You Could Make A Pretty Good Worm Game With The Bones Of Tactical Breach Wizards

An alternative way Gillen has described TPF is “as if your idiot clique of friends had to stay civil or the whole world would end”, and yeah it’s hard to imagine, with ours and Tonya’s front row seat, the civility lasting much longer at all

What I like about Tonya in The Power Fantasy is that she's the journalist viewpoint character, right? The character who's asking questions and poking at the same kinds of things that the audience would be poking at. And over the course of the story she's developing the shell shock that any quote-unquote "normal" person from our world or one similar would have, if they got plunged into the deep end. But the thing is that this isn't some mysterious new paradigm shift she's investigating, she isn't new to this and it isn't new to her, she was doing a piece on one of the leading public figures of the last fifty years when she got caught up in this. What's new to her is that she's spent somewhere around a week in proximity to these six people when they're going through a fairly-eventful-but-still-within-parameters week of their own lives- not quite business as usual, but close- and she's getting a front row seat to how the six most famous people on earth are perpetually six seconds away from fucking up and destroying the whole planet, and how much everyone attendant to this messy friend group needs to constantly bust their asses to prevent that from happening. That's the big reveal of the setting, from her perspective, that's what's inculcating her issue-5 certainty that the world is going to end. It's neat.

It is an actual crime that Ward isn't set in New York City. The portrait of the city painted in Worm's epilogue is genuinely an incredibly compelling setting. A city with depth. An ungovernable labyrinthine city spread over dozens of worlds, accessible only through portals created by humanity's saviour, with its central hub being the partially rebuilt ruins of the last sizeable outpost on Bet protected from the pollutants created by the destruction of Bet only by a thin forcefield. A city created by the final battle, and yet scared by it.

New York, in the process of being rebuilt.  Dust and ominous clouds were being held at bay by a thin forcefield, and the city stood in the center of a brilliant sunlight.  Where glass had broken and where oils had risen to the tops of city streets, things almost glittered.  A shining city.

Does Ward ever explain why they went from rebuilding New York on Earth-Bet to living in 'The City' on Earth Gimmel? Or does it just do that and leave us to wonder as to the answers?

My god, did Wildbow even re-read the epilogues before he wrote Ward? Like, I knew he didn't re-read Worm as a whole, because his characterizations of Amy in Ward are like, frozen in Arc 14 for most of the text but did he not even make the effort to at least re-read the last couple of chapters?

What the fuckberries? How is this the first I'm hearing, in all the complaints I've seen about Ward, and 'The City', that they were GODDAMN REBUILDING NEW YORK CITY after Golden Morning?

73, Charlotte?

Lets see, 73 is Great King Rat by Queen. Yet another song I got into 'cause of Eidolon.

Hmm. I'll be honest, I haven't though much about Charlotte. She doesn't take up a lot of space in my head, except for thinking about how she went from White Kid with Dreads to known businesswoman and community organizer. I'd like to think that she lost the mayoral election because she still has the dreads.

If I was gonna make a fic about her....hm, we only get a limited sense of how she feels working under Taylor, especially given her past view of her from the bullying campaign. You might be able to write a neat fic that shows her view of Taylor during their schooldays as a pitiful, kind of disgusting figure, and then transfer to her viewpoint during the warlord era where she sees Taylor as powerful and worthy of respect, but still fundamentally disgusting. Something that deals with her feeling under the heel of what she'd otherwise consider vermin. I don't think that's actually how she views Taylor, but it'd be a neat spin on her character.

Taylor being paranoid about her passenger is such a fun character trait. Like none of her friends really seemed to give much of a shit when they learned about passengers from Bonesaw, but Taylor consistently notes the times her passenger acted without her consent, she tries to talk with it, communicate with it, just anything to learn what this thing that can control her without her say wants with her. One of my favorite little details is that during the timeskip this was the focus of a lot of her therapy sessions with Yamada, trying methods like hypnosis to communicate. I think part of it is that she's inherently just paranoid about the fact that this thing is helping her sometimes and she doesn't know why and she HAS to figure it out because no one would help out of the kindness of their heart, and another part is just that she can't bear to not be in control and this is something that threatens that in a very ominous way.

