#scaffolding projects

[scopescaffolding]

Tower and Chimney Scaffolding Projects | Commercial & Residential

Tower and Chimney Scaffolding Projects is a company that provides scaffolding services for commercial and residential clients. They specialize in providing customized solutions for tower and chimney scaffolding projects, ensuring safe and efficient access to elevated areas for construction, maintenance, and repair purposes. With a team of skilled and experienced professionals, they ensure that all scaffolding is erected, maintained, and dismantled according to the latest industry standards and regulations. Whether it’s for a small residential project or a large-scale commercial undertaking, Tower and Chimney Scaffolding Projects offers reliable and cost-effective solutions tailored to their clients’ specific needs.

[mystery-moose]

GAMES I PLAYED IN 2024: A LIST

Went looking through my Steam Replay thingy, and decided to type up some thoughts on my favorite games I played this year! Here they are in roughly chronological order:

Helldivers 2 rules. It nails the tone and atmosphere of its inspiration (the Paul Verhoeven masterwork Starship Troopers) so well that it renders me almost totally uninterested in the officially licensed and apparently quite good Starship Troopers games that came out recently! It's a perfectly absurdist, hilarious satire that's played so straight it almost becomes cool! Right up until you get into the game. Because yeah, when things go well, you can feel really cool and badass and like you're in an intense sci-fi war movie... but the real strength of Helldivers is its comedy, and I don't mean the writing. I mean the ragdolling, the constant, impossibly big explosions, the deaths that come fast and furious and reduce you to giblet gravy, and the respawn being a whole new, fresh Helldiver that airdrops in to replace the dead one. It either feels incredibly tense and tactical, or it feels like cartoon slapstick comedy, and there's almost no middle ground. It threads both needles simultaneously like no other game before.

Now, some folks might be mad when, say, the Democracy Space Station the entire community contributed to building does nothing but shell the shit out of whatever planet its orbiting, to the point that most missions on said planet become suicide runs that result in dozens of dead Helldivers. They might also be mad when the devs add mines with blast zones so large they kill Helldivers as much as enemies, or rocket launchers that airburst almost immediately and teamkill constantly, or a car with a manual transmission that handles like a drunk walrus when its tires get popped. But I think these things rule, because these things contribute to Helldivers greatest strengths: comedy and chaos.

I did fall off it for a few months, when it got a bit stale. There was a period where they nerfed a bunch of guns, and frankly I understand why they did, and equally understand why they rolled it back. The game has had controversies, live service problems, Sony-driven publisher nonsense and recently some microtransactions I thought were poorly priced, but on the whole? The galactic warfront has kept me in their discord just to know how things are going even when I'm not playing, and that's not something I do for basically any other game!

If you want a good time in co-op, and you like third-person shooting and some crackerjack production values, and you like to laugh (sometimes at yourself), you will love Helldivers 2!

Dragon's Dogma 2 is not a perfect game. It's not even close. It has a ton of issues with a lack of variety in its content, a story that struggles with pacing issues and maintaining interest, and some awkward AI that renders a number of skills less useful than they should be.

That being said, there is no other game like Dragon's Dogma. It is tactile and mechanically deep, with class customization built around a combat system that feels exceptionally satisfying to use. It has a genuine sense of multiplayer shenanigans and camaraderie in a single-player game, through its customizable NPCs that you summon from other players. It creates stories about being dragged away by wolves or carried away on the back of a griffon and ending up in another part of the world, encountering monsters fighting each other or attacking caravans... and there's truly nothing like emerging into a canyon, seeing a troll fighting a dragon, running down and climbing all over the beastie and stabbing it until it dies. The vibes are immaculate, and that carried me through most of the game on its own.

I still need to get through the ending (that's not an ending) and the new game plus (that's not a new game plus) but even without completing it, I have a lot of fondness for this weird, weird game. I wish parts of it were better -- like a LOT better -- and I still think it has content issues that could have been solved by another year or two in the oven... but god (and Capcom) willing, some DLC or an expansion will get us there. I'd purchase it in a heartbeat!

Halls of Torment and Death Must Die are two "bullet heaven" games I played this year! Halls of Torment is aping the aesthetic of Diablo 1 and 2, while Death Must Die (pictured above) is doing more of a pixelart, Hades-like kind of thing with its buffs and boons. They both have a heavy loot focus, and a lot of progression, but they're both satisfying in different ways. They're both in early access, but content-rich, and I'd recommend them both -- that is, if you've already played Vampire Survivors and exhausted it and wanted more. Vampire Survivors is, of course, still king of its genre.

