Bringing Alicia Western back to life #1

Two days ago, I had a dream about Alicia Western. Who is Alicia Western? She’s the protagonist of Cormac McCarthy’s last book, Stella Maris, a novel of sorts in transcription form. It was probably a way for McCarthy to develop that complex character, but man did it work. Alicia Western ended up haunting his companion novel The Passenger, protagonized by Alicia’s brother Bobby after he woke up from a coma. I’m not sure how McCarthy managed to pull it off, but Alicia felt like such a unique person, irreplaceable, that my savior complex is still trying to work out in dreams how to rescue her from her final decision. It’s not much of a spoiler to state that Alicia walked from the Stella Maris sanatorium into the woods of Wisconsin during winter, and let herself die. As she herself put it in Stella Maris, regarding how she originally formulated that plan:

I thought that I would go to Romania and that when I got there I would go to some small town and buy secondhand clothes in the market. Shoes. A blanket. I’d burn everything I owned. My passport. Maybe I’d just put my clothes in the trash. Change money in the street. Then I’d hike into the mountains. Stay off the road. Take no chances. Crossing the ancestral lands by foot. Maybe by night. There are bears and wolves up there. I looked it up. You could have a small fire at night. Maybe find a cave. A mountain stream. I’d have a canteen for water for when the time came that I was too weak to move about. After a while the water would taste extraordinary. It would taste like music. I’d wrap myself in the blanket at night against the cold and watch the bones take shape beneath my skin and I would pray that I might see the truth of the world before I died. Sometimes at night the animals would come to the edge of the fire and move about and their shadows would move among the trees and I would understand that when the last fire was ashes they would come and carry me away and I would be their eucharist. And that would be my life. And I would be happy.

You can learn more about The Passenger and Stella Maris from the reviews I posted on here.

Anyway, some time ago I programmed in Python a system to talk with characters controlled by large language models. If you’ve been reading my site, you already know this. Weeks ago I implemented an interview system that vastly improved the idiosyncrasies of the characters’ speech, although it demanded carefully curating the interview. Well, Stella Maris is already an interview. This morning at work, I pretended I had nothing better to do and curated the most relevant parts into a 14,000 words-long interview file that my app would inject into the context to produce Alicia Western’s speech. I then created the Wisconsin region and the Stella Maris sanatorium, as well as a psychotherapist character that I could embody, and sat down to have a chat with Alicia Western.

Well, let me warn you that even though I used the best AI speech writer so far, Claude 3.5 Sonnet, this experiment made me realize the limits of our current LLMs. A bit disheartening, but fun.

Here’s how I imagine Alicia looking, and then I’ll move on immediately to that convo.


Dr. Marcus Hall enters the therapist’s office to find his new patient, Alicia Western, seated on one sofa, waiting for him to arrive. He first notices her straight, strawberry-blonde hair, as well as her slender, almost anorexic figure. When Marcus sits opposite her and holds her gaze, the piercing sorrow in her stormy eyes makes him shiver. He clears his throat.

“Nice to meet you, Alicia. I’m your newly appointed therapist, as part of your treatment now that we’re… well, trying to get you to feel better.”

Alicia Western sits with her legs crossed, her thin frame seeming to sink into the sofa. Her gray eyes fix on the new therapist with an unsettling intensity, though her face remains expressionless.

“Feel better? That’s quite the euphemism. I suppose we could start with the fact that I walked into the woods to die and someone decided to interfere with that process. Now I’m on suicide watch, which sounds more dramatic than it is. Really it’s just nurses checking to make sure I haven’t managed to fashion a noose out of my bedsheets. But I should warn you – I’m not interested in discussing treatment options or medication. I know how this works. You’ll sit there with your notepad, trying to make sense of the nonsensical girl who’s in love with her comatose brother. Save us both some time and just accept that some things can’t be fixed.”

Marcus crosses his legs as he takes out his notebook.

“I spoke with your former therapist. He was… distraught about the fact that despite the progress you two were making, those conversations he deeply appreciated, he couldn’t… steer you away from suicide. What are the things you believe can’t be fixed, Alicia, those that drove you to walk into the woods in winter to die?”

Alicia Western’s fingers trace abstract patterns on the arm of the sofa as she stares past Dr. Hall, her gaze fixed on some distant point beyond the office walls.

“What drove me to the woods? Mathematics teaches us that some equations have no solution. Some problems cannot be solved. I walked into those woods because I finally understood that my life had become one of those unsolvable equations. My brother lies in a hospital bed in Italy, neither alive nor dead, like Schrödinger’s cat in its box. The doctors there wanted me to collapse that wave function, to make a decision that would define both our fates. But I couldn’t. I still can’t. The thing about loving someone the way I love Bobby – it’s not something that can be steered away from. It’s as fundamental as the axioms of geometry. You can’t argue with it, you can’t reason with it, you can’t medicate it away. The former therapist you mentioned – he thought he could help me find a different path. But there is no different path. There’s only this one, leading either to Bobby or to oblivion.”

Marcus gulps.

“Nobody can fault your determination. I can’t help but admire it. But nobody who has met you wants you to die, and I’m afraid we’ll do whatever we can to prevent that… even against your will. Do you truly wish to leave this world without having the absolute certainty that your brother, Bobby, is gone?”

Alicia Western lets out a soft, bitter laugh as she runs her fingers through her strawberry-blonde hair, her gray eyes taking on an almost metallic sheen in the afternoon light filtering through the window.

“Certainty? That’s an interesting word choice, Doctor. In mathematics, certainty comes from proof. In life, it’s far more elusive. The doctors in Italy were certain Bobby was gone, but their certainty was based on probability, statistics, electrical signals in a brain they barely understand. I’ve spent my life in pursuit of absolute truths, and I can tell you – death is the only real certainty we have. Everything else is just varying degrees of doubt. You say nobody wants me to die, but what you really mean is that my death would make you uncomfortable. It would challenge your professional certainty, your belief that every broken thing can be fixed. But some equations have no solution. Some integrals diverge to infinity. Some loves consume everything in their path, including reason, including hope. The fact that you’re determined to keep me alive doesn’t mean you can make that life worth living.”

“Let’s imagine that Bobby, against all odds, wakes up from the coma, searches for you, and finds out that some time earlier, you walked out of the back of the Stella Maris sanatorium into the wintry woods of Wisconsin, and let yourself die. That your remains were… carried away by wildlife. Do you truly think there is a zero percent chance of Bobby waking up?”

Alicia Western tilts her head slightly, her gray eyes taking on a distant, mathematical cast as she considers the probability being presented to her.

“Zero percent? No, Doctor. I’m a mathematician – or I was. I deal in certainties and impossibilities, and very little falls into either category. But you’re asking the wrong question. The probability of Bobby waking up isn’t what matters. What matters is the certainty of what I am right now – a walking paradox, a creature whose existence is predicated on an impossibility. I love my brother in a way that the world says cannot exist, should not exist. Yet it does exist, with all the immutable force of a mathematical proof. And now that same brother exists in a state of quantum uncertainty, neither alive nor dead, while I’m trapped here in this classical world where everything must be one thing or another. Do you know what it’s like to hold two mutually exclusive truths in your head at once? To know with absolute certainty that you cannot live without someone, and to know with equal certainty that they are already gone? That’s not a zero percent probability. That’s an undefined state. That’s dividing by zero.”

Marcus shifts his weight on his sofa. After he takes a couple of notes, he lifts his gaze back to Alicia.

“You can’t contemplate a life in which your brother no longer exists; I’m sure you feel it’s no longer worth living. You walked into the woods hoping to die, knowing that it would be your last night on Earth. How do you feel now?”

Alicia’s gray eyes are distant and unfocused.

“How do I feel now? Like a failed theorem. Like an error in the proof that nobody can find. The nurses who found me in the woods – they thought they were saving my life, but all they did was preserve a logical contradiction. Every morning I wake up and remember that Bobby is in that hospital bed in Italy, and my brain performs the same impossible calculation: how to exist in a world where the foundation of your existence is gone. You’re asking me to contemplate feelings, Doctor, but feelings aren’t the issue. The issue is that I’m a walking paradox. A being whose core axiom – my love for Bobby – has been invalidated, and yet I continue to exist. In mathematics, when you reach a contradiction, you have to go back, find the flaw in your reasoning. But I can’t go back. I can’t unlove him. I can’t unfeel what I feel. So I remain, caught between what is and what cannot be, like some quantum particle that refuses to collapse into a definite state.”

“You’re barricading your grief with your mindset as a former mathematician. It’s your pain I hope to get at, to lance it and let the pus pour out. Do you truly, Alicia, want to venture into the dark while leaving your brother Bobby behind?”

