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I just wanted to say first that I'm loving this story, but more than that, Spacer has laid the groundwork for public dominance and humiliation of Ryan's growing harem, something that I don't recall happening much in any other story. ("The three girls huffed in frustration. They could tell from his "always" that they would have many humiliating times in public ahead.")

 

I don't really get the feeling that it will actually come to pass, which is sad, but I think it would be awesome and a cool change in style if it did, though I know the rest is mostly written already and probably hard to change.

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... though I know the rest is mostly written already and probably hard to change.

Don't know what you mean by that. Virtually all of AF that has been written has already been published. That's why AF08 wasn't released last Tuesday; Spacer still needs to write most of it. He's been focused these last few weeks on finishing 6TD Proper, now that IBT has contributed to and reviewed all four of the unpublished parts that will complete the illustrated phase of the Plummer/Pestridge family saga.

 

AFAIK nothing has been written for AF beyond that point, though Spacer probably has a plot outline in mind. So do make your suggestions, better earlier rather than later. They might actually come to pass.

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I personally think April Fools is the 2nd best story on the site. I'm kinda hoping Spacer will revisit the story after finishing some of his other works.

The protagonist is more of an adult, and it's got the larger atmosphere of a college that his other stories don't really have. Just my opinion of course.

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I personally think April Fools is the 2nd best story on the site. I'm kinda hoping Spacer will revisit the story after finishing some of his other works.

 

The protagonist is more of an adult, and it's got the larger atmosphere of a college that his other stories don't really have. Just my opinion of course.

Same here. I like Ryan the best. Seconded by Nick.

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AF is intended to be much shorter than RB and DM, thus easier to finish. It really was something that Spacer started for April Fool's Day 2015. Thus I think it likely that AF will get Spacer's attention when he again feels the need to write. At the moment he's still adding scenes here and there to 6TD, together with making a slew of modifications to existing illustrations that some of his proofreaders have suggested.

 

I believe that Spacer will soon turn to making the illustrations for parts 150-153 of 6TD, which will end 6TD Proper and the heavily-illustrated story. Then he'll be free to write in the 6TD universe, but at a less glacial pace, similar to what SilentAssassin has been doing in his fanfic A Different Path and that Jamielynn started in her fanfic The Joys of Janice.

 

However, during the two months or so that it will take Spacer to make all the new illustrations for 6TD, which should be somewhere between 70 and 100 new pics in total, he may feel the urge to write. In that case I suspect that he will turn to AF, since that story is not being coordinated with IBT, unlike RB and perhaps DM.

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AF is intended to be much shorter than RB and DM, thus easier to finish. It really was something that Spacer started for April Fool's Day 2015. Thus I think it likely that AF will get Spacer's attention when he again feels the need to write. At the moment he's still adding scenes here and there to 6TD, together with making a slew of modifications to existing illustrations that some of his proofreaders have suggested.

 

I believe that Spacer will soon turn to making the illustrations for parts 150-153 of 6TD, which will end 6TD Proper and the heavily-illustrated story. Then he'll be free to write in the 6TD universe, but at a less glacial pace, similar to what SilentAssassin has been doing in his fanfic A Different Path and that Jamielynn started in her fanfic The Joys of Janice.

 

However, during the two months or so that it will take Spacer to make all the new illustrations for 6TD, which should be somewhere between 70 and 100 new pics in total, he may feel the urge to write. In that case I suspect that he will turn to AF, since that story is not being coordinated with IBT, unlike RB and perhaps DM

I wish Jamielynn could find a way to get back to writing The Joys of Janice. I really like what she has so far.

 

In the meantime, I'm patiently waiting for the conclusion of April Fools.

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In that case I suspect that he will turn to AF, since that story is not being coordinated with IBT, unlike RB and perhaps DM.

 

The only Spacer X stories that I'm involved in are STD, RB and (I suppose) {insert unpublished work title}.  Before anyone gets excited, I'll point out that the last thing on that list hasn't had ANY movement in 3 years and is functionally abandoned (until picked up again) at this point.

