#System Building Framework

[leonbasinwriter]

Architecting the Marketplace of Minds: Future Insights

By @leonbasinwriter | Architect of Futures | www.basinleon.com Prologue “In the void between circuits and stars, the builders whispered of futures yet to bloom.” The Architect speaks to the unseen builders: “We have laid the stones. We have etched the designs. But now, a question lingers in the digital ether: what is it we are truly building?” I. The Engine Awakens In the first etching—The…

[prestonshamblen]

What if the best way to learn something… was to learn 10 things at once? This is Cross-Iterative Learning — a mindset that mirrors how real life works. I built the framework. And I live it.

[jcmarchi]

They Promised Us Agents, but All We Got Were Static Chains

New Post has been published on https://thedigitalinsider.com/they-promised-us-agents-but-all-we-got-were-static-chains/

They Promised Us Agents, but All We Got Were Static Chains

In the spring of 2023, the world got excited about the emergence of LLM-based AI agents. Powerful demos like AutoGPT and BabyAGI demonstrated the potential of LLMs running in a loop, choosing the next action, observing its results, and choosing the next action, one step at a time (also known as the ReACT framework). This new method was expected to power agents that autonomously and generically perform multi-step tasks. Give it an objective and a set of tools and it will take care of the rest. By the end of 2024, the landscape will be full of AI agents and AI agent-building frameworks. But how do they measure against the promise?

It is safe to say that the agents powered by the naive ReACT framework suffer from severe limitations. Give them a task that requires more than a few steps, using more than a few tools and they will miserably fail. Beyond their obvious latency issues, they will lose track, fail to follow instructions, stop too early or stop too late, and produce wildly different results on each attempt. And it is no wonder. The ReACT framework takes the limitations of unpredictable LLMs and compounds them by the number of steps. However, agent builders looking to solve real-world use cases, especially in the enterprise, cannot do with that level of performance. They need reliable, predictable, and explainable results for complex multi-step workflows. And they need AI systems that mitigate, rather than exacerbate, the unpredictable nature of LLMs.

So how are agents built in the enterprise today? For use cases that require more than a few tools and a few steps (e.g. conversational RAG), today agent builders have largely abandoned the dynamic and autonomous promise of ReACT for methods that heavily rely on static chaining – the creation of predefined chains designed to solve a specific use case. This approach resembles traditional software engineering and is far from the agentic promise of ReACT. It achieves higher levels of control and reliability but lacks autonomy and flexibility. Solutions are therefore development intensive, narrow in application, and too rigid to address high levels of variation in the input space and the environment.

To be sure, static chaining practices can vary in how “static” they are. Some chains use LLMs only to perform atomic steps (for example, to extract information, summarize text, or draft a message) while others also use LLMs to make some decisions dynamically at runtime (for example, an LLM routing between alternative flows in the chain or an LLM validating the outcome of a step to determine whether it should be run again). In any event, as long as LLMs are responsible for any dynamic decision-making in the solution – we are inevitably caught in a tradeoff between reliability and autonomy. The more a solution is static, is more reliable and predictable but also less autonomous and therefore more narrow in application and more development-intensive. The more a solution is dynamic and autonomous, is more generic and simple to build but also less reliable and predictable.

This tradeoff can be represented in the following graphic:

This begs the question, why have we yet to see an agentic framework that can be placed in the upper right quadrant? Are we doomed to forever trade off reliability for autonomy? Can we not get a framework that provides the simple interface of a ReACT agent (take an objective and a set of tools and figure it out) without sacrificing reliability?

The answer is – we can and we will! But for that, we need to realize that we’ve been doing it all wrong. All current agent-building frameworks share a common flaw: they rely on LLMs as the dynamic, autonomous component. However, the crucial element we’re missing—what we need to create agents that are both autonomous and reliable—is planning technology. And LLMs are NOT great planners.

But first, what is ��planning”? By “planning” we mean the ability to explicitly model alternative courses of action that lead to a desired result and to efficiently explore and exploit these alternatives under budget constraints. Planning should be done at both the macro and micro levels. A macro-plan breaks down a task into dependent and independent steps that must be executed to achieve the desired outcome. What is often overlooked is the need for micro-planning aimed to guarantee desired outcomes at the step level. There are many available strategies for increasing reliability and achieving guarantees at the single-step level by using more inference-time computing. For example, you could paraphrase semantic search queries multiple times, you can retrieve more context per a given query, can use a larger model, and you can get more inferences from an LLM – all resulting in more requirements-satisfying results from which to choose the best one. A good micro-planner can efficiently use inference-time computing to achieve the best results under a given compute and latency budget. To scale the resource investment as needed by the particular task at hand. That way, planful AI systems can mitigate the probabilistic nature of LLMs to achieve guaranteed outcomes at the step level. Without such guarantees, we’re back to the compounding error problem that will undermine even the best macro-level plan.

But why can’t LLMs serve as planners? After all, they are capable of translating high-level instructions into reasonable chains of thought or plans defined in natural language or code. The reason is that planning requires more than that. Planning requires the ability to model alternative courses of action that may reasonably lead to the desired outcome AND to reason about the expected utility and expected costs (in compute and/or latency) of each alternative. While LLMs can potentially generate representations of available courses of action, they cannot predict their corresponding expected utility and costs. For example, what are the expected utility and costs of using model X vs. model Y to generate an answer per a particular context? What is the expected utility of looking for a particular piece of information in the indexed documents corpus vs. an API call to the CRM? Your LLM doesn’t begin to have a clue. And for good reason – historical traces of these probabilistic traits are rarely found in the wild and are not included in LLM training data. They also tend to be specific to the particular tool and data environment in which the AI system will operate, unlike the general knowledge that LLMs can acquire. And even if LLMs could predict expected utility and costs, reasoning about them to choose the most effective course of action is a logical decision-theoretical deduction, that cannot be assumed to be reliably performed by LLMs’ next token predictions.

So what are the missing ingredients for AI planning technology? We need planner models that can learn from experience and simulation to explicitly model alternative courses of action and corresponding utility and cost probabilities per a particular task in a particular tool and data environment. We need a Plan Definition Language (PDL) that can be used to represent and reason about said courses of action and probabilities. We need an execution engine that can deterministically and efficiently execute a given plan defined in PDL.

Some people are already hard at work on delivering on this promise. Until then, keep building static chains. Just please don’t call them “agents”.

[gulfbusinessdevelopment]

Benefits of implementing PLC & SCADA automation in industrial processes in Doha

Industrial processes are become more complex and demanding in today's fast-paced environment.

Businesses in Doha are using cutting-edge technology like PLC (Programmable Logic Controller) and SCADA (Supervisory Control and Data Acquisition) automation systems to stay competitive and guarantee efficiency and effectiveness. With their many advantages that can greatly increase productivity and profitability, these systems have completely changed the way industrial processes are monitored and controlled. PLC and SCADA automation:

what is it?

Let's first review the definitions of PLC and SCADA automation systems before getting into the advantages. In industrial environments, PLCs are specialized computers that are used to operate machinery and operations. It can be configured to carry out a range of functions, including logic-based decision-making, input monitoring for Top PLC & SCADA Automation in Doha.

Benefits of implementing PLC & SCADA automation in industrial processes in Doha

[drippingghoneyy]

Making Some Progress                                  -Viktor x Reader x Jayce

Summary: As Viktor's assistant, Viktor, Jayce and you have been working in a lab for many nights, pushing the boundaries of science and magic. The air thickens and the tension grows.

Genre/ Pairing: m/m/f, Jayvik x reader, dom!Viktor x sub! fem!Reader x switch!Jayce,

WARNINGS: mdni! nsfw, smut, pwp, poly sex, tension, teasing, dom!Viktor, sub! fem!Reader, switch! Jayce, lab sex, couch sex, threesome, handjob, voyeurism, praise kink, cuckolding, edging, dom/sub dynamics, piv, oral sex (m and f receiving), missionary, vag fingering, big dick Viktor, pet names, begging, friends-to-lovers, voice kink, obedience kink, stretching, nipple play, sharing, degradation, "Sir", overstimulation.. (lmk if I missed any!)

Word Count: 6.3k

Notes: This is my first writing…ever… So please give me any feedback! where could I do better? I thought there wasn't enough Jayvik smut, so I made my own…

If you find any spelling errors, no you didn't. If you don't like nsfw content, please don't read it!

You, as Viktor's devoted assistant, had been with them since the early days. The three of you had spent countless hours in this very lab, pushing the boundaries of science and magic.

The three of you have been set to work for many nights, the air crackling with anticipation. You could feel the tension building as you worked alongside Jayce, your fingers dancing over the delicate components, weaving the new configuration into the existing framework. All the while, Viktor hovered nearby, offering guidance and encouragement.

The hours ticked by, the lab lights flickering as the night grew old. The air grew thick with the scent of burnt metal and the faint ozone smell that accompanied powerful magical surges. You were acutely aware of Jayce's proximity, his arm occasionally brushing against yours as you both leaned in to examine the minutiae of your work. Each touch sent a shiver down your spine, and you couldn't help but steal glances at him, his eyes focused and intense.

You look over, studying Viktor as he works, his sharp features cast in shadow and light by the flickering screens. His hair, usually a wild mess of unruly curls, was now slightly slicked back with sweat. His eyes were a piercing amber, intense with concentration as he monitored the system's response. The lines on his face, a testament to countless nights of tireless research, had deepened, making him look both older and somehow more handsome.

The quiet stretched, punctuated only by the rhythmic ticking of a clock on the wall. You couldn't help but feel a pang of concern. You knew how much pressure he put on himself to ensure their work was perfect.

“Viktor, are you quite alright?" You couldn't help but ask as you noticed his furrowed brow and the intense concentration that had taken over his features. The blueprints scattered on the table between you whispered of secrets and innovations that could revolutionize the world of Hextech. The warm glow of the pendant lights danced off the metal surfaces, casting a serene ambiance over the cluttered lab.

Viktor's head snapped up, his eyes focusing on you after a brief moment. "Ah, yes, Y/N," he replied, his voice a touch deeper than usual, gruff with exhaustion, as he tapped the tip of his metal cane against the floor. "Just ensuring that the calibration of this device is flawless."

The cane was an extension of him, a testament to his ingenuity, a tool that defied the limitations of his damaged leg. "Jayce, would you be so kind as to fetch me the calibration matrix?"

Jayce nodded with a smirk, his eyes glancing from the blueprints to you, a knowing smile playing on his lips. "I've seen that look before," he said, his voice low. "Viktor's mind is racing."

You couldn't help the flush that crept up your neck. You'd caught the way Jayce had emphasized 'racing', his eyes holding yours for a beat too long. Was he referring to the thrill of discovery or something more?

The air grew thicker with each passing second, the unspoken tension between you and Viktor palpable. His gaze remained fixed on you, the intensity behind his eyes. Only for a second, and he glanced away.

No.

That was nothing more than acknowledgment.

He acknowledged me.

"Y/N," he began, his voice a gentle command that sent shivers down your spine, "I've noticed that you've been particularly attentive to my work lately. Is there something on your mind?"

He had been stressed, you knew. The deadlines for the Hextech project were approaching, and the weight of the world's expectations seemed to rest heavily on his shoulders. The lab was his sanctuary, but even here, the whispers of failure lurked in the shadows.

You took a deep breath. "I…I just want to help, sir," you replied. "You and Jayce are doing something incredible here, and I want to be a part of it."

Viktor smiles, glancing at the work displayed in front of you. "You are an invaluable asset, Y/N," he says, his voice soft and smooth as this praise falls. But there is more to our work than meets the eye." He pauses, his gaze falling back to you. He smiles once again before turning.

Jayce returned with the matrix, tossing it casually to Viktor. "Here you go, old man," he teased, the nickname rolling off his tongue with ease. The tension in the room lightened slightly, but the underlying current remained. Viktor caught the matrix with ease, his grip tightening around it.

"Thank you, Jayce," he said, his tone clipped. He turned to you, his gaze lingering on your flushed cheeks. "Y/N, would you be so kind as to assist me with these final adjustments?"

His request was not a question, but a gentle command. You nodded, stepping closer to him.

Viktor acknowledges your attentiveness and stresses the depth of their work. Despite Jayce's playful interruption, the atmosphere remains charged. You express your desire to help and assist Viktor with his task, moving closer to him at his request.

Together, you studied the complex matrix, your eyes darting over the numbers and symbols that danced before you. His scent, a blend of oil and metal, filled your nostrils as you leaned in closer, trying to make sense of the intricate calculations. Viktor's finger hovered over the paper, tracing a line of data that didn't quite add up. "Here," he said, his voice low and gruff with concentration. "This equation is incorrect."

Jayce sauntered over, his eyes sparkling with curiosity. "How did you catch that?" he asked, leaning over your shoulder.

Viktor's expression was one of mild annoyance at the interruption, but he replied evenly, "It's elementary, Jayce. The discrepancy in the power coefficients is glaringly obvious."

Jayce leaned back, raising an eyebrow. "I guess I'll leave the 'elementary' stuff to the professor," he quipped his tone teasing but his eyes gleaming with genuine respect for Viktor's intellect.

Viktor's gaze didn't waver from the matrix. "Your contributions are appreciated, Jayce, but my methods are my own," he replied, his voice firm. "Now, if you would be so kind as to rerun the simulation without the error, we might actually make some progress."

Jayce's smirk grew wider. "Alright, Viktor. Let's hope you're right," he said, sauntering back to his workstation. The room grew quiet again, filled only with the sound of the machines whirring and the occasional clank of metal on metal.

“But…what does it mean for us?" you said, abruptly, “If the equation runs correctly?”

Viktor's eyes snapped to yours, the intensity of his gaze making it hard to breathe. "It means," he began, his voice measured and deliberate, "that we've reached a new level of understanding." His hand hovered over the beginnings of the Hexcore as if he could feel the power surging within it, and then he looked at Jayce, a question in his eyes.

Jayce nodded, his smile widening slightly. "It means," he said, his voice low from across the room, "that the three of us have created something incredible together."

Viktor leaned closer to you and pointed at the matrix. "As I said, the mistake is here," he murmured, his finger landing precisely on the errant symbol. His proximity was intoxicating, and his confidence in his own abilities even more so. You nodded, trying to focus on the task at hand, but your mind kept wandering.

"Tell me, what is wrong with this calculation? " His accent was heavy, and his speech was softer due to his proximity. Your heart raced as you swallowed hard. "It seems like there's a misplaced coefficient," you managed to reply, your voice a mere whisper. "It's affecting the output power of the device."

