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This is why "eat the rich" is not a violent statement. Rich people literally kill others for their own profits. Any violence against rich people who do this is self defense.

This is also one of the many reasons why there are zero good cops. The nicest cop in existence would arrest someone for stealing to survive but would not arrest these greedy employers for killing for profit.

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I prefer the general design of nix-hounds in Morrowind over their other appearances, but the way they move in ESO? Absolutely perfect. Whoever animated this had divine inspiration

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Sorcery by Roy Krenkel (1950’s)

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Caw!

I found this in my Facebook memories and died laughing. I had forgotten about this webcomic series. I do love reading it.

Plus, this is hilarious. I contemplated going into law (I do have a degree in Paralegal Studies), but decided it wasn't the avenue for me.

Anyway, enjoy the webcomic!

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wanted to share my favorite reddit post ever

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I'm a big fan of wizards-as-programmers, but I think it's so much better when you lean into programming tropes.

A spell the wizard uses to light the group's campfire has an error somewhere in its depths, and sometimes it doesn't work at all. The wizard spends a lot of his time trying to track down the exact conditions that cause the failure.

The wizard is attempting to create a new spell that marries two older spells together, but while they were both written within the context of Zephyrus the Starweaver's foundational work, they each used a slightly different version, and untangling the collisions make a short project take months of work.

The wizard has grown too comfortable reusing old spells, and in particular, his teleportation spell keeps finding its components rearranged and remixed, its parts copied into a dozen different places in the spellbook. This is overall not actually a problem per se, but the party's rogue grows a bit concerned when the wizard's "drying spell" seems to just be a special case of teleportation where you teleport five feet to the left and leave the wetness behind.

A wizard is constantly fiddling with his spells, making minor tweaks and changes, getting them easier to cast, with better effects, adding bells and whistles. The "shelter for the night" spell includes a tea kettle that brings itself to a boil at dawn, which the wizard is inordinately pleased with. He reports on efficiency improvements to the indifference of anyone listening.

A different wizard immediately forgets all details of his spells after he's written them. He could not begin to tell you how any of it works, at least not without sitting down for a few hours or days to figure out how he set things up. The point is that it works, and once it does, the wizard can safely stop thinking about it.

Wizards enjoy each other's company, but you must be circumspect about spellwork. Having another wizard look through your spellbook makes you aware of every minor flaw, and you might not be able to answer questions about why a spell was written in a certain way, if you remember at all.

Wizards all have their own preferences as far as which scripts they write in, the formatting of their spellbook, its dimensions and material quality, and of course which famous wizards they've taken the most foundational knowledge from. The enlightened view is that all approaches have their strengths and weaknesses, but this has never stopped anyone from getting into a protracted argument.

Sometimes a wizard will sit down with an ancient tome attempting to find answers to a complicated problem, and finally find someone from across time who was trying to do the same thing, only for the final note to be "nevermind, fixed it".

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(source)

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Short tales from the hangar.

Yes, infantry do get crushed underneath the feet of the 'mechs, and yes, the pieces do have to be hosed off, but sometimes there is a frankly statistically improbable number of limbs grasping at you from the slurry of gore.

Everyone knows the one about opening the cockpit and finding the pilot had to have been dead for hours. That's nothing. Sometimes you find pilots who are alive, horribly alive, howling and laughing through teeth like a jackal's, drooling blood.

I hated that 'mech. Hated how many had died in it, and it still alive, each shine of joint or gunmetal suggesting a smug little grin. It got repaired. Pilots can't be. "I came back and they didn't," it seemed to say. But hearing it snickering to itself, one night, alone in the hangar, that was too much. And they can keep me locked up, call me psychotic, but that 'mech will never laugh at anything again.

Mercenaries don't size each other up. They sit down and eat together, share tales and trade trinkets of old campaigns. Then a week later they blast each other into charred scraps of flesh for a thick wad of bills, and just keep sharing coffee and old tales with the next ones they meet, without so much as a flicker in their eyes.

Do not open the cockpit on that one. I mean it, orders straight from the top. Keep it sealed, replace compromised armor, refill ammo, standard reactor check, but do not open the cockpit. If the pilot asks you to, ignore them.

One officer comes through for an inspection. Then another. Then another. Each one, it seems, with a firmer set in the jaw, a prouder tone, a cheek sunken deeper with long nights of command. Some with more medals, some with more eyes, some with opalescent wings or grimy foot-long claws.

They said he was a curse. Every 'mech his hands touched ended up as so much scorched shrapnel. So they chained him up, hands fastened in place with makeshift cuffs, and they fired up that reactor as high as it went, and they watched while his cursed hands cooked, roasted, to bones and ash.

If anybody leaves the hangar, whether it's a single patrol 'mech or a full strike force, and then- a little while later -a 'mech comes in (dusty, grey-white), hose it down, refill the ammo, and flag it back out. Whoever went out died in their cockpits; at least they fought instead of ejecting.

If you work in a hangar for too long, it starts to follow you around. Metal fork in the mess hall staining your meal with joint oil. Armor plates falling off trees in autumn. Stare into the mirror as you brush your gleaming autocannon shells and see a pair of smooth ball bearings staring back at you.

You load a missile pod, and feel childhood homes bursting in a spray of vaporized brick. You rewire the lasers and feel each scything burst, each wound, each widow. You polish the viewport. You can't see your own face in it; a decrepit, jawless skull looks back at you. Things make more sense now.

