Transcript
Speaker: Worm is a web serial by J .C. McCray, also known as Wildbo. You can read Worm in its original format by visiting parahumans ah .wordpress dot .com or donate to Wildbo's Patreon at patreon dot .com slash wildbo. This story isn't intended for young or sensitive readers. Readers who are on the lookout for trigger warnings are advised to give Worm a pass. For a complete list, check the description for all of Worm's trigger warnings.
Speaker: take that you worms. Welcome back to another episode of dissecting worm, uh, with myself, Jacob and Alan joining me as always. ah Hello. And also joining us as always, Michael. Hey, keeping us in check. Gentlemen, we are in arc 21. Crazy.
Speaker: Another slow arc. I'm going to keep it real with everyone listening. We were chatting briefly before we hit the record button. There's not a lot here. There is, there's not much. So we've got some thoughts. I've got a few thoughts surrounding the season as a whole that I think we can sprinkle in here. Um, but it's a bit of a, it's a bit of a, uh, as Gandalf would say, the deep breath before the plunge. ah Yes. We've got some killer arcs coming up here. Next couple are going to be,
Speaker: Pretty crazy. So it's a little bit slower here or for a couple of weeks. Uh, would you agree Alan? Um, yeah. I mean, as a whole, I feel like the season is actually going to have, you know, a really interesting, like pull us plotting out stuff and, you know, picking the vibe, picking the transitions. Cause like, you know, uh, we're about to, we're about to hit the transition from sort of villain to hero.
Speaker: And I feel like that should be the majority of the show. Um, I think the tone ah we should be going for for the season, uh, is kind of what we need to focus on. Like how do we show the impact of all the previous seasons coming to a head at the beginning of this season? I like that.
Speaker: I mean, this is the episode that shows it off more than any of the others, but yeah. Yeah. I think it's going to be a, um, a bit of ah a trickier season for us to nail down. Uh, not so much in terms of like where it begins and ends, but like, what's the through line this season, right? I think you're, I think you're on the right track for sure. I think kind of, uh, nailing that transition is going to be key for this season and seeing how that plays out.
Speaker: That's one thing we haven't really talked about a ton, especially in our season recaps, where you know good seasons of television have arcs, season arcs within within the season, right? Good episodes of television have episodic arcs within the episodes.
Speaker: And we haven't focused too much on that one because thankfully, Wild Bo is pretty damn good writer and he he tends to do that himself. So as we kind of like adapt arcs, they're sort of built in already, but definitely on the, on like the season front, uh, something that's going to be, I think a bit trickier here for the next few arcs. Yeah. Yeah. I mean, I feel like if we're going to just talk quickly, the other seasons, I mean, season one,
Speaker: is, I don't know, maybe ah just the, I don't know what you would call it singularly, what we said before, but in my mind, it's like making choices almost. Um, season two is like survival. Um, season three is I'm trying to think of what season three would be? Well, even yeah even in like just simpler terms, ah if you're looking just from Taylor's arc as the overarching arc of the entire series,
Speaker: Season one would be her decision to to essentially become a villain. Not in her words, not so blatantly, but that's what it is. Season two is ah life as a villain. Season three is ascending from villain to super villain.
