and another thing about reading the locked tomb & terra ignota interleaved: both absolutely excel at unreliable narration. not “we’re not talking about The Incident,” not coyly insinuating that there’s Something the Reader Doesn’t Know, not misdirection, just straightup zero indicators of the relative reality of any given scene. the acknowledgment by the perspective characters of their rather loose grasp on concepts like truth & objectivity; their awareness of the fallibility of their perceptions; their frustration with or resignation to their own states, their absolute willingness to lie like rugs to cover for themselves. like, i’ve done the psychosis thing, i’ve done the non-recreational hallucinating thing, it’s desperately weird & horrible but also just - how things were, at the time, to me, & explaining it to people who were not me was impossible, & these two aren’t trying to make it palatable, aren’t editing themselves (aside from the editing in terra ignota frame) -
narration & perspective in written work can be used as a guide, but it can also be used as a scalpel, & muir & palmer are both expert surgeons