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Hey puki do you have any production advice?

Okay babies. I feel like getting REAL technical, lets talk mastering. It has to be the single most misunderstood element of the production chain. I am sick of it. A while back, I chose to demystify it for myself, I wanted OBJECTIVE truths about sound, so I went on a deep-dive. If you want to improve your understanding of limiters and clippers, and how sound is processed, start here (or just dm me if you need your music mastered and don't wanna be bothered):

Producers and beat makers, real ARTEURS understandably don't want to spend so much time affecting the small, technical elements of their music, but they don't realize how DESTRUCTIVE and harmful a poor master can be on the final result. If you simply set and forget a clipper or limiter to 0.00dB and fiddle with knobs in a confused-manner, this is your PSA>>

Just a basic starter here: On your master bus, you should always have your timbre-changing elements (EQ, saturation, tape emulation) before your dynamics processing elements (Compressor, limiter, clipper), because EQ and saturation do more than simply affect gain, EQ is actually inherently tied to phase, and all digital EQ's and timbre-affecting plugins will affect the phase relationship in one way or another. If you use dynamics processing BEFORE affecting the timbre of your mix, you will actually introduce extra gain through constructive imbalances you hadn't accounted for. So what can you do? Nothing, really, just try to end your signal-chain in a way where the dynamics isn't being fucked over by some phase imbalance, and you can do that by using a compressor and limiter at further end of your signal chain :)

"So, that's one thing, but mister Pukicho, but why am I still getting clipping despite setting a ceiling on my limiter??"

Good question, son. That is because your limiter is not God. There are two parts of the waveform being accounted for during music-making: the sample rate, and the reconstructed analog waveform. If you set your sample rate to 48kHz, that means that for every single second your computer is processing 48,000 data points in your song. That sounds like a lot, and it is for most things, but lets say you have a VERY loud section in your track, hitting against that limiter very heavily, your reconstructed analog waveform can still SLIP IN BETWEEN those data points and create clipping past its chosen threshold - these are called inter-sample peaks.

So what can you do?? OVERSAMPLING (sometimes also called true peakl) !! It's the best. You probably have seen this setting before, unbeknownst to its function, plopping it on a bus in a sad, vain, pathetic attempt to save your tracks from The Clippening! But we can learn what oversampling REALLY does and remove the guesswork! Oversampling simply allows for your plugins to read a bigger sample rate than the chosen sample rate of your DAW! SO! that means more data points to prevent decibel under-read!

This graph shows you how much under-read each oversampling ratio affects a 48,000kHz signal - as you can see, without oversampling, you are potentially getting a +0.5dB BOOST PAST YOUR DESIRED CEILING! This is huge, and straight fucked up. But look! at 8 times oversampling, we are only getting a under-read of a bit under -0.2dB - so the secret reveals itself thusly: You can clip to your hearts content, as loud as you want, as long as you oversample to 8 times and set your ceiling to -0.2! Eureka!

-0.2dB is not going to really affect the relative volume of your track, but what DO I do to make my tracks loud? Well, with the knowledge you garnered a moment ago, you can very easily boost your limiter further than you had - of course, the attack and release of your limiter will still affect how the elements sound, and there's still a good deal to understand in regards to getting your masters loud without unwanted artifacts and strange outcomes! a teeny tip is to use clipping as a means to shave off transients whilst retaining the body to boost loudness) But I will leave it at that for now! Hopefully some of you more technical producers found value in objectively understanding some of the elements in your music. And never underestimate me again. I think I used every term correctly, but if I didn't, don't be shy to teach me what's what.

Feel free to DM me or shoot me an email at artistpkch@gmail.com for mastering rates if u don't wanna deal with this shit.

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framing is everything

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Just wanted to share this amazing oil pastel my friend did while we were doing an art hangout--she'd never even used them before. One of the most emotionally-provoking pieces I've seen. Look at it it's amazing. Anyways that's all, have a nice day y'all.

Warm Regards,

Sam

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Do y’all ever think about how absolutely bananas Lake Baikal is? It’s the world’s largest lake by volume. It’s the world’s deepest lake. It’s the world’s oldest lake. It contains nearly a quarter of the planet’s surface freshwater. It’s a rift lake, caused by the earth’s crust literally coming apart at the seams. It would be deeper than the Mariana Trench except the bottom is covered in a sediment layer that is miles deep. There are trains that have sunk to the bottom because Russia tried to build a railroad over the ice. The entire lake surface freezes for half the year. The lake is a focal point of multiple indigenous cultures. The lake has its own species of seal, which is the only exclusively freshwater pinniped in the world. There are unique ice formations formed by convection from the depths of the lake. There are 330 inflowing rivers.

I dunno, Lake Baikal sure is a thing.

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concept: a mild-mannered salaryman-looking man

he wears a grey suit, thinks paprika is spicy, would prefer it if we could all put the weapons down and discuss this like reasonable adults.

he pilots a Harrison Armories Enkidu. while inside of that mech he becomes a foul-mouthed cackling madman glorying in the bloodshed as much as the most punk-coded horus trans catear-modded razorgirl can be

but on getting out of the Enkidu he just straightens his tie and "feels good to get that out of my system." and is back to the most boring, union-grey person you have seen in your life.

the fact he's a lancer at all is mindboggling.