Homeworld 3 is the most disappointed I've been by a game in years. Blackbird Interactive have done good work in the past, helped put together the excellent Homeworld Remastered Collection, made Homeworld: Deserts of Kharak which for my money still has immaculate vibes and an excellent aesthetic, and also put out Hardspace: Shipbreaker! They've made great games in the past! So how this game turned out the way it did... I can only blame Gearbox and their meddling, because holy god.

There are mechanical issues like ships not following orders correctly, the pathfinding being kind of nightmarish, and the gimmick of superstructures and cover almost never mattering outside of a handful of campaign moments. The season pass (because of course it had one) had a bizarre focus on a very odd co-op multiplayer run-based mode, for some reason, rather than skirmish multiplayer -- which also had a dearth of maps and modes at launch.

But all of that doesn't matter so much to me, because what matters to me when it comes to Homeworld is the vibes. The aesthetic. The ice-cool, clinical, sweeping sci-fi space opera. Less a focus on named characters and more a focus on grander civilizations, politics, or enemies. Even Deserts of Kharak, set on a single planet, captured these vibes. And instead we got... some of the most awkwardly animated, ham-handedly written, and cartoonish cutscenes I've seen in a game in a good while. When the villain shows up in a main character's dream sequence and vamps around like a Dreamworks villain about to break into song, that's when I put the game down. I still haven't gone back.

I preordered the goddamn collector's edition of this. I never do that! I should know better! But I made the mistake of thinking a pedigree and proven track record are enough to bet on. Frankly, I think they should be -- maybe Gearbox and their story consultants and brand managers are just poisonous. Regardless, this was a real king-size bummer for me this year. Homeworld is dead now -- I can't imagine it getting another swing after this. But believe me when I say it deserved better.

The Dead Space remake is, against all expectations, absolutely fantastic. There are some quibbles I have here and there; I think the new performances from the supporting cast are a little flat. I think Kyne in particular loses a lot of ambiguity. The story and characterization elsewhere has been made less cartoonish or obvious, but given that Dead Space is a pretty corny horror yarn, it loses some charm as a result. But other characters like Isaac and especially Nicole benefit tremendously from a rewrite, giving them agency and likability they did not have before, and the wrinkles they add in their relationship are fantastic.

And mechanically? Wow. The game has never played better, moved better, been structured better. Some areas feel different, more a sidegrade than an upgrade, but others, especially in the new dark sections? Awesomely spooky. I happily started a new game plus of this and I fully intend to go back to it every October like I do Dead Space 2. It's SO good. That we were denied a new sequel is proof positive that EA sucks eggs.

Space Marine 2 is a 7/10 action game from the Xbox 360 era, shined up and given some quality multiplayer features. I mean that as the highest compliment; we don't get many of those these days! It is one of the best representations of Warhammer as an aesthetic and a vibe, and mechanically it is incredibly satisfying. I don't think a parry and riposte has felt this good since Sifu or Sekiro, at least in terms of sound design and impact. And the multiplayer! Simple, effective, an satisfying, with fun separate progressions for co-op and PvP. Every part of this package is far better than it has any right to be, at every level. You don't need to be a Warhammer nerd to like this game, in fact it's a pretty neat introduction, but for super nerds or just sometimes fans like me? Certain setpieces are absolute cinema. Can't wait for that horde mode to hit next year!

If Homeworld 3 is the most I've been disappointed by a game, the Silent Hill 2 remake might be the most I've been surprised by one. I had zero expectations for this thing, given the developer's previous output, and Silent Hill 2 itself is one of those games that is genuinely Important Art. Not just on its own merits, but in how it influenced creatives in basically every other form of art there is. There's an argument to be made that Silent Hill 2 has quietly influenced more horror media than damn near anything else since 2002. And it earned that.

So when this remake turned out to be... like, actually great? And not just great, but restrained? Thoughtful, even? That's amazing. The core story remains the same, whole cutscenes lifted almost word for word, but the changes they do make are not made solely to be different or justify its existence; they're done purposefully, because time has passed, because the game now flows from its scenes and environments more fluidly. Because they wanted to add (or emphasize) certain aspects of characterization. And the scenes they do add are so in keeping with the rest that it's hard to tell where the new stuff begins and ends. Heck, even the new endings they added are kind of amazing!

This is the remake that Silent Hill 2 deserved. The original is still exceptional, and should be preserved, but if this is the only way someone can experience this story? That's okay. This has single-handedly made me interested in whatever Bloober Team makes next, and I hope that whatever it is, they can channel the talent that made this, rather than their previous output.