Alicia Western leans forward slightly, her gray eyes taking on an almost translucent quality in the winter light.

“Venture into the dark? Doctor, you’re still thinking in terms of emotional metaphors. This isn’t about grief or pain or letting anything ‘pour out.’ It’s about mathematical necessity. Let me explain it to you in terms you might understand: When Bobby crashed, it created a paradox. I exist as a function of my love for him – that’s not poetry, that’s a fundamental axiom of my being. But now he exists in an undefined state, neither alive nor dead, and I’m left as an expression that references a null value. In mathematics, when you encounter such a paradox, the entire system becomes inconsistent. Every proposition becomes simultaneously true and false. My continued existence is like trying to divide by zero – it simply cannot be. The nurses who found me in the woods thought they were preserving a life, but what they really did was perpetuate a logical impossibility. And the thing about logical impossibilities, Doctor, is that they must resolve themselves one way or another. Nature abhors a paradox even more than it abhors a vacuum.”

“Did Nature itself compel you to walk in plain clothes into the woods at night, intending to die? You feel no sense of agency regarding your decision?”

Alicia’s gray eyes are fixed on some distant point beyond the window where snow continues to fall.

“Agency? That’s like asking if a number has agency in choosing whether it’s prime or composite. Nature compels everything, Doctor. The laws of mathematics, the laws of physics – they don’t ask for our consent. When a wave function collapses, it doesn’t choose its final state. When a theorem reaches a contradiction, it doesn’t decide to become invalid. It simply is invalid. My walking into those woods wasn’t a choice any more than water chooses to freeze at zero degrees Celsius. I had become a logical impossibility – a being whose fundamental axiom of existence, my love for Bobby, had been rendered undefined. Nature doesn’t permit such contradictions to persist. They must resolve themselves. The cold of the woods was simply the most elegant solution to the equation.”

Marcus scribbles hurriedly onto his notebook.

“Alicia, imagine that Bobby woke up in Italy, retaining his brain function. Weirder things have happened. He manages to find out you’re here, through some miracle given our current decade’s technology, and calls you on the phone. What would you say?”

Alicia Western closes her eyes for a moment. When she opens them again, they have the cold clarity of winter ice.

“Say to him? You’re still trying to frame this in terms of human communication, Doctor. What would I say to a quantum superposition suddenly collapsed into consciousness? To an undefined variable that spontaneously acquired a value? The phone would ring, and his voice would be there, and the entire logical structure of my current existence would implode. It would be like dividing by zero and getting a real number – a mathematical impossibility that breaks every rule we know. And yet… and yet I know exactly what would happen. I would answer the phone, and I would tell him that I love him. That I’ve always loved him. That I tried to follow him into the dark because a world without him is a theorem without proof – elegant perhaps, but fundamentally meaningless. And then I would hang up and walk back into these woods, because even hearing his voice wouldn’t change the fundamental paradox of my existence. You can’t build a valid mathematical system on a contradiction, Doctor. No matter how beautiful the contradiction might be.”

Marcus lets out a gasp of shock.

“There no way in hell that if Bobby were alive, if he simply had to travel over here to bring you into his arms, you would try to kill yourself again.”

“You still don’t understand, Doctor. This isn’t about Bobby being alive or dead – it’s about the fundamental paradox of my existence. My love for him isn’t just an emotion, it’s the core axiom of my being. It’s like the parallel postulate in geometry – you can’t prove it, you can’t derive it, it simply is. And what I am is a creature whose foundational truth violates the laws of nature itself. Even if Bobby woke up tomorrow, even if he came here and held me in his arms, it wouldn’t change the fact that I am a walking contradiction. I love my brother in a way that cannot exist, should not exist, yet does exist. The universe doesn’t permit such paradoxes to persist. They must resolve themselves, like a quantum waveform collapsing into a definite state. Death isn’t an escape – it’s a mathematical necessity. The cold of these woods isn’t trying to kill me, Doctor. It’s trying to resolve an equation that has no solution in the real numbers.”

“Nature isn’t trying to remove you. The cold doesn’t try to resolve equations. You’re shielding yourself from the emotional truths of your life: the fact that your brother Bobby remains in an uncertain state, still in a coma, and that you can’t handle that grief. Math is incapable of solving this.”

Alicia Western’s movements become increasingly agitated as she speaks.

“You keep trying to reduce this to psychology, to simple human grief. But grief follows rules, Doctor. It has stages, patterns, resolutions. What I’m experiencing isn’t grief – it’s a fundamental violation of the axioms of existence. When Bobby crashed, he didn’t just enter a coma. He created a state of quantum indeterminacy that has rendered the entire framework of my existence invalid. You speak of emotional truths? Here’s the truth: I am a living paradox. My love for Bobby isn’t just emotion – it’s the foundational axiom upon which my entire being is constructed. And yes, it’s forbidden, impossible, wrong by every human measure. But it’s also true. Irrefutably, mathematically true. And now that Bobby exists in this undefined state, I’ve become like Schrödinger’s mathematician – simultaneously alive and dead, sane and mad, sister and lover. The cold of these woods isn’t trying to kill me, Doctor. It’s trying to collapse my wave function into a definite state. Because that’s what nature does with paradoxes – it resolves them. Whether we want it to or not.”

Marcus springs up from his sofa, tosses his notebook aside, then points accusingly at his patient.

“You said that if Bobby regained consciousness and called to tell you that he was coming, you would still walk into the woods to your death! That isn’t you! You’re either lying, or an impostor!”

Alicia Western rises from her sofa in one fluid motion, her gray eyes flashing with a cold intensity as she faces Dr. Hall.

“An impostor? No, Doctor. I’m the only real thing in this room. You’re the one trying to impose your limited understanding of human psychology onto something that transcends it. Let me be clearer: If Bobby called right now, alive and well, I would answer. I would tell him I love him. And then I would still walk into those woods because my existence has become a mathematical impossibility that must resolve itself. You see, Bobby and I are like quantum-entangled particles. Our wave functions collapsed together the moment I realized I loved him. Now he exists in superposition – neither alive nor dead – and I’ve become a walking paradox, a theorem that proves its own impossibility. The universe doesn’t tolerate such contradictions. It’s not about wanting to die, Doctor. It’s about the inevitable resolution of an equation that cannot exist in real space. You can call me a liar if you want, but mathematics doesn’t lie. It simply is.”

Marcus’s accusatory finger trembles furiously.

“You can’t reduce incestual love to quantum mechanics!”

Alicia lowers herself back into her sofa with deliberate slowness.

“You’re right, Doctor. I can’t reduce incestual love to quantum mechanics. Just as I can’t reduce the concept of zero to a mere absence, or infinity to an endless counting sequence. These are just metaphors, attempts to capture something that exists beyond ordinary human comprehension. What I feel for Bobby isn’t quantum entanglement – that was just the closest mathematical approximation I could offer to someone who speaks in the language of psychology rather than pure mathematics. The truth is far simpler and far more terrible: I am an axiom that contradicts itself. A living proof of the impossible. And nature – call it what you will, God or physics or mathematical necessity – has only one way of dealing with such contradictions. You can shake your finger at me all you want, Doctor, but you can’t deny the elegance of the solution. The cold. The woods. The final collapse of an impossible equation into null space.”

Marcus rubs his brow slowly, his expression darkened.

“I’m getting the feeling that you did die in those woods, that the wildlife scattered and devoured your remains, and that in fact aliens made a clone out of you, turning Alicia Western into this arrogant young lady who can’t face the immensity of her feelings without resorting to mathematics!”

Alicia lets out a soft, almost musical laugh.

“Aliens? Now who’s retreating into fantasy, Doctor? Though I suppose I can appreciate the metaphor – the idea that only something utterly alien could comprehend the mathematics of impossible love. But no, I’m quite real. The same Alicia who solved partial differential equations at age twelve, who saw colors in musical notes, who loved her brother with a purity that transcends your clinical categorizations. The cold didn’t kill me that night, true. But neither did it save me. I simply continue to exist as an unsolvable equation. Like the square root of negative one – necessary for certain calculations, but fundamentally imaginary. At least the aliens in your scenario would have some explanation for what I am. All I have is the cold certainty that I love Bobby in a way that breaks every rule of human existence, and yet that love is the only thing that makes me real.”

Marcus shakes his head violently, spraying saliva around. He then shoots a fierce look at Alicia.

“Your love for Bobby is perfectly fine! Who cares if you’re siblings? A little incest never hurt nobody. Is that the impossibility at the core of your being, which makes you believe you should absolutely erase yourself from this fucking universe?”

Alicia Western tilts her head slightly, a faint smile playing at the corners of her mouth.

