#market complex construction

[townpostin]

Cows Killed in Shed Collapse at Jugsalai Goshala

Shed collapses at Jugsalai Goshala due to nearby construction; two cows dead, several injured. A shed collapse at Jugsalai Goshala, caused by nearby construction, results in the death of two cows and injuries to others. JAMSHEDPUR – A shed collapse at Jugsalai Goshala, caused by nearby construction, results in the death of two cows and injuries to others. In the early hours of the morning, around…

[hearditinapastlife2019]

are you jokinggggg an iconic piece of architecture in my city (not good but iconic anyways) was bought up and slated for demo to build condos and now the project is on hold because the housing market is bad. yayyyy more abandoned buildings downtown yayyyyy trying to build luxury condos when there’s a tent city in every park in the city yayyyy closing local businesses instead of trying economic reinvigoration strategies only for the former site of those local businesses to sit vacant for probably years yayyyy no consequences for developers

[serpentinegraphite]

Okay, I'm having trouble matching sources for all of OP's claims.

I'm certainly not calling OP a liar or claiming that American Education Is Good, Actually, because I'm pretty familiar with the commonly cited statistic that American adults can't read above a 5th grade level (here's a snopes article sourcing some Gallup data and the linked PIAAC data that's a little more readable especially if you're on mobile), but it's worth emphasizing here that:

The PIAAC skills results (i.e., proficiency levels) do not specifically correspond to measures such as grade levels at school. The PIAAC proficiency levels have a use-oriented conception of competency and focus on describing what types of tasks adults at each level can typically do and their ability to apply information from the task to accomplish goals they may encounter in everyday life; for example, identifying a job search result that meets certain criteria.

The PIAAC does test comprehension and proficiency for interpreting data (not just vocab, as many of the replies and reblogs first expected), and while the US is decently behind the top two countries measured this way (Japan and Finland), it's ahead of the international average for this metric.

The second source link also suggests some heavy deficits in how US education teaches children to read (and makes what seem to me compelling arguments for improvements, though I don't specialize in early childhood education and am not familiar enough to judge their relevance), but does not contextualize this or compare it to any kind of international average.

I understand the initial distress of OP's claim that Americans can't read above an elementary school level, but journalists and publications are fully aware of this, and many have guidelines and standards for writing that take that into account (e.g. in my journalism classes, I was told to aim for a 6th grade reading level or lower and shown specific guidelines for how to make information accessible and minimize jargon. The US government and CDC aim specifically for 3rd–5th grade reading levels. The NYT aims higher, and your local publications may vary, but news is meant to be accessible, so the range could be closer to a 5th—9th grade reading level on average). Therefore, it's not at all accurate that people below a 6th grade reading level only have access to TV and video.

More accurately to the PIAAC data, 18% or so might have trouble with being able to read simple articles or web pages, but once again the US meets the PIAAC international average here (23% at literacy level 1 or below).

I've done my best to review the PIAAC data, but I'm simply not finding any backing for the claim that 55% of US adults cannot read long texts at all.

This appears to be a pretty clear misinterpretation of the data.

Quick question, genuine question:

Why on earth does "more than half of US adults under 30 cannot read above an elementary school level" not strike horror into the heart of everyone who hears it?

Are the implications of it unclear????

I'm serious, people keep reacting with a sort of vague dismissal when I point this out, and I want to know why!

If adults in the US cannot read, then the only information they have access to is TV and video, the spaces with the most egregious and horrific misinformation!

If they cannot read, they cannot escape that misinformation.

This obscene lack of literacy should strike fear into every heart! US TV is notoriously horrific propaganda!

Is that???? Not??? Obvious???????

I know this sounds sarcastic, I know it does, but I'm completely serious here. I do not understand where the disconnect is.

[dollishmehrayan]

FAMOUS FASHION DESIGNER ── .✦ ౨ৎ

a/n: a anon request (here) thought of this because why not and now we’re running up and new!

(tags: batboys x famous fashion!fem!reader) (non-comedy, a request)

#BRUCE WAYNE ── .✦

- Bruce would respect your work, of course, but his deep-seated desire to protect you from the dangers of the vigilante life might make him overly cautious around you.

- He admires your ability to juggle both a successful career and maintain a life outside the public eye. However, he might find your fame a little too much for his liking.

- Bruce would frequently give you advice about public image, though he might not always understand the intricacies of the fashion world. His attempts to help you stay “low-key” could lead to some interesting clashes when you ignore his advice for the sake of creativity.

- Even though he keeps his distance emotionally, Bruce’s underlying support would be there—whether it’s subtly clearing paths for you at high-profile events or pulling strings to make sure you’re protected during risky fashion shows.

#DICK GRAYSON ── .✦

- Dick would totally be your biggest cheerleader. He’d attend your shows, sit front row, and gush over how amazing you look in every outfit. He’s your unofficial ambassador in Gotham.

- He loves how you balance being both stylish and authentic. If you're out in public together, he's the one holding your hand while flashing his famous grin, proudly showing off your connection.

- Dick loves hearing your ideas for design, and he would often try to convince you to design something for him—though he'd probably want a superhero version of it (he just wants nightwing merch 😞)

- He’d love surprising you with flowers or rare vintage pieces as a way of showing appreciation for your work.

#JASON TODD ── .✦

- Jason has a complicated relationship with fame. He’d definitely be a little reluctant to dive into the world of the media that you’re part of, but he respects your talent.

- He’s drawn to how independent and self-sufficient you are. As someone who’s been through a lot, he sees a lot of strength in you that aligns with his own struggles.

- Jason might surprise you by buying something from your collection, but it would be a limited edition or something very bold that stands out. He’d love a darker, edgier piece that’s still functional (you had to convince him to not fill his fucking closet with leather jackets)

- When it comes to fashion shows, he’d be your quiet supporter in the background, always watching your back while you’re in the spotlight. He’d prefer to be near you but stay out of the media’s glare.

#TIM DRAKE ── .✦

- Tim would absolutely admire your business sense. He’d be impressed by how you manage the complexities of being a famous designer while keeping your personal life secure.

- He would offer his expertise on marketing, analytics, and tech side of things, maybe even help you design a cutting-edge website or app to engage with your fans.

- While he might not be as openly affectionate as Dick or Jason, Tim would show his support by attending your shows, helping out behind the scenes, or even sending you design critiques (in a non-judgmental, constructive way).

- He’d be interested in the logic behind your designs and how you conceptualize your collections, seeing it as a kind of puzzle to solve.

#DAMIAN WAYNE (aged up) ── .✦

- Damian would initially be skeptical of the fashion world and would likely think it’s an unnecessary distraction from what really matters. However, he can’t help but be impressed by your discipline and work ethic.

- While he doesn’t understand the appeal of fame, he respects your skill and will quietly defend you against anyone who criticizes your designs.

- Damian would always want you to wear something practical, but he has a certain fascination with your ability to make anything look elegant, even if it’s just casual attire.

- He might buy you a piece of rare armor or something useful from his own collection as a way of blending his world with yours. It’s his way of saying he sees the importance of your craft—even if he’s not vocal about it, just so he can mix it up yk?

[writers-potion]

I'm writing a sci-fi story about a space freight hauler with a heavy focus on the economy. Any tips for writing a complex fictional economy and all of it's intricacies and inner-workings?

Constructing a Fictional Economy

The economy is all about: How is the limited financial/natural/human resources distributed between various parties?

So, the most important question you should be able to answer are:

Who are the "have"s and "have-not"s?

What's "expensive" and what's "commonplace"?

What are the rules(laws, taxes, trade) of this game?

Building Blocks of the Economic System

Type of economic system. Even if your fictional economy is made up, it will need to be based on the existing systems: capitalism, socialism, mixed economies, feudalism, barter, etc.

Currency and monetary systems: the currency can be in various forms like gols, silver, digital, fiat, other commodity, etc. Estalish a central bank (or equivalent) responsible for monetary policy

Exchange rates

Inflation

Domestic and International trade: Trade policies and treaties. Transportation, communication infrastructure

Labour and employment: labor force trends, employment opportunities, workers rights. Consider the role of education, training and skill development in the labour market

The government's role: Fiscal policy(tax rate?), market regulation, social welfare, pension plans, etc.

Impact of Technology: Examine the role of tech in productivity, automation and job displacement. How does the digital economy and e-commerce shape the world?

Economic history: what are some historical events (like The Great Depresion and the 2008 Housing Crisis) that left lasting impacts on the psychologial workings of your economy?

For a comprehensive economic system, you'll need to consider ideally all of the above. However, depending on the characteristics of your country, you will need to concentrate on some more than others. i.e. a country heavily dependent on exports will care a lot more about the exchange rate and how to keep it stable.

