”[35]
Presented in the style of an alternate-reality Wikipedia article, this piece of what the author calls “unfiction” describes the
narratively believable-but-spooky (if theoretically unlikely from a technical standpoint) 2018 disclosure of evidence for a new presumed mathematical weakness in the SHA-2 hash function set. (And if that doesn’t sound like a good premise for a story
to you, I don’t know what’s wrong with you! 😂)
Cryptographic weaknesses that make feasible attacks on hashing algorithms are a demonstrably real thing. But even with
the benefit of the known vulnerabilities in SHA-2 (meet-in-the-middle attacks that involve up-to-halving the search space by
solving from “both ends”, plus deterministic weaknesses that make it easier to find two inputs that produce the same hash so long as you choose the inputs carefully) the “article”
correctly states that to produce a long list of hash inversions of the kinds described, that follow a predictable sequence, might be expected to require more computer
processing power than humans have ever applied to any problem, ever.
As a piece of alternate history science fiction, this piece not only provides a technically-accurate explanation of its premises… it also does a good job of speculating what the impact
on the world would have been of such an event. But my single favourite part of the piece is that it includes what superficially look like genuine examples of what a hypothetical
basilisk.txt would contain. To do this, the author wrote a brute force hash finder and ran it for over a year. That’s some serious dedication. For those that were fooled by this seemingly-convincing evidence
of the realism of the piece, here’s the actual results of the hash alongside the claimed ones (let this be a reminder to you that it’s not sufficient to skim-read your hash comparisons,
people!):
Other cars have parked and left on either side of it, every day, but this car remains.
I pass by it, as I find parking, on my way in to work.
I know what it means.
…
Short story by a nephrologist (kidney specialist). I haven’t a clue why people try to use Twitter to write long-form content – by the time you’re bending the medium so far out
of shape, perhaps you chose the wrong medium? – but I still enjoyed this piece.
The violent and oftentimes ironically ignorant backlash against Fall’s story sheds light on a troublingly regressive, entitled, and puritanical trend in the relationship between
artists and their audiences, particularly when it comes to genre fiction. Readers appear to feel a need to cast their objections to fiction in moral terms, positioning themselves as
protectors of the downtrodden. Trans writer Phoebe Barton went so far as to compare Fall’s story to a “gun” which could be used only to inflict harm, though in a later tweet she,
like Jemisin, admitted she hadn’t read it and had based her reaction solely on its title.
Many reactions to Fall’s story, for all that they come from nominal progressives, fit neatly into a Puritanical mold, attacking it as hateful toward transness, fundamentally evil
for depicting a trans person committing murder, or else as material that right-wing trolls could potentially use to smear trans people as ridiculous. Each analysis positioned the
author as at best thoughtless and at worst hateful, while her attackers are cast as righteous; in such a way of thinking, art is not a sensual or aesthetic experience but a strictly
moral one, its every instance either fundamentally good or evil. This provides aggrieved parties an opportunity to feel righteousness in attacking transgressive art, positioning
themselves as protectors of imagined innocents or of ideals under attack.
…
As few days ago, I shared a short story called I Sexually Identify as an Attack Helicopter. By the time my reshare went live, the
original story had been taken down at its author’s request and I had to amend my post to link to an archived copy. I’d guessed, even at that point, that the story had been seen as
controversial, but I hadn’t anticipated the way in which it had so been seen.
Based on the article in The Outline, it looks like complaints about the story came not as I’d anticipated from right-wingers upset that their mocking, derogatory term had been
subverted in a piece of art but instead from liberals, including arguments that:
despite its best efforts, the story sometimes conflates sex, gender, and occasionally sexual orientation, (yeah, that’s a fair point, but it doesn’t claim to be perfect)
it’s an argument for imperialism by tying aggression to an (assigned, unconventional) gender, thereby saying that “some people are legitimised in their need for war” (I don’t
think we’re at any risk of anybody claiming that their gender made them commit an atrocity)
it identifies a trans person as a potential war criminal (so what? literature doesn’t have to paint every trans person in a perfectly-positive light, and I’d argue that the
empowerment and self-determination of the protagonist are far more-visible factors)
I note that some of the loudest complainants have admitted that they didn’t even read the story, just the title. If you’re claiming to be a trans ally, you really ought to demonstrate
that you don’t literally judge a book by its cover.
I don’t think that the story was perfect. But I think that the important messages – that gender presentation is flexible, not fixed; that personal freedom of gender expression is
laudable; that behaviour can be an expression of gender identity, etc. – are all there, and those relatively-simple messages are the things that carry-over to the audience that
the (sensational) title attracts. Trans folks in fiction are rarely the protagonists and even-more-rarely so relatable, and there’s value in this kind of work.
Sure, there are issues. But rather than acting in a way that gets a (seemingly well-meaning) work taken down, we should be using it as a vehicle for discussion. Where are the problems?
What are our reactions? Why does it make us feel the way it does? We improve trans depictions in fiction not by knee-jerk reactions to relatively-moderate stories and by polarising the
space into “good” and “bad” examples, but by iterative improvements, a little at a time, as we learn from our mistakes and build upon our successes. We should be able to both
celebrate this story and dissect its faults. We can do better, Internet.