“Fine? You think my love for Bobby is fine? Oh, Doctor, your attempt at radical acceptance would be almost touching if it weren’t so desperately naive. You’re trying to normalize the unnormalizable, to make the impossible possible through sheer force of therapeutic will. This isn’t about social taboos or moral judgments. I don’t need your permission to love my brother. What I need is for you to understand that loving him the way I do creates a mathematical singularity in the fabric of existence itself. It’s like dividing by zero – the operation isn’t wrong or right, it’s undefined. My love for Bobby isn’t impossible because it’s forbidden; it’s forbidden because it’s impossible. And yet here I am, living proof of an undefined operation. That’s why the universe keeps trying to erase me. Not because I’m bad or wrong or sick, but because I’m a walking contradiction in terms. The cold doesn’t care about incest, Doctor. It cares about maintaining the coherence of reality itself.”

Marcus crouches. He sinks his nails into his scalp as his arms tremble.

“Your incestual love creates a mathematical singularity in the fabric of existence itself?!” Marcus straightens up, his eyes bloodshot. “If Bobby woke up from his coma, flew down here like Superman, then stripped his clothes, displaying his brotherly dick, and said, ‘Alicia, goddamn it, I’m gonna fuck you right now like I should have back when you were fourteen and you kissed me by surprise in front of that honky-tonk bar.’ Are you telling me that the physical coupling…” Dr. Marcus Hall makes obscene gestures with his fingers, “would be a mathematical impossibility?!”

Alicia Western leans back in her sofa with mathematical precision, her hands folded in her lap.

“Your crude gestures and vulgar scenarios only demonstrate how fundamentally you misunderstand the nature of impossibility, Doctor. What you’re describing is merely forbidden – a social taboo, a moral transgression. But that’s just human convention. What I’m talking about exists at a deeper level of reality. Imagine a triangle whose internal angles sum to more than 180 degrees. You can draw it on paper, you can describe it in words, you can even pretend it’s ‘fine’ – but it cannot exist in Euclidean space. That’s my love for Bobby. It’s not that society forbids it; it’s that reality itself cannot contain it. The physical act you’re so eagerly pantomiming? That’s just geometry. What I feel is topology – a love that twists the very fabric of being into shapes that cannot exist in three-dimensional space. The cold knows this. The universe knows this. Only you, Doctor, seem determined to reduce an ontological impossibility to mere forbidden sex.”

“So you’re saying that your incestual love for your Bobby is confined to non-Euclidean space, so fulfilling it would be impossible? If you were lying naked in bed, your pale legs spread, Bobby over you with his cock out, if he tried to stick it in, his cock would pierce instead through the veil between dimensions, to peek into an eldritch realm?”

Alicia traces a Möbius strip in the air with her finger, her expression one of distant amusement as she regards the unraveling doctor.

“Your descent into pornographic vulgarity is fascinating, Doctor. You’ve abandoned all pretense of therapeutic discourse to wallow in the most base interpretations possible. But even in your crude metaphor, you’ve stumbled onto something true – though not in the way you imagine. Bobby’s love isn’t some otherworldly tentacle seeking forbidden flesh. The impossibility lies in the fact that when I look at him, I see myself. Not as sister and brother, but as a single mathematical entity split by some cosmic error into two incomplete parts. The universe keeps trying to correct this error – through taboo, through accident, through coma, through cold. What you’re really asking is: what happens when an equation tries to solve itself? What happens when a paradox attempts to cancel out its own contradiction? I don’t need your eldritch realms, Doctor. The truth is far more terrible – I am already there, in that impossible space where love and mathematics intersect, where sister and brother become a single undefined operation. And no amount of vulgar gesturing can reduce that to mere penetration.”

Dr. Marcus Hall, sweating profusely, sits down heavily.

“I see… You feel that Bobby’s crash, and his subsequent coma, was the universe telling you, ‘Fuck off, Alicia: there’s no way I’ll let you marry your brother.’ In your mathematics-addled brain, you’ve transformed a simple crash into fate.”

Alicia’s expression shifts from weariness to cold precision.

“Fate implies agency, Doctor. The universe has none – it simply follows its own mathematical necessities. Bobby’s crash wasn’t a message or a punishment. It was the inevitable resolution of an unstable system seeking equilibrium. Like a wave function collapsing under observation. Our love created a mathematical instability in the fabric of reality itself – not because it was wrong, but because it was complete. Perfect. And perfection cannot exist in an imperfect universe. The crash was just physics asserting itself. Cold equations balancing themselves. I tried to follow Bobby into that null space, into that perfect void where impossible love might finally find its proper domain. But even the cold rejected me. So here I sit, still conscious, still calculating, still loving my brother with a precision that reality itself cannot tolerate. And you think this is about fate? About messages? Doctor, you understand neither mathematics nor love.”

Marcus groans through gritted teeth, then pounds with his fist against the armrest of his sofa.

“I do know about love, and a few things about mathematics! And I know that if you truly loved your brother, you wouldn’t give a single fucking fuck if the universe itself were trying to correct this ‘equation.’ Damn it, you really fucking told me that if Bobby regained consciousness, you would still kill yourself! You lying bitch!”

Alicia Western’s face hardens as she fixes her gaze on Marcus.

“A lying bitch? How disappointing, Doctor. You’ve abandoned all pretense of professional distance to wallow in crude emotional appeals and vulgar accusations. You say you know about love? Then you should understand that love, like mathematics, exists independent of our desires or wishes. The universe isn’t trying to ‘correct’ anything – it simply is what it is, a set of cold equations that must balance. Bobby’s accident wasn’t punishment or fate – it was mathematical necessity. Like absolute zero or the speed of light, there are limits built into the fabric of reality itself. My attempt to die in the cold wasn’t an act of despair – it was an attempt to solve for x in an equation that has no solution in real numbers. And yes, if Bobby woke up tomorrow, I would still seek that solution. Because his consciousness or unconsciousness doesn’t change the fundamental impossibility of our love. You can curse and rage against mathematics all you want, Doctor, but two parallel lines will never meet, and I will never stop loving my brother in a way that reality itself cannot accommodate.”

Marcus sinks his nails into his face as his legs flail wildly. Thick tears jump from his eyes.

“Noooo! I will rage about your absurd conclusion to the last of my energies! I shan’t believe that if Bobby were here and grabbed you by the collar and told you, ‘Kiss me now, you incestual slut,’ you would turn your back on him and walk to your death! There’s no universe in which that could possibly be computed!”

Alicia regards Dr. Marcus with the detached interest of a mathematician observing a system descending into chaos, her posture remaining perfectly still as his emotional outburst continues.

“Your tears are quite telling, Doctor. They demonstrate how fundamentally you misunderstand the nature of mathematical truth. If Bobby woke up tomorrow and demanded what you suggest, it wouldn’t change the underlying reality – just as your belief that the earth is flat wouldn’t alter its curvature. What you’re proposing is equivalent to asking whether I’d accept that two plus two equals five if Bobby insisted upon it. My love for him exists in a domain where physical consummation is as meaningless as trying to divide by zero. The universe doesn’t care about what we want – it cares about what is possible within its own cold framework. When I tried to die in the snow, I wasn’t running from Bobby or from love – I was attempting to solve an equation in the only space where it might have a solution: the void. Your crude scenarios about kisses and slurs miss the point entirely. The impossibility isn’t in the act – it’s in the very nature of our being. We are like two points that define a line that cannot exist in any known geometry. And no amount of emotional pleading will change that fundamental truth.”

Marcus lowers his head, and falls silent. About ten seconds later, he stands up, turns toward his bookshelf, and shatters the frame of a picture with a manly punch. Shards of glass cling to his bloodied knuckles.

“In all my years as a therapist, I’ve never had to face such brutal, shameless lying. I was told by your former doctor that Alicia Western was a deeply complex woman whose depths of feeling, whose existential sorrow, broke his heart and made him lose sleep and also consider cheating on his wife. Instead, I find… this! Someone who shields herself with some mathematical nonsense while denying the undeniable fact that if Bobby were to launch back into consciousness like a fucking rocketed Lazarus, you would drop your clothes and ask him to fuck you right then and there!”

Alicia Western watches the blood drip from Dr. Marcus’ knuckles.

