Thinkin’ about The Siberian

I was sitting on a draft that said something to the effect of “Worm AU where Manton pulls an NBC Hannibal and moonlights as The Siberian on top of being a globally respected parahuman studies researcher. Is this anything.”

Then I thought about this a little more and realized that this might not be far off from what actually happened. There’s a throughline in Manton’s interests, in his trajectory through life, where he’s trying to figure out what you can use powers to get away with doing to people- about identifying constraints and overcoming them. 

He’s the guy who somehow credibly catalogued, and got his name associated with, the fact that powers generally can’t be used to pop people like balloons, and he did so reasonably early in the timeline, in the nineties at the latest. That’s.... an interesting direction to take your research! When people are just coming to terms with the fact that parahumans are real he’s out there taking careful note of whether they can manifest their powers inside people to instantly kill them. How did he test that? What capes did he collaborate with to test that? What did those conversations look like? Did the IRB at a minimum issue any revise-and-resubmits?

And then, of course, he gets picked up by Cauldron (also known as the infinite untraceable victim depot) to work on improving the vials- gaining a sufficiently in-depth understanding of what they are, how they’re made, and what they can do to people that when Cauldron told Legend that Manton had gone rogue and was the one creating C53s, he found this plausible. You’ve got the guy who’d later become the backbone of the Slaughterhouse 9 basically systemically cataloging every conceivable way a power could violate someone’s physiology- first from without, and then, at Cauldron, from within.

Then, when he pulls the trigger and gives himself powers, the resultant ability is essentially a distilled refutation of the Manton Effect- a minion that can obliterate anything, eat anything, delete any material from existence, viscerally dismember people in a unity of conventional and esoteric, power-enabled violence. And he’s insulated from the consequences of his actions on two levels- in terms of Siberian’s invulnerability, but also in the discrepancy between his form and that of his minion. He mixed the vial that gave him that power himself.

Essentially- I don’t think Siberian is something that just happened after a psychological break following a messy divorce. I think Manton basically pre-committed to becoming something like The Siberian, spent most of his career working towards some form of transcendence through superpowers, and the messy divorce was downstream of the cracks starting to show as he got closer and closer to what he’d been chasing.

Now to segue into a complication that’s more directly supported in the text- it’s Worm, it’s always complicated- Master powers spring from loneliness. My theory is that while Manton wanted apotheosis, and while he’d probably been gearing up for a rampage for a while, he genuinely didn’t want to do it alone; he wanted a sidekick. Hence why he bothered pursuing a family in the first place, hence why he fed his daughter a vial, hence why his own projection ended up looking like his daughter after he accidently made her explode or whatever with the bad vial- a monkey’s paw restoration, giving him back a facsimile of the person he wanted to take along for the ride, and making his capacity for violence inseparable from her presence.

This is why he joined up with the Nine rather than remaining a solo act; it’s why he engages in a bad imitation of the Parent/Child relationship with Bonesaw; and it’s why he seeks out Bitch as a candidate. His interest in her candidacy parses to me as genuine- Even moreso than Bonesaw, even moreso than Jack, Bitch has arrived at a no-frills fuck-you-I-do-what-I-want outlook that’s very appealing to Manton. He wants to have a murderer-daughter relationship!

But Rachel got where she is the hard way, by having a life that sucked a lot, by getting near-constantly kicked around! She has a clear reason to be so angry! Even if all my postulations about Manton having a long game are complete bullshit, there are several stages at which Manton had to actively opt in to the same lifestyle and reputation that Bitch was forced to adopt as a basic survival tactic. He didn’t have to start eating people! He’s a tourist! His “freedom” is inseparable from his distance, his disguise. Rachel’s “freedom” is just the freedom of having nothing left to lose.

All of this to say- In an interlude in which Bitch has an extended internal monologue about how people with families have the opportunities to be assholes and monsters to a captive audience, it is absolutely not a coincidence that she’s scouted by a would-be parental figure who proceeds to be an asshole and a monster in front of a captive audience, before trying to buy her affection with a puppy. In rejecting Manton, Rachel dodged an esoterically-packaged but ultimately very familiar bullet.

Something about Worm that's fascinating to me is Wildbow's candid responses to questions on what would of happened if such and such event had gone differently, what could happen if such and such event did occur that didn't.

