- Location
- The Land of Many Bregrets
- Pronouns
- They/Them
So I've recently found and finished reading this story, having previously tried and bounced off the weak start. Once it gets going, it's an excellent story and the multiple perspectives give it a whole lot of weight; you've got characters you get people to care about on every side (IJN aside) and a pervasive sense of dread that, once the shooting starts, only a few of them are going to be left standing by the end of it. It's tense, it's fascinating, it's well researched and it leverages the setting to great effect... and it's also entirely not the first half of the story.
To be bluntly honest, the weakest side of this fic is the USN side, and Thompson in particular, which is rather awkward given how much of a focus is placed upon them. The entire USN plot, from the first threadmark up to up about 30-odd, is basically waiting for time to pass so they can be relevant (a matter not helped by lack of sign-posting on the date; we get a better sense of time progression from the European snippets because they can act as 'you are here' signposts on the timeline, so to speak) and Thompson, to be painfully honest, is kind of... bland as all hell, despite attempts otherwise, owing to a variety of factors.
Firstly, a disclaimer: this criticism is heavily weighted towards the start of the fic. Where things are now, and especially post-Pearl Harbour, the USN side of things works. It's the up until that point part that bears the brunt of these problems I'm going to address. Equally, let me state that despite how negative some of this may seem, I am genuinely interested in this story and am excited to see where it's going. Hell, I wouldn't be putting the time in to write all this if I didn't care.
Righto. Flaws, Admiral Thompson and the first 'half' of the USN segments up until about the point Roosevelt gets on board. The majority of it is just one big pacing issue (it really shouldn't have taken ~30 threadmarks to get to that point), but there are some specific points I'd like to pull out and address.
Consider the plotlines winding around Thompson. You have:
Risk of discovery, loss of commission and getting thrown into the loony bin
Romantic subplot with Saratoga and Arizona
Desire to save as many American ships as possible and limit the early-Pacific-War losses.
Conflicting desire regarding the Japanese ships, whom he knows personally, and will inevitably have to fight post-Pearl
Modern-era person dumped into 1940s-era America, with the technological and societal mishaps that entails
(Iowa, Enterprise et al essentially have their own little subplots running independent of Thompson, so we'll aside those for now)
The risk of discovery stake lacks teeth, because it's something that's blatantly not going to happen. The story would fall apart if it did. If you lessened the focus on Thompson such that he was the 'USN viewpoint character' rather than the 'main' character, you might have had better luck with it; if you have an ensemble cast, the loss of one is survivable and thus a threat that carries narrative weight. As it stands though, losing Thompson halfway through the story before he even gets to do anything isn't something that could be safely pulled off... though the idea of his superiors trying, only for Saratoga to assume direct control and sail off with him into the great blue yonder is an amusing one (it'd even give them a reason to interact with the European cast!)
Speaking of Sister Sara... yeah. The love triangle subplot with Arizona really doesn't work, because the main romantic plot with Saratoga is so heavily telegraphed Guglielmo Marconi could be heard muttering about it shortly after he'd invented the damn thing. Worse still, Arizona really has very little to do beyond pine innocently and sit around in harbour; she makes her appearances because she's famous but otherwise there's... really nothing much there? 99% of her screen time and decisions revolve around Thompson. She has no shown goals or personality quirks outside of her interest in him over her other Admiral... you see the problem here? She doesn't really seem to try to improve her lot in an attempt to survive Pearl, respond to the knowledge she will be sunk in a surprise attack and become a national memorial and so on. There's some lip service to the idea of doing that every once in a while, but nothing Arizona appears to act upon beyond 'must help Admiral Thompson so he can save us all'. Partially this is a symptom of the ship spirits' lack of agency in general, and come Pearl of course she's finally doing stuff and interacting with her crew and so on, but up until that point she's pretty much sitting around in harbour, spinning her proverbial wheels and going 'kya Admiral kya' in a gratingly obvious fashion, all of which the reader knows to be completely meaningless considering she hasn't a shot in hell anyway (it isn't until chapter 38 Thompson even admits he should probably do something about that, and this is a person who has previously worked with Kongou). You've managed to side-step the issue with Pearl and Kidd and members of her crew she now interacts with; she's in a good place currently but up until then she was basically a cardboard cutout flapping in the wind.
