#feature

[vintagehomecollection]

Natural rock groupings. The stratification, or graining, of the rock runs in the same direction as it would if occurring naturally. The rocks used do not look like currants stuck in a cake.

The Garden Book, 1984

[isalealart]

A watercolor sketch of the knight and the weavelings. I love to travel through Hallownest with these three little guys ^^

[simnopke]

Object Dye Kit

Download on Mod The Sims

Mirror

simNopke-objectDyeKit simNopke-collection-objectDyeKit

simNopke-objectDyeFixes

[thebotanicalarcade]

Beatrix Potter

Writer, illustrator, conservationist, natural scientist

For the inaugural Arcade Feature, I'm excited to tell you about Beatrix Potter. Most people (including me) know her best for her picture books-

-which have sold over 250 million copies since they were published in the early 1900s.

Fun fact: In 1903, Peter Rabbit was the first fictional character to be made into a patented stuffed toy, making him the oldest licensed character.

But what really caught my attention is the work she was doing before Peter Rabbit came along.

Beatrix Potter had a scientific eye for detail, and was able to faithfully depict the world around her. In particular, she was interested in mycology.

In 1897, she put forward a paper to the Linnean Society in London... but as a woman was not allowed to be a member of the society nor attend the meeting when her paper was read. When the society's members did not pay much attention to her work, and fearing her samples to be contaminated, Potter withdrew her paper, which became lost. Only after Potter left hundreds of mycological artworks to a museum in the Lake District, UK, on her death in 1943, were her scientific talents recognized... Potter's precise and beautiful paintings and drawings of fungi are now helping modern mycologists in their efforts to identify species.*

Potter eventually moved away from books in favor of land management and farming. She was a prize-winning sheep breeder and a prosperous farmer, and bought several farms surrounding her own to preserve the unique hill country landscape. Much of that land now constitutes the Lake District National Park.

Keep an eye out for more Beatrix Potter throughout the month of February.

* Fry, C., & Wayland, E. (2024). Introduction. In The Botanists’ Library, The Most Important Botanical Books in History (1st ed., pp. 9–10). introduction, Ivy Press.

More

[wip]

hi! I like threadable replies, but I've noticed that mention notifications are a little different since threadable replies were implemented (I think.) If I'm remembering correctly, we used to be able to click the notification of a mention in a reply on a post & we'd be taken to the reply that mentions us. Now, we click the notif & are just taken to the post itself. This is fine if the post only has a few notes, we can scroll through and find the mention in the replies, but if it's a post with a lot of notes it can be almost impossible to actually find the reply that mentions us. I've had multiple instances where I've been notified someone mentioned me in a reply and clicked on the notif only to give up and not be able to read what they actually said to me because there's hundreds of replies and I'm taken to the post itself instead of the reply I was notified about. I'd love if this could be changed so we could get taken to the actual reply when we click on the notification.

Answer: Hey there, @ecstaticallyelectrifying!

We believe what has happened here is that before there were threads, if you sorted replies from the newest, received a notification, and soon opened the post, the last reply would be at the top.

We agree that it has become harder trying to find the comment that notified you. This is because there is currently no available option to change the sort inside the threads—and because someone might be replying to an old reply (therefore not at the top).

The great news is that we have plans to improve this soon. Watch this space! You’ll get updates over at @changes, and hopefully, it won’t be too long until you hear more on this.

Thanks for your question!

[wh2m]

→ Peter And Wendy, An Unrequited Cycle

“And I knew you tried to change the ending; Peter losing Wendy.”

[interact-if]

Writing Spotlight: The Golden Rose

We interviewed @anathemafiction, author of the IF, The Golden Rose, Book 1. It’s a game that delivers everything it sets out to do, with its sweeping, ambitious scope and beautiful, intricate detail. It was an honor to pick her brain about bringing such a rich, complex, and truly immersive world (and its wonderful characters) to life.

In one of my favorite quotes in the interview, she writes:

[…] We Portuguese sometimes still call ourselves Lusitanos, and it always saddened me to some extent. That loss of history, of identity, is one of the major driving forces behind the Rose. What if there's a world where it's Rome that's forgotten? Where Latin is forbidden so that the languages born from it, the kingdoms, and the civilizations never came to be?

Without further ado, here’s the full interview!

What drew you to interactive fiction as a storytelling medium?

The very nature of it. I'm a big fan of RPGs, where you can shape your character and make key decisions in your adventure, and, of course, I'm also a big fan of books and literature in general. So, when I encountered my first IF game (Choice of Dragon), I was instantly hooked.

It's the perfect blend of two of my passions — storytelling and player agency. The fact that it's entirely text-based gives a kind of freedom and depth that's hard to match in other gaming media simply because the only budget it needs is the author's time and effort. It's quite literally, corny as it sounds, fuelled by your imagination.