The alternate path of Leviathan attacking Florida (good on him) is so interesting because of the drastically different story it would have caused. A world where most of the Wards didn't die, or none died at all. Where New Wave was utterly destroyed. Where the Elite began muscling into Brockton Bay. Where the Undersiders became more of Coil's thugs, drifting apart in the process (also where Rachel gets a new friend in Trainwreck, who apparently had a similar mentality to her).

But the most interesting proposal about that alternate path to me, is the slight mention of Taylor WB gave. That this bug girl would, in that chaos, form a new team. One made of the disenfranchised, heroes who had left the Protectorate, mercenaries, people who had lost their teams (other villains, maybe?). Who would be on this team is an utter mystery, but I could maybe see Aegis and Battery on it, the both of them abandoning the Protectorate on learning about Coil's control of it.

It paints, to me, a version of Worm that was perhaps more hopeful, better for Taylor in the end.

A shame, then, that I've never seen anyone even come near exploring this idea in the fandom. Maybe one day, heh.

🪱💖

thinking of Tikki and Plagg as the creators of earth that chose to confine themselves like this because they love humanity the other Kwami are technically their off spring

I WANNA CARE! I wanna care and say yes you’re my friend I love you. When did being chill become the way to be normal! FUCK APATHY! I love you! I Care so much and I want to show it without being the weird one! Love fiercely! Tell me about it, give me every unhinged thought about the thing you love!

rereading the leviathan arc has helped me put together something crucial: worm is ww1 fiction. it's all a bunch of protracted, valor-less, violence (often over territory, if it has any meaning at all) and increasingly byzantine alliances. this helps explain why it's so reluctant to engage with ideology. there is no communism; there is no fascism. e88 is merely another parochial gang. it's also cartoonishly freudian in the way all great ww1 literature is, which i think doesn't get discussed enough. like seriously the way powers work in parahumans reads like wildbow ctrl-f'ed "repetition compulsion" in freud's corpus and just copy-pasted.

ask not for whom the worm turns, it turns for thee

Me, fully dressed: They don't know I'm naked under all this

i'd like to imagine there is 1(one) non-white heartbroken it's just that no one ever believes them

I hate that college can just casually force you into a habit that then classically conditions you like a fuckin Pavlov dog

The dean of my vet school issued a statement. When called on his bullshit by the student body, he told us to refer to the principles of community. I find it interesting how telling us about "the horrific events in Israel" and that the actions of Palestine "warrants our strongest condemnation" while ignoring what the UN is literally declaring war crimes against an oppressed people is to "acknowledge that our society carries within it historical and deep-rooted injustices and biases." But hey what do I know.

worm sounds fascinating, how do I get started reading it? would you recommend starting from the beginning?

(Here we go)

So, first off, the specific questions you asked indicate that I should probably clarify the following: Worm is a single self-contained novel by Canadian author John McCrae (Pen name Wildbow). The book was written and published online for free on Wordpress, at a rate of two-to-three chapters a week, over the course of two years between 2011 and 2013. It's useful to conceive of it as a book written under the same paradigm as a particularly-faithfully-attended-to webcomic, except (and very unusually for a superhero thing) it's entirely prose with no visual elements. All of this is a longwinded way of answering your second question; yes, you should absolutely read it from the beginning, and the beginning is here. The entire book is available online, for free.

(In case that you haven't been able to pull together a broad sense of what the book is about just from perusing my Tumblr, I wrote a broad pitch for the setting at large and the story of Worm specifically here. The gist is that it’s a reconstructive superhero setting where superpowers are ironically tied into the user’s moment of greatest rock-bottom trauma, which is a major explanatory factor in why there are so many unstable kooks in costumes taking out their frustrations on the world; Worm proper follows the upwards-and-downwards trajectory of one Taylor Hebert, a teenaged insect-controller and would-be superhero with the secondary superpower of being able to rationalize nearly anything she does as being in the service of some greater good.)