He nodded, his gaze flickering over to Jayce before returning to you. "Very good, Y/N," he said, his voice a warm caress. His hand slid gently down your side, his fingertips barely grazing your skin. It was a simple gesture, but it sent a jolt of electricity through you. He stepped back, his eyes never leaving yours.

"Jayce," he called out, his voice now a command. "I must admit, Y/N has proven to be quite the asset. Her insights and diligence have not gone unnoticed."

Jayce paused in his work, looking over with a grin that was both proud and mischievous. "Yeah," he said, his eyes sparkling, "she's a natural. Who knew she had such a knack for this stuff?".

Viktor's smile grew, a hint of pride in his voice. "Indeed," he said, his eyes lingering on you. "I believe she deserves some… recognition for her efforts."

Your heart thundered in your chest as the implication of his words sank in. This wasn't just professional praise; it almost seemed like something more. You watched as Jayce's grin grew into a knowing smile, his eyes flicking between you and Viktor, and back down again. Collecting his work.

Viktor's hand reached out again, his metal-tipped fingers brushing against your bare arm, leaving a trail of heat in their wake. "You have a keen eye for detail, Y/N," he said, his voice a gentle rumble. "It's been invaluable in our work."

His eyes searched yours, and you felt the intensity of his gaze. The praise was a warm balm to your soul, a gentle reminder that you belonged here, in this lab, with these two brilliant minds.

"Thank you, Sir," you murmured, trying to keep your voice steady as you felt the blush spread across your cheeks. His smile grew wider, there seemed to be a hint of something in his gaze.

It's soft, dark.

Jayce, ever the observant one, took a step closer. "You know, Viktor," he said, his voice casual but the glint in his eyes anything but, "I think Y/N is entitled to a bit more praise than that, " He winked at you, and you felt the heat in your cheeks rise even higher.

Your mouth opened and closed as you tried to formulate a coherent response, but all that came out was a nervous giggle. "I…I just want to do a good job," you stuttered, trying to shrug off the sudden attention. "It's nothing special."

Viktor's gaze sharpened his grip on the calibration matrix tightening. "Is that all you wish for, Y/N?" he asked his accent now giving his voice a deep, velvety purr. "To simply…do your job?"

You looked up at him, the amber of his eyes piercing through the haze of your hectic mind. "N-no," you managed to reply, your voice trembling. "But I don't want to distract you from your work."

He stepped closer, the warmth of his body radiating against yours. "You are not a distraction," he said, his voice firm. "You are an essential component of our work. Without you, we would not be where we are." His hand reached out, his thumb brushing against your cheek.

Frozen.

He gives you a moment to pull away.

Thoughts going a million miles a minute.

Softly leaning into his touch, you felt a shiver run down your spine. His eyes searched yours, looking for confirmation, for consent. You nodded, your eyes never leaving his. Viktor's expression softened, his thumb tracing the line of your jaw, his touch gentle and reassuring.

"If this is something you wish to explore," he began, his voice low, His eyes searched yours, looking for any hint of hesitation. You swallowed, your heart racing.

Jayce stepped closer, his eyes gleaming with excitement. "Only if you're comfortable, Y/N," he said, his voice a gentle rumble. He leaned in, his breath warm against your ear. "And if you're up for it, we're more than willing to give you what you need."

You took a deep breath, your body trembling with anticipation. The air between the three of you was charged with an unspoken understanding. "I…I want to," you murmured, the words barely escaping your lips..

Viktor's smile grew, his eyes lighting up. He stepped closer, his cane clicking sharply against the floor. "Excellent," he said, leaning down, capturing your mouth in a kiss, both gentle and possessive.

His hands slid around your waist, pulling you closer to him. The metal of his cane dug into your side, but you didn't care. You were lost in the sensation of his lips on yours, the taste of him, the feel of his body against yours.

Jayce watched for a moment before moving in, his hands reaching up to cup your face, his thumbs tracing the line of your jaw. "Viktor's right," he murmured against your ear. "You're not just a distraction, you're a muse." He kissed you, his lips a stark contrast to Viktor's, insistent and demanding. You moaned, your arms wrapping around his neck, pulling him closer.

As your kisses grew more passionate, you felt a thrill at the thought of being watched by the two of them, of being the center of their attention. Viktor stepped back, his eyes dark with desire as he took in the sight of you with Jayce. He nodded, a silent command, and Jayce's hands began to wander, slipping beneath your shirt to caress your breasts.

"Jayce," you whispered, breaking the kiss. "I…I want to watch you too."

Jayce chuckled, a low, throaty sound that sent a shiver down your spine. "As you wish," he murmured, his hands moving to the fastenings of his clothes.

He stripped away his shirt, revealing the defined muscles of his chest. His eyes never left yours as he unbuckled his belt and let his pants fall to the floor. You watched, transfixed, as he took his cock in hand, stroking it slowly.

Viktor's gaze was intense as he watched Jayce, his desire clear. He reached out, his metal-tipped fingers tracing a line down Jayce's chest before wrapping around his erection. Jayce gasped, his eyes fluttering shut as Viktor began to stroke him in time with the rhythm of his movements.

"Now, my dear Y/N," Viktor said, his voice deep, he kissed Jayce, dominating the kiss with authority. "Let us see what awaits you, love."

He nods to Jayce, allowing him to pleasure himself freely before turning to you, his eyes gleaming with excitement. "Strip, please" he ordered, his voice a low, velvety command that sent a shiver down your spine.

You complied, your trembling fingers undoing the buttons of your shirt, your eyes never leaving his. You felt Jayce's gaze on you, his eyes dark with desire as you revealed your body to them.

You stepped out of your shoes, your heart racing as you slid your pants down your legs, leaving you in only your underwear. Viktor's gaze was unyielding, his cane tapping impatiently against the floor as you stood before them, vulnerable and exposed.

"Everything, love" he murmured, his eyes raking over your form.

You took a deep breath, feeling the fabric of your bra and panties hugging your body. The set was black, the bra cups pushing your large breasts up. The panties were sheer, leaving little to the imagination, the lace tracing the contours of your ass cheeks. With trembling hands, you reached behind your back to unclasp your bra.

The act of undressing in front of them was a new experience, filled with a thrilling mix of excitement and vulnerability. You could feel their eyes on you, hungrily taking in every inch of your exposed skin, and it took all your resolve to keep your gaze from dropping to the floor. Instead, you focused on their faces: Jayce wore an expression of eager anticipation, while Viktor's demeanor was one of intense concentration.

Your breasts spilled free, the cool air of the lab causing your nipples to pebble under their heated gazes. The feeling of exposure was exhilarating, a thrill that sent your pulse racing and a blush creeping up your neck.

You couldn't find the words to express the emotions that bubbled within you, a potent mix of shyness and desire. You felt their eyes on you, Jayce's with a glint of mischief and Viktor's with a more intense, possessive hunger.

"Very good," Viktor murmured, stopping before you continued to your underwear, his eyes taking in every inch of your exposed flesh. He stepped closer, his cane tapping with each step. "Jayce, I believe it is time for us to show our appreciation."

Jayce grinned, his hand still moving leisurely up and down his length. "With pleasure," he said, stepping closer to you. His eyes never left your breasts as he leaned in, his tongue flicking out to tease one of your nipples. You gasped, the sensation sending shockwaves of pleasure through you.

Viktor reached out, his hand sliding down your spine to cup your ass. His grip was firm, almost possessive. "You are exquisite, love," he said, his voice a soft growl. "So very beautiful." His thumb slid beneath the waistband of your panties, teasing the sensitive skin. You squirmed, the anticipation of his touch making you wet.

As he felt the dampness, his eyes lit up with a predatory glint. "Ah," he said, his voice filled with satisfaction. "You are quite eager for us." He turned to Jayce, his smile wide and triumphant. "It seems our little assistant is more than prepared for what we have planned."

Jayce chuckled, his eyes never leaving your exposed body. "Always eager to please, aren't you?" He leaned in, his mouth closing over your other nipple as he pinched the first, rolling it gently between his thumb and forefinger. The dual sensation was almost too much, your knees threatening to buckle.

Viktor's hand slipped into your panties, his fingers sliding through your folds to find your clit. He began to rub it with slow, deliberate strokes, his thumb pressing down firmly as he watched the pleasure build in your eyes. "You're so wet," he murmured, his voice thick with desire. "So beautiful."

You moaned, your body responding to their touch, their dominance. Jayce's mouth left your breast, kissing a trail down to your navel, his tongue swirling around it before dipping lower, teasing the fabric of your panties.

With surprising gentleness, Jayce hooked his thumbs into the waistband of your panties, his eyes holding yours. His touch was feather-light, but the promise of what was to come was anything but. He peeled them down slowly, inch by inch, before allowing you to step out of the wet pool of fabric.

Viktor's hand tightened around your waist, his voice a soft command in your ear. "Let's move this elsewhere, sweets," he said, his words a gentle rumble that sent shivers down your spine. He led you to the couch in the corner of the lab, the same couch where you had spent countless hours discussing theories and crunching numbers. But now, it felt different. It was a stage set for a different kind of exploration.

As you sat down, the plush fabric of the couch enveloped you. Viktor positioned himself in front of you, his eyes never leaving yours. "It is not proper to keep a lady standing," he murmured a hint of amusement in his voice. The couch was a stark contrast to the cold metal and gleaming technology that surrounded them, offering a semblance of intimacy in the harsh, brightly lit room.

Viktor knelt before you, his eyes never leaving yours. He placed his cane aside, his hands sliding up your legs.

"Are you certain, Y/N?" he asked, his voice thick with need. You could see the desire in his eyes, the way his pupils had dilated. You nodded, your cheeks aflame.

"I am,"

You whispered, the heat of your words hanging in the air as you stared into Viktor's eyes. The intensity of his gaze made your knees wobble, but you held firm, the need to feel his touch again overwhelming any shred of doubt.

Viktor's smile grew, a predatory light sparkling in his eyes. "Good," he said, his voice a velvet caress. He leaned in, his breath warm against your cheek. "You will not regret this decision, my sweet."

He slid his fingers through your folds, his touch gentle but insistent. You gasped as he found your clit, his thumb circling it with a precision that spoke of his mastery. His fingers slid lower, slipping inside you with ease. He began to move them in a slow, deliberate rhythm, the sound of your wetness mingling with the low, guttural noises that escaped your throat.

He watched you with a focused intensity, his eyes hooded and dark with desire. Every stroke was calculated, every touch designed to push you closer to the edge. Each thrust of his fingers was punctuated with a twirl of his thumb against your clit, sending sparks of electricity through your body.

Jayce's mouth found your neck, his teeth nipping gently as he sucked and licked. You arched your back, the dual sensations pushing you closer to the edge.

"Please..," you moaned, your voice a plea.

Viktor's smile grew darker, his eyes gleaming with satisfaction. He knew you were close, but he wasn't quite ready to let you fall. "Beg for it," he said, his voice a low command that sent another shiver down your spine.

You nodded, your breaths coming in short gasps. "P-please, Sir," you whispered, your voice trembling. "I need… I need more."

Viktor's eyes lit up with fierce joy at your words, the power dynamic between you two now crystal clear. "More?" he questioned, his fingers moving faster, his thumb pressing harder against your swollen bud. "You wish to be pleasured more?"

"Yes," you whimpered, your hips bucking against his hand. "I need… I need you to… please don't stop."

He chuckled a dark sound that sent a thrill through you. "As you wish," he murmured, "But you must be more specific, my dear. Tell me exactly what you want."

You looked up at him, your eyes glazed with lust. "Your mouth," you panted. "I want your mouth… there."

Viktor's smile grew wider, his teeth flashing white in the dim light of the lab. He leaned in, so close to where I needed him. I could almost cry… "You wish for me to taste you?"

You nodded frantically, your eyes closing. "Yes," you breathed. "Please, sir. Taste me."

With a groan, he obeyed, his mouth replacing his thumb. He licked and sucked at your clit, his tongue delving into your wetness with a hunger that left no doubt as to his enjoyment. The sensation was exquisite, and you couldn't hold back the cries that spilled from your lips. Each stroke of his tongue sent a fresh wave of pleasure crashing over you, your body tightening around his fingers.

Jayce, ever the attentive lover, took advantage of your distraction, his mouth moving from your neck to capture one of your nipples, once again. He bit down gently, the slight pain mixing with the pleasure from Viktor's ministrations. Your moans grew louder, filling the room with the sweet symphony of your desire.

This was unlike anything you had ever felt before. The combination of their expert hands, their knowing touches and kisses, was overwhelming. You had always craved this kind of connection, this kind of intimacy, but had never allowed yourself to indulge. Now, with the two most brilliant men you knew worshiping your body, you felt like you were floating on a cloud of pure, unadulterated pleasure.

Jayce's cock was hot and heavy in your hand, the veins pulsing with the beat of his heart. You leaned in, your breath hot against his skin. He watched you with hooded eyes, his chest rising and falling with his ragged breaths. You licked the tip, tasting the salty precum, and he groaned, his hips jerking involuntarily.

Viktor watched with a hunger that matched your own, his own hand still working your clit with a precision that was both thrilling and terrifying. "Take him in, love," he whispered, his voice a soft command. "Show him how much you crave his attention."

You took Jayce's cock in your mouth, feeling him grow even harder. You sucked gently, your tongue swirling around the head, tasting the saltiness of his precum. His eyes widened and his grip on your hair tightened, a silent plea for more.

You obeyed, taking him deeper, feeling his cock hit the back of your throat. He groaned the sound melding with the wet sounds of your mouth working him.

Viktor watched, his eyes gleaming with approval. "Very good, love," he murmured, his own hand still working your clit with a maddening rhythm. "So eager to serve."

Jayce's whimpers grew louder, his hips thrusting slightly as he lost control. "Fuck, Y/N," he gasped, his voice strained with pleasure. "That's so good."

Viktor's eyes never left yours, his gaze intense, watching every flicker of pleasure that crossed your features. "Are you close, love?" he asked, his voice a gentle rumble that seemed to resonate in your very soul.

You nodded, the tension in your body coiling tighter with every second. "Yes, please..," you gasped, your own pleasure building.

"Mm," Viktor murmured, his eyes darkening with desire. "Come for us, sweet girl." His words were a command, a promise, and a challenge all rolled into one.

Their combined efforts pushed you over the edge, and you shattered into a million pieces, your body convulsing as wave after wave of pleasure washed over you. You cried out, your orgasm a symphony of pleasure that seemed to go on forever.