Speaker: And then season four, theoretically is this, is a pretty big tonal shift for Taylor as a character where it's the shift away from villainy towards like a pursuit of redemption almost. Yeah. I mean, in in another sense, it's, I'm thinking about this and like how you would see it for like artists where like, man, I did, you know,
Speaker: I did everything I could do as a villain, but I'm not feeling fulfilled in that. So I'm no longer going to be a ah pop artist. I'm going to become a painter. It's the midlife crisis of villainy. Yeah. Kind of like, like she, you're right. She has reached super villain status and you know, there's this thought placed in her head where, you know, where does she see herself in five years? You know,
Speaker: Where do you see yourself in five years? Uh, you know, what is the, what does the future look like for you? And for her, it's always, you know, in short term we've been talking about, Oh, it's about making Brock can make better. Oh, it's about rescuing Dinah. She did that. She, she got what she wanted. She, you know, she did those things. and Now she's like, what's the future? She's like, Oh, five years. Um, well, the world ends and maybe that should take a priority. Now that the other thing, the more immediate you know, food and shelter has been taken care of. Maybe we can focus on big picture things. And she makes the calculation, which we'll you know talk about next time, which is like, where do I go to do the most good? It's the same you utilitarian, you know, mindset that she, like choice that she justified her, you know, going to the undersiders and working with them for so long. Um,
Speaker: Yeah. Yep. 100%. Honestly, it's you the way you're talking about it, I couldn't i couldn't help but think of Megamind. ah Brilliant. One of my favorite movies of all time. And just after he's won everything and defeated Metro Man, and he's just walking around the city aimless, because there's nothing else for him to do. He's feeling so belongily, as he puts it. and Which is, uh, yeah, I see Taylor here. Yes. What's left? and and Yeah. Well, let's, uh, we'll do, well, I want to talk more about the overall season, but like I guess we should, we'll go ahead. Let's get into arc 21, kind of go through it. It's not going to take us too long here and, uh, kind of just note a few things about the arc itself that may or may not adapt well. Um,
Speaker: I love the little moments in this arc. I love her ah chat at her mother's grave, little things like that. ah be just the the What's the word I'm thinking of? Evolution of her relationship with Rachel being so evident in how it ah easily, for for Rachel, how easily Rachel allows Taylor to take a dog, you know things like that. A lot of moments in this arc that I would certainly want to make sure we include in any sort of adaptation that are really, really nice character moments already.
Speaker: Yeah. And then we get to, honestly, this is, this is where this work is tricky because honestly, in in my adaptation mind, the fight with Valifor and the fight with, uh, the teeth, those are on the chopping block.
Speaker: but could very easily remain in if we need filler fights of any kind, you know? So it's like, yeah, it's tricky. I don't think they pace too well for where the story's at. At least at any sort of focal point, you know? But it's hard. I like the fights. I mean, the Valfour fight moves exactly as fast as you think it does in terms of Oh, they do it. They trick him, you know, do it. And then the gadget his eyes like, yeah. Really, it is unlike the teeth, which is, you know, it's it's ah actually its own fight. The. Interaction with Val for is just the vehicle for hanging out with Regent and. Mm hmm.
Speaker: Like, right. you you So you can, you can, you can keep that. You can drop that in anywhere pretty much. Yeah. Yeah. It's, it's so fast, you know, it doesn't even have to really be a thing. The teeth fighting, you can play out as the same way where, you know, that we kick off the episode and they're cleaning up the last of the ABB like, yeah, they're, you know, they they're finishing up this one group of heroes. Oh, well. And, uh, that's it.
Speaker: Um, I think the big thing here is if you really wanted to make sure that the audience felt the tension and you know, felt that there is something drastic coming, you, you play it exactly as is. You don't have any interludes. You don't cut away. You just keep having Taylor go to the next area and It's a very oddly calm waiting for the other shoe to drop episode. And the episode ends with the shoe, other shoe dropping. Yeah, I think that's a good way of doing it. I think my, ah the only thing I'd want would be probably in the,
Speaker: you know previous episode as well, assuming this is episode two -ish. um is that There's just a bit more foreshadowing of what's to come. I do think even reading it It does come a bit out of the blue, her decision to leave. It's not like totally unexpected, or it feels incredibly out of character or anything like that. But it does happen relatively quickly, um at least with the pace of how everything has been going.
Speaker: so i think a little bit of just some type of foreshadowing in the yeah first episode of the season, for example. just i had I'm not kind of just spitballing here, but just little things that we would need just to help sort of sell this moment. You don't want it to get lost. You don't want people to be like, oh, you know, what's this ah tactic? She's obviously not surrendering. That's crazy. You know, things like that, um which is fine if there's a little bit of that, but you don't want it to be that jarring to where you're going to lose the audience, you know. Yeah. ah Yeah. I don't know. I mean, if you put. I mean, between the first and second episode, first episode is, you know. ah Correct me if I'm wrong, maybe I get my get my head straight because thinking about this.
