Like, i understand why it would be more interesting for people, but i don't think it's a good decision for Max to relive that, daily, so soon.

/I/ don't really want to watch Max suffer though reliving her abuse, either, but that shouldn't be taken as an argument for my vote since I'm an adult and can handle myself.
 
[x] The Suburban Option

The accessibility is its main advantage. I am not very concerned about it being cramped/not having a lot of room to retreat, as I don't intend it to be a fortification.

An RV would be something I'd consider second.
 
Voting is now closed
[X] The Dark Room

7ime1ock, Blueshift, James C, Markala, Novus Ordo Mundi
[-] The Suburban Option
Spector29, Nevill, Jrin, Tjakari
[-] An RV
Nate700

The Dark Room wins by a slim margin. Gotta say, this is the first vote where y'all really surprised me lmao. When writing up the base options I did the houses, then junkyard and RV, and was going to call it there but thought 'Huh, Jefferson is all injured right now, wouldn't it be funny to imagine Max and Co. taking over the Dark Room?' So I wrote it out. When 7ime1ock made that first post voting for it I laughed out loud, never change y'all.
Actually I was kind of surprised by the choice to go to Chloe's house at the end of Chapter Two as well, but it worked out in the end.
 
3.04
You see Chloe and Kate look at each other nervously in your peripheral vision. Their concern... might be warranted. The Dark Room... Silence has settled over Chloe's living room in the minute since the two of them asked you which house you preferred. Is it really worth it? Normally tough decisions like this come easily to you, even if all options are roughly equal, you can just pick. This time though? The choice that your rational mind is telling you to go with is the one every other part of you is screaming at you not to pick.

Without Jefferson, what is the Dark Room? A place where teenagers were tortured and killed. No, abstract it further. A place of suffering. Further. A place. Maybe. And a place can be reclaimed. It can be controlled, tamed, transformed. A place can have it's malice extracted, the painful, torturous memories rubbed out and replaced with new ones. A place does not have an inherent power to it, any meaning it has was prescribed by humans, and that meaning can be stripped away with work by humans.

It's... not much to go on, emotionally. Hopefully it's enough to get you through the vault door. You're worried that when you do enter, the mental gymnastics you just went through might just collapse, but... No. No, I'm strong, and I have to be strong for Chloe. She's safe for now, from the storm, but I can't shake the feeling we're all in more danger than ever.

Will the Dark Room alleviate that danger? It might make it easier to deal with. You'll probably be able to sleep, and not worry about waking up to cold blue eyes under a ski mask and the cool bite of a knife under your throat. But... it's the Dark Room.

You shake your head. It doesn't have to be the Dark Room forever.

Another thought occurs to you then, as Kate and Chloe watch you. You're not the only one who has reason- or would have reason to abhor the Dark Room. Kate was, in another life, one of Jefferson's victims, in a vacuum she'd have no way of finding out, but there's another factor at play. Chloe. She figured out fast from your reactions that Jefferson was bad news. Her only mistake was underestimating to just what degree he was 'perving on students.'

You've been dancing around the question with half-truths and omissions, but now you need to ask yourself. Should I tell Chloe and Kate what happened in the Dark Room?

You owe it to them, don't you? You're taking them into the torture-den of a deranged serial killer, who you've seen kill or injure both of them before. Chloe might take it at face value at first, but if she thinks you're hiding something about the place's true nature, she won't be able to stop herself from decoding it's purpose. You don't doubt she'd be able to figure it out, and it's connection to Rachel, in time. That's assuming Rachel even went to the Dark Room here... I didn't find her corpse in the graveyard, but there's also no Nathan at Blackwell to OD her. Yet she still went missing in the same timeframe as I remember...

You suppose you'll find out once you crack open that fault door. 534. At the same time though... knowing what happened isn't necessary... if Chloe has suspicions I... could put her off track. But that all depends on me being able to keep myself together 24/7 in there as well. Why should Kate be told of the fate another her befell there? The knowledge and memories of it already haunt one mind, why inflict it on her too?

Regardless, though, you should probably deal with those red binders before the other two see them. Even if I tell them, there's no reason to make them see those other poor girl's shots... or Rachel's, if hers are in there.

Hesitantly, you finally break the silence. "There's... another place." You suppress a shiver. "Another place that... that might work."