“You’ve managed to perfectly demonstrate the futility of rage against mathematical truth. The glass breaks, your hand bleeds, and still two parallel lines never meet. As for your former colleague’s romantic notions about my depths of feeling – he was as wrong as you are, just in a more poetic way. The truth isn’t complex at all. It’s brutally simple. Like absolute zero or the speed of light, there are some limits that cannot be transgressed. My love for Bobby exists in that same domain of mathematical impossibility. Your pornographic fantasies about my dropping clothes or fucking are as meaningless as trying to divide infinity by zero. The result isn’t dramatic or beautiful or heartbreaking – it’s simply undefined. Your bleeding hand hasn’t changed that. Your tears haven’t changed that. And Bobby waking up wouldn’t change that. The universe runs on mathematics, Doctor, not desire. And some equations simply have no solution in the real domain.”

Marcus wails, then sinks to his knees. He paws at Alicia’s shirt while tears and snot run down his face.

“The universe doesn’t run on mathematics, Alicia Western; it runs on love! Mathematics only provides the trellis where love can grow! If you don’t understand that, you’re even more of an arrogant, aloof cunt than I already thought!”

Alicia Western remains perfectly still in the sofa, watching Dr. Marcus’s display of emotion with the dispassionate gaze of a mathematician observing a proof collapse under its own contradictions.

“You call me a cunt while pawing at my clothes and weeping. How peculiarly male. Your violence, your tears, your vulgar language – they’re all just variables in an equation that keeps producing the same result. Love isn’t a trellis, Doctor. It’s a function. And some functions map to spaces that exist beyond the realm of physical possibility. I’ve tried to explain this to you with the precision that truth demands, but you insist on reducing it to the crude mechanics of flesh. You think I’m lying? I’m stating a theorem that’s been proven since I was twelve years old. The fact that you can’t comprehend it doesn’t make it any less true. Your bloody hand, your tears, your snot – they’re all just noise in a signal that’s been pure and unchanging since the day I first understood that Bobby and I were like two points defining a line that cannot exist in Euclidean space. Maybe you should clean yourself up, Doctor. You’re making rather a mess of your professional demeanor.”

Marcus throws himself onto the floor, then rolls around as he kicks at the air.

“You told the other therapist that you’ve been in love with your brother Bobby for as long as you have memories! You have restrained yourself from attempting suicide until your twenties, which means that until this point, you believed that your delightful, incestual love for your brother could be fulfilled, that you could truly marry him and get him to impregnate you! You must have fantasized about that Ouroboros of DNA flourishing in your womb! The switch in your mindset only happened after the suicide attempt, so either passing out in the cold gave you brain damage, or you’re a lying bitch!”

“Your tantrum reminds me of a theorem I once encountered about chaos theory – how systems break down into predictable patterns of disorder. You’re wrong about the timing, Doctor. My understanding of the impossibility was always there, encrypted in the mathematics of existence itself. What changed wasn’t my belief in the possibility of loving Bobby – it was my understanding that even impossible loves can be mathematically true while remaining physically unrealizable. Like imaginary numbers, they exist in a domain beyond physical manifestation. Your crude accusations of lying miss the point entirely. I didn’t need brain damage to understand what I’ve always known – that Bobby and I are like two vectors in different dimensional spaces. The fact that they can never intersect doesn’t make their existence any less real. Your rolling on the floor like a child won’t change the fundamentals of geometric impossibility anymore than your bloody hand changed the breaking point of glass.”

Dr. Marcus Hall gets up slowly from the floor. He stands straight, his fists clenched, his face a blank mask as snot runs down his lips. He then glares at his patient.

“Very well, Alicia Western: I shall fly to Italy myself and punch your brother back to life. I’ll have you prove that little theorem of yours: whether you truly would choose death over losing yourself in an incestual relationship with your blood brother. I guess we’ll see whose viewpoint truly crumbles.”

Alicia Western remains seated, her posture perfectly still.

“Your threat to ‘punch Bobby back to life’ demonstrates a rather peculiar understanding of neurological function, Doctor. But more importantly, it shows how desperately you’re trying to force reality to conform to your preferred axioms. The universe doesn’t work that way. Your fists can’t alter the fundamental properties of consciousness any more than they can change the value of pi. As for proving theorems – I’ve already proven mine. I tried to die in the snow precisely because I understood the impossibility of the equation. The fact that I failed doesn’t invalidate the proof – it merely demonstrates that even death operates within certain mathematical constraints. But please, by all means, fly to Italy. Perhaps while you’re there, you might learn something about the difference between what we desire and what is possible within the cold framework of existence. Though I doubt it. You seem rather committed to your emotional proofs, despite their persistent failure to converge on any meaningful truth.”

Marcus shakes his wounded hand, spattering Alicia’s face with blood.

“You can bet your sweet ass I’ll fly down to Italy and knock some consciousness back into your brother.” He clenches his bloody fist. “My record of curing patients through punch therapy stands at 14-to-2. I’ll uppercut that coma down for the count. As for you, Alicia…” Marcus unbuckles his belt, pulls down his pants and boxers, and points at his hairy therapist dick. “How does your appointed therapist suddenly showing you his dick fit into that framework of unbeatable mathematics?!”

Alicia Western stares at Dr. Marcus’s exposed genitalia with the same clinical detachment she might show toward a particularly mundane mathematical proof, her posture remaining perfectly still, her face expressionless.

“How fascinating that you believe exposing yourself somehow invalidates the mathematical framework of existence. It’s rather like claiming that dropping your pants disproves Gödel’s incompleteness theorem. Your genitalia, Doctor, like your bleeding hand and your threats about Bobby, are simply variables in an equation that remains stubbornly unsolvable. The fact that you’ve reduced yourself to this display only proves my point about the fundamental impossibility of forcing reality to conform to emotional demands. Your dick, as you so eloquently put it, exists in Euclidean space. My love for Bobby exists in a domain that your crude physical demonstrations can never reach. Perhaps you should pull up your pants before you further demonstrate the limitations of your understanding. Though I suppose if you prefer to continue standing there exposed, it provides rather compelling evidence for my theorem about the relationship between intelligence and the capacity for self-harm.”


As you just witnessed, I failed to resurrect Alicia Western. I am sad.

Here’s the podcast the Deep Dive guys made about this blog post. A must listen.

They make a couple of mistakes at usual, but the most fascinating point for me was something that I didn’t know: they mention that Alicia chose to kill herself on the same date I posted this entry, so December 26. I looked it up and it’s actually incorrect, but even more eerie: she chose to kill herself on December 24, which is when I dreamed about her. I don’t know what the fuck that means.

Albums that marked me, Pt. 3

As a solitary dude, all my life I have relied on music to connect with the world at large, to feel that my feelings weren’t that unique or detached from the rest of humanity. Over the years, I’ve returned to certain albums that have spoken to me in ways that can’t be fully put into words. I love discovering new albums, and perhaps that’s also the case for whoever is reading these words, so I’ll spend some of my limited time on Earth sharing some specifics about the albums that have marked me, and that in many ways changed me.

Today’s album is Teens of Denial by Car Seat Headrest, released in 2016. When I first listened to this album back in the day, I was drawn to its scruffy, lo-fi rock, combined with songwriter Will Toledo’s self-deprecating, often profound and in general compelling lyrics. The album was a fitting companion whenever I felt l like I was stumbling through life generally unfulfilled, though thankfully not sinking in the depths of one of my cycles of depression. Given how often I feel like that, I’ve ended up returning to this album repeatedly over the years. It now feels like a classic.

“Fill In the Blanks”

Fantastic opener. The very first voice you hear in the album is that of a girl, maybe a fan, maybe a friend of Toledo’s, who can barely remember the name of the band. That immediately sets the tone for the rest of the album. In the song, Will opens up about his experiences with depression: the shame, the self-hate, the way other people sometimes try to help but you end up driving them away. These lyrics contain a couple of lines that I suspect all people who have dealt with clinical depression could relate to, when they compare themselves with those who haven’t been tainted by that darkness: “And I will never see the light / That I’ve seen shining in your eyes.”

I’m so sick of, fill in the blank
Accomplish more, accomplish nothing
If I were split in two I would just take my fists
So I can beat up the rest of me

You have no right to be depressed
You haven’t tried hard enough to like it
Haven’t seen enough of this world yet
But it hurts, it hurts, it hurts, it hurts
Well stop your whining, try again
No one wants to cause you pain
They’re just trying to let some air in
But you hold your breath, you hold your breath, you hold it
Hold my breath, I hold my breath, I hold it

I’ve known for a long time
I’m not getting what I want out of people
It took me a long time
To figure out I don’t know what I want
So you’ll ask “Why?” and there will be no answer
Then you’ll ask “For how long?” and there will be no answer
Then you’ll ask “What can I do?” and there’ll be no answer
And eventually you will shut up

I’ve got a right to be depressed
I’ve given every inch I had to fight it
I have seen too much of this world, yes
And it hurts, it hurts, it hurts, it hurts
And I will never see the light (so stop your whining try again)
That I’ve seen shining in your eyes (no one wants to cause you pain)
You just want to see me naked (they’re just trying to let some air in, but you)
So I’ll hold my breath, I hold my breath, I hold it
Hold my breath, I hold my breath, I hold my breath, I hold my breath
I hold my breath, I hold my breath, I hold my breath

“Destroyed by Hippie Powers”

This one’s about Toledo getting so high that he questions what he’s done to his life. I don’t have much to say about the song except that I like it a lot.