2. Is there a part of your background—personal, cultural, professional—that finds its way into your work?

In a land that is today a region of Portugal, there used to be an agglomeration of tribes collectively known as Lusitanos. They were eventually conquered by the Roman Empire, but not before putting up such a fight that even Roman generals acknowledged their spirit. Their culture was largely eradicated, and the pieces that weren't were assimilated into the empire. We Portuguese sometimes still call ourselves Lusitanos, and it always saddened me to some extent.

That loss of history, of identity, is one of the major driving forces behind the Rose. What if there's a world where it's Rome that's forgotten? Where Latin is forbidden so that the languages born from it, the kingdoms, and the civilizations never came to be?

I'm also fascinated by the Catholic Church and its monopoly over some of the wealthiest, most powerful kingdoms of Europe. The Pope was the king of kings, so to speak, and all that power, that opulence, was born from something as simple and as human as faith.

That control, that God-like power, not only over the body but the very mind of its subjects, is another big part of the story I'm writing.

So, in summary, my cultural background was and is a major influence on this IF.

3. What does your writing process look like?

I'm what's generally called a pant-ser; I like going where inspiration takes me. Still, in a project as big as The Rose, I did write a general outline, and I have a very clear idea of where I want the plot to go and the major story beats that will get me there.

But the in-betweens are often left blank. I think, even if I tried to plan every single detail beforehand, I wouldn't be able to. Even the scenes and chapters that I have planned, I'm always open to changes or deviations from the outline. If a character, a situation, or, especially, the MC decides to surprise me, I kind of roll with it.

To be honest, most of my favorite scenes, dialogues, and even characters that I've written were born as a sudden inspiration and not from the pages of an outline.

But as for my actual writing process, it goes like this: I go chapter by chapter, and I always begin by handwriting the first draft. I don't know why, but handwriting, when it comes to just getting the ideas out of your head, with no finesse, no grammar checks, just the pure chaos of materializing your thoughts into tangible words, is the best medium for me.

After that, I write the second draft on the computer. There, I fill in all the choices and paths I didn't write in the first draft, and, of course, beautify the text, make the dialogue fit the characters, discard or expand on rudimentary ideas, etc. Basically, it's where I write the text that'll appear in the game.

This juxtaposition between the first draft and the second allows me to rethink story beats, adjust the progression of the characters' relationships, postpone scenes, etc. Basically, it allows me to think about where the chapter is going.

The third step is to put it all in code and make it playable. As I go through the Word document, I make minor edits here and there, but nothing major.

The actual editing is made later, in what I call a 'deep edit.' I usually do this when I finish writing the following chapter because looking at a text with fresh eyes allows you to spot mistakes much better than if you do it right away.

4. What’s one piece of advice you’d give to someone just starting out in interactive fiction?

To follow up on the last question, I will say that you need to know yourself. Just as I operate better without a clear, bullet-proof plan, other people thrive with a structured outline, a character glossary 20k words long, chapter charts, and multicolored graphics. My advice is that before you embark on such a complex and often big project as an IF game, you should know your own writing process, and the only way for you to know that is if you write.

I'd say start with short stories or small fables, but honestly, just write anything. Dive right in, and with time, you'll begin to know yourself as a writer.

When you know yourself and your own style, then begin the IF. You'll never be truly 100% prepared — we're always learning and adjusting. I'm not the same writer I was when I first started The Rose, and I won't be what I am now when I finish this second book. We're constantly evolving, so allow yourself space to fail and fall short of expectations. This is, after all, a marathon, not a sprint.

5. What’s a common mistake you see in interactive storytelling, and do you have any tips on how to avoid it?

Not so much a mistake but a misconception. I think people, especially those with little to no experience writing (or any creative hobby), believe that it's an inspiration-based activity. That you write whenever you feel like it.

This is completely wrong. If I only wrote whenever I felt inspired to, I wouldn't have made it past the third chapter of book one.

Some days — most days — you won't feel like writing. You sit at your desk, and you do it. You have to face it like a job, almost. You clock in, do your work, and leave. Does this mean I have no joy in writing? Of course not. I get really into it once I begin, but it's not every day that I wake up and want to leap for my pen.

Sometimes, I'd rather go out hiking with my dog, meet a friend for coffee, or watch another episode of whatever show I'm watching. But, when writing IF, you often will have to make these sacrifices, and, many times, you won't even be blessed with inspiration, so that sacrifice is made easier.

This is made even worse in IF. Due to the nature of the medium, you will get days where you're stuck writing repeating passages or paths you're not entirely interested in. You will want to pull the hair out of your head. You'll have to clench your teeth and do it — otherwise, you won't make it to the fun, rewarding bits where everything comes together.

It's not an exaggeration when people say, 'writing is hard.' Anyone can do it. Very few actually do. I think it's less about talent and more about commitment.

End of interview

—

A big thanks once again to Anathema for her insightful answers, and @veswrites-if for taking the time to coordinate the interview. Hope that this was a fun and interesting read.

Stay tuned for more of these interviews, both for the Writing Spotlight AND for Pride Month!!