As the last tremors of your climax subsided, Viktor leaned back, his eyes filled with pride. "So beautiful," he murmured, his thumb still gently stroking your clit. "Such a Good Girl for us, love."

You panted, your cheeks flushed with the aftermath of your release.

Viktor sat back on his heels, watching you with a look of pure satisfaction. "You are exquisite, my dear," he murmured, his thumb still ghosting over your sensitive flesh. "Your responsiveness is… enchanting."

Jayce had moved to the edge of the couch, his hand moving faster now, his eyes glued to the sight of your body. "Vik," he gasped out, his voice tight with need. "I'm not gonna last much longer."

Viktor chuckled, a low, rich sound that seemed to resonate through the room. He leaned back, watching as Jayce's hand moved faster and faster, his eyes glazed with lust. "Always so eager, Jayce," he murmured, his own fingers sliding down to trace the crevice of your ass, teasing you gently. "But do not come yet."

Jayce groaned, his eyes flickering between you and Viktor. He knew he was close, but the desire to please was stronger. He slowed his pace, his hand tightening around his shaft as he fought for control. You watched him, your own desire mirroring his, the need to give him the same pleasure he had given you.

Viktor stood, his movements graceful despite the cane. He leaned in, his breath hot against your cheek. "Would you like to finish him, love?" he whispered, his voice a seductive invitation.

You nodded, eager to show your submission to both men. Jayce's eyes lit up with excitement, his grip on his cock faltering. Viktor's hand slipped away from your pussy, giving you room to move. You leaned over, taking Jayce in your mouth once again. You felt him quiver at the first touch of your tongue, his eyes rolling back in his head.

"Fuck," he gasped, his voice strained. "Y/N, you're so…so good."

You took him deep, swirling your tongue around the head, feeling his cock pulse with every beat of his heart. Viktor's hand slid to the base of Jayce's shaft, his long fingers wrapping around him as he began to stroke in time with your movements. The room was filled with the sounds of wet sucking and skin on skin, the scent of arousal thick in the air.

Viktor's other hand reached out, tangling in your hair, guiding your movements. You could feel his dominance growing, his need to control the situation becoming more pronounced. You moaned around Jayce's cock, the sound vibrating through his shaft, making him groan even louder.

"Please, Sir," he breathed, his voice strained. "Can I… can I come?"

Viktor's eyes flicked to Jayce, his expression unreadable. With a regal nod, he said, "You may."

Jayce's breaths grew ragged, his hips bucking slightly as he approached the brink. "I'm…I'm gonna…"

Viktor's grip on your hair tightened. "Swallow," he ordered, his voice a dark, command.

Jayce's eyes rolled back in his head, his body tensing as he reached climax. You took his hot seed into your mouth, swallowing it eagerly. He groaned, his grip on your hair loosening as he slumped back against the couch, his chest heaving.

Viktor's gaze never left yours, his eyes gleaming with satisfaction as he watched the scene unfold. He leaned back, his gaze raking over your naked form with a possessive hunger.

"Your dedication to our work, and to us," he began, his voice a low purr that seemed to resonate through the very air, "has been nothing short of extraordinary." His hand reached out, stroking the side of your face, his thumb brushing over your swollen lips. "But now, it is my turn."

You nodded, your voice a mere whisper of agreement, the anticipation building within you like a coiled spring.

Viktor leaned back, his gaze never leaving yours. "Stay," he said, the command in his voice unmistakable. Jayce nodded, his eyes still glued to the two of you, his own need palpable.

Viktor turned his attention back to you softly smiling, his hand sliding down your body, tracing the curves of your waist and the dip of your hips before settling on your ass. His eyes roamed over you with the intensity of a scientist studying a rare specimen. "Your beauty is truly mesmerizing," he murmured, his voice a warm caress in the cool lab air.

He leaned in, his breath hot against your skin as he whispered in your ear, "Are you absolutely certain this is what you wish for?" His question was a final checkpoint, a gentle reminder of the control you held in this moment of shared vulnerability. You nodded, your voice a breathless whisper of agreement.

"I want this, sir," you murmured, the words leaving your lips with a sense of urgency that seemed to echo in the quiet lab. Your heart was racing, your body still trembling from the aftershocks of your orgasm. The anticipation was almost unbearable.

Viktor's eyes searched yours, looking for any sign of hesitation. Finding none, he nodded, a look of determination crossing his features. "Very well, love," he said, his voice a gentle rumble.

Jayce watched with rapt attention, his own desire palpable. He leaned back, his hand still idly playing with himself, his eyes never leaving the two of you.

Viktor's hand slid down, his fingertips brushing against the slickness of your folds. He circled your entrance, teasing, before sliding two fingers inside you. You gasped, your body responding immediately to his touch.

You felt your walls tightening around him, your body begging for more. "Please," you gasped, your voice a needy plea. "I need… I need you to fuck me."

Viktor's eyes darkened at your words, his desire for you now impossible to hide. He withdrew his fingers, and for a moment, you felt a pang of loss. But it was quickly replaced by excitement as he stood, his own need now clear. He unbuckled his trousers, his cock springing free, long and hard. His cock that truly captured your attention. It was thick and long, a testament to his size despite his lean frame. The sight of him made your stomach clench with want.

"As you wish, my love," he murmured, his voice thick with lust. "But I must ensure you are adequately prepared for me." He stepped closer, his hand stroking himself slowly, his gaze never leaving yours.

"Your body is so tight," he said, his voice a gentle rumble. "But fear not, I will prepare you." He reached for a jar of lubricant, his movements deliberate and precise. He smeared it on his fingers before sliding them back inside you, stretching and preparing you for what was to come. The sensation was both thrilling and a little intimidating, but you knew you could trust him.

With a wicked smile, he leaned in, his breath hot against your ear. "I am quite… substantial," he said, his voice sending shivers down your spine. "But I will take my time. I want to feel every inch of you, to hear every moan and gasp as I claim you."

Jayce's eyes grew darker, his own need mirroring the desire in your eyes. He watched as Viktor slid three fingers into you, his thumb pressing against your clit. The sound of your moan filled the room, mingling with the steady throb of the arcane machinery. Viktor's fingers moved in and out of you, his thumb working in a slow, deliberate rhythm that had you writhing on the couch.

"Look at me," he ordered his voice a gentle command that sent a fresh wave of heat through your body. You obeyed, meeting his gaze as he continued to prepare you for his possession. His eyes never left yours as he withdrew his fingers, the lubricant glistening on them. He reached down, guiding his cock to your entrance, the head of his shaft nudging at your slick folds. You held your breath, the anticipation unbearable.

With a single, powerful thrust, he claimed you, his cock filling you to the hilt. You gasped, your eyes widening at the sudden, delicious fullness. The pain was a sweet agony that made your toes curl.

Your moans filled the lab, mingling with the steady thrum of the machinery. Viktor's eyes never left yours, watching as your pupils dilated with pleasure. "So tight, my love," he murmured, his voice a deep growl of satisfaction.

He began to move, his hips rolling in a slow, steady rhythm that had you clutching at the couch cushions. Each stroke sent a new wave of pleasure through your body, your muscles clenching around him, urging him deeper. The room spun around you, the only anchor the feel of his cock stretching you, filling you completely.

Jayce watched with a raptor's intensity, his hand moving faster as he stroked himself. "Vik," he breathed, his eyes locked on the two of you. "Let me see more."

Viktor's smile grew, his strokes becoming more deliberate. He reached down, his thumb brushing over your clit, sending sparks of pleasure through your body. You arched up, your nails digging into the couch, your moans growing louder.

"Sir, please," you begged, the words slipping from your lips like a mantra.

Viktor chuckled, the sound dark and thrilling. "Your desire is intoxicating," he murmured, his eyes never leaving yours. He leaned down, his cock still buried deep within you and kissed you. It was a gentle, claiming kiss, one that seemed to reach down into the very core of your being.

The room around you faded away until there were only the two of you, locked in this dance of power and passion. You felt every inch of Viktor, his dominance enveloping you as surely as his cock filled you. His strokes grew faster, more demanding, and you could feel your orgasm building again, a sensation that seemed to coil tight in your belly.

Jayce's hand tightened in your hair, his other hand stroking his own cock as he watched. "So fucking hot," he murmured, the words barely audible over your moans. "Look at her, Vik. Look at how much she wants it."

Viktor's strokes grew more powerful, his hips slamming into you with an urgency that was both thrilling and overwhelming. You felt yourself slipping, losing yourself in the sensation, but Jayce was there, his hand on your cheek, turning your face to his. He kissed you, his tongue delving into your mouth, tasting you as you moaned around the sound of your own pleasure.

"I've got you," he whispered, his voice a soothing balm in the storm of sensation. "Just let go."

And you did. You let go, your body shattering around Viktor's cock, the sound of your climax echoing through the room. Viktor's eyes widened, his own release following swiftly behind, his cock pulsing deep inside you as he emptied himself.

As the aftershocks of your orgasms began to subside, the three of you lay tangled together on the couch, breathing heavily. Jayce's arms were wrapped around you both, holding you close as you both came down from the intense high of your shared pleasure. The room was still, save for the steady hum of the arcane machinery and the occasional clank of a loose gear.

Viktor was the first to break the silence, his voice a low rumble. "Your performance was… most satisfactory," he said, his hand stroking your back in a gentle, almost soothing manner. His eyes searched yours, looking for any sign of regret or discomfort.

You couldn't help but smile at his formal choice of words, feeling a warm glow spread through you. "Thank you, Sir," you murmured, the endearment feeling natural on your tongue. You turned your head to look at Jayce, who was smiling down at you with an affectionate glint in his eyes.

Jayce leaned in to kiss you softly, his hand stroking your cheek. "You two are amazing together," he said, his voice filled with wonder. "I can't wait to see what we can all do together."

Viktor pulled out of you gently, his eyes never leaving yours. He helped you sit up, wrapping you in a warm embrace. "Indeed," he said, his voice a low rumble. "Our bond has grown stronger tonight."

The three of you dressed slowly, the mood in the lab now one of contentment and satisfaction. You couldn't help but feel a sense of belonging, a feeling that you had found your place among these two brilliant minds.

As you put your clothes back on, you noticed the way they both watched you, their eyes filled with something more than just lust. It was a look of possession, of claiming, but also of care and affection.

[grey-sorcery]

New to witchcraft? Awesome! Here's some things you should pursue.

An understanding of sympathetic magic: Correspondences, their metaphysical and theoretical framework, and their derivation.

Magical systems that incorporate the entire gender spectrum.

Energy work that isn't based on visualization.

The means of manifestation: How, where, and when spells affect physical change. The physical mechanisms through which witchcraft manifests beyond just willpower/intent/wishes/etc.

The history and subsequent influences of, and on, popular contemporary practices like Hermeticism, "Ceremonial Magick"/Golden Dawn, Wicca, and New Age/New Thought/LOA/Reiki.

How to approach and practice magic with critical thinking skills.

Influence of consumerism on contemporary practices.

Divination as systems: all methods of divination beyond tarot, their statistical applications, and their different methods of use.

The anthropology of medieval Arabia, Europe, Near East, and Asia relative to the magical or occult publications of the era. What is purely religious, parareligious, or syncretist and what does that mean for the interpretation of the text?

The genuine limits of our knowledge of the ancient world, what's possible for us to know and what can't we know?

Conversations with practitioners of closed or semi-closed practices and perspectives of POC when it comes to what the western world would label as "witchcraft".

The differences and similarities between superstition and the practice of witchcraft.

An understanding of the influence of colonialism on modern witchcraft and the language used to discuss magic.

Critical Race Theory (CRT), Queer Theory, and systems of oppression.

Botany and herbology: An understanding of the physical and medical properties of plants.

Building a personal lexicon for modern and/or colloquial terms used in and by the witchcraft community to describe and discuss practices.

Spell design: What makes a spell a spell? What is the smallest or slightest action that can be considered a spell and why? What are the most important and influential elements of the design and application of a spell?

Altars: Their use, design, and potential; whether or not an altar would benefit your practice or goals for practice.

A critical approach to spirit work and astral projection, being able to discern between personal narratives and probable experiences.

A safe and solid community to become a part of. One that does not allow the influence of personal narratives (Without addressing them as such), doesn't allow for the mixing of adults and minors, and with established and enforced logical and reasonable rules.

Collect and cross-reference correspondences from as many sources as possible, then start to create your own.

Try to find a STEM subject that interests you and study it through any non-dogmatic avenues available to you.

The items highlighted in blue are things I highly recommend!

Here is a list of things to avoid.

This is, of course, not an end-all-be-all list of possible responsible and healthy pursuits.

You can learn more about me, find my master-post, check out my Patreon, and suggest content here.

[kenomacreature]

A META-HISTORY OF ELYSIUM CORONA MUNDI

Chronicling (almost) everything we know about the development of Robert Kurvitz's quasi-sacral object complex

This post represents an attempt to gather (almost) all the reliable public info we have about the broader worldbuilding of Elysium Corona Mundi (the series to which Disco Elysium and Sacred and Terrible Air belong) and how it developed over time into one place, presented more or less chronologically and in a way accessible to fans unacquainted with the, shall we say, more arcane lore of Elysium. In the original incarnation of this post, basically every sentence was scrupulously referenced; however, referencing is a major pain in the ass on tumblr, so instead I just have a broad list of sources at the bottom and if you want to inquire any further into a specific claim you can just message me.

I'll also warn readers that the sections discussing the Torson & McLaine campaign and the (currently cancelled) sequel to Disco Elysium contain potential (albeit relatively minor) spoilers for the planned plot of that game. The creators still hope to make that game one day, so if you want to go in totally blind, you know what to avoid.

Evermier

The first serious worldbuilding project that Robert Kurvitz embarked on dates back to at least the year 1997. It was developed with his childhood friends in Estonia, including later Elysium worldbuilders Martin Luiga, Argo Tuulik and Kaspar Kalvet, and went by the name Evermier. This was a medieval fantasy setting formed around a tabletop roleplaying system that Robert Kurvitz and Martin Luiga have referred to as “bootleg Finnish Dungeons and Dragons,” but which Argo Tuulik suspects was actually a Powered by the Apocalypse framework. The vast majority of the boys’ time with Evermier was not spent actually playing any campaigns, but rather formulating the setting and mechanics (both Argo and Luiga ended up never participating in a roleplaying session of Evermier). Argo splits the time spent conceiving Evermier into two broad periods – one he dubs “Evermier 1.0,” which stuck close to traditional Dungeons and Dragons – and one dubbed “Evermier 2.0,” where no tabletop campaigns were ever actually played and all the time was spent system-building. Argo estimates this latter period lasted some 2-3 years.