Saratoga's subplot, again, is so telegraphed there basically wasn't any doubt where it was going, making it feel less like gradual character development - as I'm assuming was intended - and more a matter of waiting for the author to finally get on with it. She suffers from a similar monofocus on Thompson as Arizona; when we see from her perspective, it's always about him, and helping him, and him in general until she feels less an aircraft carrier and more the 1940's first orbital satellite. Again, it's a lack of anything for her to really do beyond contacting the others; we don't see her interacting with any of the other members of her crew, try taking control of parts of her hull and figuring out the things she can do from her spirit form to help everyone survive the war. Hell, come to think of it, are any of Saratoga's crew even named beyond her pilots? Who is her Captain? Who is her XO or Chief Engineer? There is literally a boat's worth of people you could have Sara interact with to flesh her out more and the lack is greatly detrimental. Yes there are the other ship girls she coordinates with, but one of the best things you can do to shed light on someone's character is to show how they interact with people of as many different stripes as possible. More scenes similar to her and the dockworkers and less scenes re-establishing she's carrying a torch as if we're supposed to be perpetually paranoid she's dropped it behind the sofa or something.
Thompson's desire to save as many WWII shipgirls as possible and his focus on doing it for the girls gives him a strong and dangerous whiff of Generic Harem Anime Protagonist Syndrome, not helped by Arizona and Saratoga fawning over him and doing little else. It's also half implemented. It's stated several times he's served with the Japanese shipgirls in the future and knows them quite well, but we never really... see any of that, Thompson never has any real conflict over how reinforcing the shipgirls of one side involves inevitably sacrificing the other; how it's essentially an impossible situation. A sentence will pop up occasionally acknowledging the issue exists, but he never makes any attempts to contact the IJN girls, or plan around IJN ship losses, and the story too has only just recently added IJN snippets to the multiple perspectives at play.
I mentioned at the beginning that the multiple perspectives on every side is one of the story's strengths, where knowing that these characters we've come to know and care about in the Italian, French, British and German navies are inevitably going to come into conflict with each other, and knowing not all of them are going to walk out of it afterwards, is an excellent means of building and sustaining dramatic tension and keeping the reader's interest? You could have been doing this with the IJN and USN fleet characters so much earlier but didn't, and it's been one big wasted opportunity. Being corrected now, granted, but you could have been building up to it; the attack on Pearl Harbour was the 'Point of No Return', the big build up the USN side of the story was revolving around, but it seemed to almost fall to the wayside in the face of the 'convince the Navy shipgirls exist' plot, which was an interesting ball to see rolling but its inevitable trajectory was never in doubt. We never see any memories of Thompson working with the JMSDF kanmusu or any sense of the camaraderie they may or may not have had; we get told it existed every now and again but never get to see it or get any sense of it; who he got along with and who he perhaps didn't; who he respected and who he wouldn't want to see sunk but knows he will have to to see the end of Imperial Japan and preserve the USN girls. This actually applies double for said USN girls too; given one of the story's angles is to see the USN ship girls before the war happens and contrast their personalities pre-War to who they will be... we never get to see the people they would have been OTL. We don't know who they were. Who was Future!Saratoga and what was she like? Who was Future!Arizona and the Grey Ghost and what did they think of their legacies? You describe them a few times when Thompson first meets them and is surprised by how different they are... but as the reader, we can't see it, because you never show it. We don't know the USN shipgirls as they would be OTL. We know the JMSDF kanmusu via Kancolle, and you could have leveraged the same concept a lot more effectively with them but again, we see no IJN snippets until the moment of the Pearl Harbour attack.
The other half of the 'save as much of the USN' equation - the tactical and doctrinal changes and watching Thompson bash his head into the politics surrounding the CV/BB debate - works well, is legitimately interesting to read about, and helps prop up Thompson by having him do actual Admiralling things. That bit's handled fine.
