Bubbles

Bubbles

I'm Bubbles.

Currently on hiatus.

registered at: Aug 13, 2020
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    Participant - MAL x Honeyfeed Writing Contest 2021
    Finalist - MAL x Honeyfeed Writing Contest 2022
    Participant - MAL x Honeyfeed Writing Contest 2023
    Finalist - MAL x Honeyfeed Writing Contest 2025










    Jan 19, 2022

    I think this is as far as I'll go.

    I don't really have much to say about this fiction so far. I find the premise to be very weird and suspension of disbelief, realism and what-not aside, it just doesn't vibe well with me. Tensain is just too much of a virgin for me to understand how in hell's name he was out of high school at 17, then speedran 10 years of college in 5 to get a PhD. when he wasn't even smart to begin with.

    I won't even touch on the motifs, but at some point, I dunno there's animeisms and there is *too much* of anything. I do feel like that boundary has been crossed here.

    My main gripe is the style, really. I can live with the present tense narration, it's fine in general and the very abrupt nature of the events works well with it; gives it a sense of immediacy, I suppose. But there's just so much inconsequential fat, I'm bored. The chapters feel so long due to the interactions that simply aren't interesting to me. I feel like there's a lot of 'idling', for lack of a better word – characters that just drone on and on in some meaningless interaction that only ends with the bit that actually does something.

    For the most part, this feels like it's written like a manga script; the way the sentences flow, the 'panels', the inner thoughts displayed and alternated. But, to me, it's just not doing it. I can't really get invested when I'm being described things in a very explicit, forward manner, or when I need to sift through very elaborate things for little payoff (the time when Tensain presses backspace twice comes to mind).

    I feel like the best bit of advice I can give you is to practise narrative focus. I think you have a lot of ideas and feel the need to put them all in, but at some point it's just far too much. It starts subtracting more than it adds when so much is added because nothing really feels important. I can appreciate some inconsequential details, I think they can be used very well to add depth to a scenario, but you take it to a level when the events portrayed are just excessive. So, I suppose it might be best if you try compressing what you want to say to a more essential package. For a .zip, it's got a pretty large file size.

    That's all I have to say.

    Bubs, out.

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    1
    Cover Image
    I Want You to Be Real with Me
    Chapter:3



    Dec 26, 2021

    Hullo.

    I can definitely see a bit of the experimental nature of things here, so I would like to being by issuing a congratulation for trying to get out of your comfort zone. There were some poetic bits and the narrative voice reads a lot like the Noir/true crime films, particularly with those short, sparse and humdrum sentences, which I assume was what you were going for.

    Nevertheless, I can't help feeling that everything is written like a mechanism. There's a lack of flow to things, as far as I'm concerned. I can appreciate you use some form of imagism, rather obvious in the descriptions, but I feel that particular style is kind of lacking when not properly adopted. Many times I felt like paragraphs were missing a wheel or two and you just replaced it with a pile of bricks – 'Letters of love and forgiveness don't fly through the mail like swans delivering bundles of hope.' The aforementioned constructions, these almost intransigent similes create a very monotonous reading experience, which doesn't necessarily translate into the monotony you might want to impart through the text itself (i.e. how Daniel's door was just one of many unoiled cogs in this machine).

    The poetic aspects are there, I'll grant you that. There's a lot of reflection around this extremely dilapidated, Hell's kitchen wannabe setting about the human nature, particularly greed, isolation and anguish. However, I feel like you're putting these sort of episodes above the storytelling itself. I personally enjoy it more when the reflection is mingled with the plot moving forward (primarily) not when the plot is paused so that the narrative voice can issue declarations. When it happens much too often you end up with a very slow, meandering scene that, whilst titillating to the meditation gurus, to me is just nondescript. Notwithstanding that, there is, I feel, an unspoken limit to how much you can say with one singular thing before the whole thing starts feeling loaded, tacked on or inordinate. In this one short chapter you tackle what I can assume is environmental concerns (fracking), bleak quotidian life, claustration, the downtrodden neighbourhoods of capitalism, crime and its tolls on people and certainly some other things I haven't listed. This isn't to say that it's wrong, but to me it feels like these things are there just to be there, put forward in a very broad, unassuming way with a very low purpose.

    At any rate, it's a step-up, so I'm interested to see where the wind blow Daniel. See you next chapter.

    Bubs, out.

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    2
    Forgiveness
    Chapter:1