“young Witch Trying To Solve The Mystery Of Her Neighbor’s Missing Cat In A Small Village In The

I think it's pretty funny how The Power Fantasy has a scene highlighting how Haven has plenty of doors that close, but then later we see that Heavy's bedroom just has incredibly translucent partial curtains. "We're open about our weird sex stuff. We're secret about our secrets."

rachel is on top of my favorite characters list now

I somehow, in what was probably a moment of poor judgement, convinced my mother to read worm.

Highlights so far (shes on 7.10):

thinking Coil was spelt Coli and pronounced Coil-ee (she refuses to wear glasses)

not knowing the names of any characters

thinking Taylor is 'very practical' in reference to her cutting Lung's eyes out

just complete incomprehension at the incompetence of Taylor's teachers and the PRT

saying that she would have attacked the trio if she were Taylor

not catching any of the Wolfspider content (tbf, this is a bi woman who doesn't call herself queer because she has never been in a relationship with a woman, so her ability to detect queerness is hardly the best)

being very mad at me for not telling her why Emma is bullying Taylor

Anyway, shes only a chapter away from the Dinah reveal and a couple of chapters from Leviathan, so I'm quite excited.

the devil is such a hilarious character, imagine rocking up to the cape scene super early and thinking you're hot shit, choosing or being given a name as big a deal as *that*, and then fucking around once and instantly finding out

Thinkin’ about The Siberian

I was sitting on a draft that said something to the effect of “Worm AU where Manton pulls an NBC Hannibal and moonlights as The Siberian on top of being a globally respected parahuman studies researcher. Is this anything.”

Then I thought about this a little more and realized that this might not be far off from what actually happened. There’s a throughline in Manton’s interests, in his trajectory through life, where he’s trying to figure out what you can use powers to get away with doing to people- about identifying constraints and overcoming them. 

He’s the guy who somehow credibly catalogued, and got his name associated with, the fact that powers generally can’t be used to pop people like balloons, and he did so reasonably early in the timeline, in the nineties at the latest. That’s…. an interesting direction to take your research! When people are just coming to terms with the fact that parahumans are real he’s out there taking careful note of whether they can manifest their powers inside people to instantly kill them. How did he test that? What capes did he collaborate with to test that? What did those conversations look like? Did the IRB at a minimum issue any revise-and-resubmits?

And then, of course, he gets picked up by Cauldron (also known as the infinite untraceable victim depot) to work on improving the vials- gaining a sufficiently in-depth understanding of what they are, how they’re made, and what they can do to people that when Cauldron told Legend that Manton had gone rogue and was the one creating C53s, he found this plausible. You’ve got the guy who’d later become the backbone of the Slaughterhouse 9 basically systemically cataloging every conceivable way a power could violate someone’s physiology- first from without, and then, at Cauldron, from within.

Then, when he pulls the trigger and gives himself powers, the resultant ability is essentially a distilled refutation of the Manton Effect- a minion that can obliterate anything, eat anything, delete any material from existence, viscerally dismember people in a unity of conventional and esoteric, power-enabled violence. And he’s insulated from the consequences of his actions on two levels- in terms of Siberian’s invulnerability, but also in the discrepancy between his form and that of his minion. He mixed the vial that gave him that power himself.

Essentially- I don’t think Siberian is something that just happened after a psychological break following a messy divorce. I think Manton basically pre-committed to becoming something like The Siberian, spent most of his career working towards some form of transcendence through superpowers, and the messy divorce was downstream of the cracks starting to show as he got closer and closer to what he’d been chasing.

Now to segue into a complication that’s more directly supported in the text- it’s Worm, it’s always complicated- Master powers spring from loneliness. My theory is that while Manton wanted apotheosis, and while he’d probably been gearing up for a rampage for a while, he genuinely didn’t want to do it alone; he wanted a sidekick. Hence why he bothered pursuing a family in the first place, hence why he fed his daughter a vial, hence why his own projection ended up looking like his daughter after he accidently made her explode or whatever with the bad vial- a monkey’s paw restoration, giving him back a facsimile of the person he wanted to take along for the ride, and making his capacity for violence inseparable from her presence.