For Fantasy Economies:

Social status: The haves and have-nots in fantasy world will be much more clear-cut, often with little room for movement up and down the socioeconoic ladder.

Scaricity. What is a resource that is hard to come by?

Geographical Characteristics: The setting will play a huge role in deciding what your country has and doesn't. Mountains and seas will determine time and cost of trade. Climatic conditions will determine shelf life of food items.

Impact of Magic: Magic can determine the cost of obtaining certain commodities. How does teleportation magic impact trade?

For Sci-Fi Economies Related to Space Exploration

Thankfully, space exploitation is slowly becoming a reality, we can now identify the factors we'll need to consider:

Economics of space waste: How large is the space waste problem? Is it recycled or resold? Any regulations about disposing of space wste?

New Energy: Is there any new clean energy? Is energy scarce?

Investors: Who/which country are the giants of space travel?

Ownership: Who "owns" space? How do you draw the borders between territories in space?

New class of workers: How are people working in space treated? Skilled or unskilled?

Relationship between space and Earth: Are resources mined in space and brought back to Earth, or is there a plan to live in space permanently?

What are some new professional niches?

What's the military implication of space exploitation? What new weapons, networks and spying techniques?

Also, consider:

Impact of space travel on food security, gender equality, racial equality

Impact of space travel on education.

Impact of space travel on the entertainment industry. Perhaps shooting monters in space isn't just a virtual thing anymore?

What are some indsutries that decline due to space travel?

I suggest reading up the Economic Impact Report from NASA, and futuristic reports from business consultants like McKinsey.

If space exploitation is a relatiely new technology that not everyone has access to, the workings of the economy will be skewed to benefit large investors and tech giants. As more regulations appear and prices go down, it will be further be integrated into the various industries, eventually becoming a new style of living.

[architectureofdoom]

Lake ‘bullicante’ and the anarchy of nature, Dario Li Gioi.

"In 1954, the Snia-Viscosa closed its operations for good. This area of Italy’s capital suddenly came to experience an unusual calm, with nature becoming the sole guardian of over one hundred thousand square meters of land for decades.

It was not until the early 1990s, after it was put on the market, that a new, possible future of this place began to take shape. The way it happened was completely unexpected: during excavation works for the construction of a shopping centre, the real estate company Ponente 1978’s bulldozers damaged one of the acquifers of a nearby volcanic complex. Water began to gush from the ground incessantly; water in such abundance that it filled the hollow created by the diggers.

On that day, in the area of the former Snia Viscosa factory, a lake was born. The locals called it lago bullicante (literally, ‘the boiling lake’), in reference to the sulphurous emissions that would make these once subterranean waters bubble. From that construction accident, where nature hurriedly covered the space created by human activity, what remains today is the concrete skeleton of what was conceived as a parking lot. It emerges from the water, surrounded by a thicket of locust trees, willows, and impenetrable marsh reeds."

[lillified]

I love your versions of the decepticons but I do have a question! I honestly love tarn and his brooding nature, so I wanted to know what happened to him? Why’s his face absolutely destroyed and why does he hate megatron,,?

hey, that’s a good question! I believe I’ve answered something similar in the past re: Tarn’s deal, but I can rephrase it again+give some additional context below the cut!

Tarn and Megatron have a very similar background. Both come from low-caste professions (Megatron, obviously, a miner, and Tarn a construction hauler) and both became gladiators to an impressive degree of celebrity. Tarn was an artist in his own right, being a musician and composer (which wasn’t as broadly commercially appealing as Megatron’s writer-artist repertoire, but certainly attracted its fans).

On Cybertron, gladiators have their own sort of “stardom.” Regular audiences aren’t just invested in the sport, but the story behind it, and so the performers become “characters” in themselves. Established fighters often have a dedicated fanbase, lore, and even “managers” or “agents” to manage that public persona. These “careers” can be lucrative, but, unsurprisingly, very brief.

In his heyday, Tarn was everything the gladiator celebrity complex favors: young, charismatic, attractive, skilled, and, above all, marketable. The music he made enhanced his character, and, in turn, his gladiatorial feats promoted his music. He found a degree of purpose in his popularity.

Tarn’s era of celebrity ended when, in his closest match, he lost his face. He survived, but this spoiling took away the foremost aspect of his fame—his identity (in the past I’ve talked about the culture around faces and their irreplaceability, which applies here). Having no choice but to wear a pit mask to protect his exposed interior, he gradually faded out of popularity, in favor of the new wave of rising stars. Over time his music lost its audience and he became cemented in the second rate.

When Megatronus came along, she was quick to gain notoriety for the same reasons Tarn had, with a very similar audience. It was almost natural that she would fill the same niche, with a similar backstory, skillset, and audience appeal. Tarn immediately became jealous, but also couldn’t resist the familiar pull of a world he’d been unceremoniously excommunicated from: in Megatron, he found a way to live vicariously, and quickly began to see her as some parallel proxy for his lost ambitions. All gladiator friendships are underscored by a sort of tired acceptance of impending doom, but, in Tarn’s case, he abused their gallows goodwill to be an extremely two-faced fairweather friend.

Though they certainly shared some traits, Megatron and Tarn were notably different. Where Tarn found earnest purpose in his success, Megatron resented her popularity, engaging with her high society pass with cynical disdain. She invited scandal and scorned the whole scheme until she could use it to get what she wanted. Tarn frequently scolded her for her shallowness, but envied her and the attention she received immensely. This resentment only ever festered and grew.

Internally, Tarn’s wish has always been to witness Megatron’s downfall, and to indulge in her suffering. As his proxy, he will only ever be satisfied to know that she is more miserable than him. The only things preventing him from killing or hurting her directly were his deep desire to live her life, and his own utter hollowness and insecurity.

[driftward]

FINAL DEPTH XIV: FATHOMDOWN

~An Absolute Complete Beginner's Guide To FFXIV Submersibles~

So, you've heard of submarines in Final Fantasy XIV and you want to get started on a fleet of your own, but have no idea what to do where to go or even how to start. Well don't worry there sailor, we'll get you from landlubber to salty sea-goer. This is an -absolute- beginner's guide, so we won't go into deep details, we just want to get your first submarine out the dock. It's not particularly difficult to get started, but there are a lot of steps, so take your time.

Actual guide beneath the cut

So, to get started, you will want to be part of an Free Company, and that Free Company will need to have a house. If this is not true, then submarines are not yet for you. I won't cover how to fix that, but you're all lovely people who can undoubtedly find a group of fellow maniacs willing to pal around with you.

If you are part of a Free Company, you will want to have a Rank in it that has pretty much full Company Workshop access. If your FC does not yet have a Company Workshop, go into the house, and find the door which allows you to buy rooms.

Company Workshop will be the first option. If your Free Company does not have one, an officer with the correct rank can buy one for some amount of gil. Once you have a Company Workshop, you will want to get 6 Mahogany lumber (gather Mahogany and turn logs into lumber, or buy it off the marketboard, just trust me on this we'll get to that in a moment). Go ahead and head inside, look around, get familiar with the place.

This is one of the first things you will want to take a look at, the Schematic Board. The Schematic Board is used to create recipes that the fabrication station will be able to use. Those 6 mahogany lumber will be useful now. I highly recommend using the schematic board, and going through the menu to find the Submersible Prototype I recipe, and go ahead and complete it. This will unlock the first submarine parts to be able to be constructed.

Right, so you hopefully have submarines unlocked. Our next destination is this, the fabrication station. This is what is used to actually make submarine parts. We will want a full Shark build.

This is going to be a LONG step, and I consider it the most complex logistically. To make a submarine, you will need a Submarine Hull, a Submarine Stern, a Submarine Bow, and a Submarine Bridge. If you put the 6 Mahogany Lumbar into the Schematic Board earlier, you should have access to the Shark parts for each of those subsystems (I have a lot more on my screenshot because I have been at this for a while). Go ahead and start building the Shark-class Pressure Hull.

This is a very long step. The fabricator will switch modes to construction, and submarine parts take a LOT of material. For the Pressure Hull, you will notice it takes 18 Walnut Lumber, 18 Spruce Lumber, 18 Iron Nails, and 18 Cobalt Ingots. That is just for the first phase. Each material has to be put in in chunks that are equal to 1/3 of the final desired size. So, for example, the Walnut Lumber will need 6 Walnut Lumber put in 3 times just for phase one.

When you finish a phase with all of its materials, the fabricator will ask if you want to advance to the next phase. Do so, and it will give you a new list of materials you will need to put in. At the end of the last phase, you can collect the submarine part.

This is an activity meant to keep an entire Free Company's worth of people busy, and will probably not be fast! If you do not want to deal with it, you can try your hand at just buying submarine components from the market board, but be warned. They're expensive!