I have not yet completed Dragon Age: The Veilguard, but I can tell you now that it is good. Maybe not great! But good. Solid. It has mechanically dense and interesting combat, an exceptionally cool skill tree and class customization system, accessibility options out the wazoo, and some really great production values. It has fun characters (some more than others) and a really fun protagonist. Some of the writing can be... heavy-handed, I'll say. And some of it is obvious, or hammy, or kind of pat. It feels very different than past Dragon Age games, for better AND for worse. I'm gonna have a bunch of thoughts on it when I'm done, I can tell!

But as a showing for BioWare, to prove that they're still capable of putting out RPGs that matter? That their formula, as old as it is, still works? That they still belong in the conversation after Larian's Baldur's Gate 3? I think this is a tremendous success.

Maybe the ending will fumble the bag really badly. That's been known to happen in BioWare games! But even then, I'd still have had a lot of fun playing this thing.

And if nothing else? Man, the next Mass Effect is gonna be AWESOME. (If they're allowed to make it...)

I Am Your Beast is the latest game from Strange Scaffold, the folks what made El Paso, Elsewhere, Clickolding, Space Warlord Organ Trading Simulator, and An Airport For Aliens Currently Run By Dogs. If nothing else, their title game is on point. My only experience with them was El Paso, a game written and performed by one of the main leads, Xalavier Nelson Jr. And let me tell you, that game put them on my radar.

And while El Paso, Elsewhere was a Max Payne pastiche, a game about relationships and a breakup and addiction and emotional catharsis filtered through slow-mo dives through windows shooting shotguns at werewolves, I Am Your Beast is a smaller, leaner production. It is about a guy who killed for the government, who doesn't wanna kill for the government anymore, and when they send men to make him do that, he kills them all. That's it, basically -- and yet the narrative, told entirely through voice acting and typography without a single animated cutscene or face in the entire game, is one of the most quietly confident and cathartic I've seen in a while. It's a revenge thriller, of the John Wick sort, but the simple humanity and humor that Xalavier and his fellow voice actors imbue into the characters in such a series of short scenes is really incredible. It's the sort of game I've kind of always wanted; a stylish riff on a popular subgenre of film that makes you feel like you're in it. Because for as much as video games ape movies, there's surprisingly few games that really do what this game does, or feel like how this game feels!

And mechanically? The game is a just a bit stiff, such that you can tell it didn't have as much money or time as maybe it could have used. But even with that, it is still fast and smooth and extremely satisfying. The game loads as fast as it moves, so when you fuck up, you can reset in less than a second and start right over, Super Meat Boy style. This is necessary, as it is a fast, score-based shooter that can demand a lot of you if you want to complete all the optional objectives, let alone S-rank everything. But really, the action IS the juice, the raw lizardbrain satisfaction of nailing headshot after headshot, running a route through a map that you've planned after numerous attempts and getting it just right, just perfect, with a little room for improvisation along the way. And your reward? Another great little bit of voice acting, some characterization, and another killer tune to vibe to as you shoot your way through another army of goons.

I Am Your Beast is very close to being the best possible version of itself, but even falling just short of that, it's still one of the absolute best games I've played this year, or any year. It's short, it's sweet, it's cathartic as hell, and it has one of the best final levels of any game I've played. I'm a sucker for when a song drops into gameplay, especially with lyrics, and boy they save that for a final level that's more a celebration than a challenge. This game kicks ass, and if you get anything from this list? I'd say get this one, for real.

Karate Survivor is another in the burgeoning subgenre of "bullet heaven," aka Vampire Survivors-clones. But this one is different, because it requires actual gameplay!

I jest, but this game does feel more active and more involving in terms of positioning than most games in this genre. Instead of building a suite of weapons that autofire, you're building a combo string that auto fires, and each attack goes in a specific direction with a specific arc of damage, and they're each part of different styles and different sequences that boost damage and add bonus effects when linked together and... you can see how there's some juice here!

But more importantly, Karate Survivor does something I did not expect: it made me feel like Jackie Chan. There are games that let you do a fight scene -- Sifu is one of my all-time favorite games, and that has some environmental stuff you can do, ottomans you can kick and bottles you can throw and tables to dive over, but it's all just a bit self-serious, a bit too cool. And that's good! I like those vibes! But a Jackie Chan movie, a good one? That has something different. There's an element of danger, of threat, of physicality and pain for sure, but there's also a distinct element throughout the choreography of slapstick comedy, of using the environment in creative ways.

And that's what this game does -- you have environmental interactions. You direct your karate man over to some bottles, and he'll automatically chuck them at the nearest enemy. He'll kick chairs and buckets, he'll pick up brooms and shovels and ladders, he'll kick out a support and send a shack tumbling down on his attackers. You can run up walls, you can throw open doors to smack dudes in the face (a move lifted directly from Rumble in the Bronx) and you can pole vault into locked rooms or across rooftops. The act of moving, of positioning yourself to funnel attackers and utilize the environment and grab whatever is laying around? That's Jackie Chan, baby. And no other game has really captured that feeling like this one has!

