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zedecksiew · 3 years ago

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Kriegsmesser

When I received Kriegsmesser in the mail I finally googled "kriegsmesser", and found out it meant "war knife". Which makes sense; Gregor Vuga's ZineQuest 2021 project is a tribute to "roleplaying games named after medieval weapons".

I love Warhammer Fantasy Roleplay's piss-renaissance Old World setting. I tend to pick up WFRP-a-likes sight unseen:

Warlock (quality);

Small But Vicious Dog (yesss);

Zweihander (which I have come to hate); etc.

Anyway: I backed Kriegsmesser without really knowing anything about it. So Kriegsmesser surprised me.

Kriegsmesser grew out of a Troika! cutting. Its 36 backgrounds are compatible with that system: each come with a couple of lines of description; a list of skills and possessions; an a visual cameo cropped from actual 16th-Century woodcut art.

Cohesive and competently flavourful. My favourite is the Labourer, who always starts with "an empty pine box":

"You've spent your life breaking your back, working hard for other people's profit. You have nothing to show for it but a spectre of the future."

(The obligatory ratcatcher-analogue , called the Vermin Snatcher, is here -- check that box!)

Kriegsmesser also comes with its own ruleset. Hits all the notes it needs to, with lots of orientation and advice for how to run a game -- but ultimately super-simple, mechanically:

Roll d6s equal to the value in a relevant skill, look at the highest result. 6 means you get what you want; 5 or 4 means you get what you want, at a cost.

It's not quite a dice pool, since only the highest result matters. No opposed tests.

Kriegsmesser intends to have this base mechanic handle fights, too. The combat rules - with armour, toughness and weapon values -- are nested in an optional section.

For a WFRP-a-like, this feels like a purposeful departure.

Many of WFRP's most celebrated adventures are celebrated for bits that their underlying ruleset does little to support: the investigative structure of "Shadows Over Bogenhafen"; the complicated timetable of "Rough Night At Three Feathers".

Ludwig von Wittgenstein never needed a statblock to be memorable.

Not to say that lethal, hyper-detailed fights isn't super Warhammer-y. (Kriegsmesser includes an injury table, broken down by body-part -- check that box!)

But here it feels like Gregor is saying: "I'm not Games Workshop and Roleplay isn't an ancillary of Warhammer Fantasy Battle; we can evoke grim-and-perilous-ness even if we fork away from heavy combat rules."

It has become ritual for me to read my partner Sharon to sleep.

Sometimes I read her RPG things. The other night, after I read her Kriegsmesser's introduction --

" The Empire wages an eternal war against Chaos. Its priests preach of Chaos as an intrusion, something unnatural ... These men see Chaos in anything that does not buttress their rule. They call it disorder, anarchy, corruption. They say that to rebel against their order is to rebel against god and nature. That the current arrangement is natural, rather than artificial.

" Meanwhile, the common people look to the Empire to deliver the justice that they were promised and they find none. They look to the Empire and do not see themselves reflected in it. They look around at what they were taught was right and good and see only misery.

" Their world begins to unravel. Chaos comes to reside in every heart and mind sound enough to look at the world and conclude it is broken. "

-- Sharon remarked: "Nice one."

The RPG things I read her generally leave Sharon lukewarm. She has enjoyed a couple -- but, yeah: for many of these books, text isn't their strong point.

Kriegsmesser is the only time I can recall Sharon praising the writing of an RPG book without my prompting.

Nice one.

That introduction surprised me. It underlines Kriegsmesser's biggest departure from its WFRP-a-like pedigree: how it characterises Chaos.

Corruption, a mainstay of most grim-dark-y games, is made an optional rule, like combat. Explaining this, Gregor writes:

" Kriegsmesser partially subverts or deconstructs the traditional conceit of Warhammer where the characters are threatened by the forces of Chaos. In this game it is the player characters who are the agents of 'Chaos': they are likely to become the 'rats' under the streets, and the wild 'beast-men' in the woods bringing civilisation down. It's the Empire and its nobles and priests that are corrupt ... "

Describing the Empire, Gregor writes:

" The Empire encompasses the world yet is terrified of the without. It enforces itself with steel and fire yet considers itself benevolent. It consumes the labour of others with bottomless hunger yet calls its subalterns lazy, or wasteful, or greedy. "

Holy shit this is the first time I've seen the word "subaltern" in an RPG thing, I think?

I love this.

Rant incoming:

With every passing decade Warhammer abridges its Moorcockian roots more and more; nowadays it is "Order = Good" and "Chaos = Evulz", pretty much.

Gone are the days when chaos berserkers are implied to grant safe passage to the helpless (because Khorne is as much a god of martial honour as he is a god of bloodletting); Or that the succor of Papa Nurgle is a genuine comfort to the downtrodden; Or that Tzeentch could unironically embody the principle of hope, of change for the better.

As Chaos is distilled into unequivocal villainy, Order goons get painted as Good Guys by default --

Giving rise to Warhammer's contemporary problem, wherein fans are no longer able to recognise satire.

When I was introduced to 40K, it seemed pretty clear that the Imperium was a Brazil-esque absurdist-fascist bureaucratic state: planets are exterminatus-ed due to clerical error; the way it stamps out rebellions is the reason why rebellions begin in the first place.

Tragi-comic grimdarkness. That was the point.

Nowadays that tone has shifted -- and you're more likely than not going to encounter a 40K fan who argues that the Imperium's evils are a justified necessity, to prevent worse wrongs.

We went from:

"Space Nazis because insane dumbass fuckery, also chainswords vroom vroom rule of badass!"

To:

"Space Nazis because it makes sense actually, and also chainswords make sense because [insert convoluted rationalisation here]."

Even Fantasy Flight's Black Crusade line, which ostensibly offers a look at 40K from the perspective of Chaos, never truly commits to its conceit.

With prep you could play a heroic band of mutant freedom fighters, resisting the tyranny of the Evil Imperium --

But I don't remember Black Crusade giving that kind of campaign any actual support. Its supplements service the relatively more conventional "You can play villains!" angle; the Screaming Vortex is a squarely Daemons-vs-Daemons setting.

This tonal drift culminates, in my mind, with Age of Sigmar, Games Workshop's heroic-fantasy replacement of the old WFRP / WHFB setting.

Here's the framing narrative for AoS's recently-launched Third Edition. Let's see whether I've got things right:

A highly professionalised, technologically-superior tip-of-the-spear fighting force (the Stormcast Eternals);

Backed by an imperialist military-industrial complex (Azyrheim);

"Liberating" rich new territories (Ghur) for exploitation by a civilised settler culture (Settlers of Sig-- I mean, Free Cities);

Justified because the locals are irredeemable heathens (Chaos and Kruleboyz).

I mean, that's a sweet-ass Warhammer setting. It's contemporary, laser-guided lampoon. Except it is played totally straight.

In AoS, a literal crusade is justified as the moral good.

I think Kriegsmesser surprised me because its framing of Chaos -- as a promise, as the light of hope shining through cracks of a broken world --

It feels so fucking right.

Yes: its a subaltern deconstruction of the conventional moral universe of Warhammer -- but it is a take that is also already implied / all but supported in the various depictions of the setting: from WFRP to the modified title-crawl of Black Crusade.

I'm annoyed I didn't think of it, myself. Damn you, Gregor!

And I'm annoyed that more Warhammer fans aren't thinking it, also.

lmagine if Kriegsmesser's perspective stood on equal standing as the GW orthodoxy. Imagine if, instead of simplifying stuff into "Order = Good" and "Chaos = Evulz", GW did a Gregor Vuga.

You'd have a Rashomon-ed Warhammer, where villainy depends on perspective:

You are fearful villagers, huddled around your priest, muttering prayers against the wild braying coming from the trees beyond your gates.

You are Aqshyian tribeswomen, defying the thunder warrior towering over you, the foreigner demanding you bow to his foreign god.

You are a Tzeentchian revolutionary cell, desperately trying to disrupt a Inquisitor's transmissions so your home planet isn't destroyed by fascist orbital fire.

Get Kriegsmesser HERE.