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Don't know what you mean by that. Virtually all of AF that has been written has already been published. That's why AF08 wasn't released last Tuesday; Spacer still needs to write most of it. He's been focused these last few weeks on finishing 6TD Proper, now that IBT has contributed to and reviewed all four of the unpublished parts that will complete the illustrated phase of the Plummer/Pestridge family saga.

 

AFAIK nothing has been written for AF beyond that point, though Spacer probably has a plot outline in mind. So do make your suggestions, better earlier rather than later. They might actually come to pass.

Somehow I got the impression that AF wasn't going to be much longer that it is now.  I could not be happier to be wrong.

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Spacer may well intend for AF to be short. However, for him, "short" might be 500k to 1M words. :rolleyes: At the moment it's "only" about 160k words.

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The plan with AF is to end it when the night being described ends. So it's not going to go on that much longer. I suppose in theory a sequel could be possible, but I haven't really thought about that.

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The plan with AF is to end it when the night being described ends. So it's not going to go on that much longer. I suppose in theory a sequel could be possible, but I haven't really thought about that.

 

I hope you do.  Kate's snobbyness and subsequent downfall make her one of my favorite characters amongst the many you've created, and Ryan's victory for awkward geeks everywhere is easy to cheer for.

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APRIL FOOLS, by Spacer X

An Unnecessarily Pretentious Review

 

 

A.  The Masquerade

 

"If you wish to avoid seeing a fool, first you must break your mirror."

     -- Rabelais

 

At carnivale, the Feast of Fools, medieval Europeans abandon their normative social roles and congregate in costume around the local cathedrals to engage in wild revelry, riotous celebration and abandonment of identity. The “natural lout beneath the cassock” is released to drink, gamble, fornicate and indulge to the fullest his or her desires for the chaotic, abnormal and absurd. Common sense and accepted norms are mocked and overthrown, hierarchies subverted, and dominant structures deconstructed to be replaced with radical equity. The mighty are brought low and the lowliest exalted, fools become sages, sacred fuses with profane, and heaven mixes with hell.

 

So too the residents of Orange County, California find their comfortable bourgeois lives upturned. During the new carnivales (April Fools Day, Halloween and Mardi Gras) the participants gather at the modern equivalents of the cathedral -- home, school and university are the new centers of communal life. They don disguises, whether three-piece suits, Batman and Wonder Woman costumes, catgirl outfits, kangaroo and elephant disguises, black leather and dominatrix gear. Paradoxically, the use of masks allow them to unmask their own true natures and deepest desires. The ordinary hierarchies of mother/son, father/daughter, rich/poor, and high/low class status, dissolve to be replaced only with lust, recklessness and the desire for intimacy (in all its forms).

 

Artificial masquerades are also constructed to extend this spirit into everyday life. Poke-Her parties, fashion shows, cockslave initiation ceremonies, personal slut rituals, dances and dates while impersonating others, abnormality checks, all create their own carnivalesque environments. This atmosphere of uninhibited revelry and unrestrained interpersonal intimacy draws in and seduces the unsuspecting invitee(s), Brenda, Susan, Kate, Erin, Monica, Leah, Kim, Sue Ellen, Dan, Heather, Cindy, Jordan, Allison, Nicole, Jack D, etc, into casting off their previous roles in order to join in the festivities. These burlesques also foreshadow the more dramatic social reorganization that will follow, in the ‘regular world’ of the narratives. Yet even in the regular world, the absurd is deliberately used as a vehicle to drive radical change. E.g., Suzanne’s diagnosis of multiple orgasms to cure medical issues, Ryan’s courtship by walking up to a stranger and showing her his genitalia, Nick’s courtship by means of dating his own mother, and Linda’s use of cheerleading routines and nurse cosplay to become co-mistresses to their father figure, among others.

 

The breakdown of hierarchies, whether subtle (Ryan replacing Kate as ‘queen bee’ of the social pecking order) or dramatic (overturning Susan, Clarissa and Kate’s entire value systems), is often anarchic yet it is not purposeless. Chaos has the potential to replace archaic paradigms with new visions for personal identity, and constructing new communities. The participants lack any comparable frame of reference for the new situations (except for the Bible, interestingly) and so can more easily and rapidly develop their new personas to integrate into the new group structures (harems). 