Also helping to prop up Thompson is the 'modern person with modern sensibilities dropped into the 40s' angle, with all the institutional racism and sexism that implies. Scenes handling that - like meeting that guy in a restaurant on Honolulu way back when - work and help make him feel more believable, like when he's meeting the SecNav in the days before the Pentagon existed and everything is being handled by runners. Touches like these help ground him as a character and give him more definition. That said... the complaints I had about Saratoga not interacting with her crew apply just as much to Thompson; what does he think of his crew? What does his crew think of him? Are they suspicious? Think he's a promising CV Admiral or think he's too young for his post? For the life of me I cannot recall if Saratoga's captain has even had a mentioned name at any point. Given the focus on Saratoga herself it's actually a little conspicuous; we know Utah's crew better than we know hers. We never really see Thompson doing any Admiral-related things; the majority of his screentime is spent holing up in his cabin, chatting with the girls on his Saraphone, and later running around getting the ball rolling on proving the shipgirls' existence. Not typical 1940s USN Admiral activities, I'm hazarding to assume.
Also undercutting the modern sensibilities schtick is... well, how many non-shipgirl women have we thus far seen? You have the Jewish mother we saw recently and that's about it. Every other woman has been a shipgirl, and shipgirls seem to have a consistent theme of always being loyal to their Admirals, who are always male, and doing whatever they tell them to. To cap it all as the cherry on top, the female lead Saratoga is pretty much the epitome of 'Admiral Knows Best', and is his love interest. It gets... awkward, at times, to say the least. By contrast, the other ship-admiral pairs we see (Halsey and Enterprise, Schreiber and Bismark, Repulse and the 10th Doctor etc) are all much more professional and platonic, and they work so much better as believable interpersonal relationships. Halsey connects better to his ship than he does his family, Schreiber and Bismark feel like equals working to undermine the Nazi regime and the British girl/admirals feel like compatriots trying to work together to do their jobs with what limited means they have (when they aren't ribbing each other or being idiots - credit on accurate portrayals of us Brits by the by). The brother-sister dynamic we're told is going on with Arizona and Kidd is promising, and I loved how Utah's breakthrough was with her chief engineer rather than her admirals (what is it with shipgirls and admirals anyway...).
Like, to a certain degree I get it: because of the sexism of the time you essentially can't have that many female characters outside of support staff and the resistance movements, and the nature of ship spirits ensures that Thompson is the only male they can interact with before the insanity spreads, but this early-fic stage where the only person all the USN shipgirls can interact with is Thompson, and he is the Only Man Who Can Help Them Who Is Conveniently Young And Single, and two of them fall in love with him but nobody involved does anything about it in the standard holding pattern of romantic subplots... you see how this can turn people off? I got wary as all hell about that. I have a feeling you're aware of the issue (credit where it's due you at least stuck to the Saratoga pairing and defused the Arizona subplot, and seeing you go on record stating you disliked the waifuism of kancolle is something that made me happy as clams), but... well, it needed to be raised. Thompson seriously skirts the Generic Harem Protagonist Syndrome territory and does him no favours.
Strengths, as noted, were in the non-USN segments, where you have naval battles, injuries, intrigue, plots against evil regimes, betrayals and interesting characters on all sides for whom you fear the worst. Now Pearl has been and gone, these strengths stand to be applied to the USN side of things as well, which honestly will probably go a long way to shoring them up. The implications and possibilities of 'shipgirls early' and summoned ships getting directly involved in the war are a looming and interesting approach I've never seen before in a KC fic. You clearly know your stuff and seeing all the little historical butterflies you've set loose (like Taranto not getting delayed by bad weather) is both amusing and an excellent way to keep readers on their toes, as things become less and less predictable and certain. You even gave the Marine Nationale an inch of screentime! That almost never happens! Hip hip hooray!
In short, despite its early problems, it's got a solid backbone of character interaction and war behind it, and it looks like its finally picking up. To summarise:
* The multiple perspectives are the fic's strongest point, and it needs more of them, especially regarding the IJN
* A lot of the early fic is essentially wheel-spinning, with a lot of repetitive scenes of Thompson in his cabin reviewing incremental updates in the situation with the USN girls that bleeds the momentum dry until the non-USN snippets start showing up and the ball finally starts rolling
* Early-fic for Thompson lacks any worthwhile stakes as a narrative, which equally bleeds any early-fic tension dry
* A lot of the characters tend to monofocus; Arizona and Saratoga over-focus on Thompson, Enterprise has only really interested with Halsey etc, and their own crews and survival efforts go underexplored. Given the large cast size, having major characters interact with more than just their Admirals/Ships could go far.
* The potential mine of drama that is Thompson setting out to sink the JMSDF girls he knew and served with goes completely untapped when we have never seen anything of him working with or worrying about said JMSDF girls, though now we're past Pearl this stands likely to be addressed
...Hoo boy, that was a lot of words, wasn't it?