+++

( Image sources: https://theenemywithinremixed.wordpress.com/2021/05/21/thoughts-on-the-4e-death-on-the-reik/ https://www.criterion.com/current/posts/59-brazil https://www.deviantart.com/faroldjo/art/Warhammer-40k-Black-Crusade-273596035 https://www.warhammer-community.com/2021/06/09/fancy-a-new-life-bringing-order-to-the-mortal-realms-join-a-dawnbringer-crusade-today/ https://www.nme.com/blogs/the-movies-blog/team-america-15-anniversary-south-park-2558750 https://commons.wikimedia.org/wiki/File:Palestinian_children_and_Israeli_wall.jpg )

#reviews #kriegsmesser #gregor vuga #warhammer #writing #rants #overthinking #rpgs #wfrp

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comic-bucky · 4 years ago

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Golden Age

Captain America Comics (1941) #1-78

All-Winners Comics (1941) #1-21

Young Allies Comics (1941) #1-20

USA Comics (1941) #6-17

Kid Komics (1943) #2-10

All-Select (1943) #1-10

Complete Comics (1944) #2

Mystic Comics (1944) #4

Young Men (1950) #24

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Silver Age

The Avengers (1963) #4, #56, #106-107, #277, #387, Annual #16

Sgt. Fury (1963) #13

Tales of Suspense (1964) #63-71, #75, #82, #95

Captain America v1 (1968) #105, #107, #109, #112, #121, #128, #131-132, #139, #162, #176, #215, #219-220, #227, #253, #255-157, #261, #264, #281, #294, #297-299, #326, #349-350, #372, #383-384, #423, #437, #441, #445, #447-448

Captain America Annual (1970) #1, #6, #9, #13

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Bronze Age

The Invaders (1975) #1-31, #38-39, Annual #1

Captain America's Bicentennial Battles (1976)

Marvel Premiere (1972) #29-30

What If..? (1977) #1, #4, #5

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Modern Age

What If..? v2 (1989) #28, #105, #200

Adventures of Captain America (1991) #1-4

Captain America: Medusa Effect (1994)

War Machine (1994) #15-17

Batman/Captain America (1996)

Deadpool v1 (1997) #0, #61

Captain America/Citizen V (1998)

Captain America: Sentinel Of Liberty (1998) #7, #12

Fantastic Four (1998) #569, #584, #588

Domination Factor: Avengers (1999) #2.4, #3.6

Earth X (1999) #0-1, #4, #10

Universe X (2000) #9, #X

Universe X Special: Cap (2001) #1

Paradise X (2002) #0-1

Captain America v3 (1998) #1, #12, #25, #32, #39, #48, #50, Annual 2001

Captain America/Nick Fury: The Otherworld War (2001)

The Ultimates v1 (2002) #1, #3, #7

The Ultimates v2 (2005) #1, #8

Ultimate Avengers (2009) #2, #6

The New Invaders (2004) #2

Captain America v4 (2002) #10, #17, #19-20, #26

Captain America: 65th Anniversary Special (2006) #1

Captain America Comics 70th Anniversary Special (2009) #1

Captain America Comics 70th Anniversary Special (2011) #1

Cable & Deadpool (2004) #45

Captain America v5 (2005) #1-50

Winter Soldier: Winter Kills (2007)

Young Avengers Presents (2008) #1

Punisher War Journal (2007) #11

Fallen Son: Wolverine (2007)

Wolverine: Origins (2006) #15-20, #23, #25, #30

Civil War: Battle Damage Report (2007) #1

Iron Man/Captain America: Casualties of War (2007) #1

Secret Invasion (2008) #4, #6-8

What If? Secret Invasion (2010) #1

Avengers/Invaders (2008) #1-12

House of M: Civil War (2008) #3-4

What If? House Of M (2009) #1

Mythos: Captain America (2008) #1

Invincible Iron Man v1 (2008) #17, #20-22, #501

Incredible Hulk v2 (2009) #601, #607, #609

Nomad: Girl Without a World (2009) #1, #4

Ms. Marvel v2 (2006) #41-42

Ms. Marvel: War of the Marvels (2009) #1

Agents of Atlas (2009) #3-5

New Avengers (2009) #48-64, Finale

The Amazing Spider-Man v1 (2009) #600-601, #637, #648, #661

Wolverine (2003) #38-40, #72-74

Young Allies: 70th Anniversary Special (2009)

The Marvels Project (2009) #7-8

Avengers: The Initiative (2007) #19, #34-35

Dark Reign: The List - Avengers (2009) #1

Captain America v1 (2009) #600-619

Captain America: Reborn (2009) #1-6

Captain America: Who Will Wield The Shield? (2010)

Siege (2010) #2-4

Siege: Captain America (2010) #1

Steve Rogers: Super Soldier (2010) #1

Dark Wolverine (2009) #84

Avengers v4 (2010) #1-7, #10, #12.1, #16

Avengers vs. Pet Avengers (2010) #1-4

I am An Avenger (2010) #2, #4-5

Free Comic Book Day: Avengers (2009) #1

AAFES 7th Edition (2009) #7

AAFES 9th Edition (2010) #9

Wolverine: Weapon X (2010) #12-15

Avengers vs. Atlas (2010) #1, #4

Dark Avengers Annual (2010) #1

Hawkeye & Mockingbird (2010) #1

Age of Heroes (2010) #1

Invaders Now! (2010) #1-5

World War Hulks (2010) #1

World War Hulks: Captain America vs Wolverine (2010) #1-2

Captain America The 1940s Newspaper Strip (2010) #1-3

Captain America: Forever Allies (2010) #1-4

Black Panther/Captain America: Flags of Our Fathers (2010) #4

Black Widow: Deadly Origin (2010) #1-4

Black Widow v4 (2010) #1-6

Chaos War (2010) #1, #5

Chaos War: Dead Avengers (2011) #1, #3

Heroes for Hire v3 (2011) #9-10

Fear Itself (2011) #3-4

Fear Itself: Captain America (2011) #7.1

Fear Itself: The Worthy (2011) #1

All-Winners Squad: Band of Heroes (2011) #1-5

Captain America and Falcon (2011) #1

Captain America: A Little Help (2011) #1

Captain America Corps (2011) #1-5

Captain America and Bucky (2011) #620-624

Captain America: Hail Hydra (2011) #1-2, #5

Captain America v6 (2011) #1-2, #19

The Winter Soldier (2012) #1-19

Marvel Zombies Destroy (2012) #1-5

Secret Avengers v1 (2010) #15

Secret Avengers v2 (2013) #9, #16

Captain America v7 (2013) #6, #13, #20

Winter Soldier: The Bitter March (2014) #1-5

Marvel 75th Anniversary Celebration (2014) #1

All-New Marvel Now! Point One (2014) #1

All-New Invaders (2014) #1-15

Original Sin (2014) #1-8

Bucky Barnes: The Winter Soldier (2014) #1-11

Black Widow v5 (2014) #8, #12, #15, #17-18

Planet Hulk (2015) #1-5

Runaways v4 (2015) #1-4

1602 Witch Hunter Angela (2015) #1

1872 (2015) #1-2

Red Skull (2015) #1-2

Civil War (2015) #1-4

Captain America: White (2008) #0-5

Captain America: Sam Wilson (2015) #7-8

Loki: Agent of Asgard (2014) #12

A-Force v1 (2015) #5

POP Secret Avengers: A Tussle in Time (2016)

Thunderbolts (2016) #1-12

Captain America: Steve Rogers (2016) #1-2, #4, #11-13, #16, #18

All-New, All-Different Avengers (2015) #8-9

Avengers Standoff: Welcome to Pleasant Hill (2016) #1

Avengers Standoff: Assault On Pleasant Hill Alpha (2016) #1

Avengers Standoff: Assault On Pleasant Hill Omega (2016) #1

Black Widow v6 (2016) #9-10

Captain Marvel v6 (2016) #8

Agents of S.H.I.E.L.D. (2016) #8

A Year of Marvels: July Infinite Comic (2016) #1

Generations: Sam Wilson: Captain America & Steve Rogers: Captain America (2017) #1

Secret Empire (2017) #0, #2, #4-5, #8-10

Secret Empire: Brave New World (2017) #1-2, #4-5

Secret Empire Omega (2017) #1

Tales of Suspense v2 (2017) #100-104

Captain America v8 (2017) #25, #695, #701

Captain America v9 (2018) #1, #5-7, #12, #19-21

The Punisher v8 (2016) #227-228

The Punisher v9 (2018) #5

Old Man Hawkeye (2018) #6, #8

The Unstoppable Wasp (2018) #7-10

Rise of the Black Panther (2018) #3

Captain America Annual (2018) #1

Winter Soldier (2018) #1-5

Invaders (2019) #1-12

War of the Realms (2019) #3-5

War of the Realms - Strikeforce: The War Avengers (2019) #1

Strikeforce (2019) #1-9

Web of Black Widow (2019) #2, #5

Deadpool v5 (2018) #13

Gwenpool Strikes Back (2019) #3

Captain Marvel v8 (2019) #6

Uncanny X-Men (2019) #11

Marvel Comics (2019) #1000-1001

Marvel Comics Presents (2019) #7

History of the Marvel Universe (2019) #2, #5

Avengers: Save Like A Hero (2019) #1

Captain America & The Invaders: Bahamas Triangle (2019) #1

Spider-Woman v6 (2020) #1

Amazing Spider-Man (2020) #38

Ruins of Ravencroft: Dracula (2020) #1

Hawkeye: Freefall (2020) #1, #4

Falcon & Winter Soldier (2020) #1-5

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Other Bucky reading guides *work in progress*