 

Regarding AF, it is worth noting that April 1st, All Fools' Day, is also the date of the Roman Veneralia festival, which celebrated Venus Verticordia (“Venus the changer of hearts”) and Fortuna Virilis (“Virile Fortune”). Both these gods and their functions are very relevant to the themes of the text! Primal lust (and possibly love?) is the underlying driver of every major character’s actions and metamorphoses, and can be seen as an internal manifestation of the carnivalesque havoc in their external surroundings: it cannot be explained, only rationalized post facto! Bakhtin identified four core elements of this Rabelais carnivalesque:

 

1. Unrestrained social intercourse. During the course of the April Fools revelry, the class and wealth barriers between Ryan and Kate/Erin/Monica are dissolved, allowing him free interaction with those he would ordinarily be barred from. This is symbolized by his mysterious ease of access through the barriers (locked doors) that lead to the third floor of the sorority house (the ‘cathedral’). Incidentally, the university sorority is an effective modern carnivale in and of itself, being composed exclusively of young people with little life experience living separated far away from home and any familiar environments, who must construct alternative families in a fluid context.

 

2. Strange bedfellows. Element 1 results in unusual and surprising alliances, such as between Jack and Ryan, who would not be expected to support each other (albeit unwittingly). The most prominent is the de facto arrangement between Erin and Ryan, which is particularly striking since this alliance is forged within the first minutes of their meeting, without either party ever discussing it with each other at any point! This alliance, like those of Michelle/Mindy/Ruby and Suzanne/Akami/Xania, is the main driver for events. (Erin’s subtle scheming is also one of the most enjoyable parts of the narrative; her on-her-feet quick thinking surpasses even Suzanne and Linda.) 

 

3. Behavior that would otherwise be unacceptable and sanctioned is permissible. Ryan begins as the Fool, and initially is subject to the contempt and mockery of the elite sorority and fraternity members. Yet a masquerade is a “world upside-down” where everything is unstable and subject to “jolly relativity”. Thus the Fool can move from a subversive role to becoming the center of a new dominant paradigm (his own personal slut harem at the top of the university social hierarchy!). The pawn becomes a queen.

 

4. Sacrilegious theatrical expressions and “sensual ritualistic performances”. Need anything more be said?! Notable in this context is Ryan’s use of Socratic dialogue during Kate's ‘ceremony’ (an abbreviated version of RB’s elaborate cockslave rituals), which encourages her to reach her own conclusions and willingly embrace her own enslavement as a rational(?) choice. The Socratic method is a common component of carnivale.

 

The centrality of these themes to AF suggests that it is plausible to consider the text not just as ‘comic drama’ but also as a contemporary example of ‘Menippean satire’. This view is strengthened if the reader examines AF's use of humor and the grotesque (important components of Bakhtin’s taxonomy). Grotesque does not necessarily mean disgusting, but refers to the use of bodily parts to emphasize communal issues: the main characters possess unusually large breasts (E, F and G cups) or penis (“The Beast”), whose dimensions and their effect on the opposite sex are both heavily exaggerated for humor. Bodily fluids (semen mostly) are also emphasized. It is those "parts" that fuel the characters’ actions and lead directly to social change. E.g., it is her love of "The Beast” and the spanking of her posterior that leads to Kate renewing her relationships with Erin and Monica, and developing a new one with Ryan, within the context of a radically new social reality (becoming a personal slut). The thorns surrounding sleeping beauty (her negative personality traits), are breached by sensual means (a kiss, as in the tale, but also much more!).

 

In terms of humor, AF openly embraces the power of laughter, mocking elite vices and behaviors (Kate, Chip, Kate’s mother) and parodying erotic genre conventions (“porn logic”). The text playfully both subverts and supports these tropes by (i) demonstrating that the ‘logic’ would only ever work under very specific circumstances (e.g., Kate’s unusual upbringing and Erin’s scheming. At one point, Ryan openly acknowledges that it was Erin’s role which was the crucial factor in his seduction of Kate); and (ii) by showing their ultimate success! But most of all, AF embodies the spirit of Rabelais in “sensing the world as one great communal performance”, a semi-serious stage for the readers’ enjoyment.

