First, make me care

Additionally I appreciate the extent to which our perceptions on literature differ. This was an enlightening exchange. In an attempt to retain decorum between us I will withhold speculation on the character of (Mr?) Cameron Pierce whose work you made mention of. But it's tough to resist. And boy, am I confident about it.

Thanks also for the pointer to James Mickens. And if I may ask, do you have a reference for where I may find Tolkien's remarks on the relation between the artist and his art?

I'm going to make a gross fusion out of two points you made that I enjoy in conjunction:

> And again, if you're not using outside sources, what you can infer about someone purely from the art, purely from the fact that they made something rather than nothing, and this particular something rather than something else, is more limited than what some people imagine. [...] Those first lines are distinctive video game references that even if one hasn't played the games, if one has been on the internet enough during a particular time then they'll likely ring a bell. The recognition of such signals is going to either act like crack ("One of us!") and draw the reader further in, or act as a repellent (quirk chungus) and bring forth a groan if not abandonment; I've been both kinds of reader for the same references. Meanwhile others won't get the references at all, it's just weird. Whether including such references indicates something meaningful about the author's personality directly, rather than just them being aware of the shibboleths and making use of them to attract and entertain a certain audience, is hard to say. Fans often end up with "don't meet your heroes" kinds of feelings when they over-empathized with their inferred construction of someone and thought they were part of the tribe rather than just making use of the tribe's signals.

I think how we experience the phenomenon you describe in the second paragraph that I've appended above—the final one in your full response—is where we differ.

I can't help but use references like the ones you described above as data points to infer the personality of the author. It's an innate mental process that occurs concurrent to whatever else I think about while reading their work. And the world is filled with such data points even beyond ones that the author intentionally invites.

I'm probably more likely to expect that these references (that I consider to be outside sources; this may be irresponsible to you) are indicative of the nature of the author either directly or indirectly—that there is at least some genuine influence behind the reference of certain concepts, beliefs and shibboleths—because I don't read fiction the same way that I read non-fiction. Which is to say that I don't actually read fiction at all.

I do appreciate how certain fiction serves as literary representations of the ideas that the author has about the world (whether they're his own or those of other's that he wants to bring attention to) that they otherwise wouldn't express through non-fiction. So I do mine the work of some fiction authors for that kind of insight and nothing more; because my objective is to comprehend the diverse ways that people perceive life and the lives of others. Because of this I probably tend to interpret the effect of a piece of literature more seriously than others; in search of more intimate and perhaps more disquieting evaluations.

As you mentioned, sometimes the author is just trying to attract an audience. So that’s not to say that all references are worthy of as strong of a consideration that I’m describing. Maybe the fun part of this kind of work is vetting for authenticity—for better or worse—all things considered.

Supervisor: "Great job with this."

Me: "The assessor didn't seem too impressed."

Supervisor: "You should have sold it better."

That was the point where I realized that all the technical stuff doesn't really matter if nobody realizes how hard it was or why they should care.

How fun is a conversation once it’s established that both parties are in agreement about something in principle? Does one probe to be provocative?

I place high expectations on writing that 1) I feel is right up my alley because I think I’m already familiar with the topic and 2) I’m unfamiliar with but am eager to learn about—it sparks my curiosity. Not all writing meets these expectations and this is probably why I’m disgusted by the though of using LLMs for information about subjects I have a genuine enthusiasm for and can care less about doing so for others, at least until I can figure out whether I want to know more about it. Then the subject becomes forbidden to prompt about.

> For me, it is the way he presents and develops ideas that prevents me from reading, it reminds me of reading a tutorial on how to reach his conclusion.

My assumption is that this kind of writing exists somewhere along the same strand of writing that lends itself to what’s expected from some writing in public school (‘Good writing is what shows the reader/teacher that you correctly grasped the material that was taught to you’); writing that is received well by ’The Masses™’ or some in-group (‘Good writing is what shows the reader/audience that you’re beliefs are in correct alignment with theirs’); something like a mathematical proof (a more literal representation of how to reach a conclusion if I correctly understand what a mathematical proof is); and a well-formed atomic note written for private consideration.

I love ancient history and would read a good book about the Venetian empire, but the sentence answers the final question. Venice was a maritime empire (it's capital on an island), that's why its enemies could not starve it out. All in on finding out who fed it.