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updated 12/08/20

#reading guide #bucky barnes #winter soldier #comic bucky #some of them are cameos but they are great #the other guides are coming one of these days

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bookgeekgrrl · 4 years ago

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Soundtracks this week (4-Apr-21)

PODCASTS

The Atlas Obscura Podcast - The Root Bridges of Cherrapunji

Footnoting History - Anne Neville and the Wars of the Roses

Fated Mates: A Romance Novel Podcast - S03.33: Age Gap Romance Interstitial

Song Exploder - Lianne La Havas - “Can't Fight”

The Atlas Obscura Podcast - Hope Cemetary

The Atlas Obscura Podcast - Pyramiden

The Atlas Obscura Podcast - Grasshopper Glacier

MUSIC

Jurassic Park

📺 Relaxing Music with Sea Turtles in Hawaii with | Great Escapes

'80s Breakdance

Jesus Christ Superstar (2012 Digitally Re-Mastered Edition) - The Original Studio Cast, 1970

Jesus Christ Superstar (Remastered 2005) - 1996 London Cast - Alice Cooper as Herod

Jesus Christ Superstar (2000 New Cast Soundtrack Recording) - 2000 London Cast

Jesus Christ Superstar Live in Concert (Original Soundtrack of the NBC Live Event) - 2018 Original Television Cast - back again to Alice for Herod

Jesus Christ Superstar (20th Anniversary London Cast Recording (1992))

📺 🚀 Spaceship Sleep Quarters, Starship in Space Journey with Rumbling White Noise Engine Sound

Essential New Wave

📺 Garden Pond Indoors with Nature Sounds, Water Sounds and Spring Singing Birds for Relaxation

Julie and the Phantoms: Season 1

Huge Hits

📺 🌴 Tropical Island View with Beautiful White Sand Beach, Relaxing Ocean Waves and Waving Palm Trees

Trav'lin' Light [Queen Latifah]

Put a Little Spring in Your Step

Presenting Lizzo

📺 Dominican Beach with Waves Rolling - Natural Background With Ocean Sounds

Lianne La Havas

Empire Records (Original Motion Picture Soundtrack) - in honor of Rex Manning Day, of course!

'90s One-Hit Wonders

📺 Tree House Ambience - Relaxing Gentle Rain Sounds & Fireplace Sounds to Sleep, Relax and Study

#bookgeekgrrl's soundtracks #for about 2 hours every day i am reading in my living room and i love to put on those background/ambiance videos #jesus christ superstar #julie and the phantoms #lizzo #lianne la havas #'90s music #song exploder #fated mates podcast #when i was growing up listening to JCS was how my mom celebrated easter #and while i don't care about zombie jesus day specifically #i do still quite like JCS #so i went all in #the og remains my number 1 fave #but i do like the nbc version and the 1992 cast #i really did not love the 2000 cast except rik mayall #the herods are usually all good tbh #atlas obscura podcast

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blogmovie343 · 3 years ago

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Age Of Empires 2 Definitive Edition 8gb Ram

Age Of Empires 2 Definitive Edition 8gb Ram Ddr3

Age Of Empires 2 Definitive Edition 8gb Ram 1500

Age of Empires II: Definitive Edition game details

About the Game Age of Empires II: Definitive Edition celebrates the 20th anniversary of one of the most popular strategy games ever with stunning 4K Ultra HD graphics, a new and fully remastered soundtrack, and brand-new content, 'The Last Khans' with 3 new campaigns and 4 new civilizations. Explore all the original campaigns like never before as well as the best-selling expansions, spanning. Age Of Empires 2 Free Download Overview. Age of Empires, with improved graphics, redesigned gameplay, and more. And therefore the very first thing to mention is that this publication was developed specifically for the 20th day of the series, and gained a bunch of innovations compared with the initial game. Age of Empires II: Definitive Edition is a 20th anniversary gift to the people who either grew up playing this wonderful RTS or who are looking to play a classic in stunning 4K. Set to release in fall 2019, players will need at least a GeForce GT 420, Radeon HD 6850 or Intel HD Graphics 3000 to pass the minimum GPU requirement.

Updated November 13, 2019:We are less than a day away from the release of Age of Empires II: Definitive Edition! Whether you're a returning player looking for a high dose of nostalgia or just looking for a 'new' RTS to try, AoE II: DE should be the perfect game for this weekend!The minimum video card requirements (GeForce GT 420 or a Radeon HD 6850 or an Intel HD Graphics 3000) are super easy to pass so even laptop gamers can enjoy!Age of Empires II: Definitive Edition is a 20th anniversary gift to the people who either grew up playing this wonderful RTS or who are looking to play a classic in stunning 4K. Set to release in fall 2019, players will need at least a GeForce GT 420, Radeon HD 6850 or Intel HD Graphics 3000 to pass the minimum GPU requirement. The game not only includes the original content from 20 years ago, but it also has 3 new campaigns and 4 new playable civilizations!

Request Anybody tried playing 'Age of empires - Definitive edition' on Surface pro 2017 (i5 with 8 GB RAM and 256 GB SSD) Request Close. Runs great on a 8-core i9 but also runs fine on a 4-core i5. 8 GB RAM works fine.

Here are the Age of Empires II: Definitive Edition System Requirements (Minimum)

Age Of Empires 2 Definitive Edition 8gb Ram Ddr3

CPU: Intel Core 2 Duo or AMD Athlon 64x2 5600+

CPU SPEED: Info

RAM: 4 GB

OS: Windows 10 64bit

VIDEO CARD: NVIDIA GeForce GT 420 or ATI Radeon HD 6850 or Intel HD Graphics 3000 or better

FREE DISK SPACE: 30 GB

Age of Empires II: Definitive Edition Recommended Requirements

CPU: 2.4 Ghz i5 or greater or AMD equivalent

CPU SPEED: Info

RAM: 8 GB

OS: Windows 10 64bit

VIDEO CARD: Nvidia GTX 650 or AMD HD 5850 or better

PIXEL SHADER: 5.0

VERTEX SHADER: 5.0

FREE DISK SPACE: 30 GB

DEDICATED VIDEO RAM: 1024 MB

Age Of Empires 2 Definitive Edition 8gb Ram 1500

Click here for the latest video card drivers

System Requirements Lab may earn affiliate commissions from qualifying purchases via Amazon Associates and other programs

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mobiblog463 · 3 years ago

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Age Of Empires 2 Definitive Edition Strategy Guide

Age Of Empires 2 Definitive Edition Strategy Guide Pdf

Age Of Empires 2 Definitive Edition Strategy Guided

Age Of Empires Definitive Edition Strategy

Hi there Age fans!

We’ve been watching some of your wonderful beta streams, and come to realize that no matter how good you are at the other Age games Age of Empires: Definitive Edition might take a little bit of getting used to! To help with that the best Age player on our team here at Microsoft Studios, Will McCahill, wrote up this list for you!

Age of Empires II: Definitive Edition – Lords of the West will be released on PC via Steam and the Microsoft store on January 26, 2021 for $9.99 / £7.99. It is available for pre-order right now. Steam - AoE2 Definitive Edition; Microsoft Store - AoE2 Definitive Edition; Steam - AoE2 HD (2013) www.voobly.com; www.gameranger.com; Upcoming Tournament Games. Community sites. Official Age of Empires Page. Official Age of Empires Discord. Forgotten Empires /r/aoe2 Discord.

Good luck everyone, and have fun playing!!

A Quick Reference for Age II HD Players Who Want to Play AoE: DE

Key differences: No starting scout – you only get 3 villagers. Use one of your villagers to scout at the start No garrisoning – you can’t hide your villagers in the event of an attack Loom – No equivalent early game upgrade in Age:DE, villagers are a little stronger though Houses support only four population – Unlike Age 2’s five No Palisade walls or equivalent – Walls cannot be made until they are researched at the granary starting in the Tool Age

Age of Empires II: Definitive Edition celebrates the 20th anniversary of one of the most popular strategy games ever with stunning 4K Ultra HD graphics, a new and fully remastered soundtrack, and brand-new content, “The Last Khans” with 3 new campaigns and 4 new civilizations. Age of Empires Definitive Edition is out right now on PC, giving players the chance to recapture (or capture for the first time) the intense action of this groundbreaking strategy game that.