You can gain some minor XP from doing this for your crafting jobs. I wouldn't bother. Also, you can put in HQ materials. Whether or not you do will not affect the final product in any way, shape, or form. The only thing it affects is that you might get a discount on later phases if you use HQ materials for earlier phases.

This is generally not worth the effort.

So, build or buy your submarine parts! Once you have a Shark Hull, Shark Stern, Shark Bow, and Shark Bridge, you're ready for the next step.

But first.

Somewhere in your FC housing area will be this guy, the Resident Caretaker. You will want to visit him to purchase some Ceruleum Tank (these an also be purchased from the mammet in the Company Workshop). Just buy a whole lot, you'll be going through them quickly. You will also want to buy a Dive Credit (possibly up to 3 Dive Credits for the first submarines, I actually am not sure).

Okay, back to the company workshop. We are now ready to make the magic happen.

Go ahead. Click it. You know you want to. You will see two options, Airship Management and Submersible Management. We want Submersible Management. Open that, and use your Dive Credits to purchase your first submarine slot.

If you have all four submarine subsystems in your inventory already, congratulations! Go ahead and equip them on that first submarine slot. If you already have ceruleum tanks, you can even send it out. All my submarines were out at the time I made this guide, so I have no screenshots of this step for you, but go ahead and mess around with it a bit. You won't be able to go very many places, so you can just make a route and send the submarine out.

And that's it. You are now a salty undersea going sea dog! Your submarine will take about a day for every trip it makes. Longer trips take longer. There is a lot to say about submarine stats and whatnot, but that's for more advanced guides. When the submarine comes back, it will probably bring back some loot. Take the loot, and send the submarine back out. Rinse, wash, repeat.

One final word - never ever disassemble a submarine. As your submarine increases in rank, it will have more capacity for more, better, and different parts. You can research those parts at the schematic board (more advanced schematics will require the stuff your submarine brings back from voyagers), and then build those parts in the fabricator, same as the first time. While a submarine is not deployed, you can reassign parts. But again, even if you are going to replace every single subcomponent, DO NOT DISASSEMBLE YOUR SUBMARINE! You will lose its rank and all of its bonus stats, and there is no reason to do so, ever.

Hopefully this guide is useful to someone! There are more advanced guides elsewhere that I will link if anyone is interested, but for now, this should be enough to get you off the ground. If you have questions, reblog them, put the questions in the body not in the tags so everyone can see, and I will reply with a reblog, and hopefully this will be a fruitful chain of launching many a naval career.

Happy submarining!

[centrally-unplanned]

I have been taking my fit-and-starts second stab at playing Victoria 3 - I did a Japan run, and a Korea run, and this is a very frustrating game. It bothers me because its deep core is probably the best of Vicky so far. It understands that the appeal of these game is Factorio-esque; you want to build up this cool little supply chain that goes chug chug chug I make-a the widgets and numbers go up.

Vicky 1 was ofc just pure cheese; most goods could just be dumped on the global market with no buyer and do fine, certain goods were just hard-coded to be profitable, and insane things like 100% of import costs coming out of the government's budget pushed you towards a kind of samey, slapdash hyper-industrial mercantilism. Vicky 2 was the opposite - so opaque in its function that you as the player didn't really have agency over it, as the vaunted World Market just does its thing. Your strategies "worked" no matter what you really did though, so you just kind of followed basic "build factory in same territory as RGO" logic and let the system run itself. Both of these systems made for functional-but-not-exceptional gameplay loops.

Vicky 3 is more complicated than its predecessors, but in ways that makes how the economic system functions more concrete. You have local prices for goods, wider markets with clearly labelled high-and-low demand, and clearly defined "production methods" where buildings can commit to better tech at the cost of different inputs. As a player you can build factories, farms, and mines of a dozen different types anywhere, so you always have agency - and those new production lines gives you goals. Invent steel tools, so now your tooling workshops can make more tools but will need steel instead of iron as a input? You can switch over the lines...but make sure you have enough steel mills! And oh, that drives down the price of tools once you do it...so now your cattle ranches can justify switching their line to tool-assisted butchers! And now you make more meat, your local cost is low, but oh in the Russian market meat prices are high - as shown by that little gold coin icon it - so you can export it now!

Things are looped, contingent, and based on your decisions. It is simple, of course, you are making lots of little, easy calls that build you up over time - which is what makes it fun. It has to be simple, because otherwise it is a dizzyingly complex web of a million markets, it would never work. You feel like you are actually building the economy without being overwhelmed by it.

Which would be great if it wasn't stapled to one of the worst political & military systems I have ever seen, played with a UI God abandoned in shame.

So you can join the markets of other countries? Like you have your own market as a default, so you can click the "market" tab and it will show you how much wheat your country makes, how much iron it buys, etc. All good. But if you join another country's market, now that tab shows the collective market, everyone's wheat, iron, etc. Useful but like obiously I am not playing the market, I am playing the country; so how do I see how much wheat I make?

You can't.

You actually can't! Idk maybe they patched it in recently, but I couldn't find it and all the reddit threads I google from 2023 say you can't. Are you planning to declare independence and wanna see if you make enough food for your people? Too bad! Fuck around and find out I guess. I saw one thread where someone's advice was "save the game, declare independence, screenshot the new market, then reload". Quantum timeline level of experimental design going on in these guys' Bureau of Labor Statistics.

It isn't even the gameplay implications that bother me the most - this is a game about building an economy. You want to see what you built! And they stop you. It is baffling, and is just the tip of the iceberg - there are so many things like this. One of my favourites is that your "construction sector" is a hybrid of government and private projects, sometimes it is you spending the money, sometimes investors. Okay, cool, when it is you spending it comes out of your treasury, right? Well, yes, but the way they show that is when everyone spends it comes out of your treasury, but the private sector reimburses you for their share. Which you will not understand your first ~3 games, and instead just see huge red numbers on your budget screen and panic. And you are just left asking why? Why do that?

Beyond UI, the political system is just half-baked. It is "interest groups", each has baseline popularity, and verrrry slowly that changes as your economic structure changes (or revolutions). And to change laws you initiate campaigns to drum up support with roll dice to pass/fail. Which isn't a bad baseline, but it completely fails to capture how political change occurred in the era. Like the Meiji Restoration is "done" by you putting industrialists in power and kicking out the "landlords" lol. Japan didn't have industrialists then! Landlords are the ones who did the restoring of Meiji.

More importantly than inaccurate it isn't fun - to change a law you just arrange a coalition in power than kind of backs it, then pray you get good random events. In Vicky 2 they had a lot more railroad-style decisions and stuff you could do to capture history, "hit this military score benchmark and launch a civil war" kind of stuff. It wasn't complicated, and it was less organic, but it was pro player agency, you could take active steps to achieve it. In Vicky 3 it is mainly waiting or cheese - people often talk about getting the Meiji Restoration by deleting all your armies at game start and launching a civil war immediately that the AI will lose by default. A checkbox decision is better than that!

The military mechanics are the epitome of their "systems over gameplay" approach. What they wanted to do was two-fold; reduce micro in Vicky 2 where it is "click army to province" over and over, and "balance" the game by making combat not reward micro where players could cheese the AI. Very valid goals, I totally support it. What they did was built a system where armies auto-move to "fronts" and their AI can't handle it, but now as a player my agency over my units is gone so I can't fix it. The UI is awful, you can't even really tell armies to attack or defend, they just ~whim. You have to do a lot of clicking to fight the system - yes it is less clicking than Vicky 2, but in Vicky 2 that wasn't mentally taxing, it was fun enough to wage the war you wanted to wage. Everything was concrete and in your control.

Here...look, as Korea I declared war on China to gain independence. Then the UK - not my ally, just separately, declared war on China as well. So now we are kindaaaa on the same side? At which point half my army auto-reployed to Hong Kong because a "new front" had "appeared". One my one boat. Then the UK declared war on me as well and then 50% of my army was fighting the UK in the South China Sea alongside the Russians (???) while the other half of my army is sitting there at home facing the Qing troops along the Yalu River going "bro, wtf?". At one point a newly spawned army of mine tried to auto-redeploy to Senegal.

All of this is just so preventable - you wanna reduce micro? Make combat provinces really big. You just invade "Manchuria", no clicking from Jilin to Mukden, and have bordering armies support each other defensively or something like that so you don't have to dash back and forth. Don't try to make your AI "do it for you" because it clearly can't and you want to play your own game. I'm sure the above will get better as I learn the system but I can just see the hundreds of players who saw this system and insta-quit, because until you "understand" it, it stabs you in the back. Not what you want out of a game.

Anyway enough me whinging about the game for way too long - the fundamentals are strong in the end. I will test out mods, I could see an overhaul mod really fixing everything except maybe the combat (and then you just cope). I definitely want it to work, the potential is high.