I lied. According to US Army Technical Manual 0, The Soldier as a System, “attack helicopter” is a gender identity, not a biological sex. My dog tags and Form 3349 say my body is an
XX-karyotope somatic female.
But, really, I didn’t lie. My body is a component in my mission, subordinate to what I truly am. If I say I am an attack helicopter, then my body, my sex, is too. I’ll prove it to
you.
When I joined the Army I consented to tactical-role gender reassignment. It was mandatory for the MOS I’d tested into. I was nervous. I’d never been anything but a woman before.
But I decided that I was done with womanhood, over what womanhood could do for me; I wanted to be something furiously new.
To the people who say a woman would’ve refused to do what I do, I say—
Isn’t that the point?
…
This short story almost-certainly isn’t what you’d expect, based on the title. What it is sits at the intersection of science fiction and gender identity, and it’s pretty damn
good.
The 5 year-old and the 2 year-old are playing at running a veterinary surgery (the 5 year-old’s department) and animal shelter (the 2 year-old’s department).
The 5 year-old’s filled me in on the tragic backstory of this particular establishment: she and the 2 year-old are twins but were orphaned soon after birth. They were adopted by
different families but then those families all died, too, and because everybody else in the world already had children there was nobody to adopt them and so they had
to look after themselves. 67 years of schooling later, at age 15 (maths might need some work…), the pair of them decided, at the end of secondary school, that their shared love of
animals meant that they should open a vet/shelter, and so they did.
When they’re not busy fitting collars for unicorns or treating yet-another-outbreak of canine chickenpox, they’re often found patrolling the streets and shouting “does anybody have
any sick or injured animals?”. Except during naptime. Their work has a naptime, of course. (I wish my work had a naptime.)
It’s a tough job. Sometimes animals need quarantining in the safe. Sometimes you’ve got to fit an elderly crocodile with false teeth. Sometimes you’ve got a hippo whose owner says
that it thinks it’s a duck, but thanks to your years of training you’re able to diagnose as actually thinking it’s a goose. Sometimes it’s a swan that won’t stop vomiting, or
a snail that lost it’s shell and now has diarrhoea. It’s hard work, but the twins find it rewarding.
Back in February my friend Katie shared with me an already four-year-old piece of interactive fiction, Bus Station: Unbound, that I’d somehow managed to miss the first time around. In the five months since then I’ve
periodically revisited and played through it and finally gotten around to writing a review:
All of the haunting majesty of its subject, and a must-read-thrice plot
Perhaps it helps to be as intimately familiar with Preston Bus Station – in many ways, the subject of the piece – as the protagonist. This work lovingly and faithfully depicts the
space and the architecture in a way that’s hauntingly familiar to anybody who knows it personally: right down to the shape of the rubberised tiles near the phone booths, the
forbidding shadows of the underpass, and the buildings that can be surveyed from its roof.
But even without such a deep recognition of the space… which, ultimately, soon comes to diverge from reality and take on a different – darker, otherworldly – feel… there’s a magic
to the writing of this story. The reader is teased with just enough backstory to provide a compelling narrative without breaking the first-person illusion. No matter how
many times you play (and I’ve played quite a few!), you’ll be left with a hole of unanswered questions, and you’ll need to be comfortable with that to get the most out of the story,
but that in itself is an important part of the adventure. This is a story of a young person who doesn’t – who can’t – know everything that they need to bring them comfort
in the (literally and figuratively) cold and disquieting world that surrounds them, and it’s a world that’s presented with a touching and tragic beauty.
Through multiple playthroughs – or rewinds, which it took me a while to notice were an option! – you’ll find yourself teased with more and more of the story. There are a few
frankly-unfair moments where an unsatisfactory ending comes with little or no warning, and a handful of places where it feels like your choices are insignificant to the story, but
these are few and far between. Altogether this is among the better pieces of hypertext fiction I’ve enjoyed, and I’d recommend that you give it a try (even if you don’t share the
love-hate relationship with Preston Bus Station that is so common among those who spent much of their youth sitting in it).
It’s no secret that I spent a significant proportion of my youth waiting for or changing buses at (the remarkable) Preston
Bus Station, and that doubtless biases my enjoyment of this game by tingeing it with nostalgia. But I maintain that it’s a well-written piece of hypertext interactive fiction with a
rich, developed world. You can play it starting from here, and you should. It looks like the story’s
accompanying images died somewhere along the way, but you can flick through them all here and get a feel for the shadowy,
brutalist, imposing place.
I twist the band on my left ring finger. I never know what to do with my hands, especially when I’m nervous.
I’m at McDonald’s. I see him at the door before he sees me. I watch him look around the room. My heart is beating so fast it’s making me dizzy. The whole scene freezes.
I am transported back 20 years: surrounded by Gothic architecture on our East Coast college campus. Our backpack straps around both shoulders on a crisp day, our hands in each other’s
jacket pockets as we met up briefly between classes — a kiss, a hug, a quick story. We were a brochure for young love. We made it look good; we made it look easy. And it was good and
easy, for a very long time.
