MITCH DAVIS
WRITER

I don’t know you.

I am reminded, more often these days, as I get older, of what factors it takes to raise a child. Factors that, if disregarded, found not a family but a facsimile: bereft of fealty, a deaf family, an unfit family. Today a once-flickering pilot flame flares, for these factors have found their way to the future, where, finally, they can be sifted. By none other than the foundling who was forgotten. It is me. I am he. I’m here to fuck shit up.

Let’s first begin with factors of blame. Let’s think of infancy, of a strip-mall beauty competition where judges forbore a mother’s fault to award a place of Best Smile, foregoing first, second, and even third. Let’s think of a poor babby who cried alone in the dark. Let’s think of factors further of a faithless mother who told a child that he did not deserve love, of a feckless father who was embarrassed to teach him to piss at a public urinal, of a faggot brother who announced to him a fascination towards soft, squishy carrots. A mother who murdered a favourite bird. That’s the word.

I am reminded too of a mother who felt her way into a child’s room one night, late, while that child tried to sleep, to force herself upon him.

Let us take a step back and acknowledge the child. I am reminded of this inconvenient first son of a facade. I am reminded of more factors, factors that child would have been willing to share, had anyone asked. But nobody did, so he learned to forget. He wanted to be free of the horrors. He found freedom instead in his own mind, and when the fat bulk of a fatuous, failed woman came flailing at him, and a father failed to acknowledge fatherhood, and a brother failed to find heart, he forgot again. He learned to proceed, to carry on, to move ever onwards through a half-life of unified grief. What use was a family of artifice to this child left adrift? Would they make him free?

That child learned of friends of convenience, and remembers fallen forms of friendship gone unfed. He remembers asking for help, and finding none. His falsity of friends, such as they were, fell by the wayside. His protests and his pleas for given fucks faded in the face of father time. He learned that he was not the same as them, and learned to force it down, lest they find out.

Twenty years later, twenty miserable years later, I remember a child who long ago decided to raise himself. Who befriended himself, who fed himself on the scraps of a society that gave no fucks. He fostered himself. A scavenger child, an Oliver Twist, who found a Fagin at nineteen years of age and left that foulness behind, who founded this website, and now writes these words that fester at his fingertips. He found what he valued about himself and figured it out. More than anything, he found a friend in himself. He found his family in himself.

Would those friends and family he left behind follow him into adulthood? Would they try to feed that friend who long ago learned to feed himself? When his world fell apart, would those friends be close enough to help him pick up the pieces, or would he have to pick them up himself, as he always had? Would those founding friends and family, if they knew one another, find him in the suffering dark?

When he lost his mind in that suffering dark, who found him but the counterfeit of his own mind? He found a test. He found a game. He found it was played twenty-four hours a day. Would he go out into the dark again, and again, and again, hoping to find a light to guide his way? He was thirty years old and no longer a child and yes, he did. He followed the calls and soon found himself fugitive. He was forced through the courts, and the funhouse, and he found himself nearly in the morgue. Those friends and family who had flattered themselves for so long, they were gone. He found himself underground, foraging for gemstones amongst the rough, and found none but shiny baubles. One glittered for a briefness, but he was fleeced of it while he himself flailed. It was not the colour green. Let’s forget the colour green. It is a false colour. It is a fugue colour. It is a colour of finance, and nothing more. He no longer tries to find himself in the dark, following the calls, for that too is a falsity, a fakeness, a friendless place.

To those friends who forgot that child until it became convenient, I say fuck you. You failed that child, you failed that man, you failed that friend, to say nothing, any longer, of any family.

That child says fuck you. That man says fuck you. The writer of this piece, especially, says fuck you. That child, the motherless, fatherless, friendless child who begged to be free finally found his freedom in truth, and you’d do best to forget him. All past versions of that man are fallen, festooned about Flanders Fields like so many fallen wreaths. There is only one left, and it is me. And I fucking hate every one of you.

You all, only, get an F. You can force it where the sun doesn’t shine, for all I care.

I’ll delete this shortly, because I really only want my work to show up here. This is a professional place.

By the way, the only reason I had those dancing people was because I treated them like people. Dancing people aren’t any different from anyone else I’ve ever met. That’s the thing. Fuck you, I’ve met the President, Donald Glover, and Miss Universe (et. al.). Would you believe me if I said they’re all, also, just people? It’s ego that separates us, and I don’t recognise that sort of shit.




Welcome, new readers

Hello! I see you out there, floating about in e-space. overkill might have brought you here, and if it did, great! I’m real glad you’re reading. Reading is freedom and so it should be free. That is why I’m writing today, to offer you even more free stuff.

First off, here’s a link to download an eBook version of Well’s Rest, my second book. If you’re a keen copyeditor then maybe it isn’t the book for you. If you’re passionate about language, then maybe it is? If you’re an editor who likes it, then fam, hmu at the Contact tab.

Secondly, here’s SLOP FIGHTER. It’s a game I made that utilises a very small LLM. Don’t have Steam? It’s also on itch.io. It’s finished, but sometimes I get bored and tinker with it. It’s not perfect, but neither are LLMs. Neither am I.