[deviouscrackers]

MY opinion on todays TSAMS ep

Going to try and keep this constructive, because criticism without offered solutions is just dumb. (Got a bit long, sorry)

(I've had to use data to watch it since my wifi isn't existing for some reason (like everything is working but for some reason it ain't showing up on the connect list).)

Todays TSAMS episode... hm.

What did I like about it? Well, I liked Dark Sun pressuring Sun, the desperation in Sun's voice and his reluctance to kill Nexus at first. I liked how Moon came rushing in, and the fact that both him and Solar were willing to die to protect Sun. Nexus's scream was pretty good too. I think Reed and Davis did pretty well acting-wise.

(I can't comment too much on the exact dialogue, since I had to rush through and conserve my data.)

All in all, a solid episode.

Where the episode falls flat, at least for me, is that it's very noticeably lacking something.

Ironically, it's also very similar to why I no longer watch TFF Fnaf, even though the potential of Bryan's character rotates in my brain like it's in a microwave.

Today's episode had too much buildup for what ended up being. I'm not purely talking about Nexus's death and the months of buildup, I'm talking about from a viewing stand point as well.

The "marketed appeal" (I dunno what else to call it tbh), of this particular episode set was that it was a three parter halloween special/arc finale that had the last part premiering.

The first part, The Halloween Party, did very well with the collab, the way the events took place, the editing was good... it was very solid, and I enjoyed it. It got me interested in what was to come, got me wondering who took Moon, what's going to happen next?

The second part was also excellent. Goliath versus the Dragon was a thrilling addition and Ruin helping Moon nicely showed off his character. The way Nexus yelled when he realized what had happened, nicely done too. I left that episode wondering what would happen to Ruin, who would win the dragon fight, will Sun and Moon find each other in time, will Sun's trance come into play at any point in time?

The last episode did not deliever on what the first two episodes were bringing up. The dragon did not come back, and with what Dark Sun said about not wanting to see Sun again, it most likely won't. Sun and Moon did find eachother, but it wasn't all that impactful? It felt more silly than anything else.

After writing this all, I realize what exactly I felt was missing.

The episode felt like filler, almost?

Throughout Dark Sun's regular antagonist position on the channel, and specifically near the end, after the dragon had been revealed, it felt like he had a plan. Something cooking up in the background that involved all these complex pieces. And in a way he did, but it wasn't satisfying. What was the point of the dragon? What was the point of asking Ruin how long? What was the point of all of that, if he's just going to leave? Dark Sun did almost nothing, and while I want to believe that all of it was because he that "data", he went about it in such a stupid way!

Nexus's death, while well acted, also just wasn't satisfying either.

I think ultimately, the disappointment I feel with the episode is a result of things feeling rushed, underdeveloped, or just not elaborated on. Nexus felt uncared for as a character and I think the story could've done without Dark Sun. It could also be that we just haven't seen everything that's too come with the story yet, and there's loose ends or extra stuff to be told. I want to continue watching, because I enjoy TSAMS, and I'm a huge fan of Davis and his va work.

Because I don't want to sound like all I'm doing is complaining, I want to offer a solution.

I think, something that's bogging TSAMS down as a whole, is how often it's being posted and how that really spreads the story thin. Three times a week with one "lore" episode per week would work well. Yes, that mean less daily views, but it could potentially boost the lifetime of the channel for a while. It'd be easier to catch up when a viewer has fallen behind and allow the episodes, both gaming and story, to breathe.

At the end of the day though, I don't know how the channel works, I'm not a va for the channel, I don't work for them. This is just my own opinion on it and if I write anymore I will begin rambling on about why Season 1 of TFF Fnaf was peak and the others weren't (jokes but I do think both TFF Fnaf and TSAMS have a lot of similarities when it comes to the writing issues).

Anywyayyyaahha Happy North Hemisphere Halloween, losers :P

[msbarrybeeson]

Before You Go | Future Donnie & April Insight (Part VI)

(Reader Included)

A/N: Any constructive criticism is appreciated. Reader comments and feedback are also welcomed a lot. 

I have been gone for a long time. Just occupied with my studies! No fan fiction author curse or anything (yet).

Summary: You’re both adopting-parents of Casey. The story follows the perspective of Donatello and April O’Neil during the Kraang apocalypse. You and Leonardo decided to ask them to watch over thirteen-year-old Casey.

In other words, familial interactions between April, Donnie, and Casey Jr.

Reader: Gender-neutral pronouns are used, except the terms “(Mom / Dad)” are also used. Second POV.

Pairing: Rise! Future! Leonardo X Reader

Warnings: Bittersweet.

Word Count:  ~3490

Parts: One / Two / Three / Four / Five / Six / ...

~

Donnie knew how much of a genius he was.

It was no surprise after all. In his late teens, he improved NASA’s satellites to communicate with planets light centuries away. He cured breast cancer through the use of protons in radiation therapy to target specific cells, rather than affecting the harmless. Hell, he even managed to discover a new type of radioactive particles: mutons. By that point, he—.

“—should have been given a Nobel Prize in Medicine and in Chemistry.” Donnie cursed under his breath. He strolled over to his lab bench, equipping his goggles.

Squeeeak. 

April– who was found seated on Donnie’s roughed-up, spinning gaming chair– raised an eyebrow. Her hair had grown out and was left unbounded. Faint wrinkles and eye bags on her features displayed maturity, in contrast to a couple of years ago. However, everyone was well aware that time was not the only factor. 

“Whatcha going on about now, Donnie?”

The softshell huffed. “Recall when I wrote a report about my experimental findings with an invention meant to revive a deceased human being?”

“...You mean the one where you thought it was a good idea to open up Curie’s tomb? Even gone as far as to ask for my help?” April grimaced. “Who’d ever forget that.”

She proceeded to massage her temples. 

“God. You were in all kinds of messed up for that, Don.”

Lightning-like yellow sparks flickered as Donnie had his robotic hands occupied with a butane torch. His goggles were sealed tight around his eyes as he built a oval-looking device on his lab bench. Titanium outer-layer over a seriously complex circuit-board; appearing as if Samsung marketed grenades.

He scoffed. “Oh please. It wasn’t as if I’d taken long to understand how Marie Curie deserves her rest for her great contributions to radiation. Thus is why–.”

“–You decided to take a poor random husband of an old wife,” April interjected.

“Ahem.” Donnie pronounced. “The poor woman was begging me for her husband to be alive again. I was simply gracious and generous enough to not charge her for the process.” He set aside the butane torch. “At least it progressed well; he stayed alive for an additional two years. It gave his wife psychological comfort, and I was able to submit my paper to the N.S.F..” 

He picked up a screwdriver. “Except....” 

April could tell her friend’s eye was twitching. 

“They rejected my findings, nearly had me detained, and claimed it was far too ‘unethical.’” Donnie raised his volume. “Scoff! As if those researchers weren’t committing the crime themselves! Taking bodies away from families and claiming them as scientific property without permission.

If I could go back in time and shove my documents in their jaws, you bet I would.”

April smirked. “Well, I have my regrets too, Donnie.”

“You sound rather amused, April. Is that so surprising? And here I never thought you would regret your part-time job at Albearto’s. Or the fact you wasted money to switch to journalism in university.”

WHACK!

April threw her bat at Donnie’s head, flying back to her hand like a boomerang.

“Watch your mouth, mister. I may have regretted Albearto’s, but not a single moment in my life did I ever regret my journalism passion.” She stood up.

“Ouch.” The softshell vocalized, squinting his eyes toward her. His robotic clampers paused, setting aside the torch and taking off his goggles. 

“Mind yourself, April. Horse-playing is forbidden in the laboratory. I am not consenting to having yet another silver-titanium apparatus get scratched because of you.” Donnie gritted his teeth. “Can you hear the negative connotation?”

“Seriously, Donnie? Where’d that come from? Not only was that years ago but it ain’t anything except a simple accident.” 

“‘Simple accident?’” the softshell repeated with dramatic offense. “An accident, like many others in science labs, which could have caused severe damage! Remember the incident when your teacher dumped bleach and vinegar into the trash bin?

You know, if you had paid any attention in your chemistry class, those two would make mustard gas?” Donnie side-eyed his friend. “Simple accidents can have serious consequences, O’Neil.”

A hand crept up the lab bench.

“Uh-huh, and I’m supposed to believe an instance of me knocking over your phone and books would kill somebody?” April crossed her arms. “If anything, the blame’s yours for not organizing your desk when you got drunk on coffee.”

The hand took ahold of the butane torch.

“Donatello? Disorganized? Sounds cheap coming from you, a student majoring in Journalism.”

April pulled up her coat’s sleeves. “Oh boy, you’re about to get it—.”