Kate's eyebrows shoot up. "Your tone of voice isn't inspiring too much confidence, Max."

"What's the place?" Chloe asks.

What will it be, Max?

≅≅≅​

Before arriving at the Dark Room, in all likelihood right now, what would you like to tell Chloe and Kate? If you do not want one of the sub options to be taken, for this vote you may vote against sub options, even if your vote otherwise aligns. I'm tentatively setting the "net votes" required for a sub-option to pass at 2 or more. Let me know if you think this system if flawed, I'm only implementing it for this vote as it's a fairly big reveal to be taken unilaterally.
[] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson (leaving out your own experiences)
-[] Tell Chloe and Kate what has happened to all three of you at Jefferson's hands in or because of the Dark Room
-[] Tell Chloe and Kate what happened to Rachel Amber in the timeline you remember
-[] Write-In any specific information to give or withhold

[] Do not tell Chloe and Kate anything about the Dark Room's true purpose
-[] Actively obfuscate and misdirect them with regards to it's purpose
-[] Make certain they do not see you freaking out about the Dark Room via time travel or any other subtle methods
-[] Write-In any specific methods to hide it's purpose


Once you arrive at the Dark Room, you will probably be faced with the veritable wall of red binders you have seen previously. What do you do with them?
[] Hide them, somehow. If the key for their cabinet is accessible, scout the place beforehand and lock them up. If it is not, use time travel to hide them somewhere subtle in or around the Prescott barn. They could have clues, or even be used as evidence if you can make people take you seriously.
[] Destroy them. Those girls had their agency forcibly stripped from them by Jefferson, something you can certainly sympathize with. You don't doubt that every one of them would want the binders and their contents burned.
[] Leave them. Chloe and Kate deserve an equal say in this decision. You can't be the arbiter of what these other victims might have wanted. This will take the decision out of your hands.
[] Write-In


≅≅≅
Not a huge update today, just bringing you another fun decision. I realized this was something the thread has been cagey about, and it's also something that Max should really make a decision about before revealing the torture-bunker to her pals.

Again, if you do not want a certain sub-option implemented, you must actively vote against it. Voting for an overall option without voting for or against any sub options will be taken as a neutral vote for all sub options.
 
[X] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson (leaving out your own experiences)
-[X] Tell Chloe and Kate what has happened to all three of you at Jefferson's hands in or because of the Dark Room
-[X] Tell Chloe and Kate what happened to Rachel Amber in the timeline you remember

[X] Leave them. Chloe and Kate deserve an equal say in this decision. You can't be the arbiter of what these other victims might have wanted. This will take the decision out of your hands.
 
Dark Room, yesss. This should be quite entertaining (I'm sure our reaction is just filling them with enthusiasm)

[X] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson (leaving out your own experiences)
-[X] Do nothing to imply Rachel was taken, using time travel to avoid suspicion there if necessary. We don't know the truth yet, so it's better not to worry Chloe

[X] Hide them, somehow. If the key for their cabinet is accessible, scout the place beforehand and lock them up. If it is not, use time travel to hide them somewhere subtle in or around the Prescott barn. They could have clues, or even be used as evidence if you can make people take you seriously.

-[X] Scout out the place to see if Rachel's binder is in there, only hide that one. If they know what the Dark Room is like, then they'll understand about the other girls, but Rachel... If you're going to show any evidence about that to Chloe you'll want to plan it out better than springing it on her.

Not sure we should try and hide everything from them, but I don't want to freak them out too much either. I really don't think we need to tell Kate about what happened to other her or tell Chloe about Rachel. We shouldn't destroy the evidence we could use to lock Jefferson away/potentially find out more about the Prescotts.
 
[X] Prepare uncomfortable honesty. W owe them.
--[X] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson (leaving out your own experiences)
----[X] Tell Chloe and Kate what has happened to all three of you at Jefferson's hands in or because of the Dark Room
----[X] Tell Chloe and Kate what happened to Rachel Amber in the timeline you remember
--[X] Leave them. Chloe and Kate deserve an equal say in this decision. You can't be the arbiter of what these other victims might have wanted. This will take the decision out of your hands.
 
