I'm willing to suspend my disbelief to enjoy Fully Automated Luxury Gay Space Communism the setting, Victorian Edition. It just clicked that that's basically the entire premise of our gay post-scarcity robot protagonists. I'm willing to put aside some skepticism for the sake of seeing that realized.
 
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i think the comment that's been bugging me is the idea that like... that the robots see the humans as flawless and becoming aware of their flaws would make them stop caring. I've been turning it over and over in my head as "the robots should turn on the humans for dodging the consequences of their engaging in imperialism" and I guess i... it's like, yes that's true. That should happen.
This may sound blunt, but why should it happen?

More to the point, why should the robots believe it should happen?

Robots clearly don't see their humans as flawless. If anything, the robots in fact seem to see humans as a decidedly inferior form of life. Consider the reaction of the robots to humans being unable to control their emotions, for example, or Fusie's comment in this thread about insomnia. Yet the mere fact of humanity's flaws seems to endear them even more to the robots. That's not surprising, in its way: humans feel the same way about their own pets, and often their children.

Nor is there any reason why the robots would punish humanity for those flaws. Why would they? What good would it serve? What would it accomplish? Clearly nothing. We've seen nothing to suggest robots are vindictive in that way, and frankly, I think the setting would be rather worse if they were. There is nothing optimistic about that.

If anything, the robots seem to view humanity's flaws through a protective, ameliorative lens. The robots understand that humans are weak and flawed; they see themselves - either in a very physical sense, like the military robots, or in a more metaphysical emotional sense, like the Maids robots - as a bulwark between a flawed humanity and the consequences of those flaws. The robots present themselves, in a very real sense, as humanity's conscience: not imperfect, but fundamentally expressing the optimism of the setting. They are beautiful because they were created to be beautiful and to seek beauty. They aren't a destructive force; they are a constructive force.

You've said that the robots are individuals. That they have free will. But fundamental, I think, in how the setting is constructed is how they use that free will. It's always been something that's sort of slid around the edges until now. Marie is frustrated by Polestar's behavior but - possibly because Polestar's behavior ultimately doesn't hurt anyone but herself - goes along with it because perhaps she can ameliorate the eventual distress. Fusie's actions as a soldier involve marching around in fancy uniforms, rescuing human officers who get themselves into trouble and fighting off ancient robots and hazardous monsters.

But what happens if Fusie is asked to do something she believes is fundamentally unjust? What do the robots do if they see humans who they think are trying to hurt each other or otherwise impose themselves on others? Are you suggesting that they would, or should, go on some kind of homicidal rampage to punish the perpetrators? That doesn't seem to fit the setting at all. That would run counter to the internal (and external!) dialogue of every robot we've seen so far.

But maybe it's something you should think about - in this story - if it bothers you?
 
"Dodging the consequences of their engaging in imperialism"? The divide between low-class and high-class was even larger in the 1800s than it is today. You know as well as I do how horrifyingly bad the conditions were in factories at that time. The overwhelming majority of humanity may not have been genocided, but they damn sure weren't living happy lives, and every single european polity was ruthlessly oppressing its citizens to keep themselves from going the way of the French Revolution. You yourself wrote about a book series focusing on how three successive generations of farmer gained so much quality of life that they couldn't believe how good life was. Don't blame the suffering poor for the crimes of the people that were in power at the time.

Like, I live in the United States. I'm even lucky enough to have a reasonably cushy job - I work at Google maintaining data-quality infrastructure for the Knowledge Graph. I've voted democrat in every election I've ever been able to vote in. I have a ballot on my kitchen table that I'm going to drop into the mail tomorrow. Would you blame me for anything Trump said? No? Then don't blame the common people of Regency-era England for colonialism. Don't call it "dodging the consequences". Call it "being lifted out of hell". Yeah, the gentry of the time probably deserved to lose their heads. They dodged that consequence. But the people after them didn't have the opportunity to do anything wrong, nor did their subordinates. The robots refused to allow the conditions to exist that would cause them to do those horrible things.
I think one of the important things to keep in mind is that the past is valuable because it informs future actions. Like, when I give US interference in South America a stink eye, it's not due to some principle of sins of the father passing guilt down to future generations for past fuckery, because I think they're going to do it again. I think this kind of ties into the same discussions we as humans need to have on retributive justice and prisons; should we be imprisoning people when we decide they're bad people that deserve what happens to them, or only when we think imprisoning them will make the world a better place (including factoring in any discouraging factor it has on future misdeeds). And this is an issue where I come down firmly on the side of making things better, not punishing people for making them worse. And like. Kennedy didn't do any of the imperialism. And she won't, both because the material conditions are different and because humanity has culturally grown beyond that.

Tommorow can be better than today, and the moment we give that up and stop trying is the moment we fail to achieve that.
It's worth pointing out that modern civilization is the only thing keeping us from bashing each others' heads in with rocks. That doesn't mean that we're "inherently bad people" or something. In fact, precisely the opposite: It means that we went to the trouble of developing technology and civilization specifically because we didn't want to be bashing heads in.

I have an attention disorder. It's really bad. Like, bad enough that if I don't have my medication I am physically incapable of working. It affects every single part of my life. You know how people complain about how google is all intrusive and homes spy on you and blah blah blah? Yeah, that's assistive technology. It's a fucking prosthesis for my attention and memory. When an alarm doesn't go off or goes off five minutes too early and I'm late to a meeting or something, does that make me rude? Does it mean I don't respect my coworkers' time? Does it mean I can't be trusted with any scheduling? No! It means my fucking prosthesis didn't work!

People aren't inherently bad. People want to be good. People try to be good. But they don't have the decision-theoretic prostheses that would allow them to overcome Malthus and Moloch. We do our damndest but it's just not good enough.