Squeeeak!

Heads spun and found a 13-year old boy, replacing April’s spot on Donnie’s chair. Casey eyed the torch with a great yet concerning amount of curiosity.

“Yo, what’s this for, Uncle Don?”

At lightning speed, while April ran to move the gaming chair away further from the workbench, Donnie snatched the tool from his hands. “Child. Casey. Young man.” The softshell heaved loudly. “I must inform you this is NOT meant to be handled with such casual ease. How in Hawking did you even—.”

“Don’t your lab have a passcode or something?” 

“–Is what I am wondering myself, O’Neil. I refuse to believe this child remembers the beginning thirty numbers of π–.”

“Nope, only us.” April and Donnie lifted their gazes to his lab entrance. You leaned on the frame while a dear red-eared slider stood just behind. A couple of steps inside, and the metallic lab door shut close. 

Donnie– strangely– was quick to hide his device-in-progress off to the side.

“You’re back!” April grinned. “Hell, you would not believe the convo Donnie and I were having a minute ago.” She hurried to hug you.

“Figures,” Leo remarked. “We could practically hear you yards off.”

“Sounds like things never get old.” You smiled.

There was a side-eye between Donnie and April, before the Commander proceeded to inquire, coughing: “Anyhow.. care to explain the occasion? You two don’t seem to be in a hurry.”

“The only times you ever visit my laboratory are to prepare for immediate combat engagement, and you look awfully collected.” The softshell furrowed his brows.

“No, no.” You waved your hands, shaking your head. “Thank God no. We came here to ask if you two could take care of our Casey here while we head out.” The other turtle scrunched his in-quote eyebrows. “You— You came here to request us to... babysit him?”

April jabbed him in his plastron.

“You see? Just like I said.” Leo turned to you. “I know my brother, love. Don’s not the kind of guy to take responsibility for a kid. Or anyone, really.”

“Hold on.” Donnie narrowed his eyes. “I never said I refused, Leo.”

“Don’t know, it sounds like it to me.”

“Well, my misinformed brother, contrary to your belief, I am perfectly capable of handling a child.”

You huffed with amusement. Your husband only winked back.

“If you say so, Don.”

“Where are you two heading off for if you needed us to watch over him?” April inquired. “Wondering, ‘cause this never happened even when you two leave for patrol.”

“Just finding some time for ourselves.”

April exclaimed, “As in a honeymoon? Why not just say so? We’ll leave you two alone–.”

“–In this economy and climate?” Donnie interjected. “Has it also not been six years since your yet-to-be-legal marriage?”

“Alright, alright,” Leonardo chuckled. “Cut us some slack, bro. Finding time wasn’t easy when there’s Kraang above our necks.”

“Right, and you’re going on a honeymoon, how?” The softshell crossed his arms. “Simply because you’re the leader does not equate to you making wise decisions, Leo.”

“His ōdachi can teleport anyone to anyplace, we have some hope we can easily teleport to a remote area,” you answered. “One without Kraang infestation. It’ll be hard, but we may as well try.”

“Bonus points if we find clear skies and an ocean.” The red-eared turtle grinned, wrapping his arm over your shoulders.

“What’s a honeymoon, (Mom / Dad)?”

Your hand went to caress Casey’s cheek. “Parent quality time. It just means you get to handle yourself like the responsible grown-up you’ll become one day. Just promise me you’ll be on your best behavior around Uncle Don and Auntie April?”

“I promise, (Mom / Dad)!”

“Good boy,” Leo laughed, ruffling the kid’s hair.

“You didn’t ask Mikey and Raph to help out too, or?”

“Between you and me, I think you guys are better of making sure Casey doesn’t get into any chaos,” you whispered to April. “Don’t tell them that, though.”

She laughed. “Okay, I see how it is. You both have fun.” 

Donnie bit his lip. Right as Leonardo and (Name) turn to exit the laboratory, he extended his arm out to them.

“Leo, (Name).”

You two faced back to him once more.

“Don’t kill yourselves out there.”

Everyone’s eyes widened– April, you, and Leonardo himself. But the brother in blue snickered, holding a smile that reached his eyes. “So you do also care for me, Don. And all this time I thought you were plotting to put me in my grave or something.”

“We won’t.” Leo placed a hand on your shoulder. “You got my word.”

“Bye (Mom / Dad)! Bye Papa!”

“We’ll be back soon, Casey!”

Donnie stood in silence as you finally left, leaving himself with none other than his best friend and his nephew. “I refuse to believe this is the future we have to deal with.”

“Times changed all of us, didn’t they?” April spoke. “One day we wish each other a good one, and the next, we hope we just don’t die. I could’ve been a famous news anchor by now, make my mother happy, fight crime without worrying about dying the next second.

..I wonder if there’s anyone else out there besides the small number of us down here.”

“..I doubt it.”

Donnie pulled himself together and walked back to his workbench, operating his clampers to work once again. He put on his goggles. Casey, being a young teenager of enthusiasm, peeked over.

“Watch yourself, boy,” April warned.

“Don’t worry about me, Auntie. I’m only standing over here.” Casey narrowed his eyes upon the glowing and metal-like ball his uncle had his tools on. “What are you working on, Uncle Don?”

“A sphere.”

“A sphere?”

“You heard correctly.”

“That sounds kind of boring.”

Donnie had to hold himself back from remarking with: ‘That is exactly what every child whose intellect is doomed would say.’

“I’m sure your mother would find it rather moving.”

“(Mom / Dad)? I don’t understand what’s emotional about a ball, though.”

“Hey Casey.” April coughed. “Why not tell us about your mask here? Haven’t taken a good look at it before. Maybe Uncle Don would like to hear it too.”

“You actually want me to talk about my mask?”

“Ain’t a problem, is it?”

“No.” He fidgeted with his fingers a bit. “You don’t have anything else to do?”

“We were just told to watch over you, kid.”

“Yeah, but everyone I know is always busy with the Kraang or supplying weapons. I never really get chances to hang out.”

There was a brief pause in the butane torch’s flame.

April’s expression softened. Her hand came up to brush his black hair. “Things have gotten calmer up there. So you’ve got plenty of time with us now.”

Casey smiled.

“So your mask?” 

The boy alternated between covering his face and removing it. “(Mom / Dad) gave it to me. She told me it is based on the one worn by my biological mother. (Mom / Dad) also said that my birth mother was kind of crazy-funny and likes to be loud. She would have a stick to play– what was it– hockey?

I don’t know what kind of game hockey is supposed to be, but I guess it’s nice to know how life was like before all the Kraang.”

A sad smile crept on April’s lips. 

“Anyways, I thought the mask looked kind of plain, so I decided to draw red marks on it. See?” Casey showed his mask off, fingers tapping the surface. “Guess who it looks like!”

There were two bold and thick streaks of red. Each one ran through one eye, truly a defining characteristic. The Commander chuckled, already imagining how much pride her friend in blue would feel from the fact a kid– let alone one he had been parenting– looked up to him so much.

“You know, I am seeing someone familiar here.” April hummed as she put on a thoughtful facade. Fingers holding her chin and everything. “Got to be Uncle Don.”

Named turtle paused for a moment and raised a brow.

“Seriously, Auntie April?” On the other hand, Casey gave her an incredulous look and shook his head. “You probably want to get your eyes checked out, ‘cause Uncle Don doesn’t have any red stripes.” Off to the side. “And even if he did, he won’t look as cool as Dad.”

April snickered behind her palm as Donnie eyed the boy from behind his goggles.

“You’re right, you’re right. Just messing with you, kid.” Her hand ruffled his hair once more. “Sounds like you really admire your Papa, don’t you?”

“Why wouldn’t I? Dad has an awesome sword that opens up portals. He always moves so quickly whenever he’s fighting. Bam! And the Kraang’s gone!” The teenager stretched his arm for emphasis. “Even as the leader, Papa knows when to get serious and when to make people laugh. He also cares a lot about me, (Mom / Dad), you guys, and everyone!”

It made even Donnie himself smile. 

However, the way Casey’s enthusiasm died down had not gone unnoticed. “I’ve always wanted to help out though.” He sighed, shoulders slumping. “I want to fight the Kraang right by his and (Mom / Dad)’s side. Except I barely get the chance to, because they keep telling me to stay close to base and hide behind a giant rock.”

April crossed her arms and went quiet. His feelings were nothing new. In fact, she experienced the same thing herself, seeing she had always been a human. It was like that until–.

“Have no hard feelings,” Donnie spoke up, his hands and eyes remained on his spheric gadget. The sparks were flying. “Your parents are merely worried about your well-being.”

“I know, I know. They won’t have to though, if I can have enough training or something.” Casey sighed. “Then again, I also know I’m only a normal sensitive human.

...Why can��t I be a mutant instead?”