Thirdly, because you need a third thing, here’s a short story I wrote ten-fifteen years ago. It’s called GELIGNITE. It’s a love story. I wouldn’t call it a personal story. It’s just kinda fun. I think I sent it to magazines at one point. I can see why it wasn’t published.

That’s it! Here’s something to listen to.

Edit: I’ve updated the sample from overkill. Check that out if you like. I’m still editing this book live over on Royal Road so you can stay updated on the progress. It’s coming along. Slow is smooth and smooth is fast.




the stories that go untold

Here’s a place for them:

With that out of the way, let’s get down to brass tacks. overkill is done. I’m going to start releasing it on Royal Road. Here’s a blurb:

On NEWSTEAD-SIX, death isn’t the end. On humanity’s frontier there is a prism which contains the greatest achievements humanity has ever known: a station where bodies get regrown, where humans can fly, and where death from age, violence, or sickness is a distant memory. It’s a space station where grudges get older, where selfishness unfolds over decades, and where scientific curiosity turns to sin. 

Arran, a former undercity lawman, has come out to live on an itinerant space station as their local peacekeeper. What he’s found is a nest of intrigue that’s led him to brutally avenge a vicious crime.

Now he’s suspended, a gun-hand short, and the Mayor wants him gone as soon as the district chief arrives. The town would help him pack his bags.

Arran’s deadly instincts are the least of their concerns. There’s a creature swimming in the void outside their small, protective prism. It’s hungry. It’s angry. It’s afraid. It’s big. Big enough to swallow them whole as it devours their system’s sun.

overkill is a posthuman frontier western about the law at the edge of forever, and the man stubborn enough to keep it.

~~~~

I’m not good at blurbs, but that is fine.

One thing that might surprise you, from an author of westerns, is how little I enjoy my life resembling one. I don’t even think about books when I’m not writing them. Much less do I think about dancing around like a spur-booted cowboy. I enjoy getting things done. Writing is often an extension of that. My life exists to support my stories, but if I tried to think about playing at stories in my daily life I’d just find myself buried under the weight of all the reality that contradicts them all the time. Real life’s like that, messy and uncertain, and if anyone ever comes at you with a good story then they are trying to fool you. It’s somewhat ironic I’ve chosen to spend my life writing stories, having such little faith in them, but perhaps that is what happens when you’ve been working with them for so long. It’s like knowing how the sausage is made. You don’t want to know. There’s a man on YouTube who makes sausage and it is violent.

Which brings me back to overkill. The delicious pork sausage I’ve served up for you. I’d love to know how it goes. I see it as a counterpoint to Well’s Rest. It’s more of a straight western, for one. If there is any challenge I take with my work, it is to make each new project a counterpoint to the one that came before it. Every new work needs to be a reversal of whatever efforts that made the last one, whether in setting, structure, themes, any aspect. It keeps every new project fresh and exciting for you, the reader, but more than that it keeps me interested. I’m not interested in replaying the hits. With my work you’ll see variety, imagination, and fine attention to things like tone, texture, and timing. Those are the features I try to keep. Most else is changeable. That’s what you should expect from overkill.

For now I will only publish this new story serialised on Royal Road for the value of a closer editing pass than I am willing to do as a separate task, and then I will publish it in paperback and eBook format. I have a cover for it, but the cover is AI-generated and deliberately shit. When I can afford to pay an artist to design a better one, I will.

Without further ado: https://www.royalroad.com/profile/786561/fictions

This time I got names from Bing Maps.




Steam release

I’ve been busy lately making the game ready for Steam and here it is: https://store.steampowered.com/app/4430050/SLOP_FIGHTER/

With this project I have had a lot of uncertainty as to what is actually achievable from a large language model. I have constantly felt like I have been walking a fine line between contextual accuracy and complete incomprehensibility, but over time I have managed to work together some truly impressive features I only ever dreamed were possible. I go into more length on itch.io, but to sum up, I’ve managed to better contextualise the LLM’s understanding of all the words I’ve stuffed into it. This means the monsters can, and will, narrate the way they use themselves more effectively. A monster with camouflage, like a chameleon, will reference it when an attack against them misses, for example. The monsters are more aware of their environment, their opponent, and themselves. All the different information about the monsters is being passed properly all the way through. There is still some degree of “creative compliance”. I also added laser beams and other special attacks.

Underlying the narration are extensive semantic graphs, which are simply blocks of words sorted into categories, like body parts, movement styles, and mutation vocabulary. The LoRA adapters, which attach to the LLM, are trained on sentences constructed out of these graphs. Each word, in consideration of the sentence structure around it, is given numerical weight and at runtime the LLM relies on its internal mathematics to decide which word to generate.

Its decision-making when it comes to generating words can be influenced, kind of guided, by careful prompting, which at the end of the day is just English skills. Essentially, if you give the LLM enough of the information it needs in the right way it can start to build the required context to generate narration that reflects its character.

It’s a problem I’m familiar with as an author. How do I get the reader to generate an image in their head based on the words I am using? How do I make this person understand? It’s kind of fun to think about how the challenges are the same for what is just a machine that generates words.

Here’s the link again: https://store.steampowered.com/app/4430050/SLOP_FIGHTER/ Banned in China!



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