Scope creep quickly hit the project, with character sheets evolving into whole character books. Luiga alleges that that “the wizard book” was supposed to have 350 spells altogether, each with at least a half-page story about the spell, in prose, and that “about a healthy third of the book got done in the end.” Argo gives a different number, stating that early estimates for it had more like 900 spells, but agrees that two-thirds of each page would’ve been reserved for “juicy literary stuff” about the spell in question while the rest of the page was dedicated to stats, and says that Luiga and Kaspar wrote a lot of excellent stuff for these spells.

Argo says there were about twenty different schools of technology (such as “metallurgy” and “optics”), at least twelve classes of mages, and “so many” subclasses of elves. There was also a subclass of dwarf that, instead of being stocky, chubby and bearded like traditional dwarves, were veiny and more like “Russian miners.” When implementing necromancers, Robert “zoned in on this soul aspect,” which later became the basis for Elysium’s pale. Argo describes these necromancers as “hobbits, but with these little lanterns that guide spirits or souls from this massive fog.” Luiga places the invention of this “fog of death with whom some could communicate” as happening late in Evermier’s development and likewise considers it a primitive precursor to what would become the pale.

The worldbuilders spent a lot of time gearing up for an ultimate roleplaying session that never ended up materializing, but their artist friend Jüri Saks drew illustrations in anticipation of it, including character portraits. Luiga’s character was a “sickle-elf” whose class was called “saint.” This saint character was a handsome elf with small pointy ears and a neat little beard, who wielded two “light swords” (possibly katanas), and a crossbow called Crucifix on his back. The character was from a “grim northern land” and was a “religious lunatic type” who believed in a “grim, monotheistic God.” Argo alleges that Luiga related to this character so much that it almost became a part of his persona; he “developed this mode that sometimes when we were drinking he happened to slip in, where he would start judging people. I would like to say that it still remained within the boundaries of normalcy, but uh, unfortunately it didn’t.”

Kaspar Kalvet at some point played an archer character named Minor Mortifer (“Small Death-bringer”), and there was also a dwarf king named Fuirum Thundergate.

According to Luiga, the name “Elysium” was suggested by someone on the dragon.ee forums, but it took half a year for Robert to start seriously considering it. This was back when the setting was still a medieval fantasy world. Luiga and Argo both agree that the historicized Elysium as we know it now was born around the time when Robert decided to get rid of fantasy races, because – as Argo puts it – “they were kind of stupid.” With this decision, Evermier underwent a modernization process of sorts, an attempt to bring the setting closer to real life, where many other fantasy elements were stripped away in favor of more realistic representations of cultures, mostly in the form of nations. Argo says that many of the fantasy races transformed over the course of this process into the nations of Elysium – the dwarves became the nations of Graad, the elves became the great desert isola of Iilmaraa (formerly Armaghast, a nod to Dan Simmons’ Hyperion, still referenced to this day with Iilmaraa’s Erg desert), the night-elves or star-elves eventually became Seol, and the snow-elves became Katla (which apparently has not changed too much since the Evermier days, and whose namesake is the dragon in Astrid Lindgren’s novel The Brothers Lionheart). Among the first innovations of the new modernized setting was the concept of floating magnet trains, later described in Sacred and Terrible Air.

After the Evermier setting had been discarded, many of its ideas ended up being repurposed into historical periods within the new historicized Elysium setting.

The Elysium tabletop campaigns

Between the years 2003 – 2007, three tabletop campaigns were played in the then newly formed Elysium setting. These all took place in Revachol during the Current Century and featured Robert as dungeon master. The first campaign seems to have been called Soul Milton’s World Autumn, the second one Riget and the final one known simply as Torson & McLaine, or alternatively the RCM campaign. The first two were played at Robert’s old apartment in the concrete block project at Mustamäe, while the third one was played in the house of Luiga's dad, which the three later lived together in following his death.

Soul Milton’s World Autumn

Of the three campaigns, Soul Milton’s is arguably the one most shrouded in mystery as it stands. It took place in Revachol and Martin Luiga played the titular character Soul Milton. The character has been described as “one of the cornerstones of the Elysium mythos” and an “aspiring world-historical person.” By the time of the campaign, Milton seems to have become an amnesiac as a result of “suppressing his own mind to protect himself from his enemies,” and in this process apparently also adopted a disguise by “putting another skin on himself” (what precisely that means, we don't know). He was “very rich” and came from a well-off family, had a complicated and possibly romantic relationship with his sister and was a “politician slash businessman” who “wanted to be the innocence of consumerism.” As it turns out, the enemies who were chasing him were the Therriers of Elysium’s final innocence, Ambrosius Saint-Miro (a major figure in both Sacred and Terrible Air and Full-Core State Nihilist, to be discussed later), who Soul Milton met at one point. Saint-Miro apparently told him that “there has never been an innocence who is also not an innocence.” This encounter places the Soul Milton campaign firmly after the events of Disco Elysium, possibly in the late Fifties or Sixties. During this campaign, Argo played Soul Milton’s horse carriage driver, a man by the name of Elroy Quint Duval.

Also associated with Soul Milton are two other characters. Before Sacred and Terrible Air was conceived, Robert had planned to tell the story of Elysium in three books; one starring Soul Milton, another starring a character named Dister, and the third a character named Dallasz.

Dister, or Marius Dijsters, was an extraphysicist and published author hailing from Oranje. He was a son of diplomats, one of them the grand ambassador of Oranje on Iilmaraa. He seems to have been a significant enough figure to have an entire strand of thought – Disterism – named after him (mentioned in the inside covers of Sacred and Terrible Air), and like Soul Milton, he had an antagonistic relationship with Ambrosius (as made apparent by an incident where he was threatened by the innocence’s Therriers at age 25). He is also apparently involved in some way with Theo Van Kok (of Sacred and Terrible Air fame), along with a Paul Messier (presumably the husband of Disco Elysium's Joyce Messier), apparently the beneficiary of such prestigious titles as "Enemy of the Press '67" and "Worst Person of the Year '67."

Information is rather scant on Dallasz, but during the making of Disco Elysium, there were plans to repurpose him into another project, a comic book named Mercurio Dallasz and the Twelve Kojkos which was going to be illustrated by Aleksander Rostov. This project unfortunately fell through, but we know the premise: a band of kojkos under Dallasz’s leadership attempt to assassinate innocence Saint-Miro. This was presumably an Inglourious Basterds type affair. 

Riget

“It’s better to die in the Kingdom than live in a shithole.”

This was the tagline of Elysium’s second tabletop campaign, Riget, whose name is Danish for “kingdom” and was taken from Lars von Trier’s mini-series of the same name. Once more, the setting was Revachol, but this time it was limited to a peculiar part of it: Le Royaume (French for, again, “the Kingdom”) a vast network of dungeons and burial chambers two kilometers beneath the city, housing ancient ruins and remnants (quite possibly of the Seraseolitic civilization mentioned in Disco Elysium), along with treasures such as bioluminescent plants which have adapted to living in total darkness. The stars of this campaign were three impoverished children, all between the ages of 10-12 and members of a gang named “Earthworms,” who decided to venture down into the catacombs in search of valuable artifacts to sell. At some point, these kids somehow found themselves unable to get out of Le Royaume, supposedly trapped underground by demons who sought to use the children as vessels to escape back to the surface. When this campaign was being played, demons were still a part of the setting and haunted the halls of the underground network, along with monsters – such as the armakhaan beast, also known as Lelo Lelo, a terrifying blind and flightless hunter killer bird which was a mix between the xenomorph and cassowary. As for whether demons are still part of the setting in any way; both Argo and Luiga's statements are too ambiguous to reach any firm conclusion. Argo does note that the concept of 'demons' connotes something subtly different in Estonian than the scary red guys in popular Western culture, and are more like a primordial evil.

In the campaign, Argo played a boy named Miron, whose nickname was ‘Sneaker’, while Luiga played Joschka, a crippled boy with a bad leg. During the campaign, individual roleplaying sessions with Robert were held where the players’ stories evolved in parallel without them being kept on the same page. Each of them would get info the others were not privy to: Argo’s was that Joschka is unaware of the fact that he’s not considered a true member of the gang; in reality, he’s an outcast generally considered a weird, creepy weakling, and was only brought on for his lockpicking and mechanical skills.

Eventually, the Riget campaign got quite far into “Lord of the Flies territory.” Near the end, Sneaker and the third boy (played by another friend) conspired to kill Joschka deep underground.

Torson & McLaine

The worldbuilders continued to refine the roleplaying mechanics they were working with for the campaigns. By the time of Riget, the basics of the Metric system had been introduced, with the now familiar INT, PSY, FYS, and MOT. But according to Argo it was the RCM campaign, known principally as the Torson and McLaine campaign, which was “the first mature cycle of Elysium storytelling.” It took place, once more, in Revachol – this time in a ghetto called Jamrock, named after a Damian Marley song, and was focused on the goings on in Station 51 (renamed Precinct 41 by the time of Disco Elysium), the RCM’s lone precinct in Jamrock. The campaign took large amounts of inspiration from the TV series The Shield and its depiction of corrupt police officers and the intermingling of gang warfare and state-sanctioned violence. A central concept was: the cops are a gang, and the gangs are cops.

The RCM campaign began on a sort of prologue session, wherein Argo and Luiga played characters named Antwone Novak and Trinidad Tranquile respectively, two junior officers newly recruited into the RCM. Antwone was a “petit bourgeois type,” whereas Trinidad was a young communist who had recently been given time off work due to excessive violence. Luiga describes him:

He worked at a meat shop that belonged to Carson Torsson, Mack Torson’s dad, and had a system of stealing from work in order to ‘adequately compensate for his labour’. He also liked to practice a crude type of critical theory in the vein of ‘this building has been made that large to humiliate me, to show off with a power greater than me, to scare me into submission’. And he had a system of smoking no more than five cigarettes per day to cut down on smoking costs — Kim’s single cigarette habit might be a distant echo of that. He had, I think, a 7 in PSY (at least 5) and 2 in INT and mediocre physical stats, the core system was pretty much set by then.

At the end of this prologue session, Station 51 became the target of a terrorist attack. We don’t know much about the perpetrators beyond them being “Church of Evil type guys” in Luiga’s words, but the dice was rolled badly and Antwone and Trini both ended up dying in a “horsebombing” attack, falling onto the bridge outside the station.

Map of Station 51, located in a repurposed steel mill.

Going forward, Argo and Luiga had to find new characters to play, and they ended up going with ones they had earlier conceptualized, half-jokingly, on one of their many walks around Tallinn from parties and other events, since public transportation was notoriously unreliable. These characters were Chester McLaine, played by Luiga, and Mack “the Torso” Torson, played by Argo. Torson was derived in half from Vic Mackey, the protagonist of the Shield, and half from Argo’s own personality. Argo says that Luiga put his own personality into Chester as well, but isn’t sure where the other half of that character came from.

The main plot of the campaign centered on a revenge operation against those who perpetrated the attack on Station 51. In the second session of the campaign, Torson and McLaine are involved in a church raid; though Argo takes care to mention that he doesn’t think this is the church raid mentioned in Disco Elysium, and that it’s not a Dolorian Church but rather the “Armed Church of Saint-Michelle.” Among the tasks of Torson and McLaine were gathering “guns and drugs” for the “big revenge operation.”

Mack Torson was an idiotic body builder, an admirer of Lieutenant John “the Archetype” McCoy, the Station’s resident mass murderer, and altogether “way too stupid to concentrate on the main plot and politics of the police station,” focusing his attention instead on matters like “how to get it on with the captain’s secretary and tattooing the word ‘Jamrock’ on his body hundreds of times over.” Chester McLaine was a little more perceptive, wondering about things such as “what the hell is going on with the armour maker or Nix Gottlieb,” but was still an all-around uncritical person who put a lot of stock into “loving the captain” and “being a communist memebot.” McLaine was also “a sword guy,” since at this point in the worldbuilding swords were still viable weapons, with guns being slow to reload. Torson and McLaine lived together, along with two other cops, Sundance Fischer and Elfboy Williams. “Elfboy’s thing was being the dexterity bro, in which he continually lost to McLaine, and Sundance’s thing was having a fat ass and cleaning his guns all the time.” Torson had a wife named Tessa Torson, and later in life both Chester and Mack would apparently raise adopted daughters, Tessa and Triss (whether these Tessas are separate characters or represent the same character at different stages of development is unclear; Argo and Luiga seem to contradict each other, unless there's something very weird going on).

Torson and McLaine both regularly abused their powers, as RCM officers in general were prone to do, and in their heads they were justified in doing so. A highlight of the RCM campaign had been sessions dubbed “the Ballad of Chad Tilbrooks and Émile Mollins,” centering on two junior officers who were ritually abused and exploited by the older members of their station, including Torson and McLaine. At one point, Torson and McLaine were also involved in an interrogation of a local religious figurehead which devolved into mutilation torture, which only the “bullet-lobotomized” officer Damien “44” Latrec called out for what it was (enthusiastically). The interrogation ended up being ineffective as the religious leader simply “retreated into a happy place inside his head.”

The Captain of Station 51, Ptolemaios Pryce, was immensely respected and glorified by its officers, whereas the station’s lazareth Nix Gottlieb, while also respected, was generally resented and found hard to tolerate for being “an absolute horrible cunt.” In spite of this, Nix Gottlieb was known to have a curious friendship with Pryce, talking alone with him in the Captain’s office long into the night. This fact regularly perplexed the officers of Station 51.

Eventually, at some point in the campaign, Torson and McLaine would come to the focal point of the story, when they make a shocking discovery: the reason for Pryce and Gottlieb’s strange friendship is that they are both members of the top-secret underground anarchist organization the Ultra, and not only are plans underway for a national liberation movement freeing Revachol from Coalition control, known as THE RETURN, but the two have set their sights on a much larger goal: world revolution. 

The novel cycle

No more campaigns were played in the Elysium world after 2007, when the boys stopped playing the RCM campaign (with the story unfinished). Robert Kurvitz instead shifted his attention to writing a book in the Elysium universe. Eventually the plan became for it to be the opening to a cycle of novels, totaling eight altogether. We have the English titles of each book and their epigraphs, along with the order of the series, from a post by Kurvitz on the dragon.ee forums.