The robots are the result of humankind building decision-theoretic prostheses that allow them to be good. Why the fuck would we blame Miss Polestar and Lieutenant Kennedy because their ancestors hadn't yet gotten their prostheses?
 
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This was a really, really good post, maybe a beautiful post, but I do have a point of order.

every other than France was ruthlessly oppressing its citizens to keep themselves from going the way of the French Revolution.
Within about fifteen minutes, Revolutionary France was also ruthlessly oppressing its citizens to stop them from going back or, even worse, forwards again.
 
If the problem is that "This story needs to justify itself":

We need something happy, fluffy, and fun.

This story is happy, fluffy, and fun. It is delightful. I wake up every morning hoping that you've posted a new chapter because it makes my day brighter.

There is too much fucking awful stuff going on in the world today. We need a break from it. This story is that break.

It'd matter if you were writing nazi porn, but you aren't. You're not even writing colonial oppression porn. You're not even writing colonial oppression! You're writing a fucking utopia, and not one of those pathetic attempts at it that are just psychological horror-shows underneath the ill-considered stepford-wife makeup or the infinite, infinitely boring clouds. The Maidverse stands with the Culture as one of the few science fiction settings that I would whole-heartedly love to live in. The setting has bad shit in its past but it also very clearly understands that and has explained how humanity worked past its flaws. It's hopeful.

And that's the justification for this story. It's not doing any harm. Exactly the opposite. You're making people happy. Please keep writing. Please don't beat yourself up. You need this story just as much as we do. I've seen how happy the effortposts and line-by-line commentaries and harebrained suggestions make you. You deserve to be happy.
Within about fifteen minutes, Revolutionary France was also ruthlessly oppressing its citizens to stop them from going back or, even worse, forwards again.
Heh, true. Fixed.
 
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A lot of people have addressed most salient points, and I just want to point out a bigger picture: @open_sketch, this isn't the first time you've gotten twisted up into knots when you got the impression that what you were writing was somehow problematic, despite that not being the case. I still remember the Stormdivers drama. I think you need to take a step back and not let other people dictate what's acceptable or not in your own works. The more successful you become and the wider your audience gets, the more often you'll get an outlier who finds something problematic. And in my opinion, it would be a net loss to our society if you let those people stop you from writing.
 
That sense of insulating humans from their more vulgar impulses is already pretty consistently present, and that's good.

i think the comment that's been bugging me is the idea that like... that the robots see the humans as flawless and becoming aware of their flaws would make them stop caring. I've been turning it over and over in my head as "the robots should turn on the humans for dodging the consequences of their engaging in imperialism" and I guess i... it's like, yes that's true. That should happen. you're right. I don't want to write that, but now that you've pointed it out, the entire premise of the story falls apart and the only two options are 1) write the thing i dont want to write and 2) write a story in which a basic premise is that the cuddly fun robot helpers are engaged in a continual effort to shield the protagonists from justice.

Who's to say the robots didn't rise up in their own way, one that above all scrupulously kept their hands clean, and that at one point the robot takeover mentioned in moody dwelling on a bygone age was happening in earnest, but by now that talk is the societal equivalent of moping about what a massive shithead I was as a teen? There's a pretty good counterexample against violent takeovers going on then.

Maybe that means royals and nobles got the fortunate circumstance of being the first people to be subjected to a justice system that considers rehabilitation the goal rather than revenge, but it's got to start somewhere if you want it to happen, no?
 
A lot of people have addressed most salient point, and I just want to point out a biggest picture: @open_sketch, this isn't the first time you've gotten twisted up into knots when you got the impression that what you were writing was somehow problematic, despite that not being the case. I still remember the Stormdivers drama. I think you need to take a step back and not let other people dictate what's acceptable or not in your own works. The more successful you become and the wider your audience gets, the more often you'll get an outlier who finds something problematic. And in my opinion, it would be a net loss to our society if you let those people stop you from writing.
Also this. Hell, you wanted to actually do something about Bad Shit In The Real World? You are actively teaching me new things about all the horrible shit that the colonial powers got up to. I'm learning new ways to recognize and work against oppression and how to respectfully think about and talk about these kinds of issues. Every single one of your stories and every one of your settings is like that. That's what's actually happening when you write about the oppression and all the other bad shit, even when it's not the main focus, even when you intentionally avoid it because you want to write something lighter and fluffier. Because you do it respectfully and you engage with it and you always write a fundamentally hopeful setting and shows us workable ways forward. That's what you're writing.
 
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Gonna kinda stream of consciousness here:

I'm having trouble seeing the problem here. You are attempting to write a story in which the world is positive, suffering is actively minimized, and discrimination is considered absurd. You are doing so utilizing an aesthetic that is originally rooted in an age wherein none of that is true. And you're...tying yourself up in knots because you aren't calling out the past enough? Not making the story *about* how fucked up imperialism is? Why?
If it is a necessity as an author to ensure that you have actively acknowledged how bad imperialism was, when writing historical (or historically-based) fiction (an assertion that I disagree with, mind you) -- you kind of already have? Castles of Steel and the Gayaverse have done that. You have an entire setting (that you are actively developing!) which involves considerable amounts of examining the horrors of the past. If you have a requirement to do this, it has been done. Now you've created a new setting, a happier, more hopeful setting in which you have gone out of your way to make things pleasant and show a humanity that has stopped doing the evil things...and you feel the need to go back and do some more examining of imperialism? To make the setting less happy and fun, and inspect every last bloodstain that *this society is set up to specifically stop making*?
I beg of you, do not. It is not necessary for every work examine the past, or even the present. The present sucks, the past sucked. I've been enjoying this setting, this fic, because it *doesn't suck*. Escapism at it's finest. Please don't beat yourself up because this setting doesn't show enough of the horrors of the past. We know you've done your homework, you've shown your work elsewhere, it's *okay*. Write the happy setting because it makes you happy (and us, too!).
I am desperately hoping this doesn't come off as harsh or as a personal attack - my ability to properly convey intent through text is limited (I am *not* an author). I love your work, open_sketch, I particularly love this new universe you've got going, and I really want it a) to continue, b) not to become grim or unpleasant because we're dwelling on an imperialist past, and c) to make you happy rather than distressed, both because I want all people to be happy, and to facilitate goal (a).
I'm rambling, and I'm gonna stop now. I hope your distress abates.
 