[X] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson (leaving out your own experiences)
-[X] Tell Chloe and Kate what has happened to all three of you at Jefferson's hands in or because of the Dark Room
-[X] Tell Chloe and Kate what happened to Rachel Amber in the timeline you remember

[X] Leave them. Chloe and Kate deserve an equal say in this decision. You can't be the arbiter of what these other victims might have wanted. This will take the decision out of your hands.
 
Voting will close on Nov. 2nd at 12PM EST

We'll be back to your regularly scheduled hella long updates in no time (though 1k isn't a huge slouch I guess.) I wonder if I'm gonna inadvertently hit the Nanowrimo goal this month? I think I clocked in some 37k words in updates through October (not counting whatever snippets or scenes I wrote but didn't/haven't yet used) and that was with basically skipping the first week, so it's certainly not impossible. Just a question of how (un)reasonable a pace I update at.

As a quick review, you haven't mentioned the Dark Room to anyone, at all. You mentioned to Chloe in your first conversation that you "might" have an idea where Rachel is. You've vaguely mentioned that "bad shit" keeps happening to "you," "me," and "everyone" to Chloe. Chloe figured out that Jefferson was bad news and has been perving on student through your reaction in the diner. You mentioned to Chloe that Jefferson was sort of "sponsored" by the Prescotts in your timeline, rather than outright a goon for them.

I could have missed some, but I reread the story thus far yesterday and these are off the top of my head based on that.
 
[X] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson
-[X] Tell Chloe and Kate what has happened to all three of you at Jefferson's hands in or because of the Dark Room. (Plus Victoria)
-[X] Tell Chloe and Kate what happened to Rachel Amber in the timeline you remember
[X] Leave them. Chloe and Kate deserve an equal say in this decision. You can't be the arbiter of what these other victims might have wanted. This will take the decision out of your hands.

If ya'll are going to do this, we do it right.

Edit:
I added in Victoria, cause I don't like to let people forget about her.
 
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[X] The Suburban Option

Oops, forgot to vote
I forgot to vote too. Was really busy
This'll happen sometimes unfortunately, especially when I do update at a pretty frenetic pace. Sorry for not being able to include them, but I needed to get cracking on writing to prep the next vote.

Ultimately this vote isn't unimportant ofc., but it's partly tangential, think of establishing the base as a subplot type thing. The base mechanics will certainly come into play over time, and hopefully be an interesting, more tangible way of tracking progress, but at the moment their main influence is as a choice of subplot. This vote was focused on approach for it, but each update following will have a little of column A plot, a little of column B subplot.

If you're interested in the general subplot ideas I'd had for each base option, I'll spoil'em here for posterity. None of these have anything to do with base traits btw, just the basic progression of minor events I expected for each given option. I won't be spoiling the Dark Room plan.

All of the houses were very much going to be focused on acquiring the money necessary, and the weird way time powers can be exploited to interact with that task. This is still gonna be something you do of course, it's just gonna be delayed for a bit due to the Dark Room being free real estate. The subplot to the subplot was going to be Max and Co. settling into comfy domesticity, and whatever... challenges or personality clashes come with that. Ultimately would end up strengthening the gang's relationships probably. Would probably also involve a Frank visit if he got wind of Chloe's new domain.

RV was gonna be less money-focused, but would explore Max reopening the possibility of trying to learn to effectively use soft photojumps in a way that doesn't completely cost her hours of time with Chloe and Kate. This'd be in service of being able to basically be anywhere in the Bay she needs to be, when she needs to be there. Probably an aside about how rewind powers interact with moving vehicles, cause I've still not totally nailed down the rules for that. Rewind is a very physicsweird power.

The Junkyard was gonna be "The Gang Dips Their Toes Into The Criminal Underworld" (cue Always Sunny theme). Probably would've opened with an option to either try to talk Frankie into helping you out (which... may have been more harmful than good. Or not, who knows.) Or try to initiate contact with a criminal group that has ties to construction yourselves. Would involve Max learning how to better intimidate and wear down more hardened and seasoned opponents, either verbally or physically. Would start a long term, lowkey construction project for what is essentially a highly disguised and fortified house in the junkyard. This would cost a fair bit of money, but the biggest cost would be no matter how well Max intimidated or scared the mob boss, he'd demand that she agree she owes him a favour, to be called in at his convenience. There'd be a vote whether to accept his terms, but if it went 'no' you'd be basically back to square one, albeit I'd skip through majority of acquiring whatever base you went with for second choice. The mob boss would've also been the father of a certain other character we haven't met in this world yet. That was tentative though, and should not be considered possible canon.
 