This is why he joined up with the Nine rather than remaining a solo act; it’s why he engages in a bad imitation of the Parent/Child relationship with Bonesaw; and it’s why he seeks out Bitch as a candidate. His interest in her candidacy parses to me as genuine- Even moreso than Bonesaw, even moreso than Jack, Bitch has arrived at a no-frills fuck-you-I-do-what-I-want outlook that’s very appealing to Manton. He wants to have a murderer-daughter relationship!

But Rachel got where she is the hard way, by having a life that sucked a lot, by getting near-constantly kicked around! She has a clear reason to be so angry! Even if all my postulations about Manton having a long game are complete bullshit, there are several stages at which Manton had to actively opt in to the same lifestyle and reputation that Bitch was forced to adopt as a basic survival tactic. He didn’t have to start eating people! He’s a tourist! His “freedom” is inseparable from his distance, his disguise. Rachel’s “freedom” is just the freedom of having nothing left to lose.

All of this to say- In an interlude in which Bitch has an extended internal monologue about how people with families have the opportunities to be assholes and monsters to a captive audience, it is absolutely not a coincidence that she’s scouted by a would-be parental figure who proceeds to be an asshole and a monster in front of a captive audience, before trying to buy her affection with a puppy. In rejecting Manton, Rachel dodged an esoterically-packaged but ultimately very familiar bullet.

you know what. im going to follow my heart so we can move on with the wormread and just copy-paste what i said about danny in chapter 6.9 on discord with some minimal editing because it's not pretty but the general thesis is there and i don't feel like making it into proper paragraph form

okay so the thing thats fucking killing me abotu 6.9 is that danny is literally like. he tries to call taylor a nickname only her mom called her once he realizes he's fucked up bad and is trying to recover whichi s insane [because it's obviously going to be upsetting to her by reminding her of her mom being gone, and it also indicates that his fall-back for something going wrong w/ taylor is to try to appeal to her by poorly copying someone else's parenting style] and he also randomly tells her about how her mom wanted to move her a grade ahead but he wanted her to stay in school with emma to make her happy. and he's been Stewing On That despite knowing it's objectively not his fault (and i am reminded of how in his interlude he spends time Stewing about how he wishes annette were there to give advice) and he also cops up to the fact that that the whole thing about "being her parent and not her ally" (<- demented thing to say for obvious reasons) wherein he locks her in a room and demands emotional vulnerability from her even as she's becoming visibly upset & compares his actions to emma's was her grandmother's idea and then. here's the real kicker. once lisa shows up and prepares to take taylor away there are any number of actions a parent confident that they're doing the right thing for their child would normally do in response--not, like, Good actions, but things that a parent would be likely to pull. threatening to call the cops bc blah blah you're my daughter, wanting to speak to lisa's parents, any form of power move pulled over these two teenage girls but instead he speaks to lisa like she's an equal authority over taylor and seriously asks if she's "okay with this" (i should remind you of the concussion chapter where lisa is doing some insane power move shit over taylors dad covertly establishing herself as more competent at caring 4 her than him lmao) which is just like. it's so glaringly wildly obvious how this guy has Zero confidence in himself as a parent so he generally does nothing and then while he's doing nothing he oscillates btwn rationalizing it to himself as allowing her privacy/dignity, getting angry at himself/calling himself a coward, or getting mad at TAYLOR and blaming HER for not being the one to take initiation to be vulnerable with him and, like. he literally does make functional decisions prior to this for a bit! he's good and supportive at the meeting with the school board about the bullying!!! but it doesn't immediately solve literal years of distance between them that have led to taylor having to take decisionmaking for her wellbeing entirely into her own hands w/o being able to tell him about it [& having literally no route for human connection or support other than the undersiders] so he just completely crumbles on his own calls and seeks out/takes completely shit advice from taylor's grandma instead so i very much think what's insinuated here is like. especially given that he knows he has anger issues and never wants to Be Scary with them. he might have frequently leaned on annette for parenting decisions before she died and/or is really fucking haunted by the time(s) he didn't listen to her and it went wrong and now that she's gone he's just kinda floundering and trying to toss the baton for parental decisionmaking onto anyone else, including, at one point, the literal teenage girl who shows up to help taylor run away from his house. insane ! also. thinking about how taylor says her grandma (maternal) never liked her dad. that man would literally rather talk to the mother of his dead wife, who hates him, and take her advice than go 'yeah ithink im gonna keep using my own judgement for compassion towards my daughter' fucking worst anyones ever done it this guy has the spine of a twizzler it's great

