Yeah, there’s a lot weird in “The Reserve,” starting with the massive temporal paradoxes involved. …And I wanted to make a joke about ‘paradoxen,’ except it’s perfectly reasonable to make the plural ‘oxes.’ Weird that ‘oxen’ is the exception, really.
Anyhoo…
There’s a longer short story embedded in ‘Wartime Catastrophe.’ A very bloody and extremely merciless one. So much so I’m not sure if I should be the one to write it: after all, when all is said and done I’m just this big pussycat…
There is no excuse for ‘Mothership,’ besides the last sentence. I have the scene in my head right now, in fact. And it is glorious.
‘Ghosts’ is, I guess, a bit grim. I mean, what happens if you implode? It doesn’t sound entirely pleasant, imploding.
I like the conceit and the world of ‘Assault With Batteries;’ but I suspect that I don’t have the math needed to write it. There’s a conceit in it that would make an engineer’s eye start twitching, you see. Ach, well, should have taken more STEM classes…
I imagine that it was all very awkward, while it was going on. I think by the end the people of ‘Suboptimal Career Paths’ were just assuming that every collaborator was a double agent of some kind. Which would be a self-fulfilling prophecy, no?
…Is it so wrong to want a musical or two about Black Ops shenanigans? Really and truly? — Because I don’t think so.
This is a companion piece to “Getting Used To It.” How fancy of me! Maybe I should write this out further…
Probably the narrator in ‘Sympathy’ was intellectually aware about human limitations. But did he know it, deep in his guts? Probably not. Well, definitely not, because I wrote him that way. And plausibly, I feel.
It’s amazing what you can do when you Don’t Care About Credit. But you already know that, of course. Don’t know why I’m even pointing it out, really.