“Ahem. You are classified as a human. That is a true statement and one you cannot change.” Donnie hummed. “However, that does not mean you cannot be strong and capable in other ways.”

“Why does it sound like you’ve been in my place before?”

“Perhaps I did. Did you truly think being a soft-shell turtle is easy? I happened to be born as one of the only Testudines species whose outer shell cannot protect.” Donnie remarked. “Casey, your mask.” His hand signaled.

“What about my mask?”

“I merely want to add something.”

Confused, he hopped off the chair and handed the mask over. “Hmm. As long as you don’t mess with the stripes, Uncle Don.”

“Who says I won’t?”

Casey kicked Donnie’s leg.

“‘Ow,’ I say sarcastically without feeling physical pain.”

“Hmph.” He crossed his arms. “Why do you keep saying things like that?”

“Such as?”

“You say those action verbs, even when you’re already doing them.”

April snorted. “Just his thing, kid. Uncle Don’s got his special quirks.”

“Do you have a quirk?”

“Picking unnecessary fights for one,” Donnie commented.

“You only call them ‘unnecessary,’ because you never want to fix the problem.”

He rolled his eyes. “My solution would’ve been ten times more efficient if you had allowed my technology and I to do the work.”

Casey wondered. “Does your tech ever go haywire, Uncle Don?”

“No.”

“Oh man,” April began, “you should’ve been there for this one time. Your Uncle Don was building some kind of overprotective bed to keep your late Gramps from waking up from his beauty sleep.”

“Gramps likes to sleep?”

“You’d be surprised to hear that he sure does.”

“Then what happened?”

“Uncle Don asked your Dad, Uncle Mikey, and Uncle Raph to try punching, slicing, throwing whatever they could on the bed. They were attacking it like crazy!”

“And then?” 

“And the bed was even more insane, ‘cause there were actual missiles shooting out! They went straight for his brothers. At some point, it got overboard, so Uncle Don tried to command it to stop.”

“I’m hearing a ‘but’ coming.”

“But it malfunctioned and thought Uncle Don was the enemy!”

“However!” Donnie pointed his finger up, interrupting the story-telling. “It did not take long for my creation to recognize his master.”

“Still went haywire in my book,” April remarked. 

“Ignoring that.” His robotic hand tapped the edge of his workbench, grabbing Casey’s attention. “Come here, young man.” He slid back the mask, except in his hands, it felt as if the frame had thicken.

“It looks the same, but it doesn’t feel the same?”

“Try wearing it over your face.”

The boy did as told. All of a sudden, a bunch of green rectangles and words appeared in his vision. He gasped in awe. He spun around slowly, watching the rectangle focus on a figure through the wall.

“Yes yes, I know. I am well aware of how amazing I am.” Donnie huffed in pride. “I have opted to construct an interface with your mask. I cannot see why you shouldn’t have something to defend yourself with,” he reasoned. “I have other updates in mind later on. As of now, however, your mask will help you detect life forms across other rooms or through other objects.” 

“That’s so cool!” The boy hesitated though. “But I don’t want to break it or anything.”

“Hey.” April rested her hand on Casey’s shoulder, giving a firm squeeze. “Our resources are already scarce. Using then losing them is better than nothing. You better make the most of our tech. Understood, soldier?”

Casey grinned underneath his mask. He fixed his posture up and saluted. “Gotcha–! Understood, Commander!” 

He faced the inventor, whose hands were already back to being occupied with the “sphere.” “Thanks so much, Uncle Don!” Casey exclaimed, leaping towards the turtle to give a tight hug. “You’re the best!” 

Upon contact, Donnie stiffened up, but his lack of experience with physical touch did not prevent a smile forming on his face. He extended a robotic arm, patting Casey’s back. 

The boy then scanned around curiously with his mask. “Hey! Think I spot Uncle Mikey and Uncle Raph two floors down! They’re holding hands over a table or something. Why are so many people circling around them?”

April rolled her eyes. “Sounds like another arm-wrestling match between the our youngest and oldest brother.” 

Just like that, Casey booked it out of the laboratory so quickly, it reminded her of a certain red-eared slider. “What the–! Casey!” April groaned. “And here I thought we don’t have to deal with runaway kids. I better catch up to him.” 

“Would not worry about him too much,” Donnie commented. 

“What do you mean by that?”

“Considering we will not always be alive to protect him... the sooner we leave him to himself, the easier it will be for him to survive alone.” 

“Hey. Come on now.” April walked to her best friend’s side. “Don’t you say things like that. We’re all going to survive this together–.”

“April.” Slight pain wavered in his voice. “You know as well as I do how our current reality is. It is only a matter of time before the Kraang finds everyone.” 

“Yet you’re still here trying.”

No response.

“It’s all because of the kid, isn’t it?” April affirmed. “He ain’t any genius prodigy you were expecting long ago. But he gave you a reason to try– he became someone worth fighting for.”

“I would not put it as simply as that.”

She shrugged. “That’s how I’d say it. You know you’re not the only one whose life changed because of Casey.”

Donnie paused his work, turning off the butane torch and finally pulling his goggles off his eyes again. “...Casey reminds me of when we were young, being rash and immature teenagers like any other. I hate admitting to such thing, but I was one too. And I hate admitting much more how much I missed those times.

The child has known nothing of the trouble we’ve experienced outside, April: when Cassandra was killed, when Draxum was torn apart, when Dad decided to sacrifice himself despite the slim odds.” His hands clenched into fists.

“Do not expect me to have any false hope for our future, but do not assume I would want Casey to feel the same way. For as long as he can, I want him to hold onto that false hope.”

“...” April had her arms crossed. Her eyes slowly came to linger on the workbench. “Is that ‘sphere’ his false hope?”

“..No. Not his.” Donnie traced his thumb over his contraption. “It’s for (Name).”

[derinthescarletpescatarian]

hello! i didn't want to reblog the post but if you are interested in hearing how/why a specific person (me) cares about Taylor Swift's art, here is a wall of text!

i definitely think it would be hard (impossible) to pick up on this particular element of her appeal by listening to a couple of songs in isolation - it does in fact necessitate the kind of frothing all-in discography-memorizing madness that the fanbase is famous for. she is a woman who has been world famous since she was a literal child (almost 20 years!), and for a lot of that time her music has been a really interesting and increasingly complex project in engaging artistically with that experience from inside of the experience itself - ie, writing palatable, digestible pop songs for a mass market. the narrators and characters in her songs aren't her, but they're in active conversation with her public image - the harpy who dates famous men just to write breakup songs about them, the evil scheming PR mastermind, the stupid lovesick idiot who's just found her 197th soulmate, the bitch who sues everyone, the dumb blonde girl who has no talent and couldn't possibly deserve any of her fame, etc etc. the popular dismissal of Taylor Swift is that she just keeps writing songs about her famous boyfriends, but she's actually writing songs about an insanely famous woman who writes songs about her famous boyfriends, and all of those stories are in turn in conversation with the "true" stories of her experience in the public eye (relationships, lawsuits, public disputes, etc - the majority of which are constructed by the media rather than being "true" in any real sense, you know?). her level of fame means she is uniquely situated to do this, and she does a LOT with it. this is why Swifties seem insane about easter eggs and hidden meanings and clues and layers and hints and cryptic little references - it is rewarding to dig into her art like that because that is the kind of art she makes. it's deeply self-conscious and artificial and manufactured and above all, deliberate. for those who take an interest, there is a lot of fun to be had disentangling the layers. if you don't dig the tunes and aren't interested in playing that game, fair enough, and I absolutely understand getting tired of hearing about her all the time (unfortunately, hearing about her all of the time is part of the project!). but I do feel like the "crazy fanbase" stories are often weaponized as a way to discredit and diminish what is a genuinely interesting and significant facet of her storytelling, and as much as it sounds ridiculous to say this about the richest and most famous pop star in the world, I don't think she gets enough credit for how good she actually is at what she's doing (especially for her use of irony, but it's going to be a whole thesis if I follow that thread.) IN CONCLUSION: sorry to add even more Taylor Swift content to your life, but I just think she's neat.

I still don't get it but I'm glad she provides you with joy.

[brf-rumortrackinganon]

It's a very different world now. 2016 PR shenanigans are not going to work. If they want their PR to be effective at changing public perception, they need to play the 2024 game. But they refuse to.

what would the 2024 game be like?

Old asks from April 2nd. (These came in 5 minutes apart, so grouping them together here.)

So PR is managing reputation/image and relationships. Note that this is a very broad generalization. PR is actually much more complex but we're going to keep it simple here.