[X] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson (leaving out your own experiences)
-[X] Tell Chloe and Kate what has happened to all three of you at Jefferson's hands in or because of the Dark Room
-[X] Tell Chloe and Kate what happened to Rachel Amber in the timeline you remember

[X] Leave them. Chloe and Kate deserve an equal say in this decision. You can't be the arbiter of what these other victims might have wanted. This will take the decision out of your hands.


I am not sure how to handle that; however, the choice of the base makes it harder to hide things about our alternate past, and I already wanted to discuss Jefferson before so there is that. I think it's better to come clean about Rachel since she means a lot to Chloe, and I wouldn't want to keep her away from investigating her current fate... and also because I think it isn't fair to us that we have to know this alone. I am more conflicted about Kate, but she did want to hear about the alternate timeline, so that doesn't weigh on me too much.

Chloe didn't, but tough luck there. She knows just enough that we'd have to actively lie to her to prevent her from learning.
 
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@Alobomb
I like the subplots, I definitely didn't expect any of them.

Could you break down the issues with the time traveling in a car that you're dealing with? Because I remember it got mentioned in the power experimentation update when the quest got revived.
It said that Max got bruised/banged up a bit.
I think it makes sense, but I don't think she has to get injured. She just has to put her legs up to hold herself in place in the car as it moves backward. (if that makes sense).
 
@Alobomb
I like the subplots, I definitely didn't expect any of them.

Could you break down the issues with the time traveling in a car that you're dealing with? Because I remember it got mentioned in the power experimentation update when the quest got revived.
It said that Max got bruised/banged up a bit.
I think it makes sense, but I don't think she has to get injured. She just has to put her legs up to hold herself in place in the car as it moves backward. (if that makes sense).
I just reread that bit last night, I guess I did think of something for it.

My thoughts are that there's no easy, clear way to delineate the force that an object would impact Max in a rewind with any level of realism. Now as a writer I'm pretty completely uninterested in "scientifically proving" what I'm writing about, but I do understand that there's people who lose their sense of immersion if something isn't at least internally consistently justified in-universe. So with that in mind, here's my stream of consciousness. Disclaimer that I'm not an especially sciencey person. So to describe force, velocity, acceleration, etc., most formulas have a component of "over time," which isn't easily reconcilable with an object moving in negative time, let alone an object moving in negative time acting against someone who works in 'positive' time. Since Max is able to modulate how 'quickly' her rewinds move backwards, that complicates it even further, since within a rewind our only anchor for the perception of time at all is Max's POV. If Max is rewinding really quickly and someone walks into her, moving at what to her vision looks like 60km/h (there's that 'over time' again), is she hit harder than if she was rewinding at a 'normal' speed where they're just appearing to move at a regular walking pace? I've spent a lot of time thinking about this, and my answer is that there's no 'realistic' easily reconcilable answer, unfortunately.

So in absence of a realistic answer, we have to turn to how her power is interpreted, rather than how it works. When Max rewinds, she enters a very physicsweird space. She's unable to physically affect objects in a rewind, even in her budget time stops where she can clamber over things, her climbing on people/objects does absolutely zero to actually affect that person in the timestop or when time is allowed to continue. This implies that within a rewind/budget timestop objects and matter have essentially infinite durability, which is an idea that comes with it's own incredibly high number of difficult and annoying problems (does that mean she can walk on water? if so does that mean rewinding under a shower would completely mess her up? would blades of grass act as tiny little blades due to their thinness and being infinitely durable?). So looking at an interpretive answer is a bust too, since Max's perception of the world is tied again to the """sciency""" mechanics of rewind/timestop.