...and then doing All That & severely triggering taylor's trauma from the bullying in the process completely shatters any trust he had built with her, catalyzing her realization that she wants to be able to have meaningful relationships with the undersiders & leading to her running away to leave with them! i don't think anyone can say for sure whether or not danny Not doing this would have led to taylor turning the undersiders in before realizing that she would regret it, but oh fucking boy does he make SURE she doesn't go thru with it. and it would be bad to call the cops on a bunch of systematically neglected traumatized teenagers regardless of how much crime they're doing so you know what maybe we should actually thank danny for his Shit Parenting stopping taylor from being a narc

The interesting, underutilized thing about the intersection of superheroism and apocalyptic fiction- zombie fiction in particular- is that a core part of the appeal of the superheroic fantasy is that you're simply powerful enough that you don't have to make hard choices or do triage; you can just save everyone. Whereas zombie fiction is basically predicated on so much going wrong at once that saving yourself becomes a stretch goal. A total societal collapse highlights the ways in which the superheroic power fantasy was always kind of quietly dependent on the continued existence of modern society to function- the extent to which a superhero's basic identity is being outsourced to the continued existence of observers, to your continued success at the project of keeping those observers alive so they can continue to agree that you're a superhero. If everyone is going insane and eating each other and you're an indestructible guy who can bench press a car, suddenly that's all you are. Applicable to the scenario at hand, sure. You're in a better position to survive than most. But that's all that you are.

I think that the Power Fantasy wants us to understand the characters as they are in 1999. They know what happened, they know the world made it out alive, and thus so do we. But they also look back upon the past through the lens of the present.

We see the Tokyo event as Masumi does; an episode of dissociation, Etienne reaching out to her, and violence instilled into a single memory.

The Cuban missile crisis and New Mexico festival massacre are seen through Valentina's eyes, as remembered in the present.

The killing of the Major is seen through Jacky's eyes, and thus there is an emphasis on the violence of the act, and on the elements that will come to make him regret it. And obviously, Jacky's memories of the early Pyramid is distorted and simplified, not quasi-photorealistic like the other, more flashblub memories. Eliza is pure white.

And, of course, knowing how the crises of the past went puts us into the headspace of the superpowers in the present; neither they nor us know if this crisis is one they will get through. Compare the hypothetical linear Power Fantasy; crisis after crisis is resolved without the destruction of the world. What would mark the 1999 crises as any different?

I was talking to some people about the narrative effect of the issue #3 timeline in The Power Fantasy and the phrase that comes to my mind is "disaster voyeurism". If the story had started in 1945 and proceeded linearly, we'd arrive at each of the events on the timeline and not know what would happen or even if the world would survive. But with TPF's actual nonlinear structure, we know the world persists at least until 1999, and also that it faces these very specific crises.

I feel like that shifts the whole tone of these events. I know they're going to be awful, but I'm also really curious what happens, and the knowledge that "the world and all the main characters survive" puts a little distance between me and the nerve-wracking suspense of not knowing what happens. Someone on Discord described it as "anti-immersive"- not the exact word I'd choose, as I do feel immersed in the story in a lot of ways. But I see what they mean, in that I can look at past events with mixed eagerness and dread, rather than just dread like the characters must feel.

Kid Ignition had five lines this issue and four of them were disparaging of his life and/or of Heavy.

Once Kid gets a taste of freedom I doubt he'd ever want to be bound again

I'm honestly less interested in, "Is Kid Ignition really as powerful as Heavy thinks?" and more in, "Is Kid Ignition really as loyal and obedient as Heavy thinks?" I guess an exact repeat of The Major would be poetically ironic or something. But from a character standpoint, I really just want to see Kid lashing out at his controlling, high-pressure parents like basically every teenager since the concept of teenagerhood was invented. Except, of course, he's not your average kid.

A fun little bit of foreshadowing/character work is that New Wave’s capes all have kinda dorky names that are just normal English words. Except, for Panacea, which is hardly dorky, and is a word that originated in mythology, with all its associated meanings. Even in her name, Panacea stood apart from her family.

And, of course, it represents the pressure placed on her. Lady Photon’s name isn’t a promise. Glory Girl’s name isn’t a promise. Flashbang’s name isn’t a promise. Panacea’s name is. And she ran herself into the ground trying to keep it.