Thank you everyone. I'm sorry I don't handle this stuff very well. I have a pretty bad anxiety disorder, and it's made worse by the way many communities around me tends to react to even the slightest perceived flaws or problems in works, including 'improper' aesthetics. Further, I work in a professional environment that relentlessly conflates the creation of media with political activism, especially when that media is made by queer people. It's fucking exhausting.

This combination of things makes me feel constantly like I have to justify every word I write because of the impression that it takes up space, and that a work is only as valuable as the political messages it conveys. It can often feel like I have a responsibility to only use my platform in ways that are useful, and that writing because I enjoy something or for fun is, conversely, irresponsible. I have trouble answering the question "why did you write it this way?" with "because I wanted to", and I tend to put literally months or years of work into everything I do for the purposes of justifying everything I create with political and historical frameworks to the point where a signifigant portion of my flagship title is devoted to footnotes explaining my choices. It's what I do to feel safe.

This... I've just been blasting out thousands of words at a time, writing what feels good, and they just happened. I've been writing without anxiety for a week. It was bound to catch up with me, and it really didn't take much. Tomorrow, I'm going to try and write a big triple-sized update to make it up to your all.

I'm so sorry everyone.

(Let me try to lighten the mood before I go with a dumb fact: Dora's entire character is designed to be a sort of weirdly optimistic mirror of RIchard Sharpe. Where Sharpe is a ruthless, crude, bloody-minded bastard who only cares about himself and the men under his direct command, Dora diligent, conscientious, selfless, and actively trying to be a part of something bigger. A ton of aspects of her character are direct mirrors of Sharpe, from how they got their commissions to their signature scars. Seriously: all three of her major injuries on her face, thigh, and back have direct counterparts in major wounds taken by Sharpe over the series.)
 
This... I've just been blasting out thousands of words at a time, writing what feels good, and they just happened. I've been writing without anxiety for a week. It was bound to catch up with me, and it really didn't take much. Tomorrow, I'm going to try and write a big triple-sized update to make it up to your all.

I'm so sorry everyone.

(Let me try to lighten the mood before I go with a dumb fact: Dora's entire character is designed to be a sort of weirdly optimistic mirror of RIchard Sharpe. Where Sharpe is a ruthless, crude, bloody-minded bastard who only cares about himself and the men under his direct command, Dora diligent, conscientious, selfless, and actively trying to be a part of something bigger. A ton of aspects of her character are direct mirrors of Sharpe, from how they got their commissions to their signature scars. Seriously: all three of her major injuries on her face, thigh, and back have direct counterparts in major wounds taken by Sharpe over the series.)

1. Don't feel like you need to write a longer entry to make up for anything. Remember, you are trying to have fun, not stress yourself.
2. Holy cow how did I miss that.
 
Thank you everyone. I'm sorry I don't handle this stuff very well. I have a pretty bad anxiety disorder, and it's made worse by the way many communities around me tends to react to even the slightest perceived flaws or problems in works, including 'improper' aesthetics. Further, I work in a professional environment that relentlessly conflates the creation of media with political activism, especially when that media is made by queer people. It's fucking exhausting.

That last bit, the conflation of media with activism? Yeah, that's one of the things that has made me stop looking at Tumblr lately. I hear you.

This combination of things makes me feel constantly like I have to justify every word I write because of the impression that it takes up space, and that a work is only as valuable as the political messages it conveys. It can often feel like I have a responsibility to only use my platform in ways that are useful, and that writing because I enjoy something or for fun is, conversely, irresponsible. I have trouble answering the question "why did you write it this way?" with "because I wanted to", and I tend to put literally months or years of work into everything I do for the purposes of justifying everything I create with political and historical frameworks to the point where a signifigant portion of my flagship title is devoted to footnotes explaining my choices. It's what I do to feel safe.

You do not need to justify your creations to me, and I feel like you shouldn't need to justify your creative works to *anyone*, but I can see where you're coming from. That said - everyone is allowed to take up space. It's not like the internet is running out of room!

This... I've just been blasting out thousands of words at a time, writing what feels good, and they just happened. I've been writing without anxiety for a week. It was bound to catch up with me, and it really didn't take much. Tomorrow, I'm going to try and write a big triple-sized update to make it up to your all.

I'm so sorry everyone.

You need not apologize. You're putting this out for free, just for the fun of it; this creates *zero* obligation. (that said, I'm thirsty for content, so I'm not going to turn *down* a triple-scale updoot; just don't feel *obligated* to write it)
 
Yeah, much as i love your work, you don't need to "make up" for what appears to be a mental health spiral measured in hours with TRIPLE your regular output. That's a ridiculous standard, and i bet its a double standard too. Take a breath, get back on your feet, and resume your already impressive pace! No need to sprint, there's nothing to catch up to.
 