"Old" PR is very much about controlling how people perceive you. The celebrity (or the company) develops relationships with journalists and communicates to their audience through those journalists, who are largely using traditional media (e.g., newspapers, magazines, television interviews). There's not much interaction with the audience or if there is, it's very one-way; i.e., the celebrity/brand/company is speaking to the audience via a spokesperson (whether a journalist or an actual representative) and there's no chance for the audience to respond, engage, or interact back.

And when social media is involved, the celebrity is still using social media in an "old" PR kind of way - to send messages directly to their audience but they're still not engaging. It's kind of like the old fan clubs of the '80s and '90s, where if you subscribed, you got the newsletter; the celeb's social media account is the new fan newsletter.

"New" PR has evolved to be more about communications and content marketing and, increasingly, involves more and more crisis management. It prioritizes direct, personal two-way relationships with the audience (so no spokesperson or journalist in the middle), where the celebrity is engaging/interacting with the audience and the audience is engaging/interacting with the celebrity, and largely using new digital media - e.g., social media, podcasts, etc.

More and more nowadays, "new" PR is also about authenticity and transparency. It's still a form of controlling your image, but done correctly, it feels more organic, not as constructed or manufactured. Particularly with the crisis management aspect of "new" PR - that's why we see celebrities making apologies or personal statements directly to their audiences via iNotes screenshots posted on social media (like Dave Grohl's statement today) instead of going through a media rep or a journalist spokesperson.

"New" PR uses social media as storytelling and for content marketing. Celebrities/brands/companies still post photos and messages, but that's not the only thing they're doing with those channels and accounts. They're creating videos, they're producing content, they're interacting with audiences and they're connecting with peers.

But all that said, it's the content of how "new" PR uses social media that has evolved the most, and that's the change I was thinking about when I made those comments about the Sussexes.

Ten years ago, the content celebrities/brands/companies were creating for social media was about and for the celebrity. They were using charities/philanthropy, public appearances, their work (e.g. movies, film, theatre, books, etc.), their brands, their merching to promote or market themselves.

Nowadays, it's mostly the opposite. Celebrities are using their platforms to promote charities, philanthropy, speaking engagements, their work, etc. They're still promoting themselves, it just isn't as obvious and it's more carefully done (especially with new rules for merching and sponsored content).

Now with specific regards to the Sussexes, they're in kind of a weird place. Their media strategy is still very much "old" PR like the BRF - they've courted specific journalists, they communicate to their audiences through spokespeople (whether they're friends or Archewell or journalists), they predominantly use traditional media to communicate, all of the communication is very one-way (no personal or direct engagement with the audience) (Sussex Squad doesn't count), and everything they put out is very controlled.

Their content strategy, which drives their PR and media/audience relations, is still very 2016 in that it's almost exclusively designed to promote and market the Sussexes. There's very little (if any) information about the charities they support, the people they visit, the work they actually do, because all of that is meant to prop up the Sussexes and give them publicity. And that is one of the biggest criticisms they deal with; they're so obsessed with promoting themselves and managing their own images that it sucks all the attention, spotlight, and air from their actual work, such that the legit, real, movers and shakers and king-makers they want to connect with ultimately want nothing to do with them.

The Sussexes are uniquely positioned that they could go full-force into "new" PR with a modern content strategy focused on visual storytelling of their work and their philanthropy and it would be quite successful and innovative - and this is, in fact, what they demanded in the Megxit Manifesto. They wanted to be more "new" PR, to not have to deal with the media, to be able to connect and interact and communicate directly to their audience. But someone somewhere lost the plot - it probably happened when Facebook refused to port over all the bots followers from Sussex Royal IG to whatever their new IG was and they threw a massive "well we're just not going to have social media anymore (which was honestly very much a kiss of death for them, PR-wise and image-wise) - and now we're seeing the Waleses start to do this, so the Waleses are getting the innovative edit.

The videos the Waleses have made (for their 10th anniversary, Earthshot, the coronation, and now Kate's message) is very much "new" PR in terms of a content strategy for engaging and interacting with their audience. That kind of visual storytelling is exactly what social media is today, and look how much more effective that's been for them in terms of PR and image management than relying exclusively on the palace's machinery of press releases and portraits.

They're also using their social media platforms to share their personal statements - while it's certainly not the iNotes screenshot of Hollywood lore, it's still personal and it's still direct to their audience in a way that Buckingham Palace's press releases are not - and they're no longer using favored journalists to release and distribute their photographs. They're still using traditional media (and journalist relationships) to communicate longer-form stories to their audience, but I wouldn't be surprised if we see that start to change when William becomes King.

William and Kate do still need to get a better handle on the crisis management side of "new" PR. They have the right attitude of "never complain, never explain and it all blows over sooner" but they do shoot themselves in the foot, quite a bit, with their approach to work, which affects their crisis management. They tell us all the time that they do a lot of behind-the-scenes work, valuing quality over quantity, and that's why they're not as publicly engaged as we may want or expect them to be, but there's mounting frustration and mounting impatience over a lack of visible, transparent results from that work. And because there's no visibility into that work - no Court Circular records, no behind-the-scenes documentation, no tangible outcomes, no public disclosures, no public engagements - it makes the crises they deal with (well, some of them) really easy to explode into huge maelstroms. That's why it's so easy for Sussex Squad to spread the conspiracy theories and rumors; there's nothing coming from KP to offset it or redirect the narrative because their work is their crisis management strategy. Right now - for perfectly legitimate and valid reasons - because there is no work, there is no crisis management and because there is no crisis management strategy, KP looks, and is, caught with their pants down when these crises do pop up.

My hope is that when Kate is back to full health, whenever that is and however long it may take her, the Waleses do escalate their work and do become more visible with their behind-the-scenes work so that their work truly becomes as effective and as powerful for crisis management as it is for the rest of the BRF. Once they improve their work performance, they'll have a crisis management strategy, which should take the sting out of Sussex Squad's social media attacks.

I think I lost the plot here. Oh, well. It's late. Enjoy the rambling.

So that's the PR paradigm shift, with a little bit of social media evolution. Hopefully that explains things a little better. Remember, this is all VERY boiled-down-and-simplified because PR is so nuanced and complex.

If anyone who actually works in PR or media or communications or crisis management wants to chime in, please do!

[probablyasocialecologist]

These claims of an extinction-level threat come from the very same groups creating the technology, and their warning cries about future dangers is drowning out stories on the harms already occurring. There is an abundance of research documenting how AI systems are being used to steal art, control workers, expand private surveillance, and seek greater profits by replacing workforces with algorithms and underpaid workers in the Global South.

The sleight-of-hand trick shifting the debate to existential threats is a marketing strategy, as Los Angeles Times technology columnist Brian Merchant has pointed out. This is an attempt to generate interest in certain products, dictate the terms of regulation, and protect incumbents as they develop more products or further integrate AI into existing ones. After all, if AI is really so dangerous, then why did Altman threaten to pull OpenAI out of the European Union if it moved ahead with regulation? And why, in the same breath, did Altman propose a system that just so happens to protect incumbents: Only tech firms with enough resources to invest in AI safety should be allowed to develop AI.

[...]

First, the industry represents the culmination of various lines of thought that are deeply hostile to democracy. Silicon Valley owes its existence to state intervention and subsidy, at different times working to capture various institutions or wither their ability to interfere with private control of computation. Firms like Facebook, for example, have argued that they are not only too large or complex to break up but that their size must actually be protected and integrated into a geopolitical rivalry with China.

Second, that hostility to democracy, more than a singular product like AI, is amplified by profit-seeking behavior that constructs increasingly larger threats to humanity. It’s Silicon Valley and its emulators worldwide, not AI, that create and finance harmful technologies aimed at surveilling, controlling, exploiting, and killing human beings with little to no room for the public to object. The search for profits and excessive returns, with state subsidy and intervention clearing the way of competition, has and will create a litany of immoral business models and empower brutal regimes alongside “existential” threats. At home, this may look like the surveillance firm and government contractor Palantir creating a deportation machine that terrorizes migrants. Abroad, this may look like the Israeli apartheid state exporting spyware and weapons it has tested on Palestinians.

Third, this combination of a deeply antidemocratic ethos and a desire to seek profits while externalizing costs can’t simply be regulated out of Silicon Valley. These are fundamental attributes of the industry that trace back to the beginning of computation. These origins in optimizing plantations and crushing worker uprisings prefigure the obsession with surveillance and social control that shape what we are told technological innovations are for.

Taken altogether, why should we worry about some far-flung threat of a superintelligent AI when its creators—an insular network of libertarians building digital plantations, surveillance platforms, and killing machines—exist here and now? Their Smaugian hoards, their fundamentalist beliefs about markets and states and democracy, and their track record should be impossible to ignore.