 

 

B. The Heavenly Ascent

 

“Love, she thought, must come suddenly, with great outbursts and lightnings, a hurricane of the skies, which falls upon life, revolutionizes it, roots up the will like a leaf, and sweeps the whole heart into the abyss.”

      -- Flaubert

 

The AF narrative is built on themes of freedom, metamorphosis and the heroic journey, and so shares similarities with traditional folktales. Ryan’s quest is initiated by Jack (his mentor figure) and the goal is, as in so many tales, to win the fair hand of “Princess”/“Queen” Kate. Kate’s royal associations run deep -- in addition to her nicknames, and the explicit parallel that is made in the text between her and the Duchess of Cambridge, her name (derived from Katherine/Catherine) also suggests French Queen Catherine de Medici, who shares many traits with Kate (e.g., proud, vain, ruthless, overbearing, stubborn, charismatic, etc). Katherine/Catherine is also the name of three Queens of England, two Empresses of Russia, and a Queen of Navarre.  

 

Her would-be suitor is told to behave as if he were “a king” when dealing with Kate. The meaning of Ryan’s (Gaelic) name is indeed “king”, suggesting his worthiness as a counterpart to ‘Queen Kate’, and the eventual success of his journey. Ryan’s mentor is quickly revealed to the reader as untrustworthy, and it is implied, a failed suitor of Kate himself. Jack’s name, if derived from Jacques, comes from Jacob, meaning a “cheat, assailant or circumventer”, all very appropriate to his function. If derived from John, it could suggest the failed King of England, who (in literature at least) was unable to live up to the previous king he acted as regent for. The reader understands that it will not be possible for Jack to attain the same heights as the true king.

 

However, there may be a different meaning altogether intended for Jack/John. To win Kate, Ryan needs to ‘scale the tower’ of the sorority house (a la the Rapunzel legend). Unlike Bellerophon, Ryan must first climb Olympus and only then ‘slay’ the ‘monster’ (the ‘Princess Kate’ persona). Jack is necessary to allow him entrance into the house, and to show him the way to reach Kate (metaphorically, through his advice, and literally, by his exposition of the house layout), thus becoming John the Revelator. 

 

As in Paradiso, wherein Dante must ascend the 9 levels (or ‘spheres’) of heaven, there are 9 ‘rooms’ (or areas) for Ryan to enter and pass through (in increasing stages of intimacy) over the course of the narrative. A trinity awaits both Dante and Ryan towards the end of the heavenly path (Kate/Erin/Monica).

 

1. The sorority's open grounds (surrounded by the security fence).

2. The treehouse (a microcosm or mirror of the real “house”).

3. The basement (location of the hot tub and pool).

4. The first floor (common rooms and party area).

5. The second floor (residential rooms).

6. The third floor (residential rooms for the elite sisters).

7. Kate’s bedroom (site of the initial encounter, blowjobs and spankings).

8. Monica’s bedroom (site of more blowjobs, spanking and then actual intercourse).

9. Kate’s “room” (site of empyrion, and final transcendence/union).

 

However, AF differs from Paradiso in that there is no linear progression through these rooms from lower to higher: Ryan is guided up to the 4th ‘room’ by Jack (taking the role of Virgil), guides himself up to the 7th ‘room’, and later is guided down to the 1st and 2nd areas by Monica (taking the role of Beatrice; Monica’s name means “adviser”, which is appropriate). Only then does the final ascension all the way to the 9th ‘room’ occur. In addition, the roles of Virgil and Beatrice are reversed: instead of taking him down to Inferno or Purgatorio, Jack guides Ryan upwards (part of the way) towards heaven; and instead of guiding him to heaven, Monica guides him downwards from Paradiso.

 

This zig-zag movement parallels the back-and-forth interpersonal relations of the major four characters: Kate, Erin and Monica vacillate in their feelings, intentions and commitments towards Ryan and each other. Their gradual acceptance of “La Bestia” in spite of the pain, difficulty and misunderstandings suggests a nod to the Beauty and the Beast tale -- is it coincidence that the blooming of Ryan (from their perspective) from a nobody into a ‘prince’ who is worthy of them, is mediated by them 'getting to know' The Beast?