Resources –

Granary: can only accept food from Berries and farms

Storage Pit: Accepts all wood, gold, and stone. Can only accept food from elephant, shore fish, crocodiles, lions and antelope.

Town Center: Any resource can be dropped off at the Town Center

Hunting: Gazelle (deer equivalent) spawn in larger groups and can be hunted efficiently

Farms: Aren’t available until a market is built. A market can’t be built until the tool age. Cost 75 wood each (compare to Age 2’s 60 wood each)

No Sheep or equivalent

Berries – Are the same!

Wolves – Replaced with lions and alligators. Villagers can kill lions and alligators 1 on 1 without upgrades if they throw the first spear (alligators are slow so you might want to micro your villager back a bit)

Boar – Replaced with elephants. Elephants have high DPS but are slower than a villager enabling you to kite.

Trees – Have a variable amount of wood. Generally, 40 wood per tree (compare to Age 2’s 100 wood)

Blacksmith upgrades are at the Storage pit – Upgrades are available starting in the Tool Age

Stone Age – Dark Age

Drush – Clubmen are only slightly stronger than villagers. It is rare to be able to do any real damage to your enemy until the tool age

Tool Age – Feudal Age

UpgradeCost – 500 food, same as AOE2

Market – Unlocked in the Tool Age (requires granary).

Required for farms

Has villager efficiency upgrades by resource type

Wood efficiency upgrade also improves archer range

Slingers – Strong anti-archer/anti-fortification unit that costs food and stone. Created at the barracks. Has no upgrade path meaning it’s strength peaks in the Tool Age. Generally used for rushes

Bronze Age – Castle Age

UpgradeCost – 800 food (no gold!)

Wheel – Critical upgrade from the Market that improves villager movement speed by 30% and unlocks chariots

Chariots/chariot archers – Very strong “trash” units in that they only cost food and wood to create. Chariots are created at the Stable. Chariot Archers at the Archery range

Chariot archers – upgrades for wood improve chariot archer range, other upgrades are at the storage pit

Chariots – Can be upgraded to scythe chariots (which are basically paladins with splash damage) in the Iron age

Swordsmen – Prior to Bronze, players have access to Clubmen and Axemen. Those units cannot be upgraded to Swordsmen. Short Swordsmen can be created at the Barracks starting in the Bronze age and have an upgrade path similar to AOE2 Militia.

Academy – Requires a stable. Strong and expensive infantry (Hoplite, Phalanx, Centurion) can be made at the academy

Government Center

If you are booming – this should be your first building in the Bronze age

Town Center – Government center is required to build a second town center (You can build them for just 200 wood! Much cheaper than AOE2)

Functions similar to a University

Logistics – Key upgrade for infantry focused civilizations. Makes barracks units cost only ½ of a population slot

Nobility – key upgrade for cavalry focused civilizations. Prerequisite to upgrade for scythe chariots

Iron Age – Imperial Age

Upgrade Cost – 1000 food, 800 gold, same as AOE2

Zealotry – Similar to the Spanish Supremacy unique upgrade and Loom, Zealotry greatly increases villager strength/combat capabilities. It also provides a speed bonus but reduces resource collection by 50%

And for those of you who learn best by watching, here are some good AoE Youtube channels to watch:

https://www.youtube.com/channel/UC6gvgy0LRMx_OF6yi6ccTtA

https://www.youtube.com/user/Resonance22Channel

https://www.youtube.com/user/ZeroEmpires

Discuss Be the first to comment!

Age of Empires 2020 in Review: with Shannon Loftis

Dec 29, 2020

Stay Cozy with the Age of Empires Winter Sale!

Dec 22, 2020

Own a piece of history during the Age of Empires Autumn Sale!

Nov 25, 2020

From StrategyWiki, the video game walkthrough and strategy guide wiki

Age Of Empires 2 Definitive Edition Strategy Guide Pdf

< Age of Empires II: The Age of Kings

Age of Empires II: The Age of Kings | Table of Contents | Walkthrough

Age Of Empires 2 Definitive Edition Strategy Guided

Table of Contents

There are several campaigns in Age of Empires II. They can be played in any order. Once their individual scenarios have been unlocked they can be replayed in any order at any time.

The five campaigns revolve around a powerful leader in history:

William Wallace (Scottish, tutorial campaign)

Joan of Arc (France)

Saladin (Saudi Arabia)

Ghenghis Khan (Mongolia)

Barbarossa (Holy Roman Empire - Alliance of German Countries)

Check the table of contents to begin reading the walkthrough and strategies for each mission.

Age Of Empires Definitive Edition Strategy

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Table of Contents

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theculturedmarxist · 4 years ago

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Published below is the introduction by World Socialist Web Site International Editorial Board Chairman David North to the forthcoming book, The New York Times’ 1619 Project and the Racialist Falsification of History. It is available for pre-order at Mehring Books for delivery in late January 2021.

The volume is a comprehensive refutation of the New York Times’ 1619 Project, a racialist falsification of the history of the American Revolution and Civil War. In addition to historical essays, it includes interviews from eminent historians of the United States, including James McPherson, James Oakes, Gordon Wood, Richard Carwardine, Victoria Bynum, and Clayborne Carson.

***

I should respectfully suggest that although the oppressed may need history for identity and inspiration, they need it above all for the truth of what the world has made of them and of what they have helped make of the world. This knowledge alone can produce that sense of identity which ought to be sufficient for inspiration; and those who look to history to provide glorious moments and heroes invariably are betrayed into making catastrophic errors of political judgment.—Eugene Genovese [1]

Both ideological and historical myths are a product of immediate class interests. … These myths may be refuted by restoring historical truth—the honest presentation of actual facts and tendencies of the past.—Vadim Z. Rogovin [2]

On August 14, 2019, the New York Times unveiled the 1619 Project. Timed to coincide with the four hundredth anniversary of the arrival of the first slaves in colonial Virginia, the 100-page special edition of the New York Times Magazine consisted of a series of essays that present American history as an unyielding racial struggle, in which black Americans have waged a solitary fight to redeem democracy against white racism.

The Times mobilized vast editorial and financial resources behind the 1619 Project. With backing from the corporate-endowed Pulitzer Center for Crisis Reporting, hundreds of thousands of copies were sent to schools. The 1619 Project fanned out to other media formats. Plans were even announced for films and television programming, backed by billionaire media personality Oprah Winfrey.

As a business venture the 1619 Project clambers on, but as an effort at historical revision it has been, to a great extent, discredited. This outcome is owed in large measure to the intervention of the World Socialist Web Site, with the support of a number of distinguished and courageous historians, which exposed the 1619 Project for what it is: a combination of shoddy journalism, careless and dishonest research, and a false, politically-motivated narrative that makes racism and racial conflict the central driving forces of American history.

In support of its claim that American history can be understood only when viewed through the prism of racial conflict, the 1619 Project sought to discredit American history’s two foundational events: The Revolution of 1775–83, and the Civil War of 1861–65. This could only be achieved by a series of distortions, omissions, half-truths, and false statements—deceptions that are catalogued and refuted in this book.

The New York Times is no stranger to scandals produced by dishonest and unprincipled journalism. Its long and checkered history includes such episodes as its endorsement of the Moscow frame-up trials of 1936–38 by its Pulitzer Prize-winning correspondent, Walter Duranty, and, during World War II, its unconscionable decision to treat the murder of millions of European Jews as “a relatively unimportant story” that did not require extensive and systematic coverage. [3] More recently, the Times was implicated, through the reporting of Judith Miller and the columns of Thomas Friedman, in the peddling of government misinformation about “weapons of mass destruction” that served to legitimize the 2003 invasion of Iraq. Many other examples of flagrant violations of even the generally lax standards of journalistic ethics could be cited, especially during the past decade, as the New York Times—listed on the New York Stock Exchange with a market capitalization of $7.5 billion—acquired increasingly the character of a media empire.

The “financialization” of the Times has proceeded alongside another critical determinant of the newspaper’s selection of issues to be publicized and promoted: that is, its central role in the formulation and aggressive marketing of the policies of the Democratic Party. This process has served to obliterate the always tenuous boundary lines between objective reporting and sheer propaganda. The consequences of the Times’ financial and political evolution have found a particularly reactionary expression in the 1619 Project. Led by Ms. Nikole Hannah-Jones and New York Times Magazine editor Jake Silverstein, the 1619 Project was developed for the purpose of providing the Democratic Party with a historical narrative that legitimized its efforts to develop an electoral constituency based on the promotion of racial politics. Assisting the Democratic Party’s decades-long efforts to disassociate itself from its identification with the social welfare liberalism of the New Deal to Great Society era, the 1619 Project, by prioritizing racial conflict, marginalizes, and even eliminates, class conflict as a notable factor in history and politics.