Edit: 'Admiral Schneider' jesus christ I cannot read today
Edit: BLOODY HELL I CAN'T GET ANYONE'S NAMES TODAY
To be bluntly honest, the weakest side of this fic is the USN side, and Thompson in particular, which is rather awkward given how much of a focus is placed upon them. The entire USN plot, from the first threadmark up to up about 30-odd, is basically waiting for time to pass so they can be relevant (a matter not helped by lack of sign-posting on the date; we get a better sense of time progression from the European snippets because they can act as 'you are here' signposts on the timeline, so to speak) and Thompson, to be painfully honest, is kind of... bland as all hell, despite attempts otherwise, owing to a variety of factors.
Firstly, a disclaimer: this criticism is heavily weighted towards the start of the fic. Where things are now, and especially post-Pearl Harbour, the USN side of things works. It's the up until that point part that bears the brunt of these problems I'm going to address. Equally, let me state that despite how negative some of this may seem, I am genuinely interested in this story and am excited to see where it's going. Hell, I wouldn't be putting the time in to write all this if I didn't care.
Righto. Flaws, Admiral Thompson and the first 'half' of the USN segments up until about the point Roosevelt gets on board. The majority of it is just one big pacing issue (it really shouldn't have taken ~30 threadmarks to get to that point), but there are some specific points I'd like to pull out and address.
Consider the plotlines winding around Thompson. You have:
Risk of discovery, loss of commission and getting thrown into the loony bin
Romantic subplot with Saratoga and Arizona
Desire to save as many American ships as possible and limit the early-Pacific-War losses.
Conflicting desire regarding the Japanese ships, whom he knows personally, and will inevitably have to fight post-Pearl
Modern-era person dumped into 1940s-era America, with the technological and societal mishaps that entails
(Iowa, Enterprise et al essentially have their own little subplots running independent of Thompson, so we'll aside those for now)
The risk of discovery stake lacks teeth, because it's something that's blatantly not going to happen. The story would fall apart if it did. If you lessened the focus on Thompson such that he was the 'USN viewpoint character' rather than the 'main' character, you might have had better luck with it; if you have an ensemble cast, the loss of one is survivable and thus a threat that carries narrative weight. As it stands though, losing Thompson halfway through the story before he even gets to do anything isn't something that could be safely pulled off... though the idea of his superiors trying, only for Saratoga to assume direct control and sail off with him into the great blue yonder is an amusing one (it'd even give them a reason to interact with the European cast!)
Speaking of Sister Sara... yeah. The love triangle subplot with Arizona really doesn't work, because the main romantic plot with Saratoga is so heavily telegraphed Guglielmo Marconi could be heard muttering about it shortly after he'd invented the damn thing. Worse still, Arizona really has very little to do beyond pine innocently and sit around in harbour; she makes her appearances because she's famous but otherwise there's... really nothing much there? 99% of her screen time and decisions revolve around Thompson. She has no shown goals or personality quirks outside of her interest in him over her other Admiral... you see the problem here? She doesn't really seem to try to improve her lot in an attempt to survive Pearl, respond to the knowledge she will be sunk in a surprise attack and become a national memorial and so on. There's some lip service to the idea of doing that every once in a while, but nothing Arizona appears to act upon beyond 'must help Admiral Thompson so he can save us all'. Partially this is a symptom of the ship spirits' lack of agency in general, and come Pearl of course she's finally doing stuff and interacting with her crew and so on, but up until that point she's pretty much sitting around in harbour, spinning her proverbial wheels and going 'kya Admiral kya' in a gratingly obvious fashion, all of which the reader knows to be completely meaningless considering she hasn't a shot in hell anyway (it isn't until chapter 38 Thompson even admits he should probably do something about that, and this is a person who has previously worked with Kongou). You've managed to side-step the issue with Pearl and Kidd and members of her crew she now interacts with; she's in a good place currently but up until then she was basically a cardboard cutout flapping in the wind.