Karate Survivor fully justifies itself not as a clone of Vampire Survivors, but as its own game. It is unique, it has some excellent pixel art, it kicks ass, and best of all, it is very cheap. Absolutely check it out if you can!

Balatro is my game of the year. It kind of has to be. Yeah, I'm sure Astro Bot is incredible, I'll play it someday and love it death I'm sure. I hear that Indiana Jones game is shockingly excellent too! And Shadow of the Erdtree? I mean come on!

But you don't understand. You don't get it. I didn't either -- I thought I was over deckbuilding roguelikes, and the poker aesthetic? Who could care! I mean I like poker and all, but as a video game? Meh.

Then I watched someone play it for just a few minutes, and I knew I had to try it. Then I got it on mobile, and it was all over.

Balatro is a dopamine factory. Not in the same way that Vampire Survivors is, where it's all in the presentation and after a certain point the game sort of falls away and it's just flashing lights making brain chemicals happen. Balatro is a thinker. You gotta plan, you gotta react. You gotta play the right hands, get your cards in the proper order to maximize score. You gotta build your run on the fly, depending on the jokers you find. There is not a moment in Balatro that you are not making some meaningful decision, no matter how small or short. It has one of the best UI designs in games, with some really smart flourishes that make my pleasure centers light up like a Christmas tree. It is a game that you can break such that your high score is in scientific notation, but luck is also a factor, and you'll rarely see this unless you dig into seed science. It has a bunch of different decks that all radically change how you play, and a bunch of challenge modes that demand you play a certain way, and you're always unlocking one of the 150 jokers in the game that each completely change how you build your strategy.

Balatro is available on PC and mobile. Get it on both. You pay like fifteen bucks, and you get everything. No DLC, no microtransactions, no actual gambling, ever. The whole game. I've put at least fifty hours into this thing, probably more, and I'll put more into it in 2025. If I get the PC version, I might investigate the mod scene! People are adding new jokers that break the game even more! One-man developer LocalThunk is a baller, and I can't wait to see what he makes next, but if all he ever does is this? He's earned a spot in the history of this medium.

Balatro is the closest to a perfect game I've seen since Vampire Survivors. That two games this monumental by solo devs have come out so close together is proof enough to me that, for all its many MANY problems, we are in a golden age of video games. I sincerely hope it inspires tons of folks to make their own! So I can lose hundreds of hours to those, too.

[duskydrawings]

GIRL HELP I have CREATED A CHARACTER before fleshing out the storyline and now I've become TOO ATTACHED to change certain aspects of them, or god forbid — SCRAP THEM, for the sake of IMPROVED STORYTELLING

[orcelito]

Worst thing about having taken business classes is that I see people complain about bullshit companies are pulling and a part of my brain goes "Oh, that's an effective tactic for cost reduction" or something around those lines. And then the part of my brain that is Not a wannabe businessman is just like "Bro."

[w-corp-clerk-anon]

Now that we have Aisle Q back, we now have to prepare for "that time of the year" it comes with upsides and downsides Upsides: -We can purge out those 'phobic bastards from the company -Use our customized uniforms without being judged by the passangers (they told me that the purples in mine really matches my hair) -Some of our seniors will bring us matching stuff depending on our orientation -The food, you should see the food, while is a shame that is only for the month, the food in the other districts cafes is wort it, wont say more but with any luck you can get a good cup with your flag Downsides: -We don't get to vote this year's logo, this is due to a past incident where they sabotaged the votes and choose one that went against the company policies. -Too many posters to change in the station, this is why we are being told beforehand to start preparing everything, the station is too big and sometimes we aren't enought people. -Despise having custom uniforms we still have to use our basic vests due to the materials used on them being hard to dye, annd the part that they're expensive too. -Nest-dwellers aren't fun to deal with, specially if they are on the extremist side of that ancient ideology.

I could list more on the downsides but that can take the entire day, but you know the drill, there is never enougth time.

[s2z]

Coode Island, Melbourne, Victoria, Australia. 2023-01-29 16:26:49 by stuart murdoch

[explode-this]

Having a minor existential crisis this morning about being a decent writer but also having severe adhd which means I have all of these little bits of actually good writing and a miraculous ability to critique and assist in editing yet I couldn’t finish the degree that would give me the piece of paper that assures any prospective employer or contractor that I’m smart and good at what I do (primarily: following instructions and putting words together) and also I have no body of work to demonstrate said skills so basically

[erstwhilesparrow]

[voice of someone considering a deeply inadvisable project] i mean, i could actually be more directed about learning how to write smut, i have works i consider good examples, i've successfully achieved verisimilitude about kink stuff in the past just by doing a lot of googling, i could take notes about it,

[raogbl]

A scaffold provides masons with a safe platform to work on as the building's height rises. Scaffolding is a temporary structure for supporting several platforms that workers can use as required.

