look if you're an author and you're worried about misrepresenting plurality in your work because you're not plural, just become plural its not that hard.
o-oh...

Recovering techie with an MFA, working on like a kajillion writing projects at once. Check out the Post-Self cycle, Restless Town, A Wildness of the Heart, ally, and a whole lot of others.
Trans/nb, queer, polyam, median, constantly overwhelmed.
Current hyperfixation: SS14
Icon by Mot, header by @cupsofjade
look if you're an author and you're worried about misrepresenting plurality in your work because you're not plural, just become plural its not that hard.
o-oh...
Spoiler level: negligible — Toledot, Mitzvot
E.W. of no clade:
I remember teaching myself to hunt, promising myself that I would start small with snares and then work up from there, thinking that I would not let myself eat until I could eat food that I had caught myself.Eating itself is optional, sys-side. One can simply turn off that ability, just as one can (and most do) turn off the need to urinate, defecate, get the hiccups, and so on.
The mind, however, remembers hunger. It remembers it so viscerally that, should you neglect to modify that out of your sensorium, you will feel it just as intense as you did back phys-side. It remembers the feeling of satiation that comes with eating. It remembers the feeling of being too full, of being sick to your stomach. It is a part of life, and even being infolife, we remember that from before we were such.
So I remember getting so hungry and weak by the third day that I pinged Serene, my cocladist who had built me my little wilderness, to see if she could help. She laughed and ruffled my fur and called me a dumbass, saying that she had not included fauna because I had not requested it, so of course I did not catch anything. She brought me a hamburger and I ate it so fast I got sick.
Spoiler level: none
Dear, Also, The Tree That Was Felled:
Yes. Sort of. We call this 'bubbling up', which is when an individuated fork merges down and then the down-tree instance assumes their identity. The issue, however, is that when merging, the down-tree instance has the ability to selectively merge memories, while they cannot release their own memories, except in the instance where there are conflicting memories, wherein one can choose the up-tree instance's memories — this usually means a reinforcement to the point where the down-tree instance's memories in those cases feel more like a whimsical imagining rather than quite real.
See also: Mitzvot - "She Who Haunts The Storm"
Spoiler level: none
Time Is A Finger Pointing At Itself:
Dear and Heat And Warmth are both inspirations for Time Rushes and Motes and I. An integral part of our more spectacular productions involves construct, instance, and sim design. Of course, not everything is so modern; most of our work is done analogue, although I do tend to go ham on the theatres themselves.In those hazy days when reputation had much greater significance, we depended upon these particular shows to promote Voces Sensuum across the greater System. I am relieved that the Exchange has deflated so much as it has; we are less bound to the whims of popularity and can focus exclusively on our own creative endeavors.
We do still indulge in spectacle from time to time, however. Our audience is about as impressed by such things as we are, and roping in artists rather than designers allows us to lean into that in a way that better suits all our tastes.
Take Spiro kaj Simpleco, for instance. This was an example of immersive theatre, a collaboration with Serene and Rainbow's End to produce an interactive set using a sim cast entirely in impressionist textures, audience and all.
The audience was asked to indulge in an autumn afternoon with the cast, with little dramas scattered about and a few planned to jostle those who came near out of an awkward silence. The filter Rainbow's End created cast the warmth of the Sun and fog of breath across blurred and broken faces in buttery yellow and wispy white, leaving the audience guessing as to who was who.
This had the effect of rendering otherwise trivial conflicts impossible to follow. The scenes themselves were impressionistic. Each conflict was, on its own, meaningless; bantering partners and nagging down-trees and overbearing friends. What the audience was meant to find in this work was the peace that fell over every silent moment, the landscape that as often blended with bickering blobs as not.
Perhaps the production could have been replicated phys-side, especially when considering the proliferation of exocortices during the 23rd century. For a truly impossible feat, you may have better luck asking a Sevgili.
(By @hamratza)