Speaker: um
Speaker: Yeah. ah The first episode starts with her getting outed. Right? So we kick off the season with that. And then, and and, and we should, like the feel is definitely, she gets outed as a result of her actions and the conversations she has with like a cord, which is kind of what starts this. um And I think having her meet with a, I think she met with a cord the first time ah when she's not
Speaker: outed or when she's outed, I forget. I think it's after she's outed. I think it's afterwards. um I think we have her meet beforehand with him and we have her, I mean, I guess we could do it afterwards, after she's been outed, like sort of the final scene, like he basically is the final thing. It says like, hey, what are you doing? You know, basically ask the question to the audience, where do you see this going? Where do you see yourself? and five years and then she goes and, you know, she goes home and does the butterfly with her dad. And, you know, and she just, you know, fee is pondering that question. Where am I going with this now that I've been outed now that I've, you know, disconnected from my dad. The city is essentially safe. We kind of need to play that up, you know, and, and accord, of course, gives his binder over.
Speaker: to have you know to have the plan thing. I think he gives that over then. Like, hey, take a look at this. you know Nobody does, but whatever. And she she looks at it and this this whole episode is her looking at the file, asking herself that question, reaping the consequences of all the things that we've got before, just like the last episode, and ultimately coming to the conclusion, I need to be focused on the end of the world.
Speaker: you know Brockton Bay is safe. That was my goal. Brockton Bay has Lisa. brockter you know Brockton Bay has a chord. Honestly, I think we should kind of play up a chord a little bit of a nicer bad guy. like Because we're not in his head, you know who you just have him get really irritated with people. But ultimately, have his you know his thing like, She looks at her and she's like, is this your power? Is your power like solving the world's problems? And he's like, yes. And nobody ever fucking listens and have her be like, well, shit, like you and I should have talked years ago. Here's the ah keys to the city. Yeah. ive Done. Um, but no, I, I think that's exactly how it goes. It's like, Hey, if you and tattletale can get along, you're going to fucking just be great for the city.
Speaker: you know um and And maybe even she gives them assignments. She's like, can you adjust your thing to make sure that like the ferry is operational, obviously, because that's all that's all she ever wanted, um was her dad's you know union dream to get up and going.
Speaker: um And he's like, yeah, like I think, you know, uh, I think I could make concessions to that. You know, I can make that part of the direction. I use my power and they do that. And then she's like, cool. I mean, you guys have the city, like all this is taken care of. And then she goes on her little spree of like, you know, essentially saying, are you guys going to be good without me without saying that? Mm -hmm.
Speaker: I like that. I like to kind of build off of that. I like the idea of maybe the first couple episodes here really highlight that Taylor one coil is dead. ah You know, the EBB and the, and the pure and, and, uh,
Speaker: Empire 88, like they're all gone, essentially, they've been defeated. And what's left are thugs, right? Like, metaphor is a thug, the teeth are thugs, they're not organized. And so I think if we demonstrate both of that, like how easy it is for Taylor and the undersiders to defend the city at this point from actual like evil villains and then the arrival of a cord and things like this where it's, you know, like a higher class of villain, essentially picking up where Taylor left off, just ruling with purpose, uh, to kind of protect everything and and really highlight that Taylor feels like, Hey, my work here is done. You know, like we did it now. Like you said, now the city's safe.
Speaker: Now it's time to address the elephant in the room. We've got the end of the world is counting down, you know, um, time to time for the next step. I like that. Yeah. Yeah. Good. I mean, you could even have it but her basically be like, like Lisa, you know, just like all everything else, Lisa very much knows where Taylor's head is at. Um, but I don't think everybody else does so.
Speaker: have her be like, Hey, what about the end of the world? And all of them kind of be dismisses of, ah of that. And they're like, are you worried about it? She was like, I mean, kinda. Yeah. And they're like, yeah, well, do you know, just don't worry about it. Yeah. Can't worry about it, but she gonna worry about it. If there's one thing he was going to do, it's worry about it. It's going to worry about the end of the world, which I mean, fair. Probably a good idea.
Speaker: Um, really like Taylor's scenes with Lisa and all of those moments. Um, really great scene. Uh, yeah, these little quiet moments. I i really liked the way wild boat builds up to her surrender in this arc. Um, yeah, it's, it's a good build. I like it. I'm just imagining this is, there's a lot of like, obviously we're getting like,
Speaker: on Zimmer or Michael Giacchino is composing this. Obviously we have the budget and just some beautiful, dramatic, slow building, melancholy music going right now. You know, just slow little montage of her moments with her friends. Says goodbye. Move on out. Lovely.