 

One factor contributing to this zig-zag of vacillation is that no one person is the major driver of the action. Jack, Ryan, Kate and Erin all have significant influence on the course of events, yet none are decisive. This is interesting to the reader from a dramatic perspective, since the reader finds it as difficult to predict the outcomes of each character’s actions as the characters do themselves; the ultimate resolution remains uncertain. It also means that at the end of the day, collective solutions must be agreed upon. 

 

On a deeper level, this means collective solutions agreed within Kate and Ryan’s own hearts. Erin and Monica can be seen as aspects of Kate herself: the fiery Id (Monica), ruled primarily by sensuality and emotion, and the cooler and logical Superego (Erin), concerned with plans, manipulations and goals, must both find a way to reconcile with their Ego (Kate) in an unprecedented way compatible with Ryan's new social reality (“Slut Kate”). Likewise, Jack and Vince can be seen as aspects of Ryan. Vince’s name means “conqueror”, symbolizing Ryan’s focus, intelligence and determination to succeed, which have brought him from a middle-class background to an elite setting (a prestigious university). Jack on the other hand (the Id), is driven by emotions of jealousy, malice and contempt, but is also playful and a trickster. This trickster aspect of Ryan can be seen in non-malicious contexts, such as the increasingly ludicrous backstories he invents for himself to impress the trinity; having them confined together in a toilet while aroused; ‘threatening’ to publicly embarrass them in the library, hallways, etc; unexpectedly bringing Jordan into Monica’s room; and teasing Tiffany and Jordan. Ultimately, Ryan (Ego) will also need to reconcile with his own Id and Superego (the final confrontation with Jack/Vince) to become the person that Kate needs (i.e., ‘Cock and Bull’ harem-master Ryan). When both parties have resolved their inner conflicts, the anima (Kate) and animus (Ryan) will be in a position to try to achieve full union.

 

Yet there is reason to be encouraged. All humans are fools, and to escape from foolishness requires destroying maya (illusions and delusions), which ultimately means annihilating the Self. Kate and Ryan (along with Monica, Alan, Dan, Heather and Susan) are refreshingly frank about their internal flaws and what needs to be done to destroy them (Princess Kate, Bad Alan, etc). This is the important first step, and if these characters can continue diligently on this road, they can get closer to their desired happy endings.

 

 

C. The Hieros Gamos

 

“The most amazing combinations can result if you shuffle the pack enough.”

      -- Bulgakov

 

So where to from here? What will the final resolution of AF be? Machiavelli notes that it is far easier to acquire a kingdom than to hold on to it for any length of time. At present, there are a number of issues that are unresolved, some trivial, some not:

 

1. How did Ryan reach Kate’s room in the first place?

2. How with Ryan/Kate/Erin/Monica deal with the potential ‘spoilers’, Nancy, Brandy and Jordan, to preserve their secrets? (Heather, Christine in 6TD; Nicky, Sonia, Lisa in RB; Allison, Gabrielle in BPD, Debra in DM, etc)

3. How will they keep their dalliances secret from the other 30 or so sorority girls?

4. How will they maintain Kate’s social status?

5. How will Ryan/Kate break the news of their relationship to Kate’s parents, and obtain their approval?

6. What sort of structures will need to be erected ;) to maintain and protect the harem in the long term?

 

In the final analysis, this reviewer considers 5 and 6 to be the primary issues, all others are of minor importance in the larger scheme of things. While Ryan’s family is unlikely to object to a catch such as Kate, Kate’s parents represent a significant obstacle, as they have the resources and incentive to permanently separate them (and are unlikely to change their minds easily). Meddlesome parents trying to separate star-crossed lovers is a common trope in comic dramas. Their schemes inevitably fail, and the texts traditionally end with a marriage (just as tragic dramas traditionally end with a death). Rapunzel, Beauty and the Beast, Sleeping Beauty also end in marriages. Dante and Beatrice conclude their journey in mystical union with each other and God, and another of Kate’s namesakes Saint Catherine of Siena attained a ‘mystical marriage’ with Jesus, a popular subject in medieval art. Saint Monica is the patron saint of married women.