They are as follows:

#0 A SACRED AND TERRIBLE AIR My heart will not rest until it rests in you. - St. Augustine

#1 THE COUNTERMEASURES What am I searching for in your dreams? I am not searching. I am merely cleaning up. - Christian Emmerich

#2 NO TRUCE WITH THE FURIES Man-kind, be vigilant! We loved you. - Julius Fučik

#3 MADRUGADA It must be lit as dreams, by lightning flashes only. - Witold Gombrowicz

#4 TWO HUNDRED AND TWENTY NINE DAYS REMAINING Evening brings the child back to the arms of the mother. - Sappho

#5 COALITION WARSHIP I don’t want to be in no indie shit. I want to be in the big ones. I want to be in the ones that matter. - Mickey Rourke

#6 WE ARE THE WAITING What remains, is longing for something completely different. - Luis Althusser

#7 INDIFFERENCE A great silence, some low pressure front is forming. - Arvi Siig

Sacred and Terrible Air was eventually released in Estonian back in 2013, and after the success of Disco Elysium plans were made to translate the book into English. Rumor goes that this translation was very far along or even finished, but unfortunately all plans for releasing this translation to the public have been halted with the ongoing legal dispute.

Fortunately, dedicated fans have taken it upon themselves to translate the book into English for those particularly interested. The most successful translation by far is the one by Group Ibex, which still receives updates to this day.

Read it here.

Full-Core State Nihilist

Many don’t know that Sacred and Terrible Air is actually not the only written work predating Disco Elysium. Before even Sacred and Terrible Air was released, Martin Luiga wrote a short story later given the English title Full-Core State Nihilist, which was uploaded to the old ZA/UM blog. While obviously not as meaty a text as Sacred and Terrible Air, it deals with some overlapping themes and gives us our first proper window into the nation of Mesque, so important to the broader narrative of Elysium.  

Full-Core State Nihilist was later heavily edited and uploaded to nihilist.fm, another blog site which many of the ZA/UM members were active on.

Finally, in 2022, Martin Luiga translated the Estonian story, basing his English version on the original ZA/UM blog version, and uploaded it to Medium. This translation itself could be seen as a third edit of the story, featuring new references to Disco Elysium.

(As it happens, I have also arrogantly taken it upon myself to create my own translation of this brilliant story, which combines elements from all three versions, and is an attempt to render the prose in slightly less idiosyncratic English, closer to the “house style” of Disco Elysium, while remaining heavily informed by Luiga’s own translation.)

You can find Luiga’s translation here and my version here.

THE RETURN

In 2014, Robert Kurvitz pitched an idea to his friend and associate, novelist and businessman Kaur Kender, to turn the Torson & McLaine roleplaying campaign into a full-fledged video game for PC. The pitch proposed a 3000 EUR investment to produce a vision document, with design and artwork handled by Aleksander Rostov and Juri Saks, detailing the setting, plot, game mechanics and art style. In 2015, this document was finished, and by this time a provisional name for the project seems to have been settled on: THE RETURN.  

This vision document reveals that the game was once planned to feature turn-based tactical combat. The plan was also for the player to create their own character from certain “archetypes,” each with different personalities, talents and appearances. Over time it became clear that these plans were too ambitious; by 2016 the archetypes had been narrowed down into a single character – the “disgrace to the uniform” Harry du Bois – and the prologue chapter of his story, set in Martinaise, was split off into its own game. This smaller project received the title that originally was given to the third novel in the planned cycle (which was almost certainly anticipated to center around the story of Precinct 41 in the year ’51) – NO TRUCE WITH THE FURIES.

No Truce became Disco Elysium and the rest, as they say, is history. But unlike many fans who view Disco as a singular statement that needs no further comment, the developers were far from done with the world they had created. The dominant internal view, especially among the original worldbuilders, was that Disco Elysium was merely a minor project to get ZA/UM’s foot through the proverbial gate. Work on the true game – the one they had wanted to create all along – could finally begin now.

As far as we know, the plot of the game would’ve stuck fairly closely to the events of the Torson & McLaine roleplaying campaign. The game was to open with an attack on Precinct 41, and the rest of the game would’ve been a revenge story of sorts. Players would assume control of Harry again, and this time his primary partner would be Jean Vicquemare, although there would be an assortment of other potential party members. The map would be at least four times bigger and set in Jamrock.

Plot points which would be explored in the sequel had already been set up in Disco Elysium – among these are Pryce and Gottlieb’s revolution, Le Royaume, Edgar Claire, and La Puta Madre. Cuno and Cunoesse would’ve featured as returning characters; not much is known about how Cuno and Kim would’ve been integrated into the game given how variable their endings in Disco Elysium are, but Argo says that he would’ve insisted on Cuno returning. X7 – the now-cancelled DLC project which Argo worked on for the remainder of his time at ZA/UM after Robert, Rostov and Helen were ousted from the company, would’ve featured Cuno as the protagonist. Meanwhile, Cunoesse was planned to reappear in THE RETURN as a leader of a gang of kids in Le Royaume, according to Martin Luiga.

Obviously, the characters of Precinct 41 would've featured heavily, and we'd be introduced to many familiar names which we were already given glimpses of in Esprit de Corps checks in Disco Elysium. One of these would be Lt. Berdyayeva, a superior of Harry’s, whose daughter is Jean Vicquemare’s ex. A character we know nearly nothing about except for the fact that he was conceptualized back in the tabletop days as a sort of joke character, but survived all the way into the planning stage for THE RETURN, is “Marivald the Merry Butcher” – what his role might've been, your guess is as good as mine.

Pryce and Gottlieb’s goals in the game might've involved an attempt to unite several diverse groups with a common interest in an independent Revachol; this would’ve included the besmerties, the West Revacholian crime syndicates mentioned in Disco Elysium. Prominent among them would’ve been La Puta Madre, a Mesque gang leader and drug manufacturer, a man of such immense power that he has RCM officers tending his poppy fields in terror (his influence also seems to survive past the events of the game; he gets a mention in Sacred and Terrible Air). The Madre would’ve apparently been an attractive feminine-presenting man, impeccably dressed and wearing beautiful makeup; his gender-nonconformity a way of projecting power over the traditionally macho culture of Villalobos. The rival gang, Ahura Mazda, led by a gangster known as the Mazda, would’ve presumably also featured prominently – Rostov recently released old concept art depicting one of their gang members.

There were more plans for the sequel that only came along after the development of Disco Elysium itself. Robert has talked about wanting to double down on events like the Mercenary Tribunal, handling big action scenes within the more closed literary format of the FELD dialogue system, hopefully allowing for even more variation than was possible in Disco's big confrontation. Another infamous idea was the inclusion of a second protagonist – a pregnant woman, about 5 months along. Kurvitz has mentioned this idea in interviews, saying that it would be "an incredible writing challenge" within Disco Elysium's internalized skill system: "It would be unbelievable to use our skill system to speak about the bodily sensations of having another organism inside of you, while you're in the setting and talking to another person." That said, the addition of an entire new protagonist is very ambitious indeed – it's not clear whether the idea would involve alternating perspectives of some sort, or a choice in the character creator of which one to go with, but Kurvitz made it clear that these would be entirely different characters, unlike many games which offer only a superficial choice between male and female playable characters. Kurvitz expressed some doubt about being able to include this in the game, but at least expected it to be integrated via an expansion post-release if not.

Miscellaneous info

Argo and Robert have both hinted that there is a metatextual element to the overarching Elysium narrative. Whenever presented with readings or theories that contextualize the game as some sort of story-within-a-story, they act coy and refuse to give any clear answers. Argo outright offered an interpretation of the pale which presents it as what happens as the narrative starts “leaking out” of the head of a reader or audience member no longer actively absorbed in the world and said that “Elysium is a fictional world that is aware that it’s fictional.”

Apparently related to this aspect of the narrative, according to Argo, are the three satellites in orbit above the world of Elysium – Iikon, Zenith and Shakermaker – which have been there since “before the 8,000 years of recorded history” and before “the Polycarpeum event.” The satellites have only been mentioned in niche corners of the currently published materials, and the innocence Polycarp has only been mentioned in secondary materials, such as the artbook and the inside covers of Sacred and Terrible Air, leading to speculation about him being involved with the pale and the memory of his reign being wiped from history.

Also related to the metatext, again according to Argo, is a character known as “the Man Behind the Black Sun” – he gets one mention by the Paledriver in Disco Elysium, but curiously she seems to refer to it as the title of a movie that was released in Mesque during the revolutionary era, potentially a boiadeiro picture starring the actor Gabriel Buenguerro.

The magical elements of the pre-Elysium fantasy world morphed over time into what is called “extraphysics” in Elysium. The innocences, the pale, and “plasm” all testify to this supernatural aspect of the setting.

At some point, Ambrosius Saint-Miro apparently constructs nihilist death camps, which Triss and Tessa (the adopted daughters of Torson and McLaine) end up in and eventually escape.

"Magpies" are not a real thing and were never a part of the original plan for the Elysium narrative. The concept artist who made the image from which the term was popularized has gone on record saying that he invented this idea himself and that it was taken from his own worldbuilding ideas. There is nothing to suggest that this was integrated into the game; Argo and Luiga reacted with confusion at the mention of this concept.

Kurvitz had an insanely ambitious list of projects he wanted to make in the Elysium universe before he was ousted from ZA/UM; "The last one I want to make, when I'm 50 or 60, that I want to absolutely go crazy on and throw out all commercial considerations and get this as conceptual as possible, is the tabletop setting. The working title for the tabletop setting is You Are Vapor. It will be a really, really, crazy pen-and-paper game."

List of sources:

All parts of Argo Tuulik's Human Can Opener Podcast episode.

Martin Luiga's Human Can Opener episode.

Martin Luiga's Medium account and other blog posts: Interview, 8 years ago..., Hello Fellow Worldbuilders, Correction, A Policeman In Revachol, Fuirum Thundergate (Substack)

Tweets by Martin Luiga: 1, 2, 3, 4

Tweets by Argo Tuulik: 1

The dragon.ee post about the novel cycle

"Welcome to Revachol" on the devblog

"Outro" by Robert Kurvitz, featured in the official Disco Elysium artbook.

Disco Elysium, Sacred and Terrible Air, and Full-Core State Nihilist. Obviously.

Possibly more that I'm forgetting. Feel free to ask.

[rathayibacter]

Ok so how does one MAKE a tabletop game because this is something I want to try!! Are there good references out there for non-d20 systems or how to balance mechanics yourself?

oooh, hell yeah! honestly the big thing is to just do it, unlike board and video games the gap between idea and execution in ttrpgs is incredibly narrow, so if youve got an idea just start writing stuff down and see where it starts pulling you, where it feels like something's missing, find what excites you and what you feel isn't working. but that's not very specific, so let's get into it!

first off, read games! read weird games! there's tons of free ttrpgs on itch, lots of people sharing their work here and on other social media, there's 200 word rpgs here and here, and lots of system reference documents written specifically for people looking to hack games. reading other games is a great way to enrich your work whether you're building systems from scratch or working in an existing framework, because every game you read will show you a new way of approaching design problems.

on that note, draw inspiration outside of ttrpgs too! i pull a lot from video, board, and card games in my work, as well as poetry, novels, movies, etc etc etc. im autistic, and ive spent a lot of my life thinking about and dissecting unwritten social rules, so that's another big source of material for me. take your passions, whatever they may be, and put them in your work!

next up, think about the core of your game, sometimes called the minimum viable product. this is whatever the fundamental idea at the heart of your work is, and it's important to keep in mind because it keeps you from spiraling down unnecessary tangents. the core of your game can change, don't get me wrong! in fact, it likely will. what you want to do isn't prevent your work from growing and changing, but have a point of light you can always refer back to and ask "is what im doing important to this game?" you might be surprised by what you find isn't actually as important as you thought at first, and what turns out to be vital to the experience you're going for.

next up, once you start working, don't throw things away. if youre working in a word processor or google docs, it can help to have a section at the bottom of your document that you copy anything youd otherwise delete into. i do the same with my Affinity documents, ill have a few pages i dont export to store all my scraps. i know other folks who keep a dedicated scraps document that they use across projects. whatever works for you! the reason you do this is twofold: it makes it easier to cut things if you know you can always put it back later if you change your mind, and it gives you a lot of raw material that you can pull from in the future. months or years from now, you might find yourself looking to fill a gap in a new design and realize that some cool toy you set aside is exactly what you were looking for.

lastly, i wanna strongly encourage you to practice finishing things. that's often the hardest part for people, cuz we have a lot more experience starting projects than finishing them. here id like to once again direct you to 200 word rpgs, because that strict limit means you wind up with a finished first draft really quickly, and the rest of it is polishing and editing. once you've finished some bite-sized projects, you'll have a better idea of what it entails, what parts you're good at and what parts you struggle with, when to keep working and when to cut yourself off. i find it really helpful to add arbitrary limitations and deadlines on my work because that helps me push myself to finish something when otherwise i'd just keep adding and tweaking, but you'll find what works best for you!

[zais-zafu]

🫧 every manifestation technique & when / why to use it 🫧

this post is going to focus on law of assumption techniques. since there are a lot out there, I figured creating this post will help in knowing which techniques suit u and for what situations to use.

btw, you can find my routine for manifesting here. now, let's begin!

🫧 building ur self concept (sc)

creating a new identity or theme around yourself where you know you are powerful, limitless, and worthy of all your desires.

this is more of a framework than a technique since it relies on different techniques, such as affirming and journaling to acheive it.

I think it is worth mentioning improving your sc cos I believe that it is the foundation of powerful manifesting, yeah some might say "you don't need a high self concept to manifest" & I am not here to disagree w u but consider this: u believing that ur sc doesn't matter is literally part of you sc so u are essentially affirming for sc every time you say that

"you don't need a high sc to manifest" is equivelant to "I am enough as I am" and "I deserve everything I want, just because," which are sc affirmations.

🪷 use this if you wanna

work through your limiting beliefs

instead of having to affirm for sp, friends, family, etc. all the time, why not fix your self concept around love and step into your worth once and for all?

become an automatic manifestor of good things

think of successful people who've never heard of loa, how did they do it? they built an amazing sc about themselves. that is what we call confidence or charisma.

become happier, more confident, and stable/at peace

also, improving one's self concept is a foundation of therapy, coaching, and other non-loa disciplines that are concerned with improving one's life

🫧 affirming & affirmation tapes

repeating postive statements through thinking them, saying them (affirming), or hearing them (tapes). could be done with focus / feelings (focused affriming) or without (robotic affirming).