Another aspect of her paranoia towards her passenger is that she doesn't want to take blame for her own actions I think. During the Behemoth fight when her ally tried to shoot Phil Sē, she pulled the gun off target with silk and got him killed. She's the one who pulled the string, but because she's genuinely unsure if it was her being wary or her passenger setting up the string she settles on the second option because it absolves her of the possible blame or need to admit she's paranoid and ready to betray people in an instance. When Glenn shows her the video of her being the most terrifying fucker in existence she ignores how horrifying she is and fixated on how her passenger moved her, and then she doesn't have to think about the fact that she'd fit right into the ranks of the Slaughterhouse Nine because well, she can blame her passenger and focus on that instead. This applies to other people too, she sees Lung not using his power and thinks that maybe he's concerned about his passenger like she is. She projects hard onto Sophia in my opinion when she says that she got violent because of her passenger. If this person she doesn't like isn't to blame for everything she inflicted on Taylor, the surely Taylor can't be blamed for the violent steps she took to take over a city. It's another way she rationalizes everything to herself, if something is so bad that she can't justify it immediately there's always the excuse of "my passenger made me do it." But crucially, Taylor ends up being aware of the fact that she's doing this during Gold Morning.

And I think it's really good that this is something she grows and accepts about herself. It's wonderful growth for a character who's so often too stubborn to move herself forward. She's generally more in touch with her passenger during Gold Morning, like the time when she thinks that her and her passenger were in agreement in wanting to hurt Scion on the oil rig. No one else in Worm really seems to accept their passengers, Riley is questioning how much of herself has been subsumed by it, Eidolon is always annoyed it doesn't give what he wants, and most other people don't even know about them. But Taylor forms a bit of a symbiosis with hers after a long time rejecting it at every turn. I think this quote really sums up her feelings towards the end.

And by towards the end I mean like, at the very end, because immediately after this thought she becomes Khepri, and yet another fucking theme and character trait cumulates and reaches its peak with Speck. God damn what a good arc. The blur between Taylor and her passenger that she always feared is finally an actual thing consuming her, and she can finally communicate with her passenger as well. I do wonder what this is like on her passengers end. It's clearly down for the idea of killing its maker, and it's heavily implied that her passenger does care and doesn't want to actually leave Taylor as a husk (too lazy to get the quote because I've been typing for 45 minutes but Contessa remarks upon the administrator claiming everything about her until there's nothing left and she feels fear that she thinks is from both her and her passenger. 30.7 I think, near the end). But there's still so much about Taylor's passenger that's unknown. Was communication something it may have wanted when Taylor kept trying to communicate, but doing so required punching holes in the connection that would lead to more bleed through and functionally destroy its host? Did it slowly grow to care for Taylor more than the cycle, or was it always wanting to fight Scion? Did Taylor's autistic swag convince a multidimensional alien made of crystal to rebel? Is Queen Administrator trans? Idk how to end this post if it's not obvious, sorry.

I think if Taylor ever got (normal, non-evil) cloned then one would kill the other within a day. Taylor would despise herself if she had to look at herself from outside her own head.

The Power Cut contains more than your daily recommended dose of insightful character commentary

THE POWER CUT

A fanzine about THE POWER FANTASY

Issue #1: "The Balancing Act" coming February 14, 2025!

The Power Cut is a collection of meta essays, illustrations, and jokes. The Power Cut contains mature content and spoilers for The Power Fantasy #1-5. The Power Cut will be available free online. The Power Cut is so excited to meet you!

Contributors:

@artbyblastweave

@idonttakethislightly

@jkjones21

@khepris-worst-soldier

@meserach

@rei-ismyname

@tazmuth

@the-joju-experience

Cover art by @tazmuth

As we head into issue 6, wherein “Magnus and Heavy’s 18-years-in-the-making plans for world-domination are revealed” I think it’s worthwhile to remember that some of the most dangerous times in the Cold War was when one side erroneously believed that nuclear war was something they could win, or would soon be able to win (see, eg the Star Wars Defence system). Nuclear peace was enforced by MAD, and so too is the continuing peace between the Superpowers, but MAD breaks down the instant one side thinks they can win, that action stops being lose-lose.

Heavy thought conflict between him and The Major would be lose-lose; an instant after he learned otherwise The Major was a ball of meat.

In issue 6 Heavy and Magnus will think they can win. How many will die proving them wrong?

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.

I love the way taylor makes decisions like a cornered animal I love her desperation I love the way she has been slowly whittled down to a viciousness that she can never escape I love her analytic mind I love her willingness to escalate I love the way she will do what no one else will for better or for worse

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."