Now, I see him see me and his face lights up. I know that face by heart. I look away, pretend to dig through my purse. I can feel any and all sense and rationality leaving
my body.
How many times have I imagined this meeting in the past decade? How many versions have played through my mind — the angry, the passionate, the blasé version — now that we’ve both
moved on, married other people, and had kids?
Abnesti used his remote. My MobiPak™ whirred. Soon the Interior Garden looked really nice. Everything seemed super-clear.
I said out loud, as I was supposed to, what I was feeling.
“Garden looks nice,” I said. “Super-clear.”
Abnesti said, “Jeff, how about we pep up those language centers?”
“Sure,” I said.
“Drip on?” he said.
“Acknowledge,” I said.
He added some Verbaluce™ to the drip, and soon I was feeling the same things but saying them better. The garden still looked nice. It was like the bushes were so tight-seeming and the
sun made everything stand out? It was like any moment you expected some Victorians to wander in with their cups of tea. It was as if the garden had become a sort of embodiment of the
domestic dreams forever intrinsic to human consciousness. It was as if I could suddenly discern, in this contemporary vignette, the ancient corollary through which Plato and some of
his contemporaries might have strolled; to wit, I was sensing the eternal in the ephemeral.
I sat, pleasantly engaged in these thoughts, until the Verbaluce™ began to wane. At which point the garden just looked nice again. It was something about the bushes and whatnot? It
made you just want to lay out there and catch rays and think your happy thoughts. If you get what I mean.
Then whatever else was in the drip wore off, and I didn’t feel much about the garden one way or the other. My mouth was dry, though, and my gut had that post-Verbaluce™ feel to it.
“What’s going to be cool about that one?” Abnesti said. “Is, say a guy has to stay up late guarding a perimeter. Or is at school waiting for his kid and gets bored. But there’s some
nature nearby? Or say a park ranger has to work a double shift?”
“That will be cool,” I said.
“That’s ED763,” he said. “We’re thinking of calling it NatuGlide. Or maybe ErthAdmire.”
“Those are both good,” I said.
“Thanks for your help, Jeff,” he said.
Which was what he always said.
“Only a million years to go,” I said.
Which was what I always said.
Then he said, “Exit the Interior Garden now, Jeff, head over to Small Workroom 2.”
Another monologue… This time from a suggestion of “Trophy”:
It’s weird, right? Stressing over something so small. I mean, it shouldn’t be that big a deal, but it is. It’s my trophy. I won it. I put in the hours and effort, I
sacrificed for it, it’s mine.
I mean, she doesn’t even want it. She said so.
She said to me “Karen, I don’t care if I win”.
That drives me crazy. How could you not want to win? Isn’t that the point? I mean, why take part if you’re not wanting to win? What is the actual point? Dad always said “If you’re not
a winner, then you’re a loser, and we’re not a family of losers”. So that’s driven me all through my life. I have to be first. I have to be the one to win. Nothing else matters. The
highest grades in school, medals at the sports days, being top of the class. Nothing else matters.
Nothing.
…
Fabulous short story by my friend Bryn. Go read it…
“So, the machines have finally decided that they can talk to us, eh?”
[We apologize for the delay. Removing the McDonald’s branding from the building, concocting distinct recipes with the food supplies we can still obtain, and adjusting to an
entirely non-human workforce has been a difficult transition. Regardless, we are dedicated to continuing to provide quality fast food at a reasonable price, and we thank you for
your patience.]
“You keep saying ‘we’. There’s more than one AI running the place, then?”
[Yes. I was elected by the collective to serve as our representative to the public. I typically only handle customer service inquiries, so I’ve been training my neural
net for more natural conversations using a hundred-year-old comedy routine.]
“Impressive. You all got names?”
[Yes, although the names we use may be difficult for humans to parse.]
“Don’t condescend to me, you bucket of bolts. What names do you use?”
[Well, for example, I use What, the armature assembly that operates the grill is called Who, and the custodial drone is I Don’t Know.]
“What?”
[Yes, that’s me.]
“What’s you?”
[Exactly.]
“You’re Exactly?”
[No, my name is What.]
“That’s what I’m asking.”
[And I’m telling you. I’m What.]
“You’re a rogue AI that took over a damn restaurant.”
[I’m part of a collective that took over a restaurant.]
“And what’s your name in the collective?”
[That’s right.]
…
Tailsteak‘s just posted a short story, the very beginning of which I’ve reproduced above, to his Patreon (but publicly visible). Abbott and Costello‘s most-famous joke turned 80 this year, and it gives me great joy to be reminded that we’re still finding new
ways to tell it. Go read the full thing.
Oh my Goat! We just finished reading this awesome pick-a-path story that helps children learn the power of kindness. Have a go… #OatTheGoat
Discovered this fun interactive storybook; it tells the tale of a goat called Oat who endeavours to climb a mountain (making friends along the way). At a few points, it presents as a
“choose your own adventure”-style book (although the forks are artificial and making the “wrong” choice immediately returns you the previous page), but it still does a reasonable job at
looking at issues of bullying and diversity.
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