🪷 use this if you wanna

focus on a specfic desire & aligning to it

sc is general & that's great, but affirming is better if you wanna be specific

reprogram both the conscious and the subconscious

this method helps reprogram the subconscious through repetition but also your conscious through discipline and observing your thoughts meticulously

regulate your nervous system + be reminded that you already have it

I will talk more about regulation later, but affirmations can help you when you are feeling anxious or doubt since they divert your focus and serve as a good reminder of that which is true.

use an effortless way to manifest

affirmations are the easiest method to try because you can do it anywhere, anytime, and anyone can use them (if you have trouble visualising)

🫧 mirror work

basically you face a mirror and speak your affrimations, typically done around topics such as self worth/love

can be done using a timer or a pre prepared script or for however long you want

🪷 use this if you wanna

build your relationship with yourself

mirror work is one of the most effective ways to build your foundation of self love. it will help you get used to how you look, your smile. & it will also build your confidence

speaking the affirmations while facing yourself creates a deep connection with yourself and the words you speak. I really can't reccomend it enough cos each session will have you feeling more loved, limitless, & grateful

work on your self concept

since mirror work deals with self love & confidence topics, it really helps build your self concept.

and ofc you can speak your desires affirmations when doing mirror work, but even that feels different. it will feel like speaking worth and confidence into yourself, which ultimately builds your self concept! (esp. in that specific area of manifesting, for example money, love, beauty, etc.)

feel your affirmations

you don't have to feel them real, but it does make things easier/faster. speaking to the mirror helps the affirmations actually reach you + makes them feel personal

🫧 subliminals

they are affirmations layered over another sound so they become inaudible & pass right through to your subconscious mind

🪷 use this if you wanna

have 'unrealistic' & fast results

since this technique deals with your subconscious mind which readily accepts whatever it is given, the results are much faster & mindblowing

listen to affirmations but can't or don't want to

so if you're busy with life and can't find the time to affirm or if you wanna multi-task (practice loa + work), you can use subliminals since you can play them in the background whil living your life

you will also find that they work as an excellent manifesting tool as they don't require effort, focus, or intent for them to work

saturate your mind with mulitple topics

this is one of the techniques to use if you have mulitple things you wanna manifest but wanna affirm for all of them since you can listen to as many subliminals as you want

+ a single, very short subliminal can list out numerous benefits since it also utilises layering and speeding up the affirmation to allow for more repetition to occur

🫧 scripting

basically, repeatedly journaling about what you wanna experience as if it already manifested

🪷 use this if you wanna

visualise but prefer thinking in words

I use both visualistation & scripting. both have their perks. sometimes scripting helps me soak myself into the narrative, it helps me understand what I want & how the materialisation of the desire will look like.

it really helps me get into the zone since I love journaling like I am talking to someone about all the good things that already happened

(the interview method could serve as a link between both scripting and visualising & it is a method I really like!)

🫧 inner & imaginary conversations

along the same lines, you can utilise inner conversations (basically positive self talk) or imagined ones (basically the interview method)

ngl, I love talking to myself & it is probably how I used to manifest a lot of things before I learnt of loa.

I also like using ai. basically I open a chatbot and have a conversation with it about my desire like I alr have it, rampage with it, or practice gratitude using it

🪷 use this if you wanna

use a fun way to manifest

we all love making scenarios in our head, so instead of having imaginary arguments in the shower, make these scenarios/conversations favourable to your new story

work on/correct ur mental diet

your mental diet refers to the collection of natural thoughts that you think throughout the day.

the difference between a good & a bad mental diet is the difference between an optimist & a pessimist, a confident person & an insecure person

if you watch the inner conversations you have intently and correct it whenever it doesn't algin with what you want, you will start having better thoughts involuntarily, which will help you automatically & instantly manifest good things into your life

🫧 visualisation

basically daydreaming with intent, so you decide what you want to visualise (usually a short scene so you can loop it) + practice experiencing it from the first pov to generate the feeling / idea that you are truly experiencing it

I know some don't like visualising cos they can't do it, and I want y'all to know that visualisation is a practice. it takes time to be able to visualise vividly and feel like it real, so practice! you might not be able to do it at first but you will get better with time.

for me, my visualisations used to be much more hazy, unclear, and mostly audible but now I can see & feel with my five senses what I wanna visualise + before, I was only able to visualise in 3rd pov but the more I practiced 1st pov, the more naturally it started coming to me

there are several other visualisation techniques to apply, such as SATS, mind movies, and vision boards. I will talk more on them later.

🪷 use this if you wanna

understand what u desire much deeply

like scripting, this method helps generate feelings, which could help aid you in understanding what is it that you want to manifest & why, like what is the real end goal here?

live in the state of wish fulfilled

our minds can't tell the difference from between a real image and imagined one so vividly visualising helps in impressing the subconscious mind into believing that it already happened.

it also allows you to have fun in imagination, experience the good feelings that come with your desires with just the power of your mind, and thus helps you stop relying on the 3d for validation; thus you are now in the state of wish fulfilled!

🫧 SATS

this is a specific form of visualisation that Neville coined & you do it right before sleeping, aka the State Akin To Sleep or SATS

what is most important about it is to do it until you sleep, you live the scene as if it is real, and you loop it.

there's a variation of it called the lullaby method, which is about repeating a single affirmation until you sleep. this can be helpful to those who prefer affirming over visualising (but like I said u can always get better at visualising!)

🪷 use this if you wanna

manifest insanely quickly, for emergencies, time crunches, etc.

this method is basically a shortcut to your sub mind. so when I say it works insanely fast I mean it, like you will see results the very next day.

I like to use specific scenarios / manifestation that I want to happen super quickly

be efficient

this method is quite efficient due to the short time it takes to do (just a few minutes before you sleep) compared to the results you get.

ease the resistance

you might find that you have specific topics or concepts (such as revision) that you feel are "harder to manifest." SATS can be a great technique to use in that case since it impresses the subconscious much more easily, allowing you to feel less resistant / dysregulated.

🫧 mind movies / vision boards

a vision board is a collection of pictures which includes the experiences / things you wanna manifest. I have a whole post on how to create much more effective vision boards that you can check out!

a mind movie is similar to that but, instead of a board, it is a video of these pictures with narration, affirmations, or music accompanying it.

🪷 use this if you wanna

have preestablished visualisations created for you

instead of starting to visualise from scratch you can use those techniques as inspo + you can (esp. w the mind movie) just watch / look passively consuming the pictures, without having to actively imagine anything

incorporate visual subliminals

the post I mentioned above talks about visual subs in vision boards but basically you can add affirmations in low opacity, small font, or ones that quickly disappear, which you won't consciously see but your subconscious mind will register them.

provides the added benefit of incoproprating subs.

🫧 list method

you create a list of all your desires and then you affirm for the entire list using affirmations such as "my list manifested," "I have everything on my list," etc.

🪷 use this if you wanna

affirm but got numerous desires

instead of affirming for each of the million desires you got, affirm for your list. it will help remove some of the anxiety with feeling like you are not affirming enough for a topic or the dreadful choice paralysis of what you need to affirm for next.

script in a bullet point format

the list method is similar to a very simplified script, but you seperate the desires using bullets.

🫧 nervous system regulation (nsr)

this is not one technique, rather, it encompasses a lot of healing practices such as journaling, eft tapping, meditation, exercise, breath work, etc.

🪷 use this if you wanna

stabilise & ground yourself so you can feel happier and more peaceful

these techniques help you feel in alignment and be in the state of wish fulfilled

it can also help when you are experiencing upleasant feelings or unhelpful old stories

become more grateful for what you have

when your mind is cluttered and you trying to manifest desperately, it could cloud you judgement from seeing how beautiful your life is rn. NSR aims to remove that clutter and allows you to see reality for what it truly is: ever changing and honestly really not as bad as you make it out to be

as long as you are doing fine in this present moment, you're good (would recommend reading the Power of Now for more)

better understand your thinking patterns and any unconscious core beliefs

sometimes we wanna work on building a better self concept, becoming better people, understanding ourselves, or being much happier but we just don't know what exactly is holding us back,

NSR can help you with that, as you allow your mind to speak for itself or allow yourself to relax into your body you can better understand yourself and what you need to change.

🫧 void state / self hypnosis

they mean similar things as far as I am aware, which is the meditative state where your body is asleep but your mind is awake and receptive to whatever affrimations it receives

🪷 use this if you wanna

relax

it could serve as a great nsr technique, I personally used self hypnosis a lot before learning of loa because I found it hard to relax and short meditations weren't effective.

now I am able to relax so easily that I can do short meditations + a lot of health problems born out of chronic stress have disappeared

become highly suggestible

like I said your mind is awake but has slowed into a relaxed state, allowing it to accept any affirmations or assumptions it hears without judgement, it won't deny whatever you are saying to it & will accept it as truth causing you to shift/manifest instantly

🫧 revision

revision is technique used to 'revise the past,' which is not only about changing how you look at your past, but what actually happened too. there are numerous stories of people revising death and other unfavourable situations so it is quite powerful. I don't personally use it a lot (beyond affirming once for what I wanna revise) because I prefer focusing on the present (& the future)

🪷 use this if you wanna

change the past

pretty self explanatory, just affirm, visualise, and meditate on the revised story until it shows up

change your (limiting) beliefs & state

like I said, part of revising is changing your idea about what happened, this happens through changing your beliefs to know that time is a construct and that changing anything, at any point of time, is possible + shifting your state (feelings + thoughts) about what happened

self regulate

since you're shifting your state around something unfavourable, you're practicing regulating your mind + body & actually shifting to a more relaxing and fulfilling timeline

affirm in past tense

honestly affriming in past instead of present tense feels really powerful sometimes so even if you don't wanna revise anything, just affirming in past tense can make the affirmation sound more natural, like it has always been that way

🫧 acting as if

acting as if is basically thinking, feeling, and behaving like the person who has all of your desires aka your highest self. this is one of the most basic ways to building SC and it is a fun way of roleplay that will help you become the best version of you automatically. one thing I like about this technique is that it helps in detaching from the 3d and understanding that it is not the world that has to change for you to be happy, but rather you (your internal state has to change)

🪷 use this if you wanna

stop self-sabotaging

when you start acting like the desired version of you, you will come face to face with all the ways you're NOT yet being that version of you, which is the first step to stop being sabotaging your own success. through journaling and other techniques, these unfavourable habit of thinking, feeling, and behaving will be dropped

prepare yourself to be the person who can and will live this life

in relation to self sabotage, sometimes we subconsciously don't feel ready for all of the success and happiness we want. we don't believe we're worthy of it. as a result, we don't allow it to happen. but if you already lived as that version of you who you believe would have achieved it you will build a very solid self concept that such doubts and fears won't hold any truth any more.

detach

like I said, when you live as if this is your dream life, you realise that your dream life is not the keeper of your happiness, but rather it is you. you decide if you want to be happy, you decide if a circumstance has any meaning, whether positive or negative.

get better at visualising

in my experience, acting as if allows me to better visualise since I am seeing the world from the eyes of the highest version of me. it feels like my daydreams automatically align to what I wanna visualise and I can visualise at any given time of day, with my eyes open even

this all for the techniques, hope you enjoyed this post. I got an epiphany for it last night at like 2 am and started writing lol

on a last note, I'd like you to know all of these methods are connected and can overlap so make sure you are nourishing each area of manifesting (sc, alignment to desires, nsr, etc.) to live a fulfilling life while also getting what you want!

🫧​ see u soon, loves 🫧

[legendaryvermin]

So my home ttrpg group is between longform games right now, and I have been planning to bring a bunch of games to them this weekend as options for what we might play next. However, I have been trying to figure out how to talk about the games in a way that doesn't rely as much on me explaining the vibes to them.

I know that people have a bunch of qualitative categories for how they explain games, but I find the idea of saying things like Dark Fantasy OSR, or Lesbian Goofball PBTA less helpful when talking about how games actually play, especially when two games in the same category are like, wildly different in the way they use their frameworks.

So I invented a 6 axis, 1 to 5 star rating scale for TTRPGs that you are free to borrow when talking to groups, or whatever.

TTRPG 5 Star Rating Matrix

Width

What is the scope of this game? Is it narrowly about one thing or does it encompass many types of play? (Credit to friend of the blog @ostermad-blog for this one, they came up with it from my draft)

Weight

How much cognitive load does the player need to bear? Do rules often need to be referenced verbatim? Can those rules fit on a handout?

Wargame

Is the player expected to apply tactical acumen? Is movement tracked tightly or loosely? Does a bad build punish a player?

Writers Room

How much are players expected to make narrative choices and drive the story without the rules scaffolding them? Does this game fall apart without excellent improvisational storytellers?

(Prep)Work

Does this game require a lot of pre-planning by the facilitator? Are there intricate systems to attend to outside of table play? Can I put in the same amount of time as other players and still have everyone leave happy? 

Whimsy

Expected tone of the game. Does this game have difficult thematic elements baked in? Is the core subject or role in the game high or low risk?

Here are some games I know well and how I calibrated them:

I have breakdowns of what each star rating means below the cut if you're curious. Happy Gaming!

Width

⭐ - As written, the game has basically one mode of play, or one thematic core that it meditates on. May have phases, but textural difference is minimal.

⭐⭐ - As written, there are at least two modes of play, but the scope of that play is highly thematically focused or highly dependent on using the game’s own lore. Might have only one kind of character (e.g. Mech Pilot) that it supports. Has limited tools outside of the primary mode of play.

⭐⭐⭐ - Has a variety of modes of play, but may be rigid in their execution. Might encompass multiple kinds of characters (e.g. Doctor, Lawyer, fighter) or character options. The narratives that this game tells within its setting are narrowed, a three word description tells you what kind of stories it can tell with consistency.

⭐⭐⭐⭐ - Loose framework, but with some kind of thematic grounding. Describing the framework in 3 words doesn’t tell you the kind of stories that the game tells (e.g. Dark Fantasy, Star Wars Romp). 

⭐⭐⭐⭐⭐- As written, this game is designed in such a way that it doesn’t put specific limits on what sorts of stories that it is meant to tell. It might ask players to define abilities or stats for themselves. The Facilitator is going to pitch a thematic grounding on top of the rules set.

One Star Examples: For the Queen, Dialect, Honey Heist Five Star Examples: Fate Core, Savage Worlds, GURPS

Weight

⭐ - It is reasonable for a player to be able to recite the rules from memory. The game may be prompt based, or driven by a flow of rules that are read aloud as played.

