Sub Rosa

Just finished: Dakwäkãda Warriors by Cole Pauls, I don't have tons to say about this comic—it'll take you maybe an hour to read if that, and it's really cute and fun, and then you read the context around it and it's quite moving and beautiful as well. It's basically a language revitalization project wrapped up in a pew-pew-pew space opera story. It's cool that this exists and I want there to be more of it.

Withered by A.G.A. Wilmot. Listen, cozy horror and other cozy authors! I will make you a deal. You get one (1) scene where the asexual protagonist comes out to their appropriately diverse love interest and they talk about their sexuality and consent in a mature, healthy way, infused with Tumblr therapyspeak, and agree to just hold hands or whatever. In exchange, I want y'all to try excise or subvert toxic tropes like having your main human antagonist being a woman who is haunted by a ghost no one else can see and locked up in a mental institution for 25 years, who has no agency at all, and who at the end realizes the error of her ways and is...cut loose to just be homeless and wander forever, I guess????

Like, aesthetically, I hate cozy. I fucking hate it. I try really hard to not judge the taste of people who like it, because intellectually I get the appeal and there's nothing wrong with liking what you like, but it's very much not for me. And when I have to read and rate a cozy book, I try to keep the ideal reader in mind, not me, a grim and cynical person who likes messy characters and tension in my storytelling. I think there are some cozy, or cozy-adjacent books that are done well (Regency and Regency+magic does low-stakes, mostly good characters in ways that I enjoy, for example) and I don't want to judge the entire subgenre either.

But I do think that there's a tendency for specifically cozy fiction to use didactic storytelling (casts include one of everyone and/or a lot of twofer characters, but these identities tend to be very shallowly written except for where they reflect the author's, conflicts are easily resolved by talking things out, good behaviour is rewarded and bad behaviour is punished or reformed, discussions about emotion or sexuality are always direct and never in conflict). So if you are going to write a book that includes, for example, instructions for the reader on how to navigate a relationship with an ace person, or how to approach therapy for a mental illness, I'm going to also need you to examine your work for unintentional messaging in a way that I wouldn't necessarily do if you're writing, say, Gothic horror where the protagonist can't decide whether she wants the vampire to eat her or fuck her. 

Which is to say that in a world where we get to see multiple Zoom therapy sessions, I do not buy that a mental institution merely drugs a character and does not attempt to help her heal at all. I think that sets up a dichotomy between Good Mental Illness (you know, the kind that makes you pretty and kinda tragic) and Bad Mental Illness (where you get your mess all over other people/try to burn down the family house) that is not good or wholesome at all.

Also, the climactic battle at the end was a huge WTF.

If you, like me, would like to join in on Cozy Horror Discourse multiple years after it was live, here are some links I appreciated:

The Material Basis of Cozy Horror by Moreau Vazh
In Praise of Discomfort by Simon O'Neill

Currently reading: Service Model by Adrian Tchaikovsky. This one starts with a robot valet murdering his master and not knowing why he did it, so, promising beginning. Humanity increasingly relies on robots to do everything, and as a result, is dying out. Charles, the valet in question, doesn't know what to do without explicit orders, and so he reports to Diagnostics, only to find that robot repairs are backed up due to funding cuts that have eliminated the entire human staff. Also he may have developed a Protagonist Virus that gives him agency and self-awareness, which he very much doesn't want.

The voice in this is great—the first two chapters are basically the robots navigating their way through the murder without being able to deviate from their programming, and it's bitingly satirical and very funny. I'm rather enjoying this.