Thank you everyone. I'm sorry I don't handle this stuff very well. I have a pretty bad anxiety disorder, and it's made worse by the way many communities around me tends to react to even the slightest perceived flaws or problems in works, including 'improper' aesthetics. Further, I work in a professional environment that relentlessly conflates the creation of media with political activism, especially when that media is made by queer people. It's fucking exhausting.

That sucks and it's not good at all. Half the point of being remorselessly queer is looking the world dead in the eye and telling it you aren't apologizing for being someone who isn't hurting anyone.

(Let me try to lighten the mood before I go with a dumb fact: Dora's entire character is designed to be a sort of weirdly optimistic mirror of RIchard Sharpe. Where Sharpe is a ruthless, crude, bloody-minded bastard who only cares about himself and the men under his direct command, Dora diligent, conscientious, selfless, and actively trying to be a part of something bigger. A ton of aspects of her character are direct mirrors of Sharpe, from how they got their commissions to their signature scars. Seriously: all three of her major injuries on her face, thigh, and back have direct counterparts in major wounds taken by Sharpe over the series.)

Nice. I feel like a positive, optimistic mirror on this sort of thing is in itself a positive good. The contrast is visible, and honestly, depicting a good pleasant society that makes people realize behaviors that make them happy is giving tools to people who want to be the change they want in the world to be good to each other. Representation matters, even if it's as simple as well intentioned people figuring out how to be or being good people.
 
In your works, you chose to reject cynicism, and instead construct these vibrant worlds that're true to themselves. We appreciate you for doing that, for continuing to do what you like.
 
Thank you everyone. I'm sorry I don't handle this stuff very well. I have a pretty bad anxiety disorder, and it's made worse by the way many communities around me tends to react to even the slightest perceived flaws or problems in works, including 'improper' aesthetics. Further, I work in a professional environment that relentlessly conflates the creation of media with political activism, especially when that media is made by queer people. It's fucking exhausting.

This combination of things makes me feel constantly like I have to justify every word I write because of the impression that it takes up space, and that a work is only as valuable as the political messages it conveys. It can often feel like I have a responsibility to only use my platform in ways that are useful, and that writing because I enjoy something or for fun is, conversely, irresponsible. I have trouble answering the question "why did you write it this way?" with "because I wanted to", and I tend to put literally months or years of work into everything I do for the purposes of justifying everything I create with political and historical frameworks to the point where a signifigant portion of my flagship title is devoted to footnotes explaining my choices. It's what I do to feel safe.

This... I've just been blasting out thousands of words at a time, writing what feels good, and they just happened. I've been writing without anxiety for a week. It was bound to catch up with me, and it really didn't take much. Tomorrow, I'm going to try and write a big triple-sized update to make it up to your all.

I'm so sorry everyone.

(Let me try to lighten the mood before I go with a dumb fact: Dora's entire character is designed to be a sort of weirdly optimistic mirror of RIchard Sharpe. Where Sharpe is a ruthless, crude, bloody-minded bastard who only cares about himself and the men under his direct command, Dora diligent, conscientious, selfless, and actively trying to be a part of something bigger. A ton of aspects of her character are direct mirrors of Sharpe, from how they got their commissions to their signature scars. Seriously: all three of her major injuries on her face, thigh, and back have direct counterparts in major wounds taken by Sharpe over the series.)
I want to say this because it bears reminding: your worth is not dependent on what you do! You, @open_sketch , have value as a human being and you should never have to apologize for not doing enough, or for being human. I am being completely serious: the voice in your head, talking about how you're a terrible person and not worth it? It's completely wrong. I hear that voice too, especially on bad days, but just because something is hard to bear doesn't mean its true. I am grateful that you write. I will probably always remain excited to read it, and I am very excited to read whatever you produce. But even if you never write again, I'm still glad you were here.

Yet we - by which sole token
We know we once were Gods—
Take shame in being broken
However great the odds.
 
This combination of things makes me feel constantly like I have to justify every word I write because of the impression that it takes up space, and that a work is only as valuable as the political messages it conveys. It can often feel like I have a responsibility to only use my platform in ways that are useful, and that writing because I enjoy something or for fun is, conversely, irresponsible.
I have something like this, albeit built on different foundations. All through school, all the way up to the point where I failed out of grad school, it was pretty obvious to everyone around me that the only things causing me any trouble at all were my poor memory, lack of attention to detail, and trouble sticking with topics that I wasn't interested in. What they told me, every single one of them for my whole life, was that I just needed to try harder to remember things and pay attention to the details and listen when people were talking and stop being lazy. By the time I was diagnosed with an attention disorder, at age 27, I hated myself. I ended up being diagnosed because I'd burned out so hard that I nearly got fired. I burned out because I thought that the way to not be lazy was to work harder and not get distracted and try to focus on one thing at a time. Turns out that that doesn't work. All it does is make you absolutely fucking exhausted. Thanks to therapy and learning material and supportive coworkers I've learned better approaches. What works for me is to program for an hour, then go and fucking read fanfiction for an hour to recharge, then spend another hour eating lunch, then go back and program as hard as I can for another hour. And in those two hours of programming I get more done, sometimes an order of magnitude more useful work, than I would have if I'd just attempted to grind through the code for four hours solid. And now I work at Google. Sleep is the same way; if you have a test in the morning, you're better off sleeping for 8 hours than you are studying for 2 hours and sleeping 6, almost every single time. Going full blast on work all the time is how you burn out. We need variety. And when writing is your work, that means that writing for fun is productive, because it makes you better at writing for work.

Furthermore, you can't always do everything all at once. I'm sure you know that the audience is one of the first things you consider when you're communicating. You have to use different words, different ideas, different structures. Simultaneously addressing multiple audiences is more difficult than addressing a single audience. Simultaneously addressing different messages to different audiences is more difficult still. Well, it goes even further. Attempting to accomplish multiple fundamentally different goals with a single project is one of the most difficult things you can do. Sometimes you get lucky and you find a clever solution. Sometimes you don't. It's all too easy to half-ass two things instead of whole-assing one thing.