⭐⭐ - Players can hold most of the most important information about the game in their heads, with a page or less of rules reference needed to play smoothly. This reference could all fit neatly on the character sheet if one is present.

⭐⭐⭐ - Everything a player needs to know about the game is visible on less than 3 sheets of reference. Players are more or less expected to know exactly how their own abilities work in precise detail, and are unlikely to make a mistake in executing them.

⭐⭐⭐⭐ - Players make extensive use of multiple reference sheets to keep rules moving smoothly. No external tools are needed, but players memorizing the details of all of their abilities is taxing. 

⭐⭐⭐⭐⭐- Players and facilitators will prefer to make extensive use of external tools or reference to keep play moving smoothly. Expecting a player to have the exact details of their abilities memorized is not reasonable.

One Star Examples: For the Queen, Stewpot, Mobile Frame Zero: Firebrands Five Star Examples: Dungeons and Dragons 3-5e, Lancer, Edge of the Empire

Wargame

⭐ - As written, this game does not treat combat as mechanically different from any other aspect of play, or does not include narrative violence at all.

⭐⭐ - While players may engage in combat, it is minimally different from regular play. There may be tools or abilities for players to use to conduct a fight, but the texture of those fights is thematic, not mechanical. Narrative and consequence drive the action, not hit points.

⭐⭐⭐ - As written, combat has its own set of rules. This game may have some elements of buildcrafting, but either it is difficult to build something that doesn’t work, or the player may meaningfully invest in other modes of play and still find a commensurate level of satisfaction. If combat occurs, spacing is kept in mind, but is tracked in relative terms (range bands) or highly simplified (zone based combat).

⭐⭐⭐⭐ - This game has buildcrafting that is somewhat mandatory if players wish to survive a fight, but there is still a meaningful choice in choosing a non-combat role. It may use a grid or a spacing system to help players visualize the combat. Fights are driven by mechanics, not by narrative.

⭐⭐⭐⭐⭐- To enjoy this game, players must spend time buildcrafting. If a player’s build is suboptimal, there may be significant parts of the intended experience that will either feel tedious, or that the player will not have meaningful access to. This game is played on a grid.

One Star Examples: Wanderhome, Dialect, Belonging Outside Belonging Five Star Examples: Lancer, Dungeons and Dragons 3-5e, Valor

Writers Room

⭐ - Players in this game are not expected to provide much in the way of narrative substance. Story is something that is driven by external input or tools, and players are there to imagine and react. The player need not separate the self from the character they play in any meaningful way.

⭐⭐ - The mechanics of this game drive most of the narrative, or else the narrative is set for the players by an external source or player. Players are encouraged to play optimally rather than dramatically, but do have room for expressing the identity of their character within the game’s mechanical frameworks.

⭐⭐⭐ - While the game does provide strong scaffolding to tell a story, the players present are expected to drive the story within those frameworks. The game’s systems create and resolve conflict on their own, but works best when the players are willing to choose the dramatically interesting option even if it mechanically non-optimal.

⭐⭐⭐⭐ - The game provides some mechanical tools that create and resolve drama, but there is a significant expectation that the players are buying into and driving the game’s thematic concepts. Players are the ones deciding what the scenes should be and when to end them, but mechanics still help determine outcomes.

⭐⭐⭐⭐⭐- The players are expected to drive the narrative at all times. Tools for deciding what scenes to do and when to end them are limited, optional, or vague. There is no meaningful scaffolding that creates conflict or resolution, it is incumbent on those present to manifest those things.

One Star Examples: Alice is Missing, Ribbon Drive, For the Queen Five Star Examples: Wanderhome, Systemless RP

(Prep)Work

⭐ - Facilitators are not expected to do work outside the time at the table. All rules can be read while the game is played. No memorization is needed.

⭐⭐ - This game expects the facilitator to have read the rules in advance, but the rules are so few that they can be run from a single reference sheet. At times, the facilitator must think about and potentially advance and adjust the narrative of the game behind the scenes. Prep is qualitative; answering questions about where the narrative is going to go, who will be there etc. The game can be run smoothly predominantly as improv.

⭐⭐⭐ - This game expects the facilitator to not only know the rules, but to imagine scenarios where the group must play. However, the scope of the scenario design is limited and qualitative. It takes a bit of pondering and perhaps a sketch and a few words of notes. Alternatively, the facilitator must design simple foes or track a simple background system. The work is trivial, and can be done with a bit of time before session.

⭐⭐⭐⭐ - The facilitator of this game is expected to have run systems between games, or created usable maps or scenarios. Generally, games at this level have some reduced wargaming component. The facilitator might need to engage in enemy design, but the work is limited or imminently reusable. The work is non-trivial, and failing to do it will somewhat impact the quality of play.

⭐⭐⭐⭐⭐- The facilitator of this game puts in significant time between sessions engaging in game design activities. They are expected to plan narratives, write NPCs, draw maps, run significant background systems, and design enemies and combat encounters. The work is significant outside of play, and failing to do it beforehand will result in a worse table experience.

One Star Examples: For the Queen, Alley-Oop, Lasers and Feelings Five Star Examples: Lancer, D&D 3-5e, Stars Without Number, Edge of the Empire

Whimsy

⭐ - This game’s thematic core is considered dark, taboo, or difficult, and separating the game’s mechanical features from this subject matter is next to impossible. Games with horror elements almost certainly fit within this category. These games encourage extensive pre-play safety talks.

⭐⭐ - This game is designed to look at dark subject matter, but doesn’t expect the player to spend all of their time there. Players explore difficult topics, but may get to choose what topics to explore, or when to explore them. Games with political messaging/commentary tend to fit this category. These games encourage pre-play safety talks.

⭐⭐⭐ - This game may have dark aesthetics, but doesn’t enforce them mechanically. Alternatively, there are mechanics that address difficult topics in broad strokes, but players are given leeway in the rules with how any difficult topics are approached. These games may encourage safety talks. 

⭐⭐⭐⭐ - This game may have the option to explore dark topics, but none of the mechanics are tied to such topics. This game may have violence in its aesthetics, but players may choose to adjust the aesthetics at the table to suit their comfort. These games tend not to talk about safety in their text.

⭐⭐⭐⭐⭐- This game is designed to focus on thematic material that is considered to be relatively safe. The game is unlikely to tread into violence or trauma without effort.

One Star Examples: Trophy Dark, Dungeon Bitches, Vampire the Masquerade Five Star Examples: Honey Heist, Princess World, Beach Episode

The system here isn't about what's good or bad, to be clear. I think there are good and bad games at every level of these categories, but when I think about what my game group is good at and comfy with, I don't think we go in for things at like the 5 end of the Writers Room scale. It's too much work, and most of them aren't pro improvisers.

Similarly, if we play another game that is a 4 or 5 on the PrepWork category, I don't have time to run it these days. So this helps me make practical choices about our next game.

[synthral]

From the moment we’re born, we’re brainwashed. Fairy tales, rom-coms, religious institutions, family expectations. They all whisper the same lie, that life culminates in marriage, in a white dress, in a house with a husband and three kids. That this is love. That this is fulfillment. That this is natural. That this is what YOU should want and it is what you need.

But if we are being serious, there’s no inherent reason for a man and a woman to be together. Heterosexuality isn’t some divine truth, it’s a construct, a tool of control, designed to uphold a patriarchal system that thrives on women’s subjugation. It’s the invisible leash that keeps people trapped, convincing them that their desires, their futures, their very selves must conform to a life of servitude, serving a man, birthing more people to serve more men.

Marriage at its core, is coercion. Not just socially, but historically and legally. It was never about love. It was about ownership, about ensuring women remained dependent, about securing lineage and property for men. Even today in its supposedly “evolved” form, it still reeks of that same expectation of monogamy as a duty, of reproduction as a requirement, of sacrificing personal identity for the “sanctity” of a bond that has always served men more than women.

And what about children? The world doesn’t need more of them. Antinatalism exposes the truth that procreation is not a moral duty but an ethical dilemma. We don’t owe the world more people, in fact, with the state of things, climate collapse, economic instability, rising fascism, we owe it to ourselves not to participate in the cycle of suffering. But of course the nuclear family needs its sacrifices. The system needs fresh bodies to keep capitalism alive. So we are pressured, manipulated, gaslit into thinking that having children is an inevitability rather than a choice, one we were never meant to question. If you cannot comprehend the concept of anti natalism you have to rethink your life, even my hardcore Muslim mother can understand it.

What about gay marriage? Same-sex marriage is a hard-fought and deeply meaningful right for many, it still exists within the larger framework of marriage as an institution of control. The fight for marriage equality wasn’t just about the right to marry, it should have also been about questioning why marriage is necessary for basic rights like stability, protection and legal recognition. Homosexuals have always found ways to build love, family and community outside of traditional structures and we deserve systems that honor those connections without forcing us to conform to an outdated institution. Love doesn’t need state validation to be real and the fact that marriage remains the ultimate legitimization of commitment shows just how deeply ingrained this illusion is.

None of this is inevitable. None of this is natural. It’s all a structure, a narrative forced upon us from birth. And if we can be programmed to believe in the heterosexual fairy tale, then we can unlearn it, reject it and build something better. Because we deserve more than the life we were told to settle for.

We must dismantle the patriarchy, tear down the institutions that keep us bound with patriarchy and males, we must build something that was never meant to serve men, but to serve us.

[jcmarchi]

Training AI Agents in Clean Environments Makes Them Excel in Chaos

New Post has been published on https://thedigitalinsider.com/training-ai-agents-in-clean-environments-makes-them-excel-in-chaos/

Training AI Agents in Clean Environments Makes Them Excel in Chaos

Most AI training follows a simple principle: match your training conditions to the real world. But new research from MIT is challenging this fundamental assumption in AI development.

Their finding? AI systems often perform better in unpredictable situations when they are trained in clean, simple environments – not in the complex conditions they will face in deployment. This discovery is not just surprising – it could very well reshape how we think about building more capable AI systems.

The research team found this pattern while working with classic games like Pac-Man and Pong. When they trained an AI in a predictable version of the game and then tested it in an unpredictable version, it consistently outperformed AIs trained directly in unpredictable conditions.

Outside of these gaming scenarios, the discovery has implications for the future of AI development for real-world applications, from robotics to complex decision-making systems.

The Traditional Approach

Until now, the standard approach to AI training followed clear logic: if you want an AI to work in complex conditions, train it in those same conditions.

This led to:

Training environments designed to match real-world complexity

Testing across multiple challenging scenarios

Heavy investment in creating realistic training conditions

But there is a fundamental problem with this approach: when you train AI systems in noisy, unpredictable conditions from the start, they struggle to learn core patterns. The complexity of the environment interferes with their ability to grasp fundamental principles.

This creates several key challenges:

Training becomes significantly less efficient

Systems have trouble identifying essential patterns

Performance often falls short of expectations

Resource requirements increase dramatically

The research team’s discovery suggests a better approach of starting with simplified environments that let AI systems master core concepts before introducing complexity. This mirrors effective teaching methods, where foundational skills create a basis for handling more complex situations.

The Indoor-Training Effect: A Counterintuitive Discovery

Let us break down what MIT researchers actually found.

The team designed two types of AI agents for their experiments:

Learnability Agents: These were trained and tested in the same noisy environment

Generalization Agents: These were trained in clean environments, then tested in noisy ones

To understand how these agents learned, the team used a framework called Markov Decision Processes (MDPs). Think of an MDP as a map of all possible situations and actions an AI can take, along with the likely outcomes of those actions.

They then developed a technique called “Noise Injection” to carefully control how unpredictable these environments became. This allowed them to create different versions of the same environment with varying levels of randomness.

What counts as “noise” in these experiments? It is any element that makes outcomes less predictable:

Actions not always having the same results

Random variations in how things move

Unexpected state changes

When they ran their tests, something unexpected happened. The Generalization Agents – those trained in clean, predictable environments – often handled noisy situations better than agents specifically trained for those conditions.

This effect was so surprising that the researchers named it the “Indoor-Training Effect,” challenging years of conventional wisdom about how AI systems should be trained.

Gaming Their Way to Better Understanding

The research team turned to classic games to prove their point. Why games? Because they offer controlled environments where you can precisely measure how well an AI performs.

In Pac-Man, they tested two different approaches:

Traditional Method: Train the AI in a version where ghost movements were unpredictable

New Method: Train in a simple version first, then test in the unpredictable one

They did similar tests with Pong, changing how the paddle responded to controls. What counts as “noise” in these games? Examples included:

Ghosts that would occasionally teleport in Pac-Man

Paddles that would not always respond consistently in Pong

Random variations in how game elements moved

The results were clear: AIs trained in clean environments learned more robust strategies. When faced with unpredictable situations, they adapted better than their counterparts trained in noisy conditions.

The numbers backed this up. For both games, the researchers found:

Higher average scores

More consistent performance

Better adaptation to new situations

The team measured something called “exploration patterns” – how the AI tried different strategies during training. The AIs trained in clean environments developed more systematic approaches to problem-solving, which turned out to be crucial for handling unpredictable situations later.

Understanding the Science Behind the Success

The mechanics behind the Indoor-Training Effect are interesting. The key is not just about clean vs. noisy environments – it is about how AI systems build their understanding.

When agencies explore in clean environments, they develop something crucial: clear exploration patterns. Think of it like building a mental map. Without noise clouding the picture, these agents create better maps of what works and what does not.

The research revealed three core principles:

Pattern Recognition: Agents in clean environments identify true patterns faster, not getting distracted by random variations

Strategy Development: They build more robust strategies that carry over to complex situations

Exploration Efficiency: They discover more useful state-action pairs during training

The data shows something remarkable about exploration patterns. When researchers measured how agents explored their environments, they found a clear correlation: agents with similar exploration patterns performed better, regardless of where they trained.

Real-World Impact

The implications of this strategy reach far beyond game environments.

Consider training robots for manufacturing: Instead of throwing them into complex factory simulations immediately, we might start with simplified versions of tasks. The research suggests they will actually handle real-world complexity better this way.