Speaker: Yeah. And I didn't seen, and see um, to kind of touch on, we've had a, so many like great comments on all of our posts these past few months, and we'd never get the chance to like,
Speaker: ah address them as they're being posted because we record several episodes in advance. A little sneak peek behind the curtain there. But for Michael's sake, we have to have a little bit of little bit of a buffer. But it does mean that we we're normally like way past recording when I want to like really want to address something somebody said.
Speaker: Um, but I did just want to jump back because there were, I forget who the commenter was and I apologize, but you know who you were. Thank you. Uh, it's talked about how ending season three with this moment, with the surrender and actually going post Echidna into these next two chat, uh, next two arcs and ending on the, I surrender as the season finale, which I admit goes pretty hard. Um,
Speaker: but I was just kind of curious what your thoughts were on that. I like where we split everything, but it's kind of fun to think about. and so are you Are you saying like, okay, so Echidna, they, you know, either she either does it at the, the reveal, you know, that the PRT is essentially falling apart because, um,
Speaker: You have her, because i I kind of like in my head, I envision the idea of all the heroes are bickering, yada, yada, yada. She flies away all the way to the actual PRT building and then strolls in and goes like, I surrender to all of the unpowered people. Yeah. yeah yeah I think that's the idea there.
Speaker: Yeah, like kind of the epilogue, Echidna's defeated, everything, the the mess is dialing down. And from there you do, you kind of skip most of these two arcs and you just kind of do the bits at the end of of arc 21, the chat with Tattletail who kind of knows what's up, um you know, chat with the court or whatever. And then she goes to the PRT offices and surrender and that's where you ended. That's what I'm imagining you would be. Kind of do all in the same episode. I mean, if we're doing with the coil,
Speaker: Like I stick with, you know, coil goes, we keep Dinah around for numbers to defeat Dinah or to defeat Echidna. And then at the end of this, she goes back, she picks up Dinah, she drops her off at the house and then she turns herself in. Or she and Dinah stroll into the PRT office together. the Yeah, something like that could work too.
Speaker: Yeah. Cause this could be the, I mean, Dinah and her could have the conversation cut ties, you know, I'm sorry, not be a note, just be a, you know, sort of a thing that she sits down as like, I'm going to have a conversation with Dinah and Dinah her and her have the conversation. And she goes like Dinah, you know, it's, it's the tell me about Dinah conversation. But in this case, it's Dinah, tell me about the end of the world. And she's like,
Speaker: what's the, you know, essentially like what's the best outcome? where wait Where do I go? And she's like, you're not going to like it. And we just cut to her walking Dinah into the PRT office and Dinah going like, you know, that's when Dinah kind of would just mouse. I'm sorry. And, you know, Taylor, you know, nods and accepts it and then gets, you know, arrested. Yeah. Yeah. she's looking at me i think And then she goes, you know, whatever it takes. Right.
Speaker: you know, it'll be worth it if this works out. Yeah. I mean, it's, it's fun to think about. Or if this is, if this is the only way, there we go. essentially Or if this improves our chances, something, you know, right. somey line And then they tackle her.
Speaker: It's fun to think about. I do think, I think at the end of the day, it would be a bit too much. I think it would distract from the ending with coil. And I do like the idea of ending on a bit of a victory for this season. Um,
Speaker: But I do think it would work. I think that would work well. I think you could do that and, uh, just sort of approach this whole season four a bit differently, but it's, it's kind of fun to think about a few different ways you can do things. Yeah. Yeah. after sure Um, trying to think of where else you would even put this, uh, like, yeah. Cause it's, it would be so hard to, to do the outing, you know,
Speaker: And then this like before all of that, unless she, she didn't get outed, you know? Yeah. I think, I think if you're, if you're moving the surrender a bit, then you're kind of skipping over the, the whole school scene or, or, you know, a similar scene where she's, where she's outed.
Speaker: Yeah. Which I mean, I get, I'm not opposed to that. Although I do like the scene.