Worm is divided into 31 arcs; each arc is comprised of 6-to-10 chapters, told in first person from Taylor’s perspective, followed by an interlude chapter told in third-person from the perspective of a member of the supporting cast. This structure is partly a holdover from early in Worm’s development, when the book was conceived as an ensemble piece that would rotate perspectives between different cape teams; as the book picked up steam, it also became a monetization vector, as Wildbow would write additional interludes if his donors hit certain milestones. This is important to note because one failure mode I’ve seen for reading Worm is that people will assume they can safely skip something called a “donation interlude” without missing anything important. You can’t. From a thematic perspective, the interludes are a major method by which the narrative keeps the protagonist honest, as they provide a sane or at least differently-insane perspective on the situation at hand, or on whatever over-the-top bullshit Taylor has pulled recently. From a craft perspective, the interludes are some of the best and most memorable writing in the book, at least in part due to the novelty of each character’s perspective.  From a story perspective, Wildbow was very diligent about making sure that most or all of the interludes introduced information or set up future events in a way that, if worst came to worst, he could incorporate into a regular chapter if the goal wasn’t met. But he did meet those donation milestones, meaning a lot of the book isn’t gonna make sense if you don’t read the interludes. Read the interludes.

You may have caught on to that “31 arcs with 5-10 chapters an arc” factoid and done some quick napkin math. Worm is long. Very Very Long. To my knowledge, Wildbow didn’t miss an update once, and 10,000 words every three days is considered a middle-of-the-road output for him. The effect of his truly insane production rate is twofold. First, the quality of Worm’s prose increases exponentially over the course of the book, going from workmanlike to amazing as a result of the sheer volume of practice he was getting. The second effect is that it’s 1.7 million words long. There’s a piece of apocrypha about how a mail-order copy of Stephen King’s It fell through a mailslot and pulverized the recipients chihuahua. Top researchers hypothesize that a printed edition of Worm could plausibly achieve similar results with a mastiff. This is mitigated by the pageless online format that lets you consume vast quantities of text without noticing the volume of what you’ve read; kinda similar to the infinite canvas trick that make some webcomics unprintable, or the infinite scroll UI trick if it were used for good instead of evil. But the gist is that Worm is very Long, and it’s also essentially a rough draft. Your enjoyment therefore might be contingent on your willingness to extend it a mulligan based on the absurd circumstances under which it was produced.

The very first chapter of Worm has the following disclaimer; Brief note from the author:  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. Some people interpret this as glib or dismissive on the part of the author; I think what’s closer to true is that he was just saving time, because the alternative would be most of the first chapter just being a ten-thousand-word long list of specifics. I can’t think of a single common trigger warning that isn’t applicable to Worm. Name a fucked-up thing, and it’s in there somewhere. Special mentions going to Bug Stuff (duh), dismemberment, torture, child abuse, incest, implied (and some offscreen) sexual assault, Nazis, animal death, and horrifically fleshed-out descriptions of bullying and institutional apathy, which are heavily influenced by the author’s own experience as a disabled student in public school. Reader Beware.

And, on a related note, the book was pretty clearly trying to be progressive.... by 2011 standards, which means you’re gonna be sucking air in through your teeth at points vis a vis representational issues, if that’s a big sticking point. It would be disingenuous for me to frame this as something that meaningfully detracted from my own reading experience, but it would be equally disingenuous to act like it doesn’t bother anyone deeply, and for valid reasons. To hone in on the queer rep angle specifically, picture the discourse if Ianthe was the only canon-lesbian character with any focus in TLT and you’re getting close to the situation on that front.

Wildbow (AKA Writers Georg, who should not have been counted) continued to maintain the two-chapter-a-week production rate to this day. His other works include: 

Pact (2014-2015) and Pale (2020-present) which are Urban fantasy works set in a universe colloquially known as the Otherverse, a setting in which essentially all magic is fueled by bullshitting the universe so hard that your chosen magical tradition is incorporated into reality as Something That Is Allowed; a major downstream result of this is that the sheer weight of precedent means that no magical practitioner is allowed to explicitly lie, on pain of the universe revoking their magical ability if they’re called out on it. Pact follows the misadventures of Blake Thorburn, a jaded 20-something who gets a target painted on his back after his grandmother- a widely feared diabolist- kicks the bucket and wills him her potentially apocalyptic cache of demonic texts as part of a complicated post-mortem gambit. Pale is a murder mystery/coming of age story. Set in Kennet, a small Canadian town with a subculture of unorthodox magical creatures who’ve managed to avoid being subordinated by more powerful human practitioners, the story follows a trio of pre-teen witches who’re hurriedly brought into the magical fold and tasked with trying to solve the murder of an extremely powerful magical being whose residence in the area was a major warding factor against magicians moving in and trying to bind the locals. 