When walls, columns, or other structural members of a building exceed 1.5 m in height, temporary structures must be built to support a platform when the workmen can sit and continue working.

Scaffolding is a temporary structure, usually made of steel or timber, built very close to the surface of a wall. All components of the scaffold should be checked thoroughly before use to ensure safety and integrity.

The use of aluminum scaffolding in construction, remodeling, and repair projects has increased dramatically in recent years. As a result of its plethora of benefits, you are also seeing its use in related industries and projects, such as railways, ports, fire protection, aviation, and telecommunications.

Aluminum Scaffolding Types

Narrow Scaffolding

Historically, scaffold towers had to be built in tight spaces, such as small, constrained spaces. Construction work at height can be done with these narrow scaffolding single width towers, which have one platform per level, regardless of space constraints. Because they are easy to erect and dismantle, they save time and money, as well as boost productivity.

Bridge Scaffolding

Scaffolds are very useful when you need to perform maintenance or repairs over a large area. The aluminum scaffold platform will enable you to work over a spread area without having to take it down and re-erect it several times.

Z Type Stairway Scaffolding

Using a Z type scaffolding system makes your construction work faster, more efficient and labor saving. You can also work at different elevations with the help of guardrails and a functioning stair system. 280mm and 560mm rung spacing’s are available depending on load and budget requirements.

Extra Reach Scaffolding

Due to the higher height of these scaffold towers, laborers are able to reach higher areas. All sides have handrails to provide safety, and frame rungs provide easy climbing. For convenience and ease of storage in warehouses, scaffold towers also come with wheels.

Without Stairway Scaffolding

Because this type of scaffold does not require stairs, it is easy to set up and move around. These aluminum products are very durable and sturdy due to their non-corrosive and non-ferrous aluminum characteristics.

Read more

[wuggen]

Blech. Things are so much simpler when you don't care about efficiency. But caring about efficiency is so much fun! Until it isn't.

The programmer has engineered herself into a corner once again!

[doughguts-art]

What is your stance on the "Elsen is one guy who cloned himself a bajillion times" comment from the 15th anniversary livestream

My stance is that I respectfully disagree (for lack of a better term). Since “all elsens are clones of one person” wasn’t ever stated/explored in-game, I find it more fun to explore other Elsen origins for my projects instead. Mortis Ghost has also said in the past that people are welcome to play fast and loose with lore, and that’s what I was doing before I was ever introduced to the clone discussion. It’s easier for me to ignore that newer addition than to overhaul my original ideas, so that’s what I’m doing. I have no issue with people who decide to use that lore for their own works, but it doesn’t apply to mine.

With that being said, what’s MY lore for Elsen? For me, Elsens as we see them in-game are the result of 3 things:

Human’s evolution after the “apocalypse”. Elsens are what Humans are in the far future, as the lingering effects of the apocalypse (cough cough radiation) changed the very essence of what Humans are from the past.

Hugo’s influence as a “god” of this world. What we see is what Hugo specifically makes, so Elsens are the cartoony square-headed humanoids because that’s what we are made to perceive by Hugo.

The Batter’s/Protagonist’s perception. They all look the same because it is just easier for them to look the same. It is unnecessary for them to look any different than each other to the Batter, so we barely see any differences.

In my games, “Tiny Terror” and “Project GoldFinch”, the Elsen are more visually different than the original OFF’s because they are not filtered through the Batter’s practical lens. Non-important NPC Elsen are intended to have more variety, because they are supposed to be more individualized than what the Batter saw. Now I can’t say “everyone’s different” because I think I’d die if I had to make every NPC unique, but I’m trying to change up certain details so you’re not just talking to the same Elsen in a dress-shirt and tie.

“So, that’s how they look, but how are they made, if not cloning?” Glad you asked, I have a few explanations that usually (but not definitively) depend on which Zone they reside in!

The Zone’s Minimum Quota: Each Zone has an undefined number of Elsens that have to exist within it. There can always be more than the set number, and there usually is in any given Zone, but if a death of an Elsen would mean going under, then a fully adult Elsen will appear in another area once that death occurs. This new Elsen will have a basic knowledge of living, but will have to be taught to do specialized tasks. This is more common in Zone 3 than the other Zones, and it's the reason Enoch’s sugar industry has been sustained for so long.