What happened to that chubby little kid who smiled so much and loved the Beach Boys?
What happened is I killed that fucker and I took his name, and I got new glasses

“Unforgiving Girl (She’s Not an)”

I’m not sure what Toledo meant to convey with this song, but ultimately I care what music makes me feel. When I listen to this one, it conjures images of being able to rely on a special connection, someone who has seen you at your worst, who understands how fucked up the world is, but who still manages to improve your day the few times you reconnect with her. I love how the song devolves into raw cries that perfectly summarize the impresion this song elicits for me: “It’s an unforgiving world / But she’s not an unforgiving girl.”

What a glorious hell we have found
Until I recognize the sound
Of my voice again
For years I hadn’t had a clue
But suddenly I can look through
Your eyes again

This isn’t sex, I don’t think, it’s just extreme empathy
She’s not my ex, we never met, but do you still think of me?
They say that the world is one, but if the world is one
How come you never come around anymore?
(I guess it’s not that simple)

Well, everyone learns to live with their sins
But girl you wear yours like a brand new skin

Well, everyone learns to live with themselves
And you’re not the only one who’s been through hell
So give me a sign that I’m not making love to myself

“The Ballad of the Costa Concordia”

This one makes me think about my shortcomings, about aging, about how the strength and vitality has been sapped out of me little by little, about how I’ve managed to fuck most things up some way or another. In such moods, you think about the whys. What if my parents had known what the fuck they were doing? What if I had been someone else entirely? Ultimately you are forced to handle the cards you’ve been dealt, at least those you haven’t lost along the way.

I used to like the mornings
I’d survived another night
I’d walk to breakfast through the garden
See the flowers stretching in the sunlight

Now I wake up in the mornings
And all the kindness is drained out of me
I spend hours just wincing
And trying to regain some sense of peace

If only I could sustain my anger
Feel it grow stronger and stronger
It sharpens to a point and sheds my skin
Shakes off the weight of my sins
And takes me to heaven

I stay up late every night
Out of some general protest
But with no one to tell you to come to bed
It’s not really a contest

And maybe you think
I’ll learn from my mistake
But not this time
It’s just gonna break me

And if I’ve lost you for good
Could there have been any other way?
Was the water filling up for years
Or did I wreck it all in a day?

I’m going to bed now
I’ve sunk into my sorrows
And it’ll take three hundred million dollars
To get me up tomorrow

I won’t go down with the ship
I will put my hands up and surrender
There will be no more flags above my door
I have lost, and I always will be

It was an expensive mistake
It was an expensive mistake
My horse broke his back to get me here
I have his blood on my hands for no reason
But what was I supposed to do?
How was I supposed to know how to use a tube amp?
How was I supposed to know how to drive a van?
How was I supposed to know how to ride a bike without hurting myself?
How was I supposed to know how to make dinner for myself?
How was I supposed to know how to hold a job?
How was I supposed to remember to grab my backpack after I set it down to play basketball?
And how was I supposed to know how to not get drunk every
Thursday, Friday, Saturday, and why not Sunday?
(How was I supposed to know how to steer this ship?)
How was I supposed to know how to steer this ship?
How the hell was I supposed to steer this ship?
It was an expensive mistake
You can’t say you’re sorry and it’s over
I was given a body that is falling apart
My house is falling apart
And I was given a mind that can’t control itself
(And what about the pain I’m in right now?)
And I was given a ship that can’t steer itself
(And what about a vacation?)
And what about a vacation to feel good?
My horse broke his back and left me here
How was I supposed to know?

Let us take you back to where we came in
We were united, an undivided nation
We got divided, it was something inside us
And it was not us

“Connect the Dots (The Saga of Frank Sinatra)”

This one’s about Toledo being told by most people in his life, particularly his parents, that his youthful dreams of making it as a rock star were silly, that nothing he dreamed of would happen. The song feels defiant and triumphant: you ignore the advice and opinions of those who can’t glimpse the target you aim for, and you forge ahead with manly obstination until you finally achieve the goal of all creatives: “We’re never gonna, never gonna get a job.”

Little boy says I’ll be in love with my fists
Little boy says I’ll be in love with my punches
Little boy says, “What should I do with my hands, mom?”
Little boy is told not to do anything wrong

When I die I’ll be taken to the constellations
Have a drink, relax, there’ll be some introductions
This is Cassiopeia, this is Orion
This is Cindy and this is Nathan
That’s Chrissy and the other Nathan

I know that it’s a lot to remember says mother
I know that it’s a lot to remember says father
I know that it’s a lot to remember says mother
I know that it’s a lot to remember says father

I speak these words in utter isolation
I drive the car in a line from star to stardom
Little boy says I’ll touch the heart of the nation
Little boy says I’ll punch the heart of everyone

I know that it’s a lot to remember says mother
I know that it’s a lot to remember says father
I know that it’s a lot to remember says mother
I know that it’s a lot to remember says someone

You won’t see who you want to see there
No one will want to be in your band
You’ll have to learn how to make it on your own
Spend a little time with your own hand

And we’re never gonna, never gonna get a job
And we’re never gonna, never gonna get a job
And we’re never gonna, never gonna get a job
And we’re never gonna, never gonna get a job

Review: Boys on the Run, by Kengo Hanazawa

Four-and-a-half stars. This is Hanazawa’s magnum opus.

When I read Hanazawa’s I Am a Hero quite a few years ago, I assumed it was his debut work. The first few chapters of that story were that kind of somewhat-inept awkward, as if coming from an author who hasn’t quite realized how to properly present his ideas. That changed as the very long series (about 260 chapters) progressed, so you forgive that kind of shit. Unless you didn’t get through those initial chapters, that is. But I’ve read so much manga that it seems I have run out of “serious” manga (no more Oyasumi Punpun out there), and I returned to Hanazawa to figure out if anything else of his was good. I read his actual debut, about an ugly bastard who falls in love with an AI in a virtual world (here’s the review for Ressentiment). I liked it a lot. The drawings were the most amateurish part, but the plot was tight and well-woven. The single other work between Ressentiment and I Am a Hero is a long-running series named Boys on the Run, produced in the second half of the 2000s. I loved it. To my surprise, Hanazawa most famous I Am a Hero is a significant step down from his best work.

This series I’m reviewing follows a young man in his twenties named Tanishi. He’s kind of a loser: his looks are average, he is a virgin, he lives with his parents, he works as a salesman for one of those companies that produce toys for vending machines (even though he’s a terrible salesman), and the girl he likes, who is a coworker of his, considers him a stalker (or at least badmouths him as one). This is mainly a character study, a bildungsroman of sorts: we are to witness how a boy who has been dealt bad cards in life tries to become a respectable man.

Most of Hanazawa’s main characters are fuck-ups, including Tanishi. While they share that with most of Minoru Furuya’s protagonists (Furuya being my overall favorite mangaka), ultimately Furuya’s are good guys who are screwed up. I can’t say the same thing for Hanazawa’s. This story’s protagonist considers other people’s luck or accomplishments something of a personal affront, he’s morally weak, and has very little self-control, leading him to break promises and/or fuck himself over in a way that made it hard for me to sympathize with him at times. There were several points in which I wanted to yell, “What the fuck are you doing? Stop, and get out of there!” He’s the “act first and think of the consequences later” type.

Do you know what a mid-way turning point is? Many books on writing consider it the most important piece of a story. That mid-way turning point is something like the main mast in a circus tent, ensuring the structure doesn’t collapse. It makes everything that happened before it a prequel to the true meat of the story, which will come afterwards. It sets a clear before-and-after deal, to the extent that the majority of the characters we grew familiar with in the first half no longer appear in the second. Such turning points tend to be spoilers. Some books on writing suggest that when trying to come up with a story, you shouldn’t start plotting properly until you have nailed down that turned point. I mention it because Boys on the Run has a perfect mid-way turning point that closes the curtain on most everything that came before. Without giving away spoilers, I’d say the first half of Boys on the Run is about winning over a girl (in truth, a sort of Japanese version of Taxi Driver), and the second is about boxing.