Speaker: Yeah. I like this scene too. It's not the only reason I would change stuff is if it didn't flow well. And yeah, to be fair, it is difficult,
Speaker: but this isn't like an absolutely impossible situation to like, I think they just, they go with the episode. I think it is a little awkward. Um, but I think this is, I mean, they think this is a way lesser of an awkward problem than like coil is.
Speaker: No, yeah, I'd agree. Yeah, yeah, I would definitely agree with that. I think it's just a matter of selling the tone shift, um which is way easier said than done, especially yeah four seasons into a into a show. um I mean, the first two, let's just say we do one episode per each of these, because I think that's okay. who I think that these are very,
Speaker: These are very so post Taylor getting outed. Like in those, you know, the scenes following that in the end of the episode, it's a very somber tone and coming into this entire episode equally somber because yeah it's just, it's dread. Like things have happened. These are all the consequences, you know,
Speaker: and And these consequences are, you know, hitting you on every level. um You know, the big thing is, oh, people know the identity. She can't go home. She can't be with her dad. Honestly, the mundane takes the bigger hit here. And I think that's what makes it hurt more is like, oh yeah, she can't go out and, you know, do anything now. She's, you know, the only thing she gets to do is villain and, right right
Speaker: And she, you know, that's, that's what she's always been doing. So what she feels, you know, like she's good at, she's kind of tried to ignore the Taylor life almost, but then you kind of miss it when it's gone. And she's like, you know, I think, I think just showing off all the ways in which she is now, not only is this sort of sad it's and somber, but it's also, it's trapped. She's trapped.
Speaker: yeah Like it's not that she wasn't going to do this anyway, but now she feels trapped by the situation. So, um, yeah. Yeah. So much of it will be set tone wise with like the good soundtrack like Jacob was saying. Oh, it looks so good in my mind. I wish I could just take, take the visual and just, just create it on film. Yes. It'd be perfect. Exactly. Looks so good.
Speaker: Yeah, that'd be sick. I bet it does.
Speaker: I think, uh, I think that about wraps up in terms of this, the arc specifically here. I think that wraps up pretty much everything I wanted to touch on. Um, I do like the, uh, the interludes, um, all down for, you know, a few scenes. Uh, what I really like about the interludes is they, they give us easy, extra scenes to throw in. So like,
Speaker: maybe not in this episode, but a bit with Parian and the undersiders. All that whole conversation should still definitely happen. Probably would be in the next episode, that kind of thing. Um, number man's a bit more interesting. I don't really know if we do a whole scene for him or not. Um, I think we cut that honestly. Yeah. i I'm just kind of where I'm leaning. I liked, I liked the interlude. It's cool, but, uh, it's just, it's one of those things where like,
Speaker: It's so hard because I'm such a sucker for world building and I'll read yeah a whole book that's just world building. Couldn't get through Game of Thrones, read through his his ah whatever is his world building book is. um I don't know what they would they pull house the the House of the Dragon from. I read through that whole thing in like an afternoon. It's just world building.
Speaker: um So I like, I love these, these chapters are so great, but definitely like on screen, they don't work the same way. It's just a lot of looking forward ahead. I, you know, the first half of this chapter can be, or the first half of this season can be Taylor focused with some branches out, I think into defiant and dragon and, um,
Speaker: and maybe, you know, a Perian and the back to the undersiders maybe for some. my But I think think also this would be a great opportunity and would require writing us or ourselves. But also I think there's some a lot of stuff you could steal that belonged to other people that you could replace. ah We follow Weld and the irregulars.
Speaker: Cause I mean, he's leaving and he's essentially doing the, ah the, the hunting with fault line. I mean, he's not with fault line, technically speaking, but like you could have him make the irregulars or you could, have I mean, if you wanted to just have him join fault lines crew with some others, you know, I think, yeah I think that would be interesting to do um and have them continue the,
Speaker: cauldron hunt, if you will, um where they they' you know they've gone solo, they're doing their own like PR work and routine. And like i I'm automatically thinking of the entire Las Vegas, but what is it, Bambina and the Seder betrayal and stuff like that. I think you could do that. like it's so I didn't realize that's way ahead.