The shift from class struggle to racial conflict did not develop within a vacuum. The New York Times, as we shall explain, is drawing upon and exploiting reactionary intellectual tendencies that have been fermenting within substantial sections of middle-class academia for several decades.

The political interests and related ideological considerations that motivated the 1619 Project determined the unprincipled and dishonest methods employed by the Times in its creation. The New York Times was well aware of the fact that it was promoting a race-based narrative of American history that could not withstand critical evaluation by leading scholars of the Revolution and Civil War. The New York Times Magazine’s editor deliberately rejected consultation with the most respected and authoritative historians.

Moreover, when one of the Times’ fact-checkers identified false statements that were utilized to support the central arguments of the 1619 Project, her findings were ignored. And as the false claims and factual errors were exposed, the Times surreptitiously edited key phrases in 1619 Project material posted online. The knowledge and expertise of historians of the stature of Gordon Wood and James McPherson were of no use to the Times. Its editors knew they would object to the central thesis of the 1619 Project, promoted by lead essayist Hannah-Jones: that the American Revolution was launched as a conspiracy to defend slavery against pending British emancipation.

Ms. Hannah-Jones had asserted:

Conveniently left out of our founding mythology is the fact that one of the primary reasons the colonists decided to declare their independence from Britain was because they wanted to protect the institution of slavery. By 1776, Britain had grown deeply conflicted over its role in the barbaric institution that had reshaped the Western Hemisphere. In London, there were growing calls to abolish the slave trade … [S]ome might argue that this nation was founded not as a democracy but as a slavocracy. [4]

This claim—that the American Revolution was not a revolution at all, but a counterrevolution waged to defend slavery—is freighted with enormous implications for American and world history. The denunciation of the American Revolution legitimizes the rejection of all historical narratives that attribute any progressive content to the overthrow of British rule over the colonies and, therefore, to the wave of democratic revolutions that it inspired throughout the world. If the establishment of the United States was a counterrevolution, the founding document of this event—the Declaration of Independence, which proclaimed the equality of man—merits only contempt as an exemplar of the basest hypocrisy.

How, then, can one explain the explosive global impact of the American Revolution upon the thought and politics of its immediate contemporaries and of the generations that followed?

The philosopher Diderot—among the greatest of all Enlightenment thinkers—responded ecstatically to the American Revolution:

After centuries of general oppression, may the revolution which has just occurred across the seas, by offering all the inhabitants of Europe an asylum against fanaticism and tyranny, instruct those who govern men on the legitimate use of their authority! May these brave Americans, who would rather see their wives raped, their children murdered, their dwellings destroyed, their fields ravaged, their villages burned, and rather shed their blood and die than lose the slightest portion of their freedom, prevent the enormous accumulation and unequal distribution of wealth, luxury, effeminacy, and corruption of manners, and may they provide for the maintenance of their freedom and the survival of their government! [5]

Voltaire, in February 1778, only months before his death, arranged a public meeting with Benjamin Franklin, the much-celebrated envoy of the American Revolution. The aged philosophe related in a letter that his embrace of Franklin was witnessed by twenty spectators who were moved to “tender tears.�� [6]

Marx was correct when he wrote, in his 1867 preface to the first edition of Das Kapital that “the American war of independence sounded the tocsin for the European middle class,” inspiring the uprisings that were to sweep away the feudal rubbish, accumulated over centuries, of the Ancien Régime. [7]

As the historian Peter Gay noted in his celebrated study of Enlightenment culture and politics, “The liberty that the Americans had won and were guarding was not merely an exhilarating performance that delighted European spectators and gave them grounds for optimism about man; it was also proving a realistic ideal worthy of imitation.” [8]

R.R. Palmer, among the most erudite of mid-twentieth century historians, defined the American Revolution as a critical moment in the evolution of Western Civilization, the beginning of a forty-year era of democratic revolutions. Palmer wrote:

[T]he American and the French Revolutions, the two chief actual revolutions of the period, with all due allowance for the great differences between them, nevertheless shared a great deal in common, and that what they shared was shared also at the same time by various people and movements in other countries, notably in England, Ireland, Holland, Belgium, Switzerland, and Italy, but also in Germany, Hungary, and Poland, and by scattered individuals in places like Spain and Russia. [9]

More recently, Jonathan Israel, the historian of Radical Enlightenment, argues that the American Revolution

formed part of a wider transatlantic revolutionary sequence, a series of revolutions in France, Italy, Holland, Switzerland, Germany, Ireland, Haiti, Poland, Spain, Greece, and Spanish America. … The endeavors of the Founding Fathers and their followings abroad prove the deep interaction of the American Revolution and its principles with the other revolutions, substantiating the Revolution’s global role less as a directly intervening force than inspirational motor, the primary model, for universal change. [10]

Marxists have never viewed either the American or French Revolutions through rose-tinted glasses. In examining world historical events, Friedrich Engels rejected simplistic pragmatic interpretations that explain and judge “everything according to the motives of the action,” which divides “men in their historical activity into noble and ignoble and then finds that as a rule the noble are defrauded and the ignoble are victorious.” Personal motives, Engels insisted, are only of a “secondary significance.” The critical questions that historians must ask are: “What driving forces in turn stand behind these motives? What are the historical causes which transform themselves into these motives in the brains of the actors?” [11]

Whatever the personal motives and individual limitations of those who led the struggle for independence, the revolution waged by the American colonies against the British Crown was rooted in objective socioeconomic processes associated with the rise of capitalism as a world system. Slavery had existed for several thousand years, but the specific form that it assumed between the sixteenth and nineteenth centuries was bound up with the development and expansion of capitalism. As Marx explained:

The discovery of gold and silver in America, the extirpation, enslavement and entombment in mines of the aboriginal population, the beginning of the conquest and looting of the East Indies, the turning of Africa into a warren for the commercial hunting of black-skins, signalised the rosy dawn of the era of capitalist production. These idyllic proceedings are the chief momenta of the era of capitalist accumulation. [12]

Marx and Engels insisted upon the historically progressive character of the American Revolution, an appraisal that was validated by the Civil War. Marx wrote to Lincoln in 1865 that it was in the American Revolution that “the idea of one great Democratic Republic had first sprung up, whence the first Declaration of the Rights of Man was issued, and the first impulse given to the European revolution of the eighteenth century...” [13]

Nothing in Ms. Hannah-Jones’ essay indicates that she has thought through, or is even aware of the implications, from the standpoint of world history, of the 1619 Project’s denunciation of the American Revolution. In fact, the 1619 Project was concocted without consulting the works of the preeminent historians of the Revolution and Civil War. This was not an oversight, but rather, the outcome of a deliberate decision by the New York Times to bar, to the greatest extent possible, the participation of “white” scholars in the development and writing of the essays. In an article titled “How the 1619 Project Came Together,” published on August 18, 2019, the Times informed its readers: “Almost every contributor in the magazine and special section—writers, photographers and artists—is black, a nonnegotiable aspect of the project that helps underscore its thesis...” [14]

This “nonnegotiable” and racist insistence that the 1619 Project be produced exclusively by blacks was justified with the false claim that white historians had largely ignored the subject of American slavery. And on the rare occasions when white historians acknowledged slavery’s existence, they either downplayed its significance or lied about it. Therefore, only black writers could “tell our story truthfully.” The 1619 Project’s race-based narrative would place “the consequences of slavery and the contributions of black Americans at the very center of the story we tell ourselves about who we are.” [15]

The 1619 Project was a falsification not only of history, but of historiography. It ignored the work of two generations of American historians, dating back to the 1950s. The authors and editors of the 1619 Project had consulted no serious scholarship on slavery, the American Revolution, the abolitionist movement, the Civil War, or Jim Crow segregation. There is no evidence that Hannah-Jones’ study of American history extended beyond the reading of a single book, written in the early 1960s, by the late black nationalist writer, Lerone Bennett, Jr. Her “reframing” of American history, to be sent out to the schools as the foundation of a new curriculum, did not even bother with a bibliography.

Hannah-Jones and Silverstein argued that they were creating “a new narrative,” to replace the supposedly “white narrative” that had existed before. In one of her countless Twitter tirades, Hannah-Jones declared that “the 1619 Project is not a history.” It is, rather, “about who gets to control the national narrative, and, therefore, the nation’s shared memory of itself.” In this remark, Hannah-Jones explicitly extols the separation of historical research from the effort to truthfully reconstruct the past. The purpose of history is declared to be nothing more than the creation of a serviceable narrative for the realization of one or another political agenda. The truth or untruth of the narrative is not a matter of concern.