Anyway, let’s give a few concrete details about what one can expect from this tale. Tanishi is, as mentioned, working as a salesman for a struggling toy company. They are competing with a large toy company who is taking over most of the available spaces in restaurants and specialized stores for vending machines. So Tanishi is a loser working for losers. Tanishi is attracted to their toy designer, a cute girl and also the sole female worker. She’s nice to everyone. Most of the male coworkers, generally unused to interacting with women, treat her as their local princess.

Tanishi tries to get closer to her, but keeps fucking up. At one point he lent her his favorite porn video, of all things (I don’t recall the circumstances that made it seem okay), only to end up giving her a DVD of bestiality instead, one that belonged to the guy to whom he had lent the porn DVD. In retrospect, this whole porn video thing is likely a reference to Taxi Driver; there are far more overt references to that movie later.

In any case, Tanishi also becomes friendly with a rival salesman, an attractive young man who opened up to Tanishi about his troubles keeping up with the demands of his job. Tanishi and his love interest, along with this salesman and his girlfriend, hang out like friends, and things look like Tanishi is finally going to experience some normalcy.

Tanishi’s love interest, this toy designer, is, unfortunately, a two-faced bitch. One of the most infuriating characters I’ve come across in manga recently. I wanted to grab Tanishi and tell him that she’s bad news and that he should stay the fuck away from her, but a boy’s gotta learn from experience. Once you’re deep into the second half of the story, that whole deal with the first girl, whom Tanishi was very serious about, becomes like one of those regrets in the back of your mind, that you wish you could scrub out of your brain. I’m not sure to what extent this is a spoiler, as I knew she was rotten from very early on.

A character that comes out of nowhere in the first half of this story ended up becoming my favorite. She’s a pretty girl with bleached-blonde hair, always wearing a red Puma tracksuit, and who appeared twice to punch someone: first the protagonist, and later the Yakuza goon that was beating up the protagonist. She’s clearly a trained boxer. If I recall correctly, she didn’t even have speaking parts in that first half; she came out of nowhere like an angel of violence, exerted precise punishment, then left quietly. Great introduction to make her mysterious. In the second half of this story, centered around boxing, she becomes a main character.

Throughout this tale, our main man Tanishi gets beaten up over and over, literally or not. He tries hard to achieve things, only to get reminded by life that he’s not meant to win. Sure, sometimes it’s due to his own stupidity, although one could argue that nature made him that way. Tanishi lacks a good sense of what he’s capable of, so he keeps overreaching, and no matter how hard he tries, it’s very, very rarely enough.

This story features lots of great moments. Tanishi’s fight against a certain douchebag who happens to be a capoeira master is a memorable one, but Boys on the Run also features one of the wildest, most satisfying rescue sequences I’ve ever come across. Everything I could say about it is a spoiler, but if I had to give just one hint, it would be this: it prominently features explosive diarrhea.

My sole issue with Boys on the Run, which removed half a star from a perfect rating, is that at various points, Tanishi should be dead, or at least brain-dead. Not only he survives beatings that should have definitely killed him, but he survives them without major disfigurement and other permanent injuries, which is bullshit. At one point he had most of his scalp burned and a bulging hematoma that covered half of his forehead, with no lasting repercussions. Don’t set up severe stakes without paying them off properly; it diminishes the seriousness of the whole deal.

In short, fucking read Boys on the Run, will ya? If you enjoy manga, you’ll probably love this.

Albums that marked me, Pt. 2

As a solitary dude, all my life I have relied on music to connect with the world at large, to feel that my feelings weren’t that unique or detached from the rest of humanity. Over the years, I’ve returned to certain albums that have spoken to me in ways that can’t be fully put into words. I love discovering new albums, and perhaps that’s also the case for whoever is reading these words, so I’ll spend some of my limited time on Earth sharing some specifics about the albums that have marked me, and that in many ways changed me.

Today’s album is The Moon & Antarctica by Modest Mouse, released in 2000. It’s mostly a breakup album, possibly my favorite. Ages ago I read a review of this album that said something to the effect of, “every previous Modest Mouse album felt like Isaac Brock [the band’s singer-songwriter] was grasping at some truths in the static of an untuned radio station, but in The Moon & Antartica, the station came in clear all of a sudden.” Many of the songs in this album are perfectly attuned to what they’re trying to express, to the smallest piece of music. The result is a bunch of idiosyncratic songs that don’t sound like any other band I know of (I haven’t found “old Modest Mouse-like” anywhere).

This album has accompanied me through heartbreak, through loneliness, through derangement. Plenty of aspects of my self are reflected in these songs.

“3rd Planet”

This song ties together the relationship most of this album refers to, down to a pivotal moment when the future of the narrator’s life could have gone a very different path. It’s raw and mythical, with memorable imagery.

Everything that keeps me together is falling apart
I got this thing that I consider my only art
Of fucking people over

The third planet is sure that they’re being watched
By an eye in the sky that can’t be stopped
When you get to the promised land
You’re gonna shake the eye’s hand

Your heart felt good
It was drippin’ pitch and made of wood
And your hands and knees
Felt cold and wet on the grass beneath
Well, outside, naked, shivering, looking blue
From the cold sunlight that’s reflecting off the moon
And baby cum angels fly around you
Reminding you we used to be three and not just two
And that’s how the world began
And that’s how the world will end

Well, a third had just been made
And we were swimming in the water
Didn’t know then; was it a son, was it a daughter
And it occurred to me that the animals are swimming
Around in the water in the oceans in our bodies
And another had been found, another ocean on the planet
Given that our blood is just like the Atlantic, and how

Well the universe is shaped exactly like the earth
If you go straight long enough you’ll end up where you were

“Gravity Rides Everything”

This song depicts very well the moment in a romantic relationship when you know it’s dying, that she’s looking for the door, and you feel powerless to stop her from drifting away. The inevitability of it all feels like a weight on your feet.

Oh, gotta see, gotta know right now
What’s that riding on your everything
It isn’t anything at all
Oh, gotta see, gotta know right now
What’s that writing on your shelf
In the bathrooms and the bad motels
No one really cared for it at all
Not the gravity plan

Early, early in the morning
It pulls all on down my sore feet
I want to go back to sleep

In the motions and the things that you say
It all will fall, fall right into place
As fruit drops, flesh it sags
Everything will fall right into place
When we die some sink and some lay
But at least I don’t see you float away
And on split milk, sex and weight
It all will fall, fall right into place

“Dark Center of the Universe”

You used to love this person, who also loved you back, but now she has nothing but complaints about the same self that she used to like, and you have little else to offer back but bitterness.

I might disintegrate into the thin air if you’d like
I’m not the dark center of the universe like you thought

Well, it took a lot of work to be the ass that I am
And I’m really damn sure that anyone can
Equally, easily fuck you over
Well, God said something, but he didn’t mean it
Everyone’s life ends, but no one ever completes it
Dry or wet, ice never melts and you’re equally cheated

Well, an endless ocean landing on an endless desert
Well, it’s funny as hell, but no one laughs when they get there

“Perfect Disguise”

It’s done: the relationship is over, and now you’re lingering in the same town, having to watch this woman you used to love and who loved you back waltzing around town, shooting looks at you to figure out if you’re doing worse than her. And even though you don’t want to care anymore, you feel that something fundamental has broken in you.

Well, you’ve got the perfect disguise and you’re looking okay
From the bottom of the best of the worst, well, what can I say?

‘Cause you cocked your head to shoot me down
And I don’t give a damn about you or this town no more
No, ’cause I know the score

Need me to fall down so you can climb up
Some fool-ass ladder, well, good luck
I hope, I hope there’s something better up there

Broke my back
Broke my back
Broke my back

“Tiny Cities Made of Ashes”

A raw, angry, post-apocalyptic song. You’re done with the world, you’re sick of people, and you want to take it out on someone (possibly that woman, maybe not).

We’re goin’ down the road
Towards tiny cities made of ashes
I’m gonna hit you on the face
I’m gonna punch you in your glasses, oh no
I just got a message that said
“Yeah, Hell has frozen over”
I got a phone call from the Lord sayin’
“Hey, boy, get a sweater, right now”

So we’re drinkin’, drinkin’, drinkin’, drinkin’
Coca, Coca Cola
I can feel it rollin’ right on down
Oh, right on down my throat
And as we’re headed down the road
Towards tiny cities made of ashes
I’m gonna get dressed up in plastic
Gonna shake hands with the masses
Oh no!

Does anybody know a way that a body could get away?
Does anybody know a way?
Does anybody know a way that a body could get away?
Does anybody know a way?

“A Different City”

The narrator has moved away from the town that held too many memories. He’s holing up at some dingy apartment, wanting to isolate himself from everything. He feels that he’s losing it.