Current applications could include:

Robotics development

Self-driving vehicle training

AI decision-making systems

Game AI development

This principle could also improve how we approach AI training across every domain. Companies can potentially:

Reduce training resources

Build more adaptable systems

Create more reliable AI solutions

Next steps in this field will likely explore:

Optimal progression from simple to complex environments

New ways to measure and control environmental complexity

Applications in emerging AI fields

The Bottom Line

What started as a surprising discovery in Pac-Man and Pong has evolved into a principle that could change AI development. The Indoor-Training Effect shows us that the path to building better AI systems might be simpler than we thought – start with the basics, master the fundamentals, then tackle complexity. If companies adopt this approach, we could see faster development cycles and more capable AI systems across every industry.

For those building and working with AI systems, the message is clear: sometimes the best way forward is not to recreate every complexity of the real world in training. Instead, focus on building strong foundations in controlled environments first. The data shows that robust core skills often lead to better adaptation in complex situations. Keep watching this space – we are just beginning to understand how this principle could improve AI development.

[femmefatalevibe]

Femme Fatale Guide: 15 Essential Business Skills Everyone Should Master

Articulate, confident communication

Crafting effective, compelling pitches

Operating and communicating through a solution-oriented framework

Research of all types (Google, market research, studies, polls, interpersonal conversations, etc.)

Learning how to streamline, edit, and organize information in a clear and logical way

Accumulating high-level working knowledge/proficiency in all tools and programs directly related to your type of work/industry

Budgeting and financial optimization (investment, tax benefits, etc.)

Reading and interpreting legal contracts/documents

Setting rates, boundaries, and learning when/how to delegate

Good posture, direct eye contact, and a firm handshake

Building streamlined systems for onboarding, different repeat project scopes/workflows, and KPI measuring

The art of following up, listening to (potential) clients' needs, asking thoughtful questions, and benefit-oriented salesmanship

Consistently reading, learning, and studying current events/cultural platforms/industry and field-related knowledge

How to spot customer/client/business partner red flags

Self-management, task/project prioritization, and optimization of your personal energy clock + levels

[jude457]

So I’ve been getting a lot of asks lately questioning my characterisation of Inho, and I figured it’s time I just lay it all out. Here’s how I personally interpret his character, and how I view his relationship with Gihun.

To me, Inho is a deeply broken and traumatised person. Not just morally conflicted, but someone who’s spent years building a carefully controlled facade. Underneath the precision and control is someone who harbors a deep resentment for humanity, a philosophy born from intense personal suffering and emotional isolation.

Returning to the Games to become the Frontman wasn’t a power grab—it was a form of emotional self-destruction. A kind of psychological self-harm. He built an identity where he could carry out the unthinkable by pretending it wasn’t really him doing it. He’s compartmentalised so heavily that he views the Frontman and Inho as separate people. A shield. A way to detach from the horrors he’s enforcing. Inho is the man behind the trauma; the Frontman is the role he steps into so he can function within a system that destroyed him. It’s all about control and surviving by suppressing what’s left of his humanity.

His relationship with the VIPs is not one where they are equals or where there is an inkling of respect—far from it. While Il-nam was a peer to them, Inho has always been a player. Player 132. Just another body who survived. To the VIPs, he’s not a partner in their cruelty—he’s a well-dressed dog they keep on a leash. I headcanon their relationship as one that’s exploitative, abusive, and dehumanising. They exert control over him in every way, including sexually, because they don’t see him as a person, just a tool. Just dirt.

And Inho survives that, too, by dissociating. He tells himself it’s happening to the Frontman. That this is the price of keeping them entertained. Keeping them happy. He can endure anything if he keeps believing it isn’t really happening to him.

And then there’s Gihun.

Gihun is the one person who disrupts all of that. He’s proof that pain doesn’t have to rot you from the inside out. That empathy and defiance can survive. Gihun becomes this accidental mirror to Inho’s own buried innocence—something I like to believe Young-il represents. A ghost of who he used to be. The version of him that might have believed in people before everything broke. And without meaning to, Gi-hun speaks to that part of him. Gi-hun becomes the embodiment of an idea Inho no longer believes in: that suffering doesn’t always destroy, that people can still choose kindness in hell.

Which brings me to their relationship.

I love the idea that their dynamic flips post-canon. Gihun, after everything he’s been through, carries this weight of grief and guilt for the people he couldn’t save. He becomes quieter, more guarded. Meanwhile, Inho—freed from the mask—starts to feel again. He’s almost childlike in how he approaches love, like someone experiencing it for the first time. He’s giddy, awkward, overwhelmed. There’s a tenderness to him that he’s terrified to express but desperate to hold onto.

But that tenderness—what Inho starts to feel around Gihun—it terrifies him. Because it’s unfamiliar. It’s fragile. And deep down, he doesn’t believe he deserves it.

Inho is someone who has learned to equate intimacy with danger. Submission, control, violence—those are the currencies he knows. Love? That’s alien. And more than that, it feels like a trap. So as their bond deepens, he does something tragic: he tries to twist it. To make Gi-hun hurt him. To turn their closeness into punishment.

He’ll push. He’ll provoke. He’ll offer himself up not as a man who wants love, but as one who wants to be used. Because that, at least, he understands. That, at least, makes sense in the broken framework he’s built to survive. If Gihun hurts him, then maybe the guilt becomes manageable. Maybe it justifies everything Inho has done. Maybe it makes it easier to believe he can’t be forgiven.

But the tragedy is—Gihun won’t play into that script.

Gihun sees the cracks. He sees the pain beneath the bravado. And even though he’s carrying his own unbearable grief, he refuses to become Inho’s executioner. He won’t give him that out. He doesn’t offer redemption through punishment—but through presence. Through patience. Through refusing to stop seeing him.

He touches Inho with intention, with care. And that’s what makes it so much harder. Because being touched gently doesn’t just feel unfamiliar—it feels dangerous. His body remembers what he worked so hard to forget. Every soft moment risks unearthing something he locked away.

Sometimes Inho flinches at things that aren’t threats. Sometimes he pulls away when he wants nothing more than to lean in. Sometimes Inho weeps and doesn’t know why. Sometimes he shakes under the weight of a kiss. Sometimes he begs without words for it to stop—not because it hurts, but because it doesn’t. And that makes it harder than anything. And sometimes—worst of all—he tries to recreate the conditions of his own abuse. He offers himself up like he’s disposable, hoping Gihun will use him. Hurt him. Confirm his worthlessness.

Because if someone like Gihun—someone who has every reason to walk away—can still choose to stay, to try, then maybe Inho has to face the scariest truth of all: that love might not be something he has to earn through suffering. That maybe—just maybe—he’s still capable of being loved as he is.

While I do enjoy reading bottom!Gihun/top!Inho dynamics (and there’s some really great writing out there that explores that side of them in compelling ways), when it comes to how I personally write them, I’ll always lean toward Inho as the bottom.

For me, it’s not just about preference—it’s about what it means for his character.

Inho is someone who’s spent so much of his life exerting control or being controlled in dehumanising, painful ways. His entire existence—especially as the Frontman—has been defined by rigidity, repression, and survival. So when I write him as the one giving up control, it’s not about dominance or submission in a traditional sense—it’s about catharsis.

It’s about him choosing to be vulnerable. About letting someone else take the lead not to hurt him, not to punish him, but to give him something. To care for him. To make him feel good. That, in itself, is radical for someone like him.

To be at the mercy of someone else—not for violence, but for pleasure—is the clearest way I can express how his relationship with Gihun is healing. It’s not about erasing his trauma. It’s about rewriting the narrative. About allowing his body to become a place of comfort, safety, and intimacy again.

[thydungeongal]

In retrospect skill challenges were kind of the worst part of D&D 4e and it's actually kind of a blessing that they sucked.

Like I'm not fundamentally opposed to the idea of out-of-combat minigames, but the model of "players narrate things their characters do and roll checks that make an abstract meter go up and once the meter fills they win" isn't actually the way to make out-of-combat activities feel engaging. And it's ironic that the devs of 4e doubled down on needing to have skill challenges be the framework under which out-of-combat activities worked in 4e, because D&D 4e had in its very first Player's Handbook a perfectly serviceable set of skills with codified uses and interactions that in and of themselves provided enough of a toolkit for the DM to build interesting challenges that allowed for expressions of system mastery using those tools. They could've simply done more with them.

Anyway I like it when a game tells me "with an Athletics check of this DC your character jumps THIS MANY feet" because then it makes me go "how do I optimize my character for jumping"

[thewriteadviceforwriters]

Hello! I've been getting more and more tips for writing thanks to your post about character flaws in my FYP. I was wondering, do you have any posts about character strengths/virtues? Thanks!

Rin's Character Strengths Masterpost ✨

Hey there, fellow writer! 💖 So glad my character flaws post found its way to you! You've asked about one of my FAVORITE topics to explore - character strengths and virtues! And guess what? I've been meaning to write this companion piece for ages, so THANK YOU for the nudge!

Let's dive DEEP into character strengths that go beyond the basic "brave protagonist" or "loyal sidekick" tropes we see everywhere in fiction. Because memorable characters need memorable strengths!

Why Character Strengths Matter Just As Much As Flaws

We often focus SO much on giving characters interesting flaws (which, yes, super important!), but their strengths are what make readers root for them and fall in love with their journey. Strengths are what make your character SHINE in those pivotal moments! ✨

The key is making these strengths SPECIFIC, NUANCED, and sometimes even PROBLEMATIC. Yes, strengths can cause problems too - that's where the juicy storytelling happens!

Beyond-Basic Character Strengths for Your Characters

1. CONTEXTUAL COURAGE 🔥

Not just "bravery" but courage that manifests in specific contexts:

Social courage (standing up to peer pressure)

Intellectual courage (questioning deeply held beliefs)

Physical courage despite specific fears

Quiet courage (the kind that doesn't look heroic but IS)

Moral courage (doing the right thing when it costs them personally)

Creative courage (risking failure and ridicule for their art/ideas)

2. RADICAL EMPATHY 💭

Not just "understanding others" but:

The ability to understand even villains' motivations

Cross-cultural empathy that bridges different backgrounds

Empathy that extends to those completely unlike themselves

Empathy that causes them to make difficult choices others wouldn't

Empathy that allows them to anticipate others' needs before they're voiced

Empathy for those society has taught them to fear or distrust

3. ADAPTIVE INTELLIGENCE 🧠

Not just "being smart" but:

Pattern recognition in chaotic situations

Intuitive problem-solving under pressure

Cultural adaptability when thrust into unfamiliar environments

Emotional intelligence that helps navigate complex relationships

Street smarts that complement (or replace) formal education

The ability to translate complex concepts for different audiences

4. CREATIVE RESILIENCE 🌱

Not just "bouncing back" but:

Finding unconventional solutions to setbacks

Using humor as a coping mechanism during dark times

Transforming trauma into strength without romanticizing it

Building community resilience, not just personal

Learning from failures rather than being crushed by them

Maintaining hope in seemingly hopeless situations

5. PRINCIPLED FLEXIBILITY 🌊

Not just "having values" but:

Knowing which principles to bend and which to hold firm

Adapting moral frameworks to new information

Navigating ethical gray areas without losing their core

Growing their values through experience rather than rigidity

Finding compromise without betraying essential beliefs

Recognizing when rules must be broken for a greater good

6. DISRUPTIVE KINDNESS ❤️

Not just "being nice" but:

Kindness that challenges systems of oppression

Unexpected kindness that changes enemies' perspectives

Kindness as a radical choice in brutal environments

Kindness that requires genuine sacrifice

Kindness that sees beyond surface behaviors to underlying needs

Kindness that doesn't expect recognition or reciprocation

7. CONSTRUCTIVE SKEPTICISM 🔍

Not just "questioning things" but:

The ability to discern truth from manipulation

Healthy doubt of authority without cynicism

Critical thinking that leads to solutions, not just criticism

Questioning their own assumptions first

Seeking multiple perspectives before forming judgments

Recognizing patterns of deception or misinformation

8. STRATEGIC VULNERABILITY 💧

Not just "being open" but:

Knowing when vulnerability creates connection

Sharing weaknesses to build trust at critical moments

Using personal stories to help others feel less alone

Admitting mistakes to model growth for others

Asking for help when independence would be destructive

Showing emotion strategically to influence outcomes

The Strength Spectrum: Make It Complex!

Remember that any strength exists on a spectrum! The most interesting characters have strengths that sometimes function as weaknesses depending on the context.

For example:

Loyalty becomes enabling when taken too far

Curiosity becomes recklessness in dangerous situations

Honesty becomes cruelty without empathy

Ambition becomes destructive when ethics are compromised

Compassion becomes self-destruction without boundaries

Independence becomes isolation when connection is needed

Confidence becomes arrogance without self-reflection

Cautiousness becomes paralysis when action is required

Strengths in Character Arcs 📈

The MAGIC happens when you show how strengths evolve throughout your story:

The Dormant Strength - A character doesn't know they possess it until circumstances force it out

The Misused Strength - They have the strength but are applying it in harmful ways

The Costly Strength - Using this strength requires genuine sacrifice

The Transformative Strength - This strength fundamentally changes who they are

The Shared Strength - They teach/inspire this strength in others

The Rediscovered Strength - A strength they lost faith in that returns when most needed

The Evolving Strength - A strength that changes form as the character grows

The Collaborative Strength - A strength that only emerges when combined with another character's abilities

Writing Exercise for You! 📝

Take your protagonist and identify:

One strength they've always had and rely on

One strength they don't know they have yet

One strength that's actually causing problems

One strength they'll need to develop to overcome the main conflict

One strength they admire in someone else

One strength they've lost and need to reclaim

Genre-Crossing Character Strengths

These strengths work across ALL genres:

Perceptive Pattern Recognition - Seeing connections others miss

Adaptive Authenticity - Remaining true to themselves while evolving

Constructive Conflict Navigation - Using disagreement to build stronger relationships

Radical Responsibility - Owning their part in problems without self-flagellation

Generative Listening - Hearing beyond words to underlying meanings

Intentional Impact Awareness - Understanding how their actions affect others

Courageous Vulnerability - Risking rejection for authentic connection

Principled Pragmatism - Finding workable solutions that honor core values

Remember that in ANY genre, your character strengths should connect to their internal journey as much as their external conflicts. The most compelling characters have strengths that are tested, lost, rediscovered, transformed, and ultimately deepened through their story arc. 🌟

The most powerful character strengths aren't superpowers or extraordinary abilities - they're deeply human qualities taken to their most compelling expression. They're the things we recognize in ourselves but rarely develop fully. That's why they resonate so deeply with readers across all genres and age categories.

Hope this helps you craft characters with rich, nuanced strengths! Let me know if you want me to dive deeper into any of these - I could talk character development ALL DAY! 💖

~ Rin. T.