Saratoga's subplot, again, is so telegraphed there basically wasn't any doubt where it was going, making it feel less like gradual character development - as I'm assuming was intended - and more a matter of waiting for the author to finally get on with it. She suffers from a similar monofocus on Thompson as Arizona; when we see from her perspective, it's always about him, and helping him, and him in general until she feels less an aircraft carrier and more the 1940's first orbital satellite. Again, it's a lack of anything for her to really do beyond contacting the others; we don't see her interacting with any of the other members of her crew, try taking control of parts of her hull and figuring out the things she can do from her spirit form to help everyone survive the war. Hell, come to think of it, are any of Saratoga's crew even named beyond her pilots? Who is her Captain? Who is her XO or Chief Engineer? There is literally a boat's worth of people you could have Sara interact with to flesh her out more and the lack is greatly detrimental. Yes there are the other ship girls she coordinates with, but one of the best things you can do to shed light on someone's character is to show how they interact with people of as many different stripes as possible. More scenes similar to her and the dockworkers and less scenes re-establishing she's carrying a torch as if we're supposed to be perpetually paranoid she's dropped it behind the sofa or something.
Thompson's desire to save as many WWII shipgirls as possible and his focus on doing it for the girls gives him a strong and dangerous whiff of Generic Harem Anime Protagonist Syndrome, not helped by Arizona and Saratoga fawning over him and doing little else. It's also half implemented. It's stated several times he's served with the Japanese shipgirls in the future and knows them quite well, but we never really... see any of that, Thompson never has any real conflict over how reinforcing the shipgirls of one side involves inevitably sacrificing the other; how it's essentially an impossible situation. A sentence will pop up occasionally acknowledging the issue exists, but he never makes any attempts to contact the IJN girls, or plan around IJN ship losses, and the story too has only just recently added IJN snippets to the multiple perspectives at play.
I mentioned at the beginning that the multiple perspectives on every side is one of the story's strengths, where knowing that these characters we've come to know and care about in the Italian, French, British and German navies are inevitably going to come into conflict with each other, and knowing not all of them are going to walk out of it afterwards, is an excellent means of building and sustaining dramatic tension and keeping the reader's interest? You could have been doing this with the IJN and USN fleet characters so much earlier but didn't, and it's been one big wasted opportunity. Being corrected now, granted, but you could have been building up to it; the attack on Pearl Harbour was the 'Point of No Return', the big build up the USN side of the story was revolving around, but it seemed to almost fall to the wayside in the face of the 'convince the Navy shipgirls exist' plot, which was an interesting ball to see rolling but its inevitable trajectory was never in doubt. We never see any memories of Thompson working with the JMSDF kanmusu or any sense of the camaraderie they may or may not have had; we get told it existed every now and again but never get to see it or get any sense of it; who he got along with and who he perhaps didn't; who he respected and who he wouldn't want to see sunk but knows he will have to to see the end of Imperial Japan and preserve the USN girls. This actually applies double for said USN girls too; given one of the story's angles is to see the USN ship girls before the war happens and contrast their personalities pre-War to who they will be... we never get to see the people they would have been OTL. We don't know who they were. Who was Future!Saratoga and what was she like? Who was Future!Arizona and the Grey Ghost and what did they think of their legacies? You describe them a few times when Thompson first meets them and is surprised by how different they are... but as the reader, we can't see it, because you never show it. We don't know the USN shipgirls as they would be OTL. We know the JMSDF kanmusu via Kancolle, and you could have leveraged the same concept a lot more effectively with them but again, we see no IJN snippets until the moment of the Pearl Harbour attack.
The other half of the 'save as much of the USN' equation - the tactical and doctrinal changes and watching Thompson bash his head into the politics surrounding the CV/BB debate - works well, is legitimately interesting to read about, and helps prop up Thompson by having him do actual Admiralling things. That bit's handled fine.
Also helping to prop up Thompson is the 'modern person with modern sensibilities dropped into the 40s' angle, with all the institutional racism and sexism that implies. Scenes handling that - like meeting that guy in a restaurant on Honolulu way back when - work and help make him feel more believable, like when he's meeting the SecNav in the days before the Pentagon existed and everything is being handled by runners. Touches like these help ground him as a character and give him more definition. That said... the complaints I had about Saratoga not interacting with her crew apply just as much to Thompson; what does he think of his crew? What does his crew think of him? Are they suspicious? Think he's a promising CV Admiral or think he's too young for his post? For the life of me I cannot recall if Saratoga's captain has even had a mentioned name at any point. Given the focus on Saratoga herself it's actually a little conspicuous; we know Utah's crew better than we know hers. We never really see Thompson doing any Admiral-related things; the majority of his screentime is spent holing up in his cabin, chatting with the girls on his Saraphone, and later running around getting the ball rolling on proving the shipgirls' existence. Not typical 1940s USN Admiral activities, I'm hazarding to assume.