Speaker: But I think you could replace that with them just hunting down Coltrin and the fact that they're in on it. like Yeah, definitely. I mean, I, I think it's, and again, these these are the arcs where my memory of what I read is not that great. So I'm excited to reread them. Um, but like, obviously there's, you build up to the whole attack on, uh, uh, on cauldron and all of that, like everything there, that's a huge scene, a scion and all of that. And you really want that to feel important. So it's helpful to have scenes that,
Speaker: will build to that. So moments like that, I think are, I think are, are very helpful. Yeah. Cause that's another where you have the two groups doing their thing and then all of a sudden, you know, they're building and you know that they're going to come together at some point. And that is the, you know, the peak of the mountain that they've both been coming to from either side. Yeah, exactly. Exactly.
Speaker: I had another thought I realized if we want to ah shift focus for a second because last episode we talked a bit about the time skip and I didn't have all of my thoughts in order the way I wished I did. And to be honest, I still don't, but I did realize that there's an aspect to the time skip here. I honed in on what about it I don't like and and and about similar time skips.
Speaker: So because like anything, a time skip is a tool in the writer's toolbox in terms of how they can tell the story. But it's when a time skip is only used to jump from one plot point to another, then to me, it's where it gets irrelevant.
Speaker: because otherwise just put them next to each other. Why the time skip, right? So if it's, if it's from, if, if, if one character is like, all right, meet back here and next year. And then you get a little caption one year later and then they meet back there. Like, yeah like what's right. What's the, what's the point unless it's a comedy and it's for a bit, sure. But I think that's where, where,
Speaker: Worm gets away with it just a bit because it's supposed to be this distant prophecy. But in terms of storytelling, when it happens, it is just a, all right, we've told the story and now we need to get to the next plot point in two years. So here we go. And then it jumps to it. um So that's that's the one thing I'm worried about not landing very well.
Speaker: and figuring out how we're going to want to cross that bridge. Hmm. Yeah. I mean, once again, I think if, I think if wild bow had not just a, and this is all, you know, if it was timed better, I'm not even going to say paste. I think if that he knew, okay, in two years I need to write the end of this story,
Speaker: you know then ah then he would ah have plotted appropriately the end of the world and yada, yada, yada. Like he would have said one year, um he would have you know or he would have said two years, but he made things skip more. ah I also just realized he's just bad with time.
Speaker: Cause he does a time skip in and in one of his other stories. And it's weird. And he just, he loves moving really fast, which, you know, we complain about endlessly. And I think, and I think worm is a great story to take place over two years total. Like,
Speaker: I think Worm would have been a great, you know, we follow Taylor's life from 16 to 18. I think that would have been a great a following.
Speaker: But, uh, and you know what, like you can kind of do that. I mean, we've joked on both podcasts. We've joked about how short a timeframe all of this is happening in like from, ah from fight with lung on the rooftop to a kidney is like, does does it even get through the summer? It's April. No, no, no. We already said it's, it's,
Speaker: Like two, and I think by the time we finish a kid that's like two months, two weeks, like yeah maybe it's so quick. And like, like totally her first and with the exception with without Amy, anybody who broke a bone would not have healed yet. Exactly. And like, you know,
Speaker: We've joked about it because it's it feels very quick and it is very quick, but it also doesn't read like when you're reading a story like that, you're not expecting that to be the case. You're naturally buffering in time for stuff. So like in my mind, ah you know, lung to a kidney is like a year. And just in the way this all paces out, it's so much is going on. I'm just internally giving like a year for all of this to happen, you know, and like,
Speaker: it would be very easy to just you know casually throw out how much time has passed in a you know newspaper or something like that. ah You could easily drop that into conversation somewhere. And just if you just gave them more time, the audience would buy it. It doesn't have to be as quick as it's happening now.
Speaker: um So you could easily do that. You could easily spread out the whole story to to to cover in the time jump. And then if you did want to do smaller time jumps just to you know illustrate development, like for example, ah like ah ah Taylor going and joining the wards and then jump a month down the line, right? and she's you know, fully involved there. things Things like that, smaller time jumps are easier to sell at that point because now you're youre know you're trying to establish ah that time has passed. yeah Yeah. I mean, we've said it before. I think that we we time this correctly with the story and with the natural gaps in the seasons to make them appropriate to how long it feels for the audience.