 

All of which suggests that the natural endpoint will be some reconciliation with Kate’s parents and the final union of the king and queen (Ryan and Kate). In this case, the comic and tragic endings can both occur simultaneously – a wedding on one hand, and a ‘funeral’ to commemorate the ‘death’ of the old Ryan and ‘Princess Kate’ on the other (perhaps symbolized by them consigning Ryan’s old three-piece suit and a toy tiara or bracelet from Kate’s childhood, either to water or to flames).

 

But the situation does not embrace Kate and Ryan only, but the broader issues of the harem and its development over time (however many people it may encompass). One major factor that will increasingly come to the fore is the tendency of the various Spacer harems to develop in cult-like directions, a point noted even by some characters. E.g., Suzanne’s distress at joining “the cult of Alan” and her desire to “worship him like a god” to the exclusion of her own needs; Christine’s worries about Amy being “brainwashed”; Erin and Monica’s concerns about being owned and controlled; and Dan’s apprehensions over the increasingly elaborate and solemn ritualization of the cockslave lifestyle. 6TD could be subtitled (in true tabloid-newspaper form), “Six Times a Day: How Two Pestridge Women Took Over Their Neighbor Family and Transformed It into a Sex Cult (in 12 Easy Steps!)”. Lofton’s theory comprises 8 mind control elements that characterize cults:

 

1. Control over the environment, to ensure some level of isolation and reduce critical thinking. This review has already discussed the seductive nature of the artificial carnivale atmosphere, which keeps members perpetually high on lust and so less able to think clearly (Susan, Mindy, Nicole).

 

2. Leaders become mediators of higher powers and hold exclusive truth. All “pleasure and control flow[ing] from Daddy” (Ruby, Michelle), “You’re the only worthy [man] I’ll ever meet” (Brenda), “I’m not like other guys” (Ryan), etc.

 

3. Radical separation of pure and impure. This can be seen in the valuing of sexual exclusivity for Erin, Monica, Alan’s slave-wives, Dan’s cockslaves, etc, and also in the elevated status of ‘virgins’ who have only ever been with the leader (Kate, Clarissa, Katherine, Nicole, Michelle, Ruby [and Nicky??]).

 

4. Culture of confession of ‘sins’ immediately. Brenda, Susan, Sue Ellen, Erin and Monica have all confessed or felt the need to confess to any perceived disloyalty, sometimes unprompted.

 

5. The group’s ideology becomes the ultimate moral vision for the ordering of human existence. The Big Tits Theory (Susan). Enough said! (This reviewer must note that some of the most entertaining and interesting parts of 6TD were Suzanne’s ongoing indoctrination of Susan and Brenda using the Bible, psychology and her own charisma. And then the irony of seeing her own indoctrination being turned back on her by her new converts!)

 

6. Members’ jargon simplified to reduce critical thought. Can be seen in the increasing use of terms such as worship, praise, serve, service, master, slave, respect, devotion, lord, etc, and discouraging any questioning these terms.

 

7. Human experience is subordinated to doctrine, no matter how contradictory. The Big Tits Theory (Susan). Again. History also tends to be rewritten to fulfill subsequent developments (e.g., Kate, Susan and Brenda’s belief in Ryan/Alan’s unstoppable juggernaut of sexuality).

 

8. The organisation decides who is and is not ‘saved’ or included in the group, and rejects the ‘unworthy’; the outside world is irrelevant. Thankfully, this one does not have parallels!

 

In spite of all these convergences, the danger of these harems evolving into bona fide cults is low for two reasons: (i) the focus on playfulness and laughter ensures that the environment remains only semi-serious, and (ii) the standard cult framework is ultimately subverted by Spacer because the harems’ barriers to entering/leaving the surrounding society are low, coercion levels are low, and the focus is on mutual emotional support and pleasure rather than suspicion and weeding out the less committed from the midst of the faithful.

 

What all this suggests for the Ryan/Kate harem, is an alternative endpoint: that in the long run the most effective method to survive and flourish may be to actually embrace a certain level of ongoing tension with the rest of society. In other words, not to resolve the issues with the other sorority girls, the university social order, their families, etc, but actually work to maintain them! E.g., keep Nancy, Tiffany (Sonia, Heather, Debra) as hostile external presences to help group cohesion, and disincentivize members from leaving by forcing them to prioritize either the outside world or the interests of the harem. As Ryan says to Kate: “What's more important to you: being my good and obedient personal slut, or your reputation?”