Cloning (via the Big Elsen in the Room): YES OK I have a cloning piece of my lore too, but it’s not exactly what Mortis Ghost described, so I don’t count it as the same. This version of cloning is heavily inspired by tzalmavet’s idea of the Big Elsen. Sometimes normal-looking Elsens will grow and slough off of the Giant One (that I have dubbed Biggs for my story). Some of these Elsen are kept in the Room, but most are sent to the larger Zones. Unfortunately the ones that are sent away don’t survive for long outside of the Room because of genetic instability caused by leaving and the rapid mutations that results from it. All of the Elsen that come from Biggs are genetically the same despite any differing mutations, and consider themselves siblings. They can identify each other as such even if they are meeting for the first time.

Creations of the Guardians: Guardians can create Elsens if they choose to excerpt the massive amount of energy needed to make one. This was done mostly in the beginning of the Zones, before the Quota was established. It is very impractical to perform now that there are other easier ways Elsen can exist. The creation ritual requires “scaffolding” (usually made of plastic, metal, or meat), and a Guardian to infuse energy into it. The scaffolding + energy will create an Elsen with whatever features and knowledge the Guardian wishes to give them. Japhet was the Guardian who created Elsens using this method the most, which is why he considers the Elsen of Zone 2 his children (even if not all of the Elsen within the Zone are made by him anymore).

The Traditional Way: Elsens can just make other Elsens the same way Humans can make other Humans, though infertility rates are VERY high in most of the Zones. Zone 3 is pretty much completely infertile, it is very rare to see a child in Zone 1, and Zone 2 has the most children with enough to have a small school. Elsen babies grow and mature at the same rate as Humans do.

There are also miscellaneous "Special Cases". Some of my Elsens have unique origins separate from the ones I listed above, but I’d like to save the spoilers for my game to when it comes out, haha!

That's all for now, I hope you found my statement and lore explanation entertaining! I am excited to share more in the future.

[dontmixpaintinyourcoffee]

Things I Can't Stop Thinking About Since the Gravity Falls Renaissance; An Overly Long Compilation

• It's mostly a joke-y cartoon thing but holy shit Dipper wakes up screaming kind of a lot??? How long has he been doing that for?? How long will he *be* doing it for??

• Stan had to basically teach himself advanced physics and complex multidimensional theories. He had the advantage of the portal mostly being built and having a bunch of the notes post-Bill, but still!! He had to learn how to operate the damn thing! I highly doubt Ford wrote about the portal in the same accessible manner he wrote about cryptids, especially as he spiraled into paranoia. The machinations of the portal weren't meant to be shared with the layperson, it just wouldn't be practical information for most people to have.

(also notable that he went through the whole process of learning how to operate the portal not only through pages and pages of dense code, but with the background of a 1970s highschool education and literally nothing else that would be relevant. Ford works really hard, but this is also stuff that comes to him very naturally. Designing a functioning portal wasn't the hard part. The hard part was getting the idea for the portal in the first place and knowing what to do with it. This shit is so ridiculously advanced and Stan is not an academic mind by any means. No wonder it took 30 years, he had to keep up a fake life and fund his project while grinding away at advanced quantum physics interdimensional whatever science wizard nonsense. I think about those 30 years a lot.)

• It doesn't really get addressed, but I think about Wendy being "super stressed out, like, all the time!" A lot. God, can you imagine living in the same house as Manly Dan? Let alone being the only girl there? Especially depending on when their mom left/died, she probably felt incredibly alone for a lot of her teen years. And given the Apocalypse Training it doesn't seem like Manly Dan is the most stable parent either.

• Stan, Ford, and Wendy could probably bond over having shitty holidays (and subsequently being forced into having awesome holidays when Mabel found out.) Filbrick took Stan and Ford to get free cinder block samples for Hanukkah, and the Corduroys did apocalypse training every year instead of Christmas.

• Pacifica still hears the voice of the Lumberjack ghost in her nightmares, but it's implied on the website that the Lumberfolk spirits have actually declared her under their protection since the events of Northwest Mansion Mystery. That means one of two things: that the ghost in her dreams is just her own guilt-ridden brain, or that the ghost has been appearing in her dreams to try and help her. I think about both options frequently.

• Stan struggles a lot of the time with physical activity, but that's mostly to do with age. He's actually really goddamn strong (beating down the zombies, punching a pterodactyl in the face, grabbing Ford and hoisting him up off the ground no problem, scaling scaffolding and holding the twins up by a rope one-handed). This makes the fact that Wendy beat him in an arm wrestling contest three times in a row way funnier.