Which brings me to my ultimate answer, a thematic interpretation of powers. We already have evidence inside her powerset that her powers are incredibly related to her as a person, and on a meta-level to the more basic themes of the game. Primary evidence being that a major power is locked behind Polaroid photographs. A surface level theme of LiS, and really of most time travel fiction, is the very basic human desire to be able to not have to live with your choices. Rewind is emblematic of the desire to change your decisions, and the first couple canon episodes of LiS are very concerned with looking at the low-level morality of changing your decisions or thinking up comebacks based on future knowledge with the ability to change past decisions. This probably sounds redundant, but the reason Max can't interact with objects in rewind or budget time stop to say, push bullets off-course, is because that's not what her power is for. Her power is for making or changing decisions, if she could push bullets off-course, it would be about "how many bullets can I poke before I get tired" instead of "how can I, from a specific point in time, make these guys either miss, or not shoot" which is a much more open-ended and interesting scenario. Teleportation of herself and small items is a convenient side benefit, basically. So given that her powers function on a very thematic level, where does that leave us with the car scenario?

The scenario I envisioned in the power testing update actually minorly sidesteps this issue. I described it as 'you found that out the tailbone-breaking way.' with regard to rewinding in a car. What I envisioned was that she rewound in Chloe's truck, her momentum was reset to 0 (another fun idea, thinking about conservation of momentum in rewind), and on getting slammed into the windshield by being at 0 net momentum herself while the car was at negative however many miles per hour, she freaked out and dropped the rewind, which sent her back into the seat at positive however many miles per hour. Basically what you said I suppose, if she's not careful, rewinding while in a vehicle can be extremely dangerous upon letting go of rewind, but as long as she watches what she's doing, she'll be fine.
 
Voting is now closed
[X] Tell Chloe and Kate the intended purpose of the Dark Room under Jefferson (leaving out your own experiences)
-[X] Tell Chloe and Kate what has happened to all three of you at Jefferson's hands in or because of the Dark Room
-[X] Tell Chloe and Kate what happened to Rachel Amber in the timeline you remember
[X] Leave them. Chloe and Kate deserve an equal say in this decision. You can't be the arbiter of what these other victims might have wanted. This will take the decision out of your hands.

7ime1ock, James C, Pyran, Tjakari, Nevill

This update might take a day or so to write, not only do I have stuff to do, but the scene where Max drops truth bombs about this stuff was always gonna be a challenge, I wanna make sure I get it right.
 
does that mean she can walk on water?
During a budget time stop, I don't see why not. For anything else? I don't think so.
if so does that mean rewinding under a shower would completely mess her up?
That is not a pretty image.

Then again, hasn't she rewound during the rain before?

There are probably some unspoken/unrecognized but very required secondary superpowers that Max has so that she doesn't get flechetted by a light drizzle.
I mean, what separates water, solid objects and the air itself on a simply physical level? They're all matter. That Max can move around at all indicates that there's a small bubble around her that allows for at least some forms of matter to interact with her in a "normal" way, just so she can move around in the first place.
If you go with that interpretation, then the question of the truck or any other object becomes "How much is too much for Max to interact with passively/instinctively?" There's a hell of a difference between a shower, a person, the air, and a truck. If the budget timestop were absolute then Max would be frozen in her own pocket of space, she wouldn't be able to move out of it (maybe not even perceive anything outside of it either, but I'm getting off-base) so even then, there's some give to her powers.

If a difference is drawn between the Threshold for Interaction™ for a rewind, a budget timestop, and a true timestop (I believe that Max opened multiple doors while Kate was on the roof, that is something she's been shown not to be able to do with a budget timestop on account of everything solid being infinitely dense) then that might free you up on some level.

Like maybe the interacting with a liquid is possible during a rewind, but during a budget time stop it would be something rigid enough to walk on.

I imagine that a true time stop would either be like a rewind where water is like water just with no ability to spread any energy (you know how a footprint on the moon will just stay there because there are no outside forces to disturb it? So maybe water is kind of the same; still identifiably liquid, just very thick and hard to move through because we're the only force that it recognizes) or something in between that and absolute rigidity.
Which I think would be kind of scary, now that i mention it.

Gasses seem to be fine no matter what Max does, if she can't move through air then she's probably fucked things up bad. That's the only form of matter that there's no reason to think she has a problem in. She can breathe too, which means that she's not only able to push through air, but also that her bubble of space extends our far enough that she can pull in air.

Also she can still see around herself, even though technically everything should be frozen. That's also weird, and more evidence to the Required Secondary Powers argument. There's a very thorough picking and choosing of what physical laws that are convenient to keep observing, put on hold, or actively break. And it's obviously on instinct, at that. Max hasn't practiced enough with it for it to be any other way.