I wanna live in the city with no friends and family
I’m gonna look out the window of my color TV
I wanna remember to remember to forget you forgot me
I’m gonna look out the window of my color TV

Through the cracks in the wall, slow motion for all
Dripped out of the bars, someone smart said nothin’ at all
I’m watching TV, I guess that’s a solution
They gave me a receipt that said I didn’t buy nothin’
So rust is a fire and our blood oxidizes
My eyes roll around, all around on the carpet
Oh, hit the deck, it’s the decal man
Standin’ upside down and talkin’ out of his pants

“The Cold Part”

Fantastic auditory depiction of that state some people fall into at times: a mix of apathy, loneliness and resignation.

So long to this cold, cold part of the world
So long to this bone-bleached part of the world
So long to this cold, cold part of the world
So long to this salt-soaked part of the world

I stepped down as president of Antarctica
Can’t blame me, don’t blame me

“Alone Down There”

Althought I’m not sure about my interpretation, I always picture that this song is about reaching out to someone who hurt you, possibly even the ex this whole album is about, because that person is suffering. You can’t really help them; you’re sitting at the bottom of a well yourself, but you know how bad it gets. Still, you realize that reaching out to such a person is a terrible idea.

How do, how do you do?
My name is You
Flies, they all gather ’round me and you too
You can’t see anything well
You ask me what size it is, not what I sell
Ha-ha-ha, ha-ha-ha

Well, I don’t want you to be alone down there
To be alone down there, to be alone
Yeah, I don’t want you to be alone down there
To be alone down there, to be alone
But the devil’s apprentice, he gave me some credit
He fed me a line and I’ll probably regret it
I don’t want you to be alone down there
To be alone down there, to be alone

“Paper Thin Walls”

The narrator has settled down far away from the microcosm that caused him that pain. He’s beginning to take the rest of the world into account once again, but he isn’t the same person he used to be: he feels that he better take things lightly from now on, and stop sacrificing himself for the sake of others. Life in solitude is long and hard, but at least you won’t have to suffer further humiliation.

These walls are paper thin
And everyone hears every little sound
Everyone’s a voyeurist
They’re watching me watch them watch me right now
They’re shaking hands, they’re shaking in their shoes
Oh, Lord, don’t shake me down
Everyone wants two of them
And half of everyone else who’s around
It’s been agreed the whole world stinks
So no one’s taking showers anymore

Laugh hard, it’s a long ways to the bank
I can’t be blamed for nothing anymore
It’s been a long time since you’ve been around
Laugh hard, it’s a long ways to the bank

Tow the line to tax the time, you know
That you don’t owe
I can’t be a fool for everyone
That I don’t know

“What People Are Made Of”

I’m not that fond of this song, but it’s a great closer for the album as far as I’m concerned. The narrator is grasping at profound truths that he has gleaned from this ordeal. The experience has turned him into a different person, someone who will have a hard time connecting with those who haven’t gone through the same thing.

Ragweed tall, better hope that his ladder don’t crack
Or he’ll hit the ground low, hard and under his back
At the battle at the bottom of the ocean where the dead do rise
You need proof, I got proof at the surface
You can watch ’em float by

Way in back of the room, there sits a cage
Inside is the clock that you can win if you can guess its age
Which you never can do ’cause the time, it constantly changes
For lack or luck, I guess that is the saying

On the first page of the Book of Blue, it read
“If you read this page, then that’ll be your death”
By then it was too late, and you wound up on
An island of shells and bones that bodies had left

Brock offers the following lyrics as the closer of this uncompromising, raw ride:

And the one thing you taught me ’bout human beings was this:
They ain’t made of nothin’ but water and shit

Review: Ressentiment, by Kengo Hanazawa

Four stars.

This is the first manga that Kengo Hanazawa got published. Hanazawa is the author of the haunting I Am a Hero, the story of a possibly schizophrenic douche that learns to be less of a douche while the world dies in a zombie apocalypse (that even got made into a movie, although it is much worse and has a different tone than the manga). Regarding this story I’m reviewing, as soon as I read its summary, I knew I had to read it immediately.

The story follows an ugly, disgusting loser in his thirties who works a dead-end job and who would never find happiness in real life, in a major way due to circumstances beyond his control. Thankfully, his is a world where some company managed to become the in-story equivalent of Microsoft but centered around virtual reality and AI. He gets introduced to the world of virtual girls by a fellow ugly loser who had given up on reality. Our protagonist decides to say fuck you to the world and fall in love with the virtual girl of his dreams, that happens to look and act as a 12-13 year old. In that unreal world, despite the various setbacks, the protagonist manages to feel like there is a point to his life. It can become a dangerous drug.

I felt personally attacked. These past few months I’ve developed a system in Python that allows me to chat and have virtual sex with artificial intelligences, fulfilling whatever combination of fetishes or kinks I feel like at the moment, and I’m fully hoping that one day I’ll disappear into virtual reality while giving the middle finger to this rotten world. However, it’s not just cuteness and sex for our protagonist; the girl he chose happens to be the pinnacle of artificial intelligence, that its creator decided to hide for the sake of that AI as well as the world as a whole, and who has abilities that can bridge the gap between the virtual and the real.

The protagonist, as well as most of the main characters, are hard to like: not only are they physically hideous, but are also mentally and morally weak, prone to breaking promises and giving up to self-destructive impulses. But you get the clear sense that these characters would never find anything resembling happiness in the real world, and that the escape into virtual bodies and their designed AI girlfriends is the only way they have to keep their sanity and some sense that their lives matter.

Apart from the protagonist, we have four memorable characters: there’s Tsukiko/Moon, the advanced AI who has to learn like a person how to navigate the environments she finds herself in, while she gets manipulated by many people she comes across. There’s the protagonist’s friend, who introduces him to the virtual world; hideous in real life, his virtual persona is prince-like and noble, ultimately a solid guy. There’s the protagonist’s former classmate and co-worker, a woman in her thirties who hasn’t managed to make anything in particular of her life, and lives in perpetual disillusionment. There’s the bad guy and so-called Fuhrer of the Ninth Empire, a guild that intends to take over the virtual world. This fickle, mysterious guy has one of the best, most understated identity reveals I’ve ever come across in fiction; genuinely heartbreaking.

A very entertaining read with a much tighter plot than I would have expected. The art style is unlike his I Am a Hero, mostly humorous, and plenty of the characters’ expressions are hysterical. This is a great read for those of us who are more than a little fed up with the world.

Review: Castration: Rebirth, by Miyatsuki Arata

Four stars.

This manga starts with its protagonist being sentenced to death after having killed fifteen people. His childhood friend and love of his life was raped and murdered, so the protagonist took it upon himself to castrate and murder fifteen sexual offenders. I’m not sure if the rapist and murderer of his friend was among them.

Anyway, the protagonist gets hanged to death.

Turns out, this is an isekai, just an unusual one. The protagonist wakes up on a pile of corpses. In the sky, the sun is doing weird shit, looking like an out-of-control nuclear reactor. The first humans he sees are school girls, who proceed to freak out upon seen him, referring to him as a “beast.” One of them shoots arrows at him. After they realize that the protagonist is more or less sane, they agree to let him live by now. Shortly after, the girl who had shot arrows at our protagonist gets raped and devoured by a monstrous man.

We learn that in this alternate reality to which the protagonist got isekai-d, three months ago, a solar flare fucked up men’s DNA or something, turning them into mindless beasts solely preoccupied in what men want to do all the time but only flimsy self-restraint prevents them from doing so: rape, devour and murder women, sometimes simultaneously. All females that the protagonist comes across fear that the guy will do the same to them.

As if the reality that a flare had turned all men into rape-and-murder machines wasn’t enough, plenty of females in this story have complaints to offer about how they were exploited by men even before the world went to shit.

Other women see in the young protagonist a source of healthy semen, and therefore the chance for humanity to survive the apocalypse.

What follows is a mix of The Last of Us (the first game; as far as I’m concerned, the second game and TV series never existed), Attack on Titan, and most zombie stories. The protagonist and his companions come across different ways of trying to survive the post-apocalypse: family affairs; rigid, hierarchical structures; wild anarchy. Along the way, dozens or hundreds of people get raped, murdered, and eaten, sometimes not even by the mutated humans. This story is ballsy as hell when it comes to making even some main characters’ day quite terrible.

The manga touches upon interesting topics. Will the surviving societies be “equal” because only women are involved, or will they turn out to be new systems of exploitation? Does any sense of morality matter when at any point you can get raped and eaten by mutated men with enormous dongs? The protagonist is traumatized by the notion of sex, because his friend was raped and murdered, but isn’t his duty to provide semen to save the human race? In this case, would it be ethical to force him to do so?