• The way the Stans were almost definitely completely willing to beat a random guys ass so that Waddles could get on that bus. Stanford "Your math is no match for my gun you idiot!" Pines implicitly threatened to shoot a stranger with a Weird Sci-Fi Firearm for his great-niece. Stanley is even more direct. There is no confusing what brass knuckles will to to you. I also absolutely believe that they were not bluffing. One of them would've stolen the bus if the guy had mysteriously fallen unconscious due to unforseen circumstances.

• According to Soos, Tad Strange is crushing hard on Woodpecker Guy. Is this general town knowledge? Does everybody know that the Woodpecker marriage is on the rocks? How does one divorce a woodpecker? Alternatively, how does one get divorced *by* a woodpecker? Does Tad have a chance? Is this a small town scandal? Mr. Hirsch inquiring minds want to know. Has Toby Determined written a gossip column on this drama yet. Get your head in the game, Toby

[team-frightfur]

Thanks to the colour palette choice it also looks like she's facing down Yuri (and I guess her 'guilt in her 'responsibility' in her own mind). It's nicely symbolic and full of double meanings! Nice A+ work. Also forgot to mention but I love the addition of heartlands insane streets. I can see them lurking in the bg. No safety rails. Death city.

Birds and Stones.

[qqueenofhades]

Hoping you can explain this because you’re smart but why in the world are the same people who scream about a labor shortage worried about the border and immigration? Isn’t more people coming to our country a good thing if we train them properly to fill vacant positions (a lot of which are service jobs anyway)?

Alas, you are forgetting what is quite possibly the chief shibboleth of Western white supremacy/far-right nationalism: that all people from other countries, especially *gasp* the brown ones, are invaders, murderers, job-stealers, polluters of the (white) body politic, etc, and that under no circumstances should they be invited or allowed to stay. This isn't just an American thing; witness the Tories in the UK salivating over the idea of torturing migrants, trying to shut down any legal migration routes even with the employment black hole caused by Brexit, steadfastly denying that their workforce problems have anything to do with Brexit, steadfastly denying that they need to loosen immigration rules, etc. This is also the case with the European right/far right, the Australian far right, and anywhere else in the world that has historically been built on systems of white colonization, white supremacy, and other racial and legal scaffolds of privilege and exclusion. The white people who come to a country and settle it are bringing "civilization" and therefore should be welcomed and encouraged, but the non-white people who already lived there are "savages" and need to be exterminated for the good of the "master race." If they try to come back to the (white) nation state after their homelands were colonized, moreover, they are "invaders" who just want to "soak up the money of hard-working citizens" and etc etc.

The core fascist hatred of immigrants is also why Trump is directly echoing Hitler's anti-immigrant rhetoric with his "poisoning the blood of America" screeds, his promise to round up and deport migrants en masse, and otherwise be as massive of a dick as possible. The fact that there's no economic benefit and indeed a lot of economic pain is entirely beside the point. Trump and his deranged followers like the cruelty and the idea of torturing brown people for daring to come to "their" (white) America, and think that if they can be outrageously monstrous enough, this will finally deter all the other ones from coming. It won't, and no globalized economy will run without immigrants, but again, this isn't the point. Reality or pragmatic calculations have nothing to do with it. It's only about what can cause the maximum amount of cruelty and chaos to everyone who doesn't wholeheartedly worship and fit the (white) fascist model. That's why the Republicans yelled about wanting a border bill before they'd fund Ukraine; the Democrats obligingly gave them one with some of the toughest restrictions in years, and the Republicans yelled and threw it away because Dear Leader Trump told them to trash it. In some sense this is a good thing, because it meant that Ukraine got funded without being beholden to performative partisan cruelty at the border, but it also shows that they don't actually care about any of this. They have bluntly stated in so many words that they want a manufactured crisis at the border so Trump will have it as a campaign issue. Then he can take office and implement all his terrible concentration camps and all the other genocidal fascist bullshit of Project 2025 (bUt bIdEn iZ thE wOrsE oPtiOn!!!!!)

So: yeah. There's no point looking for any actual consistency or logic in the modern far right, because that is so far from the actual aim. No matter if migrants are essential, no matter if Americans literally won't take many of the jobs they do, etc. I live in a big city that has had a ton of migrants coming here and have read many, many news articles about how all they want to do is get a work permit, make their own money, learn English, and integrate into American culture; they are often far more positive about the prospects of America than actual Americans. But because the entire project of a (white) fascist ethnostate as advocated by Trump and co. in America, the Tories/Reform in the UK, and the far-right European parties, Russia, and other places (this is all connected worldwide -- again, it's not limited to one country or region), rests on demonizing (brown) immigrants as subhuman scroungers who come to rape, murder, steal jobs, and otherwise threaten (white) law-abiding citizens, that will always win out above every single other consideration.