 

To conclude, whichever path Spacer takes with the AF narrative, its flexible structure (focused on a small cast, single location and limited time frame of one night) is narrow enough to stay focused on the key characters and themes, yet there are enough serious issues to deal with (reputations, families, boyfriends, etc) to provide fruitful grist for many further stories short or long to continue. Whether or not that occurs, either way I look forward to reading what comes next!

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I am blown away by the above review and analysis. My only major concern is that it will be almost impossible for Spacer to stay true to this as he continues these stories. I'm going to encourage him to consult Akhtariel before he writes the rest of AF, to see how consistent he (Spacer) can stay with that analysis.

 

In fact, because the above review touches on so many of Spacer's works, I'm tempted to invite Akhtariel to become a Proofreader immediately so that he can similarly impact the progression of the remainder of Spacer's stories that are still in progress. It would be interesting to see his take on the four final parts of 6TD Proper, whose text is (provisionally) complete and is now being illustrated by Spacer.

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Thanks for your very kind words, Sam.I.am! I’m happy to proofread if it helps the team. The site has my email. 

 

No one needs to feel obliged to follow either of the 2 paths I've described for AF's conclusion; one of the delights of AF is the potential for it to go in many different directions.  (Will Ryan be made an associate member or mascot of the sorority? Will he become Kate's 'personal assistant' as a cover? Will Kate "come out" to her parents and marry Erin as an alibi for the harem? Will Kate meet Brenda at a high society fundraiser and she becomes the harem's mentor based on her years of experience as Alan's slave? Tune in next week, same Bat-time, same Bat-channel!  ;))  I may end up doing a rewrite once AF has ended, to take into account any major variances, and do some touch-ups.

 

The reason I like reviewing Spacer's works is all the hidden layers of meaning, absent from a lot of erotic fiction. It's good to point out some of them so that other readers can also appreciate the love and effort that has been put into the creation. E.g., while there are some overarching themes across all of the stories (the theatre of the absurd, cults, domination, familial units, Freud, etc), the texts also have their own theme that is uniquely emphasized (even if that theme appears in a minor way in other works), and which is closely tied to a particular group of literature: 

  • AF: ascension. This one's the most mythic, so lots of fairy tales; "The Master and Margarita" (Bulgakov); "Divine Comedy" (Dante);
  • RB & MWMP: epistemology. What is truth? How do you know what's really real & who a person really is? Bentham's Panopticon; "The Devil's Elixirs" (Hoffman); "Ubik" (Philip K. Dick); "Simulacra" (Beaudrillard, ugh!); "Adventures in Hyperreality" (Eco);
  • BPD: destroying the mother figure, "Electra" (Sophocles, Euripides & Freud); and love imposters, "Cyrano de Bergerac" (Rostand). 
  • BHPD & DM: destroying the father figure. "Oedipus Rex" (Sophocles & Freud); "Hamlet" (Shakespeare);
  • 6TD: this one's tough, it's so big & there are so many elements. Closest thing I can think is "Alice in Wonderland" & "Through the Looking Glass" (Carroll), but explaining why'd be way too long! 

Is it even possible to construct a grand unifying theory on Reading Spacer Stories? A sort of equivalent to de Botton's "How Proust Can Change Your Life"?  Perhaps a "How Spacer X Can Improve Your Relationships and Make You A Better Human"? I've no idea...

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(I’ve just realized I wrote “Brandy” instead of “Jordan”, and that Vince was Jordan’s boyfriend not Erin’s. D’oh!)

You can edit your own posts. Hover over the line at the bottom that has the MultQuote and Quote buttons until an Edit button appears to the left. Click on it. When you've finished your corrections, save the updated version, which will overwrite the prior one.

 

Your choice of nym (pseudonym) says a lot about you.

 

FYI, I added your review to the "Fan-fic & parodies" drop-down menu tab (because that's where I had placed the Official SOL review).