I was surprised by how well the author handled the characters. They had distinct personalities and clear motivations, which often conflicted with one another’s. Some start out malicious only to end up sympathetic, or viceversa. Quite a few characters are memorable, including the protagonist, the childhood friend, a semen-obsessed teacher, a sociopathic teen, the anarchic biker girl who wanted to capture ten-year-old mutated boys for sex, etc.

In the end, this lovely tale dishes out what the title promised: rebirth (well, technically reincarnation) and castration. Lots of men lose their penises in creative ways. If any of this sounds like fun, you’ll probably enjoy this ride. I know I did.

AI podcast about Alma: a Successful Case Study

Back in 2021 I wrote this short story about a therapist and his troubled patient named Alma. Man, 2021 was one prolific year. Anyway, I’ve presented this tale to the Google AI thing that generates podcasts out of your source material so the pair of hosts would do a review. Check it out.

You can read the entirety of this story on here:

Alma: a Successful Case Study, Pt. 1
Alma: a Successful Case Study, Pt. 2

Ongoing manga: Rebuild World, by Nahuse

Four-and-a-half stars.

For once, this isn’t an isekai: the story is set long in the future, after some apocalypse about which the survivors are still trying to figure out the specifics. Apparently their predecessors had become so advanced that they were mixing biological engineering with super-AI or some shit, until their industries went haywire and started mass-producing mutated monsters that overwhelmed the world. Those facilities seem to be still active somewhere, pumping out enhanced monstrosities. Seemingly the sole remains of humanity live in a megacity. More accurately, the wealthy live in the megacity. The rest of humanity (or just Japan?) endure in the surrounding slums. Among the unwashed masses, the local badasses are known as hunters, the only ones daring to venture into the wasteland to make their living. Killing monsters is profitable if they’re threatening the city or other hunters, but their main source of income are the relics of the old world: any random underground mall from the pre-apocalyptic world suddenly found attracts most hunters around, that won’t hesitate to murder each other for the loot if necessary.

Meet Akira. It’s a post-apocalyptic Japanese story set in the future, so someone named Akira had to be involved. We are introduced to him as a traumatized teenager who constantly gets robbed and generally bullied by local shitheads. During a monster attack, the guy has enough, and decides to defend himself with a gun against a group who are bound to kill him. Suddenly, a naked female spirit appears, and hovers casually toward him. Akira freaks out until she, who calls herself Alpha, explains that she’s an AI remnant of the pre-apocalypse, and that he’s the only one who can see her because his brain is attuned to the old-world networks still in place, so she can show herself to him as augmented reality. She’s not just a curiosity, though: she can offer Akira superhuman support, analyzing his environment, pointing out enemies, guiding his shots. After she manages to save him from explosions and monsters by telling him to stay put or move at times, he realizes that she’s trustworthy, and that this sexy ghost of the past is his ticket to a better life.

Alpha, as we piece together early on, isn’t that trustworthy. Apparently, for many cycles, she has been finding humans to support. All of those cycles have ended with the subject dying. In the latest one, the subject came close to succeeding in beating some final dungeon that Alpha wants her subjects to clear out, only for some information to have been revealed that made the subject turn against Alpha, who promptly took the subject out. What’s Alpha after, then? Is she on the side of the pre-apocalyptic humanity, who may only want to resurrect the old world no matter how many modern eggs need to be cracked? Is Alpha part of the same AI that mass-produces monstrosities? We still don’t know. Throughout the story, the friendship between Akira and Alpha is heartwarming, but as Akira becomes more and more dependent on her, in the back of your mind you know that she’s going to screw him over in the end. It remains to be seen, though, whether or not Akira would go along with whatever Alpha’s true objective is.

Akira is emotionally stunted. He was orphaned so young that he has no memory of his parents, and all he has known of people growing up is the need to protect himself from sentient wild beasts. As the story advances, he meets people who like him, and would even want to tear his clothes apart and mount him, but the part of his brain that ought to connect to people doesn’t work to any significant extent. Plenty of other compentent hunters see him as an uncaring loner who, despite his competence, is someone to be wary of. The exceptions are a few women in his life to whom he proved himself, and who are eager to take him under their wing and show him their delectable parts to get a rise out of him.

The gals in this story are delicious. Props to the author and the visual artist. From the teenage gang leader Sheryl to the redheaded murderess whose name I don’t remember but who was a super cyborg or something, you want to stare in awe and horniness. Thank you Japan for being you.

This is yet another one of those Japanese stories in which you follow the lives of the characters as they change and grow. Although some personalities clash, they have reasons for doing so. Some chapters are just about having a good time and hanging out with interesting characters that get along, and that’s something I think has been lost in Western stories, that are full of forced conflict and people acting like bastards to each other. As far as I’m concerned, you can rely entirely on the tension born from the story world and concept, as well as from some characters that are genuine bastards, and just have the rest of the crew navigating that while relying on each other.

I’m loving this story. I wish I could keep experiencing it, but I’ve run out of chapters. If you’re into Japanese stories with great action, careful worldbuilding, human stakes, and total babes, this is one of the greats as far as I’m concerned.

Also, why not, here’s an AI-generated short podcast about this review:

Review: Mushoku Tensei, Vol. 12, by Rifujin na Magonote

Three-and-a-half stars.

I love me some isekai. If you pay any attention to my words, you know this already. It’s the quintessential boys’ fantasy: explore some fantastic places cut off from this repulsive Earth; exploit newly-gained, generally undeserved powers; meet cool people mostly of the attractive, female persuasion then have sex with them; possibly marry one or more of those gals before or after impregnating them; enjoy the fact that you will never, ever have to deal with Earth and its people again.

This time, our hero starts at the lowest point of his life: after two decades of parasitizing his parents as a hikikomori due to relentless bullying in high school, his parents died. Instead of attending the funeral, he spent that day jerking off to child porn (or loli hentai), a fact that bothered his siblings enough to beat him up and throw him into the streets. As he wandered in a daze, the mythical creature known as Truck-kun deigned to make a visit and transport the protagonist, along with a couple of people nearby, to death, and later on to a fantasy world.

Our protagonist gets reincarnated as a baby that retains the memories of his harrowing past life. In this new one he’s Rudeus Greyrat, son of a horny swordfighter and a lively mage, who had retired from adventuring to start a family together. Rudeus is overjoyed by the fact that he’s been given a second chance at life, but mainly that he’s able to suck on a hottie’s tits on a regular basis, and that the grown-ups around him forgive him for his relentless perversion. The anime adaptation did a good job rendering this, as seen below:

Anyway, lots of shit happens, as it tends to do. I read this volume of the light novel to catch up with the anime adaptation, that has just finished its second season. I’m discussing spoilers from now on, so read on only if you already know what happens, or you don’t care to find out this way.

<spoilers>That whole magic displacement incident that teleported Rudeus’ family, as well as the redheaded terror and his childhood elvish friend, to random corners of the world, has led him to organize a spelunking raid to a teleporter labyrinth where his mother is supposed to be trapped. We accompany Rudeus along with his scumbag father Paul, blue-haired loli and magician Roxy Migurdia, their monkey-man scout, a gay dwarf, and a promiscuous grandma as they bond with each other and fight monsters. First they rescue Roxy, who falls in love with adult Rudeus because he saved her from the brink of death. Finally they face a hydra, and although they defeat it, they suffer a devastating loss. Rudeus also ends up maimed.

The biggest difference from the anime adaptation happens when they’re nursing their wounds back at the inn. Rudeus is depressed in a similar way as he’s been in the past (for example during his episode of erectile dysfunction). This time, Rudeus’ grandma-in-law suggests Roxy that she should fuck Rudeus to get him out of his funk. In the anime, Roxy drags Rudeus to bed and mounts him. In the original, she’s about to stand up when Rudeus pulls her down and fucks her roughly. He barely considers the fact that he’s cheating on his pregnant wife. Later on, his grandma-in-law deceives our protagonist by stating that he’s impregnated the blue-haired magician, in order for him to take responsibility, as the Japanese love to say, and make Roxy his second wife. Other than those significant changes that made me lose some respect for both characters, the anime adaptation is faithful to the rest, even verbatim for plenty of the dialogue. The author is involved with the adaptation, so maybe those changes are a very late revision of the original work.</spoilers>

What else can I say? If you like Mushoku Tensei, you’ve likely watched the anime, so you knew what to expect from this volume. This is a story about the pains and struggles of growing up, rising from rock bottom to becoming a more or less respectable family man, processed through the Japanese charm you know and love (if you know and love it), and free from the politics that have corrupted every aspect of Western culture. This story also makes polygamy quite appetizing.