With solids, it's the opposite of gasses where it definitely seems like they're just not cooperative at all during any kind of time manipulation. The only question is whether this is something that can be experimented with or if it's a hard rule that she can't do anything with solids. I'd argue the former, but that's yet to be seen.
I don't think that Max is ever going to have to be really good at, but she can try and get close. There's already some passive progress on this, what with everything Max is in possession of being unaffected by a rewind.

I think an interesting experiment would be to figure out whether it's the size of the object that keeps it from being affected (Chloe's truck is too big), a lack of physical contact (already jossed because Max couldn't bring Chloe into a rewind, but I'm mentioning it because it's an option that shouldn't be ignored even though it's been proven not the case. At least in that instance. It could be tried again.), or if it's a mental issue (Max only "considers" objects she's holding or on her person to belong to her).

I think we can use a bike for this. We can ride it, rewind whilst doing so and see what happens. If it doesn't move backwards then I think that put us in the mental issues being the source of the limit. If it does, then we might be in the "it's too big" territory. But who knows?


This probably sounds redundant, but the reason Max can't interact with objects in rewind or budget time stop to say, push bullets off-course, is because that's not what her power is for. Her power is for making or changing decisions, if she could push bullets off-course, it would be about "how many bullets can I poke before I get tired"

The only question that I can ask with this interpretation is whether or not the function or "purpose" of Max's power is set in stone. Because there's obviously a certain amount of necessity involved with the introduction of new applications of her powers. They respond to Max's needs more than anything else, the only internal logic seems to be whether it needs to happen or not.

Until the bathroom, Max hadn't needed to redo a moment of her life that vitally, but once she did she could rewind. Power #1

She hadn't needed to move as fast, or needed to rewind so far past her limit as she did during the Kate situation. So on instinct her powers did their best to accommodate. She couldn't rewind far enough to get herself to the top of the dorms in time, that would have exhausted her by the time she got there.
So instead, she stopped time at the expense of burning out her powers for a significant amount of time. (Whether that was for the rest of the day, until we got some more energy, caught our breath, I don't know but we couldn't rewind during that conversation IIRC)
So far that has been a one-time deal, but it did happen and if we were in a similar situation it could happen again. Power #2

The photojumps (Which are much more disconnected from her "base powers" than the timestop ever was) are just the same. She was stuck in one place, so she needed to be somewhere different. Power #3

That's all to say that the limits that Max has faced with her powers could all be issues of application or a lack of situational pressure. So maybe there's just more learning to do?

Unless some hard rules are put down (I don't know how they would be, Max doesn't know the full extent of what she can do anymore than we do) the only way to figure out what can be done is to try it out, a lot.

We did the budget timestop on a whim a few times in the junkyard, and now it's a part of Max's powerset. We're only scratching the surface. Power #4

The Budget Time Stop fits less into that necessity schema.
Maybe that's because Max is getting better.

(The Meta answer is that it's because this is a quest so we're more primed to fiddle around with stuff that the source material didn't)

Or maybe it's because it's not actually a separate power unto itself and just a very off-kilter application of the rewind power? I need to go back and reread the description during the junkyard scene. But between the different physics and how easily we're able to do it, it might be something closer to the OG Rewind Power.


would blades of grass act as tiny little blades due to their thinness and being infinitely durable?). So looking at an interpretive answer is a bust too, since Max's perception of the world is tied again to the """sciency""" mechanics of rewind/timestop.


I was going to say something else here, but after I got to thinking about the secondary superpowers, flimsy, less mass-ive solids might be the first link in figuring out what the limits are on interacting with them are. Max hasn't been getting her feet filleted everytime she walks, so there's something to that.

TL;DR: Required Secondary Superpowers Are Our friend

I hope I'm not rambling and I don't know if what I said properly addresses the truck issue in and of itself, but at least it could be a useful perspective with tackling how Max and her powers interact with her environment. Cause the logical extent of them, regardless of what perspective you employ for her powers, leaves noticeable exceptions either way you slice it.
And if there are exceptions, then maybe the rules aren't really "rules" at all, they're just limits at this particular stage.

Maybe with more practice and refinement, these issues can be fixed?

EDIT:
I went back in added in some stuff in whatever this particular shade is called. I hope it's not too much to read.
 
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