I posit that the purpose of this work is to make you happy, that that is a good, positive, and productive purpose, and that you shouldn't dilute it by trying to make it more like work. The fact that you were able to casually blast out 50k words in like two weeks tells me that you have a lot of pent-up creativity that's just itching to come out. Let it.

You get enough done at work. As far as social good is concerned, definitely more than I do; at best I'm flailing helplessly against fake news. You're doing enough. Take some time for yourself. Write what you want here. Your work will be better for it. You will be better for it.

And please don't push yourself! Here of all places! Do what's fun. Enjoy yourself. Write this for you.

What would Dora or Marie tell you to do? "Wait, you're telling me that writing about me protecting humans and snuggling with hot robot writer ladies makes you happy too? Write more please. Exactly like you've been doing it. Nooo, don't rush it, just, yes, that scene, take as looong as you want on that scene... Okay, fine, I guess I can go save Lieutenant Kennedy's ass, it's far too fine an ass to be allowed to come to harm."
I want to say this because it bears reminding: your worth is not dependent on what you do! You, @open_sketch , have value as a human being and you should never have to apologize for not doing enough, or for being human. I am being completely serious: the voice in your head, talking about how you're a terrible person and not worth it? It's completely wrong. I hear that voice too, especially on bad days, but just because something is hard to bear doesn't mean its true. I am grateful that you write. I will probably always remain excited to read it, and I am very excited to read whatever you produce. But even if you never write again, I'm still glad you were here.

Yet we - by which sole token
We know we once were Gods—
Take shame in being broken
However great the odds.
This too. I have that voice. It's wrong.
 
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I worry that some of my comments might have contributed to this kerfuffle, and if that's the case I would like to apologize. I never intended to attack this story, but rather to poke at unexplored corners of the setting. I wasn't demanding that these things be addressed in the story itself, either! Every author has a right to declare what their story is about, and to simply not mention things that are outside of that scope. Often, keeping things focused is the best choice for the story as a whole.

I don't quite know what to say that hasn't been said already. @open_sketch , your happiness is important to us. You had such a lovely enthusiasm just a few days ago, and it's awful to see how things are darkening. I just want you to feel okay again. Please do what's best for you.
 
I worry that some of my comments might have contributed to this kerfuffle, and if that's the case I would like to apologize. I never intended to attack this story, but rather to poke at unexplored corners of the settin

Why does everyone have to articulate my points so much better than me?

So much this, I'm sorry if my sleepy comments prompted by how much I love this story caused any anxiety.
 
Just want to pipe in and say that reading this story has made my past week, which was difficult and a bit mental-health wonky for me, a lot more doable and pleasant. If nothing else, your work helped me - so that's some purpose.

And it seems I'm not nearly the only one.
 
@open_sketch

I think I'd like to add something, in regards to the idea that literary work must "defend its usefulness."

When it comes to works of art, and this is art... beauty is its own justification.

Yes, I'm serious.

...

Art that is 'useful' in that it relays a message (e.g. "imperialism is bad") is not, in fact, useful if it fails to convey the intended message.

Art will always fail to convey the message if it cannot hold the audience's attention. Correspondingly, if art is beautiful, if it has resonance, if it sets the soul alight and the imagination awhirl, it will get the message across. it will do this even if the messaging is itself imperfect, even if someone, somewhere, has a grumble about it!

And furthermore- and this is important, where does beautiful art come from? How is powerful art, useful art made? Not by sitting alone in an armchair until something brilliant materializes out of nothingness! It is made by engaging with past art, contemporary art, analysis of art, one's own feelings about art.

A broad, deep, nourishing reference pool is fertile soil for other good art to grow. Ignorance or blind rejection of well-crafted art will beget badly-crafted art, art that will fail even if it tries to be useful- see above. And deliberately cultivating good art, adding it to the reference pool, will always pay off in the long run- you are tilling the soil for the next planting, the next harvest. You are Helping, even if you harvest nothing and plant nothing today.

...

Look around you. Read your reviews.

You have written something beautiful, something that sets the soul alight and the imagination awhirl.

It is enough. It continues to be enough.

Here, now, your tithe to the demanding god of "but is it useful to the Great Project" is paid.
 
Chapter 17 - Lighters & Lighter Topics
There was some laughter, and the conversation moved on. Captain Bill left to deal with something on the bridge, and officers began leaving the mess in ones and twos. Even as they cleared out, Beckham remained, leaning heavy on the table, clearly quite drunk. His friend Turner asked if he needed anything and was waved off, and soon the mess was empty save for me, everyone else going off to socialize in smaller groups or back to their quarters to sleep off the booze. Not knowing what exactly I was supposed to be doing, I remained in my seat until it was just the two of us.

I guess it was up to me.

"Miles, are you quite alright? You seem particularly out of it." I asked. He shrugged dismissively, still leaning against the table.

"I suppose. I don't do well in transit, feeling cooped up and such." he said, "I hate not having anything to do."

"... you have no idea the degree to which I relate to that." I said, "Rather machine-like thing to say, really."

"Beep boop, Fusie, beep fucking boop." Beckham muttered, checking his glass for the fifth time as if to check if more gin had materialized. "Did machines ever beep? Where did that come from?"

"No idea. Don't really know much about history or anything." I admitted, "Only really started paying attention recently. Just sort of knew humans were struggling until we lent a hand."

"Struggling… it's a good word for it. Great bloody mass of people struggling with a boot to their neck. Said boot belonging to the people at the top living in luxury." he said, the distaste on his voice. "People who looked like us, you know."