Nationalist mythmaking has, for a long period, played a significant political role in promoting the interests of aggrieved middle-class strata that are striving to secure a more privileged place in the existing power structures. As Eric Hobsbawm laconically observed, “The socialists … who rarely used the word ‘nationalism’ without the prefix ‘petty-bourgeois,’ knew what they were talking about.” [16]

Despite the claims that Hannah-Jones was forging a new path for the study and understanding of American history, the 1619 Project’s insistence on a race-centered history of America, authored by African-American historians, revived the racial arguments promoted by black nationalists in the 1960s. For all the militant posturing, the underlying agenda, as subsequent events were to demonstrate, was to carve out special career niches for the benefit of a segment of the African-American middle class. In the academic world, this agenda advanced the demand that subject matter that pertained to the historical experience of the black population should be allocated exclusively to African Americans. Thus, in the ensuing fight for the distribution of privilege and status, leading historians who had made major contributions to the study of slavery were denounced for intruding, as whites, into a subject that could be understood and explained only by black historians. Peter Novick, in his book That Noble Dream, recalled the impact of black nationalist racism on the writing of American history:

Kenneth Stampp was told by militants that, as a white man, he had no right to write The Peculiar Institution. Herbert Gutman, presenting a paper to the Association for the Study of Negro Life and History, was shouted down. A white colleague who was present (and had the same experience), reported that Gutman was “shattered.” Gutman pleaded to no avail that he was “extremely supportive of the black liberation movement—if people would just forget that I am white and hear what I am saying … [it] would lend support to the movement.” Among the most dramatic incidents of this sort was the treatment accorded Robert Starobin, a young leftist supporter of the Black Panthers, who delivered a paper on slavery at a Wayne State University conference in 1969, an incident which devastated Starobin at the time, and was rendered the more poignant by his suicide the following year. [17]

Despite these attacks, white historians continued to write major studies on American slavery, the Civil War and Reconstruction. Rude attempts to introduce a racial qualification in judging a historian’s “right” to deal with slavery met with vigorous opposition. The historian Eugene Genovese (1930–2012), the author of such notable works as The Political Economy of Slavery and The World the Slaveholders Made, wrote:

Every historian of the United States and especially the South cannot avoid making estimates of the black experience, for without them he cannot make estimates of anything else. When, therefore, I am asked, in the fashion of our inane times, what right I, as a white man, have to write about black people, I am forced to reply in four-letter words. [18]

This passage was written more than a half century ago. Since the late 1960s, the efforts to racialize scholarly work, against which Genovese rightly polemicized, have assumed such vast proportions that they cannot be adequately described as merely “inane.” Under the influence of postmodernism and its offspring, “critical race theory,” the doors of American universities have been flung wide open for the propagation of deeply reactionary conceptions. Racial identity has replaced social class and related economic processes as the principal and essential analytic category.

“Whiteness” theory, the latest rage, is now utilized to deny historical progress, reject objective truth, and interpret all events and facets of culture through the prism of alleged racial self-interest. On this basis, the sheerest nonsense can be spouted with the guarantee that all objections grounded on facts and science will be dismissed as a manifestation of “white fragility” or some other form of hidden racism. In this degraded environment, Ibram X. Kendi can write the following absurd passage, without fear of contradiction, in his Stamped from the Beginning:

For Enlightenment intellectuals, the metaphor of light typically had a double meaning. Europeans had rediscovered learning after a thousand years in religious darkness, and their bright continental beacon of insight existed in the midst of a “dark” world not yet touched by light. Light, then, became a metaphor for Europeanness, and therefore Whiteness, a notion that Benjamin Franklin and his philosophical society eagerly embraced and imported to the colonies. … Enlightenment ideas gave legitimacy to this long-held racist “partiality,” the connection between lightness and Whiteness and reason, on the one hand, and between darkness and Blackness and ignorance, on the other. [19]

This is a ridiculous concoction that attributes to the word “Enlightenment” a racial significance that has absolutely no foundation in etymology, let alone history. The word employed by the philosopher Immanuel Kant in 1784 to describe this period of scientific advance was Aufklärung, which may be translated from the German as “clarification” or “clearing up,” connoting an intellectual awakening. The English translation of Aufklärung as Enlightenment dates from 1865, seventy-five years after the death of Benjamin Franklin, whom Kendi references in support of his racial argument. [20]

Another term used by English speaking people to describe the seventeenth and eighteenth centuries has been “The Age of Reason,” which was employed by Tom Paine in his scathing assault on religion and all forms of superstition. Kendi’s attempt to root Enlightenment in a white racist impulse is based on nothing but empty juggling with words. In point of fact, modern racism is connected historically and intellectually to the Anti-Enlightenment, whose most significant nineteenth century representative, Count Gobineau, wrote The Inequality of the Human Races. But actual history plays no role in the formulation of Kendi’s pseudo-intellectual fabrications. His work is stamped with ignorance.

History is not the only discipline assaulted by the race specialists. In an essay titled “Music Theory and the White Racial Frame,” Professor Philip A. Ewell of Hunter College in New York declares, “I posit that there exists a ‘white racial frame’ in music theory that is structural and institutionalized, and that only through a reframing of this white racial frame will we begin to see positive racial changes in music theory.” [21]

This degradation of music theory divests the discipline of its scientific and historically developed character. The complex principles and elements of composition, counterpoint, tonality, consonance, dissonance, timbre, rhythm, notation, etc. are derived, Ewell claims, from racial characteristics. Professor Ewell is loitering in the ideological territory of the Third Reich. There is more than a passing resemblance between his call for the liberation of music from “whiteness” and the efforts of Nazi academics in the Germany of the 1930s and 1940s to liberate music from “Jewishness.” The Nazis denounced Mendelssohn as a mediocrity whose popularity was the insidious manifestation of Jewish efforts to dominate Aryan culture. In similar fashion, Ewell proclaims that Beethoven was merely “above average as a composer,” and that he “occupies the place he does because he has been propped up by whiteness and maleness for two hundred years.” [22]

Academic journals covering virtually every field of study are exploding with ignorant rubbish of this sort. Even physics has not escaped the onslaught of racial theorizing. In a recent essay, Chanda Prescod-Weinstein, assistant physics professor at the University of New Hampshire, proclaims that “race and ethnicity impact epistemic outcomes in physics,” and introduces the concept of “white empiricism” (italics in the original), which “comes to dominate empirical discourse in physics because whiteness powerfully shapes the predominant arbiters of who is a valid observer of physical and social phenomena.” [23]

Prescod-Weinstein asserts that “knowledge production in physics is contingent on the ascribed identities of the physicists,” the racial and gender background of scientists affects the way scientific research is conducted, and, therefore, the observations and experiments conducted by African-American and female physicists will produce results different than those conducted by white males. Prescod-Weinstein identifies with the contingentists who “challenge any assumption that scientific decision making is purely objective.” [24]

The assumption of objectivity is, she claims, a major problem. Scientists, Prescod-Weinstein complains, are “typically monists—believers in the idea that there is only one science … This monist approach to science typically forecloses a closer investigation of how identity and epistemic outcomes intermix. Yet white empiricism undermines a significant theory of twentieth century physics: General Relativity.” (Emphasis added) [25]

Prescod-Weinstein’s attack on the objectivity of scientific knowledge is buttressed with a distortion of Einstein’s theory.

Albert Einstein’s monumental contribution to our empirical understanding of gravity is rooted in the principal of covariance, which is the simple idea that there is no single objective frame of reference that is more objective than any other. All frames of reference, all observers, are equally competent and capable of observing the universal laws that underlie the workings of our physical universe. (Emphasis added) [26]

In fact, general relativity’s statement about covariance posits a fundamental symmetry in the universe, so that the laws of nature are the same for all observers. Einstein’s great (though hardly “simple”) initial insight, studying Maxwell’s equations on electromagnetism involving the speed of light in a vacuum, was that these equations were true in all reference frames. The fact that two observers measure a third light particle in space as traveling at the same speed, even if they are in motion relative to each other, led Einstein to a profound theoretical redefinition of how matter exists in space and time. These theories were confirmed by experiment, a result that will not be refuted by changing the race or gender of those conducting the experiment.

Mass, space, time and other quantities turned out to be varying and relative, depending on one’s reference frame. But this variation is lawful, not subjective—let alone racially determined. It bears out the monist conception. There are no such things as distinct, “racially superior,” “black female,” or “white empiricist” statements or reference frames on physical reality. There is an ascertainable objective truth, genuinely independent of consciousness, about the material world.