Speaker: You know, obviously it's going to be like a month yeah or and not a month, like a year at least between seasons. But you know, the audience can be like, oh yeah, a couple of months have passed in the story. Like I get that. And right really do just.
Speaker: We don't honestly, we don't say how much time has passed. Number one, even ambiguous, people can guess. And number two, you just make sure that by the end you go, well, it's been two years. Like, right. I think that I think that's where we are. World's ending. Like for real. If, if.
Speaker: They didn't say how long things took. I would assume that there's like a weak gap between some arcs. Like, yeah, yeah I would assume like there's, or sorry, a weak gap between some arcs, a weak gap between some chapters. I would assume there's a month gap between some arcs, like, right.
Speaker: I mean, and and again, this all goes without saying too that like, we can also adjust the prophecy, right? It might be one of those things where maybe it's easier for us to come back to this at the end. And we've we planned out the seasons, we've figured everything out. And then we go, Hey, you know what?
Speaker: it would work really well if it's this long after whatever. And then we just go back and change the prophecy to six months or, you know, whatever it is, or, you know, just we can, we can adjust that later too and just come back and, and make it fit. Yeah. Yeah. Um, I got nothing else for this. I mean, I feel like this one's even more straightforward than the last one.
Speaker: It is a bit, like I said, I think we're i think we'll have some words next arc. Oh, for sure. This one just had a nice little layout to it already. Not much to change. And again, it sounds like a broken record, but Well, Bill already already wrote it pretty well. And, uh, you know, things we like are things going to stay in. And, you know, I liked what you said a little bit ago. Uh, Alan is, uh, don't need to make the change if, uh, if it's not unnecessary and don't think it is, you know, keep it in there, keep it going.
Speaker: kind of a little reminiscent of our very first episodes. We were like, good this is episode one. There we go. And, uh, two, I think that's ah episode two. There we go. Just kind of flowing right along. Sometimes, sometimes it just sort of falls in line and, uh, and we love it. Yeah. I think, I think this will just be a matter of if we, if we really do want to pad out, you know, some other,
Speaker: a B -plot for these. We just need to figure it out and make it fit with the tone. Yeah, and that's something that is actually a good point that I do think would be worth it. We keep saying we're going to go back and do it, and we never do. It would be worth it to do an episode or two where we do sort of really just focus in on some of these B -plots that we really like, like expanding Weld's character, not Flechette.
Speaker: ah Fault Line, ah Cauldron, you know, a couple of these things and really start to try to space them out. They don't need to be in every episode, right? But just like, hey, what's the arc for the season for this character? And sort of just making sure that we do dot them in where it's appropriate. That'd be a good idea to kind of take a look at that in a future episode. Yeah. right It's one of those things I think, like you said, we'll just retrospectively, we'll have to sit and talk and look at these.
Speaker: um yeah Yeah, a good idea. On that note, um unless you got anything else, I think we'll wrap it up here. Good little gentleman. Yeah. You listen, we've had that we've hit them with enough two and a half, three hour episodes. Give you all a little break.
Speaker: Plenty of gone but if content. of content. Special thanks to our all of our Patreon subscribers, truly. It means the world to us. We got some exclusive videos for our Patreon members, for those of you who are not members. We do have some exclusive videos over there. So if that sounds sounds fun, drop by, give it a listen. We appreciate it.
Speaker: And yeah, stick around. Arc 22 coming up for Rockton Bay Book Club next week. And then of course, Dissecting Worm, the week following that. That is going to be a fun one. It is a great arc for those who know what's coming. A lot of fun stuff there. So until that I'm going to read it right after this. I'm only a few, I'm only a few chapters into the reread here and it's already all coming back to me. So ah it's going to be fun.
Speaker: Well, Alan, thanks for joining me. Michael, thanks for joining and and making us sound so pretty. And ah until next time to the rest of you, take that you worms.
Speaker: Thank you so much for listening. Read along with us at parahumans dot .wordpress dot .com. We'd love to hear your thoughts. What did you love? What did you hate? Anything you think we missed, etc. as long as it's kind. If you'd like to get in touch, you can find us on