"Us?" I asked, a little curious.

"Fine. Like me. Bunch of pale men in red coats, sitting in fancy wooden rooms sipping expensive booze and carving up the world. Little bit of India, tip of Africa, as much of the Americas as we could get our hands on. And we probably would've gone on to take more, I'll bet."

"That's… Earth history. All of it's like that, isn't it? Desperate, scared people clawing at each other. Cruelty driven by fear, which makes the small human kindnesses all the more remarkable." I said. It was sad, it really was. I think I read somewhere in a newspaper that when they asked machines what they wanted more than anything, the most common answer was I wish we could have been invented earlier.

"You ever been to Earth?" he asked, and I shook my head. Never even been close. "Went when I was a kid with my dad. Saw all that stuff in the museums, cannons and guillotines and manacles. Flying shuttle looms and cotton gins. Toured old battlefields where tens of thousands of people died, saw factories we used to lock children inside. Bastard wanted me to be proud that we'd come so far, but now, I look back at it and just think by God, I'm glad somebody stopped us."

We sat, a moment, in that awkward silence.

"It wasn't just us, you know." I said, "You had to build us. You had to want us. I think everyone did, when it came down to it. I can't imagine there's ever been somebody who looked at all the suffering and didn't wish it was another way, even if they couldn't imagine how it could be better. Somebody just figured it out in one go."

He settled back against his seat heavily, looking me over with a critical eye. I didn't know how human brains worked, but I could only imagine the cooling fans speeding up as he maxed his CPU. Just squishier.

"Why are you always so bloody nice to me?" he asked finally, "I've been a complete ass to you ever since we met."

"As best I can tell, you've been a complete ass to everyone you've ever crossed paths with." I pointed out, "But… I was expecting that, and worst, from the other officers. The fact you've been the worst I've had to put up with from the officers has been a relief, frankly."

"I'm glad I could exceed your lowest expectations." he said, and we both couldn't help but laugh a little about that. "Don't know if it's a great foundation for a friendship, though."

"Well, that's okay." I said, still chuckling, "If we machines are good at anything, it's putting up with humans not being perfect yet."

I left Beckham in the capable hands of his valet Jim soon after and retired to my cabin, flopping down heavily on the mattress. Luckily, transport of machines was apparently accounted for in these quarters, because there was a plug hanging from a cable above my head, swaying slightly as the ship rocked against the solar winds.

Didn't feel quite like sleeping like.

"Miriam, is there a library or something on the ship?" I asked. I didn't know where she was, but I had a feeling she was in earshot of me, and sure enough she popped her head through the door a moment later.

"Yes, there's a small one. Would you like a book?" she asked.

"Yes. Something modern, lighthearted if you would. Don't know if I'm in the mood for any historicals." I said. I could get my own books, of course, but Miriam knew better than I what was good on the shelf. And it was better than letting her go stir-crazy.

"Right away, miss."

---

The second day, fortunately, the winds turned and we were on our way at a fast clip, fast enough that the nearest stars were beginning to roll past the window, visibly moving as I watched. I spent most of the second day sitting on my bed with some light music, working my way through a sizable portion of the ship's library. I took breaks to find productive work, taking advantage of a sparring ring I discovered in the lower sections of the officer's deck to practice my swordsmanship and discovering (to my joy) some unfinished paperwork.

That aside, mostly the day passed reading through the tiny library's supply of romantic dramas, occasionally glancing out the window, watching the water building up on the sails run down the windows like rain. I'll say this: the women in these novels managed to feel more intensely about small gestures, the contents of polite letters, and pleasant dinner conversation than I think I have on most battlefields, and it is a very good thing I am not one of the Marias because I promise you some of these men would not make it out of the estate intact.

I skipped dinner, but Miriam came to me soon after with an invitation from Beckham to join in a card game he was putting together with a few of the other officers. This turned out to include Turner, Kennedy, and to my surprise Ensign Sumner, who had bugged him at the dinner table until the invitation was extended.

The game was poker, and the buy-in was a princely three pence. I had neither played cards nor gambled ever in my life, so I was unsurprisingly obliterated by the more experienced players. Who, in turn, fell victim to Ensign Sumner, who claimed her mother would sit down with her every night and tutor her at poker, whist, and a variety of other games.

"Good lord, she's cleaning us out." Turner said, staring in disbelief at the latest hand. "I'm devastated."

"This game really isn't difficult, I think you just need to practice more. Again?" she asked, sweeping her ill-gotten coin into her hands.

"At this point I think it'd be faster just to pay you." Kennedy said numbly. "I was good at this. I used to win all the time back in school."

"I'm always game to lose more money. You'd think Fusie would be better at this, but she gives the game away on her face every time. Which is remarkable given how little of it moves." Beckham pointed out.

"I'm new at this!" I protested, "... the refrain of my life these past few weeks."

"You seem to be doing alright." Kennedy pointed out, and Turner laughed.

"Better than us, sometimes. Showing up with a date at the Duke's, rather embarrassing for the rest of us."

"She was cool." Sumner agreed simply, taking the cards and shuffling them at lightning speeds. "Come on, one more!"

We all grumbled and threw more pennies into the pot for her to inevitably collect.

"Did you know her before you jumped up, Fusie? Like… stars, are you secretly married or anything?" Turner asked, looking at me askew. "I'm just realizing I have no idea. You could be like, a century into a relationship or something, couldn't you?"

"I'm only thirty-three." I said, "And no, it was a bit of a rush arrangement. Our first outing."

"What's she like? I barely saw her." Kennedy asked, voice a little quiet, and Beckham broke in.