Furthermore, “all observers,” regardless of their education and expertise, are not “equally competent and capable” of observing, let alone discovering, the universal laws that govern the universe. Physicists, whatever their personal identities, must be properly educated, and this education, hopefully, will not be marred by the type of ideological rubbish propagated by race and gender theorists.

There is, of course, an audience for the anti-scientific nonsense propounded by Prescod-Weinstein. Underlying much of contemporary racial and gender theorizing is frustration and anger over the allocation of positions within the academy. Prescod-Weinstein’s essay is a brief on behalf of all those who believe that their professional careers have been hindered by “white empiricism.” She attempts to cover over her falsification of science with broad and unsubstantiated claims that racism is ubiquitous among white physicists, who, she alleges, simply refuse to accept the legitimacy of research conducted by black female scientists.

It is possible that a very small number of physicists are racists. But that possibility does not lend legitimacy to her efforts to ascribe to racial identity an epistemological significance that affects the outcome of research. Along these lines, Prescod-Weinstein asserts that the claims to objective truth made by “white empiricism” rest on force. This is a variant of the postmodernist dogma that what is termed “objective truth” is nothing more than a manifestation of the power relations between conflicting social forces. She writes:

White empiricism is the practice of allowing social discourse to insert itself into empirical reasoning about physics, and it actively harms the development of comprehensive understandings of the natural world by precluding putting provincial European ideas about science—which have become dominant through colonial force—into conversation with ideas that are more strongly associated with “indigeneity,” whether it is African indigeneity or another. (Emphasis added) [27]

The prevalence and legitimization of racialist theorizing is a manifestation of a deep intellectual, social, and cultural crisis of contemporary capitalist society. As in the late nineteenth and early twentieth centuries, race theory is acquiring an audience among disoriented sections of middle-class intellectuals. While most, if not all, of the academics who promote a racial agenda may sincerely believe that they are combating race-based prejudice, they are, nevertheless, propagating anti-scientific and irrationalist ideas which, whatever their personal intentions, serve reactionary ends.

The interaction of racialist ideology as it has developed over several decades in the academy and the political agenda of the Democratic Party is the motivating force behind the 1619 Project. Particularly under conditions of extreme social polarization, in which there is growing interest in and support for socialism, the Democratic Party—as a political instrument of the capitalist class—is anxious to shift the focus of political discussion away from issues that raise the specter of social inequality and class conflict. This is the function of a reinterpretation of history that places race at the center of its narrative.

The 1619 Project did not emerge overnight. For several years, corresponding to the growing role played by various forms of identity politics in the electoral strategy of the Democratic Party, the Times has become fixated, to an extent that can be legitimately described as obsessive, on race. It often appears that the main purpose of the news coverage and commentary of the Times is to reveal the racial essence of any given event or issue.

A search of the archive of the New York Times shows that the term “white privilege” appeared in only four articles in 2010. In 2013, the term appeared in twenty-two articles. By 2015, the Times published fifty-two articles in which the term is referenced. In 2020, as of December 1, the Times had published 257 articles in which there is a reference to “white privilege.”

The word “whiteness” appeared in only fifteen Times articles in 2000. By 2018, the number of articles in which the word appeared had grown to 222. By December 1, 2020, “whiteness” was referenced in 280 articles.

The Times’ unrelenting focus on race during the past year, even in its obituary section, has been clearly related to the 2020 electoral strategy of the Democratic Party. The 1619 Project was conceived of as a critical element of this strategy. This was explicitly stated by the Times’ executive editor, Dean Baquet, in a meeting on August 12, 2019 with the newspaper’s staff:

[R]ace and understanding of race should be a part of how we cover the American story … one reason we all signed off on the 1619 Project and made it so ambitious and expansive was to teach our readers to think a little bit more like that. Race in the next year—and I think this is, to be frank, what I hope you come away from this discussion with—race in the next year is going to be a huge part of the American story. [28]

The New York Times’ effort to “teach” its readers “to think a little bit more” about race assumed the form of a falsification of American history, aimed at discrediting the revolutionary struggles that gave rise to the founding of the United States in 1776 and the ultimate destruction of slavery during the Civil War. This falsification could only contribute to the erosion of democratic consciousness, legitimize a racialized view of American history and society, and undermine the unity of the broad mass of Americans in their common struggle against conditions of social inequality and exploitation.

The racialist campaign of the New York Times has unfolded against the backdrop of a pandemic ravaging working-class communities, regardless of race and ethnicity, throughout the United States and the world. The global death toll has already surpassed 1.5 million. Within the United States, the number of COVID-19 deaths will surpass 300,000 before the end of the year. The pandemic has also brought economic devastation to millions of Americans. The unemployment rate is approaching Great Depression levels. Countless millions of people are without any source of income and depend upon food banks for their daily sustenance.

#new york times #wsws #1619 project #race #racism #racialism #whiteness #white privilege #american history #US history

7 notes · View notes

aggrobot · 4 years ago

Text

In case you want to do the survey legit

As you know, the @getzhugejingintodw campaign (brought to you by @shadoyun and yours truly) is in full swing at the moment and thank you all for the support so far. This post is for people who want to give Koei some more feedback, so as to make it look like we aren’t brigading (Famitsu has been known to throw out polling results from Westerners, as they tend to focus on the Japanese audience). Below I will translate the survey located at this link (https://ebssl.jp/fm2/enq/smusou20th/q.php) as well as provide some pre-written responses:

Q1: ハンドルネーム (Handle Name/Alias):

Japanese online aliases are written in either Japanese or Romaji (latin script) normally, so having an english handle is quite normal

■性別 (Gender) 男 for boys 女 for girls

■年齢 (age) Pretty straight forward. Are you in your teens (10代) twenties (20代) etc. Q　初めて遊んだ『真・三國無双』のタイトルは？ (Which was the first DW game that you played?)

I put 真・三國無双2 (Dynasty Warriors 3). Keep in mind that the Japanese numbering for the games is behind us by one number. (DW4 = 真三國無双3, DW5 = 真三國無双4, etc.) Q　いちばん好き、またはいちばんやり込んだ『真・三國無双』ナンバリングタイトルは？ (Favourite Dynasty Warriors mainline title)

I put 真・三國無双3(ハイパー含む) (DW4 + Hyper) 理由 (Explanation) Here are some pre-written responses. Copy/Paste the Japanese.

ゲームプレイが好き (I liked the gameplay)

音楽が好き (I liked the music)

ストーリーは面白い (The story was interesting)

キャラデザインはかっこいい！ (The Character Designs were Cool!!)

対戦モードは楽しい (Versus Mode was fun)

Q　いちばん好き、またはいちばんやり込んだ『真・三國無双 Empires(エンパイアーズ)』シリーズタイトルは？ (Favourite Empires Game)

I put 真三國無双6 (DW7 Empires) 理由 (Reason) Prewritten responses:

エディットモードは楽しい。(Edit Mode was Fun.)

戦術はかっこいい。(In-battle strategies were cool)

戦術のゲームプレイは面白い (In-battle strategy gameplay was interesting)

生き様RPGのことは楽しい (The Lifestyle RPG aspects were fun)

徐庶はかっこいい (Xu Shu is cool) Q　いちばん好き、またはいちばんやり込んだ『真・三國無双』派生タイトルは？ (Favourite Side Game)

派生タイトルをプレイしていない (I have not played the side games) 理由 (Reason)

入力なし (Doesn’t Apply) Q　『真・三國無双』シリーズに登場する中で、いちばん好きな無双武将は？ (Favourite DW Character)

I put Zhong Hui (鍾会).

A side note about certain figures is that they may use shinjitai characters in their names. For example Zhong Hui in Japanese uses the shinjitai character 会 instead of the classical 會. Moreover, because modern Japanese (Japanese in the post-WWII period) uses only about 3000 characters (instead of all the Chinese characters, which was once the standard during the Imperial period and before) some figures like Xun Yu have no Japanese equivalent to their written name which is why some Japanese who got no time for that just write Xun Yu as 荀イク (The last two characters being the katakana that would replace the “Yu” part). In academic writing, common practice is to use the traditional characters (荀�� for Xun Yu ) unless there is a shinjitai variant character (like 鍾会 with Zhong Hui). Consult your local Japanese wikipedia page before proceeding. 理由 (Reason) Pre-written responses:

性格は面白い　(Their Personality was interesting)

プレイスタイルは面白い　(Their Playstyle was interesting)

イケメンです (They are a pretty boy)

声はかっこいい　(They have a cool voice)

かわいいので (Because they are kawaii) Q　『真・三國無双』シリーズにまつわる思い出を教えてください！ (Tell us your memories about playing the Dynasty Warriors games) You can leave this blank. I wrote about the time I cleared the Battle of Taoyang in DW7XL on the highest difficulty with Xiahou Ba. Q　今後『真・三國無双』シリーズに参戦してほしい、三國志の武将は？ (Don’t worry what this question says it’s not important.)