[markrosewater]

Echoing what that other guy said, I have felt a rise in complexity recently. With so many new cards that not only make you read and remember what they do, but what the tokens they make do, then what the tokens that that token makes does, it really adds to the mental load. Some examples would be Ring Tempts You, daybound/nightbound, initiative, Venture into the dungeon, stickers, attractions, and many more.

For instance, had a vindicate, and was debating between killing Frodo, sauron’s bane and Nahar, selfless paladin, I would have to read a total of 6 cards. Each of the original creatures, plus the 3 dungeons and the Ring card. And this problem gets worse the more effects you add on, many of which don’t go away as the game continues. If someone introduces the initiative, I now have to worry about nahar exploring the underdark. This scaling complexity as the game continues now means there’s an insane amount layers of the game, which while fun, is also very daunting, and somewhat of a headache.

If nothing else, I’d really like if “reading the card explains the card” was true, not “reading the card, then the three different extra cards that it makes explains the card”

I do appreciate your listening, and generally a lot of the new stuff has been cool. However, this push for many “outside the game” mechanics is not great for paper play, and I would prefer less of it.

Here's the core problem. A huge part of Magic is that we keep making new cards. When we do that, the audience wants new mechanics. (Market research shows again and again that one of the biggest draws to new sets is new mechanics.) We're thirty years in. We've made a *lot* of mechanics, so we have to go to new spaces to make new things. It's not as if there's lots of simple, elegant, non-complex design space that we're actively choosing not to do.

What this means is if you want to play constructed formats that don't rotate, complexity will rise with time. There's literally no way around this. Every new card we create, every new mechanic we make, every set we put out adds complexity to the system.

So if you're finding the mental load too much, there are ways to play Magic where this isn't an issue. Limited formats and rotating constructed formats limit complexity. Or you can choose to build your decks such that you focus on less mechanics you have to track.

That said, I don't think there's a way for me to do my job (aka keep designing new things) that isn't going to raise complexity. We can look at how many things we add to any one set. Maybe slow down the rise in complexity a little. But can we do so in a way that the audience is getting what they want? I'm not sure.

One of the mechanics I get asked most to bring back is mutate, and that's confusing even without the rest of Magic, so there are many forces pulling in different directions.

I do like hearing the specific things that cause you all problems, because it's possible I can figure out the style of designs that cause people problems. But the idea that we just stop making mechanics that reference things not on the card is a tough one given where Magic design technology is currently at.

I do appreciate all the input, and I hope the dialogue helps me better understand what specific things are causing problems.

[mostlysignssomeportents]

The Collective Intelligence Institute

History is written by the winners, which is why Luddite is a slur meaning “technophobe” and not a badge of honor meaning, “Person who goes beyond asking what technology does, to asking who it does it for and who it does it to.”

https://locusmag.com/2022/01/cory-doctorow-science-fiction-is-a-luddite-literature/

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/02/07/full-stack-luddites/#subsidiarity

Luddites weren’t anti-machine activists, they were pro-worker advocates, who believed that the spoils of automation shouldn’t automatically be allocated to the bosses who skimmed the profits from their labor and spent them on machines that put them out of a job. There is no empirical right answer about who should benefit from automation, only social contestation, which includes all the things that desperate people whose access to food, shelter and comfort are threatened might do, such as smashing looms and torching factories.

The question of who should benefit from automation is always urgent, and it’s also always up for grabs. Automation can deepen and reinforce unfair arrangements, or it can upend them. No one came off a mountain with two stone tablets reading “Thy machines shall condemn labor to the scrapheap of the history while capital amasses more wealth and power.” We get to choose.

Capital’s greatest weapon in this battle is inevitabilism, sometimes called “capitalist realism,” summed up with Frederic Jameson’s famous quote “It’s easier to imagine the end of the world than the end of capitalism” (often misattributed to Žižek). A simpler formulation can be found in the doctrine of Margaret Thatcher: “There Is No Alternative,” or even Dante’s “Abandon hope all ye who enter here.”

Hope — alternatives — lies in reviving our structural imagination, thinking through other ways of managing our collective future. Last May, Wired published a brilliant article that did just that, by Divya Siddarth, Danielle Allen and E. Glen Weyl:

https://www.wired.com/story/web3-blockchain-decentralization-governance/

That article, “The Web3 Decentralization Debate Is Focused on the Wrong Question,” set forth a taxonomy of decentralization, exploring ways that power could be distributed, checked, and shared. It went beyond blockchains and hyperspeculative, Ponzi-prone “mechanism design,” prompting me to subtitle my analysis “Not all who decentralize are bros”:

https://pluralistic.net/2022/05/12/crypto-means-cryptography/#p2p-rides-again

That article was just one installment in a long, ongoing project by the authors. Now, Siddarth has teamed up with Saffron Huang to launch the Collective Intelligence project, “an incubator for new governance models for transformative technology.”

https://cip.org/whitepaper

The Collective Intelligence Project’s research focus is “collective intelligence capabilities: decision-making technologies, processes, and institutions that expand a group’s capacity to construct and cooperate towards shared goals.” That is, asking more than how automation works, but who it should work for.

Collective Intelligence institutions include “markets…nation-state democracy…global governance institutions and transnational corporations, standards-setting organizations and judicial courts, the decision structures of universities, startups, and nonprofits.” All of these institutions let two or more people collaborate, which is to say, it lets us do superhuman things — things that transcend the limitations of the lone individual.

Our institutions are failing us. Confidence in democracy is in decline, and democratic states have failed to coordinate to solve urgent crises, like the climate emergency. Markets are also failing us, “flatten[ing] complex values in favor of over-optimizing for cost, profit, or share price.”

Neither traditional voting systems nor speculative markets are up to the task of steering our emerging, transformative technologies — neither machine learning, nor bioengineering, nor labor automation. Hence the mission of CIP: “Humans created our current CI systems to help achieve collective goals. We can remake them.”

The plan to do this is in two phases:

Value elicitation: “ways to develop scalable processes for surfacing and combining group beliefs, goals, values, and preferences.” Think of tools like Pol.is, which Taiwan uses to identify ideas that have the broadest consensus, not just the most active engagement.

Remake technology institutions: “technology development beyond the existing options of non-profit, VC-funded startup, or academic project.” Practically, that’s developing tools and models for “decentralized governance and metagovernance, internet standards-setting,” and consortia.

The founders pose this as a solution to “The Transformative Technology Trilemma” — that is, the supposed need to trade off between participation, progress and safety.

This trilemma usually yields one of three unsatisfactory outcomes:

Capitalist Acceleration: “Sacrificing safety for progress while maintaining basic participation.” Think of private-sector geoengineering, CRISPR experimentation, or deployment of machine learning tools. AKA “bro shit.”

Authoritarian Technocracy: “Sacrificing participation for progress while maintaining basic safety.” Think of the vulnerable world hypothesis weirdos who advocate for universal, total surveillance to prevent “runaway AI,” or, of course, the Chinese technocratic system.

Shared Stagnation: “Sacrificing progress for participation while maintaining basic safety.” A drive for local control above transnational coordination, unwarranted skepticism of useful technologies (AKA “What the Luddites are unfairly accused of”).

The Institute’s goal is to chart a fourth path, which seeks out the best parts of all three outcomes, while leaving behind their flaws. This includes deliberative democracy tools like sortition and assemblies, backed by transparent machine learning tools that help surface broadly held views from within a community, not just the views held by the loudest participants.

This dovetails into creating new tech development institutions to replace the default, venture-backed startup for “societally-consequential, infrastructural projects,” including public benefit companies, focused research organizations, perpetual purpose trusts, co-ops, etc.

It’s a view I find compelling, personally, enough so that I have joined the organization as a volunteer advisor.

This vision resembles the watershed groups in Ruthanna Emrys’s spectacular “Half-Built Garden,” which was one of the most inspiring novels I read last year (a far better source of stfnal inspo than the technocratic fantasies of the “Golden Age”):

https://pluralistic.net/2022/07/26/aislands/#dead-ringers

And it revives the long-dormant, utterly necessary spirit of the Luddites, which you can learn a lot more about in Brian Merchant’s forthcoming, magesterial “Blood In the Machine: The Origins of the Rebellion Against Big Tech”:

https://www.littlebrown.com/titles/brian-merchant/blood-in-the-machine/9780316487740/

This week (Feb 8–17), I’ll be in Australia, touring my book Chokepoint Capitalism with my co-author, Rebecca Giblin. We’ll be in Brisbane tomorrow (Feb 8), and then we’re doing a remote event for NZ on Feb 9. Next are Melbourne, Sydney and Canberra. I hope to see you!

[Image ID: An old Ace Double paperback. The cover illustration has been replaced with an 18th century illustration depicting a giant Ned Ludd leading an army of Luddites who have just torched a factory. The cover text reads: 'The Luddites. Smashing looms was their tactic, not their goal.']