"Ooh, let me answer. Her name is Beatrice Taylor, her job is Beatrice Taylor, and she enjoys working very much and little else." he declared, grinning foolishly. With great precision, I bounced a penny off the top of his head from the other side of the table.

"She's a writer, actually, and she's very nice. Why are we talking about this?" I asked.

"Interrogating one's fellows about their romantic escapades is a time-honoured tradition." Turner said sagely. "We'd expect you to do the same for us."

Well, if it was tradition, fair enough. Came with the station.

"What does she write?" Sumner asked, dealing out the cards with a practiced ease.

"Ah… she writes romances aimed at machine readers." I said, taking a look at my hand. I knew the numbers ought to be Good, and these numbers were very much Bad. "Urgh… I haven't had a chance to read one myself, but I understand she's quite popular."

"... the idea of a machine romance strikes me as somewhat incongruous." Turner said, "Like, I understand it's a thing that happens, but I can't rightly picture it."

"I'm not sure you should be trying to picture it, old boy. At least not in public." Beckham said, and Sumner broke down into loud laughter of such intensity she sank from view, slipping out of her chair.

"Miles, try not to kill my ensign." I muttered, looking at my cards despairing.

"Not exactly a lot to picture, I'd think?" Turner said, clearly thinking aloud. "If you understand my meaning."

"You'd think that, yes, but you would be very much surprised." Beckham said, and I suddenly rather wished this conversation would end and we could get back to fleecing me of my pay. He leaned close to Turner to whisper 'discreetly', but I quite clearly heard him say "They customize."

"Good Lord." Turner replied, a look of stark disbelief on his face. "Do they really?"

"Oh my God." Kennedy said, a look I could only imagine was horror crossing her face.

"Can we please talk about literally anything else?" I asked, as Sumner climbed back to her seat, still wheezing.

"Sorry, I missed that… where were we?"

"Playing cards." I said insistently.

---

For all that the card game was incredibly mortifying, it did remind me of the conversation I'd had with Beatrice the night before I left. Further… we did have our regimental engineer on board. She even had a workshop on the ship, and inquiring while we still had two days travel ahead of us was likely a better idea than doing so on the return journey when there might be wounded Theos and Doras in need of attention, right?

So… I perhaps paid the workshop a visit, and worked out a plan to pay her back over time in exchange for some, um. Improvements. Just basic ones. Bea would probably appreciate it when I got back. Very fortunately, the workshop had all the necessary tools.

And if nothing else, it ate up some boring travel time.

I took a few test laps around the ship's passageways to make sure nothing had broken, and I began to notice a distinct change in the energy of the ship. Sailors were busying themselves moving what I thought might be degaussing gear, and more than once I had to step aside to let somebody through carrying some strange naval device. I could only imagine this buzz of activity meant we were approaching the system, and I was eager.

At dinner that night, Major Gaynesforth indeed reported we'd be coming in to the system within just a few hours, and then navigating in-system to the planet. Initial sensor sweeps of the area by our escort indicated it was empty of any other ships, so we likely wouldn't face interception, and continuous signal lights indicated that, thankfully, the dig site hadn't been overrun, though they were apparently still being attacked in the night.

We had, from these exchanges, our first description of our potential enemies: they were known to be humanoid, slightly bigger than a human, with some sort of helmet or crest on their heads, and they carried a firearm of some description which fired a beam of energy. This was cause of some concern: while we'd encountered automatons and such with similar body plans to our own, and there was no particular reason to believe they'd be generally more or less likely to be independently intelligent than other forms of alien life, anthropomorphization was a powerful force.

"Lieutenant Colonel Harrison is increasingly of the opinion that the dig site has disturbed some form of local life, with an even split between them being leftover defenders or genuine native intelligences. Our primary mission is still to get the archeology team safely off the world and secure this gateway, but we're going to have to use a light touch until we understand what's going on." Major Gaynesford explained to us over dinner. "To that end, we're on stunners only until he gives the word, and preferably we avoid being forced into an engagement at all."

"Even if they engage us first?" asked one of the other officers, Lieutenant Forrest from the Grenadiers.

"Yes, absolutely. If we're inadvertently trespassing, it won't do to make it that much worse by killing the poor bastards." he said. "That said… please don't get yourselves killed doing the noble thing. If they've got you cornered, defend yourself."

"Be sort of a let down if genuine first contact broke down into a firefight, wouldn't it?" Turner commented, "Rather hard to live that one down."

There was some scattered, nervous chuckles from the assembled officers.

The ship arrived early on the forth morning, having caught some fortunate winds the day previous. I was awoken by the ship's bell, and glancing out my window I saw llomia J3H for the first time as we came into orbit, slowly growing in the window. It didn't really have discreet continents, instead being a sort of murky green-blue indicating many tens of thousands of small lakes and marshland throughout the world. As I dressed, an unmistakable red flare sprang into being in the world's upper atmosphere, a signaling rocket to guide us in.

The officers gathered in the hold and we got organized for landing in the hold. Cleared of power cables, divider walls, and hammocks, the hold became a staging floor where almost three hundred machines packed in close formation, a great deal of shouting from officers and NCOs as we tried to get everything in order to move. The ship had ten lighters lining the side to bring us to the planet, each big enough to carry a section, with Kennedy's artillery and the supply wagons taking up the rest. I gathered up our group and shuffled them into the narrow space: officers always got in last.

I took a moment, then, to look at something I'd never really had a chance to see before, the hold of the transport utterly empty and silent as the last artillery piece rolled up its ramp. I waved to Kennedy across the bay, and we climbed into our lighters, leaving the transport behind.

