If they were to tell stories like they teach in public schools, the message would be: humanity is an accident, we aren’t going anywhere, if we do it doesn’t matter, and you’re all going to die someday. Also you’re monkey spawn.
That’s not inspiring. /2
The atheists of the Carl Sagan variety needed something transcendental, a story that affords mankind dignity, a future, something to live and die for.
“We are stardust, and we’re going to meet God (as long as he’s not Christian)” was the message they settled on. /3
This satisfies the higher instincts of artists while also allowing people to yearn “the correct way” that avoids the annoying moralizing of Christianity. It’s safe religion. It’s the magic of God without all the crummy stuff that comes with it. They had a good racket going on. /5
Problem is that it’s fake and hollow. It was getting tired in the early 2010s and it’s collapsing in the 2020s. Safe kooky space religion isn’t cut out for the modern world. Each passing day looks more and more like a Hell scene out of Event Horizon. /6
Modern Sci-Fi, if it is to be meaningful at all, can’t handwave towards vague allusions of higher meaning. It has to plunge its hands in the mud and be courageous to provide hard answers. Rationalism and Kumbaya aren’t guiding principles in a world where the gate is open. /end
Damn it. I missed the /4
If you liked this thread, I have a sci-fi audio show exploring these themes. It’s called The Last Human. The first two seasons are out, and it’s available on Apple Podcasts, Spotify, and YouTube. Link below!
Conservatives can complain about wokeness all day long, but even if we snapped our fingers and magically retook the institutions, most stories would still be hot garbage. The reason is most authors fundamentally misunderstand storytelling. 1/
I've found most modern authors are led by tropes rather than using tropes to craft a coherent vision. For example, they dump dragons and elves and even a cool thieves' guild in the setting with really intricate lore without first thinking *why* those things should be there. 2/
And this becomes a problem when we get to endings--the bane of every modern author. They throw a bunch of cool stuff into the narrative without any thought of how it all fits together. Watch Season 8. It's not just the writers, even the other characters can't process S8 Arya. 3/
I will always point to the X Files as the most important *modern* text for RW writers. It's about the American Empire trying to contain spiritual realities--which is a far stranger, more dangerous world than anyone wants to admit. It's a story set right before the collapse. 1/
The sword hanging over nearly every episode is either our protagonist Mulder breaking the news to the public or the monster getting out. In either case, American normalcy dies. The world of consumerism is traded for a plunge into reality. No one wants this to happen but... /2
If we were to take the show seriously, it's practically inevitable. The government (as villains) in the story aren't overlords. They are one bad day away from the whole thing falling into shambles. The empire is crumbling. Those not blinded can feel it in their bones. /3
This is a worthy critique. Why do I insist on creating my audio dramas, even though I'll never pull the same numbers as Critical Drinker? Why does a RW artist swim against the algo, even though there's no tangible benefit?
Because existing in perpetual reaction is hell. 1/
Last year, the entire Conservative movement was subjected to The Acolyte, an awful show designed to humiliate SW fans and RW'ers.
And every Conservative influencer watched it. They had to, in large part because it was their paycheck. They tortured themselves effectively. /2
I can't imagine a worse hell that still caring about Star Wars, knowing it's in the hands of your enemies, and that they're using it to clown on you. Yes, you can try to laugh back, but the jokes on you. Because they get to make Star Wars and get rich and the RW doesn't. /3
Okay, since so many people are having trouble understanding the political landscape of America in 2025, I’ll lay it all out—logic in full. Disaffected liberals, centrists, and moderates of all stripes take note, this is why white America is done with you.
The Post-WW2 consensus, the foundation of all of America’s current political woes, sold white Americans on a narrative that the worst sin was racism and that this country was held back from the secular liberal utopia by the irrational bigotry and hatred of white Americans. /2
This led to the Civil Rights Act, a spoken and unspoken contract in our society that made it illegal for whites to collectivize on any grounds based on identity. Among other things, people assumed that banning “discrimination” would fix the black community’s problems. /3
I was skimming an indie novel, and I was struck by how scenes with heavy action still bored me to death. Action is good, but action that reveals character is 100x better.
For example, go to Cowboy Bebop. The slippery way Spike fights tells the viewer everything about him. 1/
What separates the amateurs from the masters is to be able to do three or four things at once with the same scene. Action should usually be accompanied by an insight, an idea to underscore, or a new aspect of a character. This is why the fights in FMAB are immaculate. 2/
Some people enjoy fights because of mechanics, and I would argue this is another dimension to consider. But your ability to make these interesting is like trying to write a good detective story. Your goal is to do unexpected things within a constrained ruleset. 3/
I believe that the future direction of the book industry is trending towards maximalist, highly detailed book covers. At least, for those indies who wish to remain competitive in an oversaturated market.
Here’s some tips on cover art and how to stand out from AI slop. /1
Here’s a cover I whipped up with AI until I can commission a proper one from an artist. It’s decent and it gets the proper vibe across.
However, there are a few problems. The guy has two hoods. The city has blurry details, and the picture gets worse the longer you squint. /2
Here’s the thing about AI. It can generate an image with two or three key ideas. Any more than that, and the generators flat out break. And even in good shots, you see tons of AI errors if you look long enough. And these generators can’t create images they aren’t trained on. /3