Also undercutting the modern sensibilities schtick is... well, how many non-shipgirl women have we thus far seen? You have the Jewish mother we saw recently and that's about it. Every other woman has been a shipgirl, and shipgirls seem to have a consistent theme of always being loyal to their Admirals, who are always male, and doing whatever they tell them to. To cap it all as the cherry on top, the female lead Saratoga is pretty much the epitome of 'Admiral Knows Best', and is his love interest. It gets... awkward, at times, to say the least. By contrast, the other ship-admiral pairs we see (Halsey and Enterprise, Schreiber and Bismark, Repulse and the 10th Doctor etc) are all much more professional and platonic, and they work so much better as believable interpersonal relationships. Halsey connects better to his ship than he does his family, Schreiber and Bismark feel like equals working to undermine the Nazi regime and the British girl/admirals feel like compatriots trying to work together to do their jobs with what limited means they have (when they aren't ribbing each other or being idiots - credit on accurate portrayals of us Brits by the by). The brother-sister dynamic we're told is going on with Arizona and Kidd is promising, and I loved how Utah's breakthrough was with her chief engineer rather than her admirals (what is it with shipgirls and admirals anyway...).
Like, to a certain degree I get it: because of the sexism of the time you essentially can't have that many female characters outside of support staff and the resistance movements, and the nature of ship spirits ensures that Thompson is the only male they can interact with before the insanity spreads, but this early-fic stage where the only person all the USN shipgirls can interact with is Thompson, and he is the Only Man Who Can Help Them Who Is Conveniently Young And Single, and two of them fall in love with him but nobody involved does anything about it in the standard holding pattern of romantic subplots... you see how this can turn people off? I got wary as all hell about that. I have a feeling you're aware of the issue (credit where it's due you at least stuck to the Saratoga pairing and defused the Arizona subplot, and seeing you go on record stating you disliked the waifuism of kancolle is something that made me happy as clams), but... well, it needed to be raised. Thompson seriously skirts the Generic Harem Protagonist Syndrome territory and does him no favours.
Strengths, as noted, were in the non-USN segments, where you have naval battles, injuries, intrigue, plots against evil regimes, betrayals and interesting characters on all sides for whom you fear the worst. Now Pearl has been and gone, these strengths stand to be applied to the USN side of things as well, which honestly will probably go a long way to shoring them up. The implications and possibilities of 'shipgirls early' and summoned ships getting directly involved in the war are a looming and interesting approach I've never seen before in a KC fic. You clearly know your stuff and seeing all the little historical butterflies you've set loose (like Taranto not getting delayed by bad weather) is both amusing and an excellent way to keep readers on their toes, as things become less and less predictable and certain. You even gave the Marine Nationale an inch of screentime! That almost never happens! Hip hip hooray!
In short, despite its early problems, it's got a solid backbone of character interaction and war behind it, and it looks like its finally picking up. To summarise:
* The multiple perspectives are the fic's strongest point, and it needs more of them, especially regarding the IJN
* A lot of the early fic is essentially wheel-spinning, with a lot of repetitive scenes of Thompson in his cabin reviewing incremental updates in the situation with the USN girls that bleeds the momentum dry until the non-USN snippets start showing up and the ball finally starts rolling
* Early-fic for Thompson lacks any worthwhile stakes as a narrative, which equally bleeds any early-fic tension dry
* A lot of the characters tend to monofocus; Arizona and Saratoga over-focus on Thompson, Enterprise has only really interested with Halsey etc, and their own crews and survival efforts go underexplored. Given the large cast size, having major characters interact with more than just their Admirals/Ships could go far.
* The potential mine of drama that is Thompson setting out to sink the JMSDF girls he knew and served with goes completely untapped when we have never seen anything of him working with or worrying about said JMSDF girls, though now we're past Pearl this stands likely to be addressed
...Hoo boy, that was a lot of words, wasn't it?
Edit: 'Admiral Schneider' jesus christ I cannot read today
Edit: BLOODY HELL I CAN'T GET ANYONE'S NAMES TODAY
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