Twig (2017-2018), a biopunk alternate-history coming-of-age novel set in a universe where, instead of writing Frankenstein, Mary Shelley actually figured out how to reanimate the dead; this kicked off a necroengineering/bioengineering revolution that leads to Britain conquering much of the world by the 1920s, lording over their holdings with everything from Kaiju to designer plagues, with a Royal Family that’s been modified into undying, post-human atrocities who treat their subjects as playthings as best. The protagonists are The Lambs, a group of heavily augmented child-soldiers used by The Crown’s science division as an investigation and infiltration unit; picture here The Hardy Boys or Scooby Doo if every case they were sent out on was in service of Ingsoc.  Alternatively, think of Scott Westerfeld’s Leviathan trilogy with the same aesthetic sensibilities, but paired with the balls to portray British Imperialism as backed by genetic engineering as something apocalyptically horrifying rather than as forbidden-love fuel.

Ward (2018-2020) is the sequel to Worm, set in the parahumans universe two years after the end of the first book. Basically impossible to describe in any additional detail without massive spoilers; suffice to say that it was contentious. I liked it personally, and I maintain that it’s main error was not having the same ten years of Pre-writing that Worm got. Other works in the same universe as Worm include PHO Sundays, which were RP threads that Wildbow ran weekly on the official subreddit in which he would post a fictitious forum thread from within the setting’s cape enthusiast forums, PRT Quest, which was a semi-canon Play-by-Vote quest on the Spacebattles Forums, and Weaverdice, which is an ongoing WIP TTRPG for the parahumans universe that he works on in his spare time, and for which he’s written a lot of fleshed out faction documents and character profiles.

There’s probably some level of broad fandom analysis it’d be useful to impart here; one interesting bit of fandom lore is that, by virtue of being a superhero setting that made some effort to be internally coherent, the series received a big bump from the Rationalist community, who you may or may not have run into on here. The series was also a big hit with battle boarders, who-would-winners, and that whole corner of nerddom, since the power system is so well-defined and well-articulated; a consequence of this is that a major Worm fandom Locus is the wargaming-site spacebattles, which was hit with such an ongoing deluge of Worm Fanfiction that they have a designated Worm section on the creative writing board, something no other fandom necessitated. Both of those things have affected the shape of the fandom and the fanfiction scene in ways that I don’t feel qualified to comment extensively on this late in the evening, but it’s a fascinating little abyss to have a staring contest with. At any rate, I’d genuinely would recommend the subreddit for the OC threads, worldbuilding idea threads, and stuff of that nature, the Cauldron discord if you’re into fanfiction, and Tumblr if you’re into rambling character analysis. I would recommend none of these things before you’re actually done with the book.

That’s all I’ve got for the moment. Hope you enjoy the book. Or shun the book, if my sundry disclaimers generated a sort of warding effect. I hope you have a contextually appropriate interaction with the book.

Circus has such potential to be a big character with a lot of depth that sadly never got more than, like, one line.

Like, they are the first example of a Clustercape we're given in Worm, and we don't even know for sure what their main power is. Or if their clustermates are alive. Hell, we don't even know if they're a Brockton Bay native or a transplant, just that they're known well enough that even Taylor "number 1 Cape know-nothing" has heard about them.

All we know about them is that they for some reason chose a clown gimmick when the only other known clown-themed cape is a S9 member, and they ended up in a relationship with Uber after Leet's death (which I kinda get, dude's muscular and can use any technique in bed with absolute mastery).

Circus is honestly just a lost opportunity in Worm, especially when they were initially considered for the protagonist role. Which definitely would have gone terribly with Wildbow's not actually understanding anything about being Queer due to being cishet, such as calling a character "hedonist" rather than bisexual.

But oh how I wish they were more explored in the fandom. There's such room to develop their character. Like what their cluster dynamic is like, if they survived Gold Morning and if they stayed a villain (maybe even playing their hand at warlord, taking inspiration from their old boss and coworkers) or went hero, how deeply they knew Uber and Leet and how Leet's death effected them.

They're like school art room clay, imprints put in from brief touches, just waiting to be properly molded!

Another day of being unsatisfied with my chat noir design and another day of fumbling trying to come up with something better

Oh pasta salad we’re really in it now

*talking abt how I'm planning to get my tubes removed*

"They'll see the light of day, I promise you that!"