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Hi Akhtariel,

 

Thanks for your very interesting comments. I'm amazed at the sheer number of cultural and literary references in your comments. Phew! I don't know what to say. But I'm flattered that you're analyzing my stories at the level that you are. To be honest, you found all kinds of levels of meaning that I didn't intend, such as the comparsions to Dante's levels of Hell. But that's one reason I enjoyed your comments, because it made me think "I could kind of see that" on things that I never would have imagined. Other things I did intend, such as thinking of April Fool's Day as not just a time to play pranks, but also a time to upturn the social order.

 

Your post is very timely. I hadn't worked on April Fools much for about a month now, since I've been focusing on STD stuff, especially making new pictures for the new parts. However, just in the past few days I've been writing more of AF in order to post Part 9 soon. Your comments have given me food for thought and inspiration to write more. So thanks for that. :) I'd be glad to hear more of your thoughts on my stories, since you have a very unique and interesting perspective.

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Hi Spacer, glad you liked it. If my efforts have had a positive effect in some way on you, Sam.I.am, SilentAssassin or anyone else, then I consider it worthwhile!

 

 

To be honest, you found all kinds of levels of meaning that I didn't intend, such as the comparsions to Dante's levels of Hell. But that's one reason I enjoyed your comments, because it made me think "I could kind of see that" on things that I never would have imagined. Other things I did intend, such as thinking of April Fool's Day as not just a time to play pranks, but also a time to upturn the social order.

 

I think we're all much more influenced by our culture and history that we're aware, from a lifetime of subconsciously absorbing these things 24/7. I mostly write non-fiction but I've found and been told by fiction writers that often writing takes its own course, one that (like suckling on Michelle's tetas grandes) somehow just "feels right"! And so we all follow these deeper rhythms generation after generation. A creator can write a Menippean satire even if they didn't deliberately set out to do it.

 

I'm happy to voice some alternative perspectives where I see them. Hopefully, others will also get on board and offer other, different viewpoints for us all to chew on. I do enjoy 'Science Hour with WD40'!

 

I'm going overseas on vacation tomorrow, so I'll mostly be offline for the next two months, though I may pop in now and then.

 

 

Your choice of nym (pseudonym) says a lot about you.

 

Lol, I've no idea what sort of conclusions you've been drawing about me based on my nym. Perhaps it's better if I don't think about it!  ^_^

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There's enough classic literature out there that you can probably find parallels in any new work if you look for them - after all, it's all about people, and people haven't changed that much in the last few thousand years.

 

As a result, I'm deeply skeptical of the predictive power of any patterns that are found - unless the parallel is deliberate, I'd put the chances of it continuing or fizzling out as roughly equal...

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This doesn't really fit this thread, but I have the thread at hand and I want to quickly mention that Part 9 of AF should be posted tonight. I've finished writing it. However, Sam won't be able to process it and post it until around midnight, Pacific Coast time, so expect it to be posted around then.

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I like to think that the Kappa Kappa Gamma sorority in April Fools is the same KKG sorority that Suzanne and Xania mentioned hanging out with in part 78 of Six Times A Day.

I do enjoy such minor nods in one story to another (if indeed it is a nod -- I know very little about American sororities, so for all I know Kappa Kappa Gamma might always be the 'hot babes' sorority.)

Oh, and I am loving April Fools. Looking forward to Jack getting his comeuppance, and I'm hoping that both Nancy and Brandy come under the spell of Ryan's mighty cock.

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Kappa Kappa Gamma is a real-life women's fraternity (it pre-dates the term "sorority") who think of themselves as classy but friendly all-rounders with no particular area of focus.

 

If you want to know more about them, your Google research will probably be more comprehensive than my quick check...

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Good news! I've finished writing Part 10 of April Fools. So look forward to that being posted on Tuesday night. :)

 

Re: Kappa Kappa Gamma, I'm pretty sure that it is the "hot babes" sorority in the US in general. It certainly was that way at the college I went to, as well as being the most exclusive one, notorious for being snobby, elitist, and wealthy. Similarly, SAE really has a repuation for being the "sexual assault expected" fraternity all over the US. They've been in lots of trouble in recent years for racist outrages and sex crimes, so much so that there have been some calls to shut the fraternity down nationwide. So I figured it was fitting to draw the story's villains from them.

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