There were crash seats lining the sides, and in between at our feet went as many supplies as we could safely put in. These landers were supposed to be able to be used to drop soldiers directly onto battlefields, but I don't think they ever have and I doubt they'd be much use in the role. Filing out two at a time from a small ramp sounds less like an efficient entry into combat and more like a very good place to get funneled to our deaths.

Once the hatch was sealed, we had no way of knowing what was happening around us. The hold was lit by nothing but a row of flickering holographic candles, in red to preserve our night vision, the flames wavering as the lighter detached from the hull and we all felt the strange lurch of its acceleration away from the transport. Reentry was uncharacteristically smooth, with only about five minutes or so of chopping flying (Kelly laughed and cheered the whole way, while Sumner looked very much on the edge of vomiting), and then we were finally gliding toward our landing site, a clearing some five miles away from the base camp. Only the Grenadiers were landing directly at the camp, the rest of us needed a larger assembly area.

I was counting down the seconds in my head until we ought to land when suddenly there was a great jolt in the lighter. I had learned over the years that such things are only worrying if they seem to worry the crew, but when I glanced to the chief by the ramp his eyes were wide and he was gripping the crash netting for dear life. There was another jolt, and this time I undid my belt and climbed to the small pilot's compartment just ahead of the hold, where two machines were holding the esoteric controls that guided the glider through the sky.

"What's happening?" I asked, and one of them glanced back with a fearful expression.

"Something took a shot at us, ma'am! Go sit down!"

Well, that was concerning. I shuffled back to my seat, belted in, and then raised my voice above the clackering.

"Right, Theos and Doras! Something just took a shot at us, so when we land, I want a loose formation around the lighter immediately! Be ready for action, but stay on stun, and don't fire unless fired upon, I don't want to shoot our comrades in the muck!"

Just moments later, the lighter touched down, hard. We decelerated rather more quickly than I was expecting, slammed into our crash seats, and then the rear ramp dropped with a sort of wet splat. Immediately, the smell of sulfur filled the compartment, and I was suddenly very, very glad I could turn off my sense of smell.

The first machines came down the ramp, up to their ankles in muddy water, and I waited for ten to go before heading down the ramp myself. I had to lead and get a good read of the situation, which I couldn't do if I had my head blown off. I emerged from under the lighter's foil tail to a large, flat wet plain, with clumps of long, yellow-green grass dotting the landscape. Another lighter down the field was landing and I could see a tracked horse roll out into the mud, and I turned to the nearest treeline, scanning for threats as soldiers fanned out with guns at the ready.

Over the canopy I could see another of our transports coming in low, highlighted against the dull yellow sky. There was a sort of purple strobe chasing it, then something connected and the whole lighter bucked in the air and started descending faster, a horrible tear through the foil of its leading wing. With a crash, it plowed through the tree about a hundred meters from our position, water spraying up around it.

Well… we knew where the threat was now, at least.

"B-section! Close order line, between the lighter and the treeline! I want the revolver cannons up!" I called, guiding them through as the engine came down the ramp shakily. "Kelly, Sumner, hold the troops here! I need four machines with me!"

The next four privates to emerge from the lighter formed up behind me, and I led them quickly across the open ground toward the crashed lighter without a second thought. I did make sure to check my gorget to make sure my force screen was working, though it clearly was from the teal sparks running off the water as we wadded our way over. It was a long, slow way to go over open ground, but somebody had to.

The lighter had shed both its wings and partially rolled, lying nearly on its side. Most concerningly, smoke was pouring out of its engine unit, threatening fire, and the ramp looked well seized in place by the buckling of the frame, the hydraulics whining. After unsuccessfully trying to get it loose with the outer handles, I drew my sword and thumbed it to level three, the white blade leaping into existence, and dragged the tip through the outer edge of the doorframe.

With a snap, the door popped free as the tension was released, and we got clear as it started lowering. I glanced in to see members of 2nd company inside, Major Gaynesfield propped up against the back wall looking a little stunned and bleeding from the forehead.

"Major, you were struck by ground fire…" I said, the troops pushing out around us. His aide helped him up and he came over as I sheathed my sword, but then as he reached the ramp he glanced out, seeing my section braced with guns pointing out toward the treeline.

"Lieutenant! What the hell are you doing!" he suddenly snarled, his aide suddenly returning to dab at the blood on his forehead with a wet cloth. "Get back to your section!"

Feeling a sudden, horrified realization wash over me, I turned and ran back, extremely aware the entire time how much dead ground I was covering again on the way back, and how incredibly stupid the mistake I'd just made was. I should have moved the entire company over to cover us. Or simply waited and provided overwatch while they got out on their own, as I had provided nothing they didn't already have, and were they all somehow unconscious my four machine unit would have been of little help. The whole time, I'd left the fifty members of my section in the hands of two sixteen year olds with hardly a month's experience between them.

I could see Sergeant Theda glaring at me from her position at the line, the look in her eyes saying it all.
 
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This right here? This is why we have Officer's *Schools*, rather than just the purchasing of commissions. Saying 'right, you're an officer now, here's your company' doesn't work *nearly* as well as having an actual training program. Even then, nobody trusts a butter-bar, but they have to have had some kind of clue about command before they're given one. The Brits learned eventually.
 
Feeling a sudden, horrified realization wash over me, I turned and ran back, extremely aware the entire time how much dead ground I was covering again on the way back, and how incredibly stupid the mistake I'd just made was. I should have moved the entire company over to cover us. Or simply waited and provided overwatch while they got out on their own, as I had provided nothing they didn't already have, and were they all somehow unconscious my four machine unit would have been of little help. The whole time, I'd left the fifty members of my section in the hands of two sixteen year olds with hardly a month's experience between them.

this is why I don't want to be in charge of anything, this is the exact thing I'd do.
 
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