諸葛靚

(Just copy paste the Japanese text above, trust me. Absolutely unimportant. Don’t you dare think about changing the text.)

Q　20周年を迎える『真・三國無双』シリーズへメッセージをお願いします！(Please leave your comments for the 20th anniversary of Dynasty Warriors)

真三國無双３が如くゲームを作ってください。(Make a game like DW4)

#dynasty warriors #famitsu poll #Zhuge Jing

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thisurlwasnttakenbutnowitis · 5 years ago

Text

Here’s the release dates for everything shown in the E3 Direct!

Today

Collection of Mana

Resident Evil

Resident Evil 0

Resident Evil 4

Contra Anniversary Collection

Soon

Hollow Knight: Silksong

Doom Eternal

June

13th - Cadence of Hyrule

20th - My Friend Pedro

20th - Catan

28th - Super Mario Maker 2

July

4th - Stranger Things 3: The Game

12th - Dragon Quest Builders 2

19th - Marvel Ultimate Alliance 3: The Black Order

26th - Fire Emblem: Three Houses

26th - Wolfenstein: Youngblood

August

30th - Astral Chain

Summer

The Hero DLC for Super Smash Bros. Ultimate

September

3rd - Spyro Reignited Trilogy

13th - Daemon X Machina

20th - The Legend of Zelda: Link’s Awakening

20th - Ni No Kuni: Wrath of the White Witch

24th - Contra: Rogue Corps

24th - Dead by Daylight

27th - Dragon Quest XI: Echoes of an Elusive Age S Definitive Edition

Fall

Resident Evil 5

Resident Evil 6

The Elder Scrolls: Blades

The Sinking City

New Super Lucky’s Tale

Banjo-Kazooie DLC for Super Smash Bros. Ultimate

November

5th - Just Dance 2020

15th - Pokemon Sword and Shield

Mario & Sonic at the Tokyo 2020 Olympic Games

Winter

Panzer Dragoon

Final Fantasy: Crystal Chronicles Remastered Edition

Late 2019

Dauntless

2019

Luigi’s Mansion 3

Jim Henson’s The Dark Crystal: Age of Resistance Tactics

The Witcher III: Wild Hunt Complete Edition

Alien: Isolation

Early 2020

Trials of Mana

March

20th - Animal Crossing: New Horizons

Spring

Empire of Sin

Minecraft Dungeons

2020

No More Heroes III

TBA

The sequel to The Legend of Zelda: Breath of the Wild

#e3 2019 #nintendo direct

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imstillyourzelda · 5 years ago

Video

youtube

In Case You Missed It- Nintendo at E3 2019 Day 1: Full Direct Announcements Video

Announcement Timestamps

0:16 Super Smash Bros Ultimate character DLC: The Hero from Dragon Quest (trailer includes theatrical scenes with BOTW Link, Marth & Meta Knight); Coming Summer 2019

38:18 Super Smash Bros Ultimate character DLC: Banjo-Kazooie (trailer includes theatrical scenes with Donkey Kong, Diddy Kong, King K. Rool & Duck Hunt); Coming Fall 2019

3:23 Dragon Quest 11: Echoes of an Elusive Age Definitive Edition S; Sep. 27, 2019 on Switch

6:05 Luigi’s Mansion 3; Coming 2019 on Switch

10:24 Jim Henson’s The Dark Crystal: Age of Resistance Tactics; Coming 2019 on Switch

11:38 The Legend of Zelda: Link’s Awakening; Sep. 20, 2019 on Switch

13:50 Trials of Mana; Coming early 2020. 3 Original games in Mana series also now available globally on Switch eShop.

15:13 The Witcher 3: Wild Hunt Complete Edition; Coming 2019 on Switch

15:55 Fire Emblem: Three Houses; July 26, 2019 on Switch

17:49 Resident Evil 5 & Resident Evil 6; Coming Fall 2019 on Switch. 3 Resident Evil titles also now available on Switch.

20:05 No More Heroes 3; Coming 2020 on Switch.

21:42 Contra: Rogue Corps; Sep. 24, 2019 on Switch. Contra Anniversary Collection (10 games & 74-page Ebook) also now available on Nintendo eShop.

23:00 Daemon X Machina; Sep. 13, 2019 on Switch

24:17 Panzer Dragoon Remake; Coming Winter 2019 on Switch

25:16 Pokemon Sword & Shield; Nov. 15, 2019 on Switch

27:04 Astral Chain; Aug. 30, 2019 on Switch

29:16 Empire of Sin; Coming Spring 2020 on Switch, PC, PS4 & Xbox One

30:06 Marvel Ultimate Alliance 3: The Black Order; July 19, 2019 on Switch. Get the Expansion Pass today featuring DLC content from Marvel Knights, X-Men, and Fantasic Four- DLC Coming Fall 2019 on Switch.

31:35 Cadence of Hyrule (Crypt of the NecroDancer feat. The Legend of Zelda); June 13, 2019 on Switch Nintendo EShop

32:18 Mario & Sonic at the Olympic Games; Coming November 2019 on Switch

33:19 Animal Crossing: New Horizons; Delayed, Now Coming March 20, 2020

40:51 Breath of the Wild Sequel; ‘Now in Development’

36:03 Highlight Reel Announcements

Spyro: Reignited Triolgy; Sep. 3, 2019 on Switch & PC (Will be available on Steam)

Hollow Knight: Silksong; ‘Coming Soon’ on Switch & PC. Xbox One & PS4 versions possibly coming.

Ni No Kuni: Wrath of the White Witch; Sep. 20, 2019- Original version on Switch. Remastered version coming same date for PS4 & PC

Minecraft Dungeons; Coming Spring 2020 on Switch, PC, PS4, Xbox One & Xbox Game Pass

The Elder Scrolls: Blades; Coming Fall 2019 on Switch, PS4, Xbox One & PC

My Friend Pedro; June 20, 2019 on Switch & PC

Doom Eternal; Nov. 22, 2019 on Switch, PC, PS4 & Xbox One

The Sinking City; Coming Fall 2019 on Switch

Wolfenstein: YoungBlood; July 26, 2019 on Switch, Xbox One, PC & PS4

Dead By Daylight; Sep. 24, 2019 on Switch

Alien: Isolation; Coming 2019 on Switch

Final Fantasy: Crystal Chronicles Remastered Edition; Coming Winter 2019 on Switch, PS4, Android & IOS

Dragon Quest Builders 2; July 12, 2019 on Switch

Stranger Things 3: The Game; July 4, 2019 on Switch, Xbox One, PS4, Mac, PC, Android & IOS

Just Dance 2020; Nov. 5, 2019 on Switch, Wii, PS4, Xbox One & Google Stadia

Catan; June 20, 2019 on Switch

New Super Lucky’s Tale; Coming Fall 2019 on Switch

Dauntless; ‘Late 2019′

Super Mario Maker 2; June 28, 2019 on Switch

#nintendo #nintendo direct #e3 #e3 2019 #gaming #time: 42:53 #I checked this but pls inbox me if u notice an error #this is the direct minus the giant chunk of time they spent on treehouse. maybe I'll do a treehouse post like this one later #some release dates don't match video bc they were updated #on a different note we are all going to be broke come this fall/winter :')#nintendo news #new zelda announcement #long post #long text

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collectorscorner · 5 years ago

Photo

CC Blogger - New Arrivals @ Collectors Corner : Wednesday - 12/04/19 Complete list of items shipping to the stores, some items may be limited in availability. If you see anything you want to purchase on the list and are not a subscription member at Collectors Corner, just contact us and let us know if you want an item held at the stores. email - [email protected] Subscription Membership & Free Membership Card : Collectors Corner's No Obligation (FREE) Membership Card or FREE (In Store) & ONLINE Subscription Membership saves you 10% Off ALL Bagged & Boarded Comic Book Back Issues, Board Games, Graphic Novels, Manga & Special Orders. Plus Never miss a comic again! Computerized and organized + you can add and cancel titles on your subscription list from home on your own time, or in the store when you pick up your comics at : Maryland's Coolest Stores! Since 2001. 3 Convenient Locations - CC PARKVILLE HQ 7911 Harford Rd Parkville, MD 21234 CC BALTIMORE - OUTPOST 403 North Charles St. Baltimore, MD 21201 CC BEL AIR - OUTPOST 17 N. 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