[utilitycaster]

I am curious if you think the campaign wrap up will perhaps address some of the campaign shortcomings or challenges the cast faced in trying to land this campaign narratively, especially in comparison to previous campaigns? Not that they would disparage the whole campaign - but like a little “yeah this didn’t work as well as we wanted at times?” 

It’s odd because I find myself weirdly optimistic about CR as a whole despite this campaign’s possible lackluster ending, so I guess I’m hoping the campaign wrap up acknowledges that this campaign didn’t always play to their strengths in hopes that their next long form venture does more, idk.

I don't know if it will but. that's precisely the tenor any question I send will have: I don't think the fundamental concept is the issue - hell, I don't even think killing the gods is actually a problem if you appropriately set up a scenario where killing the gods has a motivation other than "mortals were mean to me in their name" [thing that happens irl all the time in a world with zero proof of divinity, in my religiously observant ideologically agnostic and skeptical opinion] or "I have issues with my parents I never worked towards so I've projected this onto The Ultimate Parents instead of like. being fucking normal." But it needed a lot more scaffolding at the VERY least in the prep for this campaign, and actually, to be blunt, if you want to make this a balanced issue you needed to seed this concept through prior campaigns in a meaningful way. There's a reason pretty much everyone who defends this campaign as Extremely Good, Actually is either doing some form of wildly revisionist history of the fandom and the past campaigns that's demonstrably false if you were like. there; or else they started with C3 and decided they were an expert despite being of below-average literacy and deeply below average personality and have to resort to such miserable efforts as "arguing that canon isn't real" and "posting an out of context Le Guin quote over and over in the hopes we won't notice they're actually 511 mice in a trenchcoat who can't actually read". So yeah I hope Matt is like this was an ambitious project and I'd have done many things differently.

I do wonder what's next for CR, because as I mentioned, it feels like the cast is stronger in shorter form; that even the other longform shows are moving to shorter form right now; and that WBN and C3 kind of show the limits/failings of longform. I hope they do another longform campaign at some point in the future, but it might make sense to take an extended break and play in the space for a while. They only took about 4 months between campaigns for the past two and maybe it would be good to take longer and focus on Daggerheart, Candela, and EXU for much of the year and if they do longform wait 8-10 months, especially with the comparatively extensive touring schedule this year.

I also hasten to add, and I mentioned this briefly in talking about CRPGs, but I think there's a Third Campaign Dip that's not inevitable (NADDPod didn't really have it; TAZ switches systems enough that it's not an issue) but definitely hit here, that doesn't apply to a fourth one. Like, for CRPGs (girl who's played Veilguard twice and gotten through the first day of Disco Elysium voice) it feels like the first run is following what seems most fun to you and then the second is playing around with other choices that maybe aren't as appealing just to see what happens, and then for the third and future runs you kind of know the full lay of the land and what you'll like while still allowing for a range of choices. For class-based TTRPGs, the first is the self-insert/thing that's fairly comfortable and easy/character you've dreamed of; the second is what you do now that you know how this works; and then the third can be...an overextension, shall we say. I think after that you figure out, again, the bounds of your comfort zone, how much you can stretch it, and what you don't like, you're in a much more consistent footing.

[literallys-illiteracy]

Trans Allegories in Lobotomy Corporation

Part 0.5 in a series that i'm making going over the archetypes, themes, and interpretable meanings of all the abnormalities in this game, before the next, and then finally in Limbus.

Cut is for further explainations

First Tier: Trans Allegory 100%

It is important to note that there is no strict defining line on what a trans allegory is, which I also have a project working on to describe my theory, but in the Scaffold one could theoretically understand the structure that I have.

Snow Queen:

The power of love overcoming that of cold, stagnating, uncaring evil in order to help one re-find themselves. The snow queen herself does not represent that of the allegory, it is rather Kai (Kay) and Gerda's story from the original tale that can represent this, however interlinked all the same to the queen.

King Of Greed:

Part 1, the work line:

"When The King of Greed assumes the form of an egg, you can faintly see a smiling girl inside it."

alongside the fact that her title is "king", a traditionally masculine rank.

Part 2, the actual thematic:

The concept of "greed" in this abnormality is not truly one that is borne of what one would traditionally think, rather than the desire to take for the sake of taking, it is the concept that the root of happiness is desire, and at the root of all desires is an insatiable greed within.

While desires many will go unfulfilled, they will always be the root of ones happiness, and will always remain in ones subconscious.

Snow Whites Apple:

Snow whites apple is one of being discarded and abandoned, hoping to rot (similar to another teleporting, hallway damaging, plant based Waw in this same tier), who, after time passed, realised that the life she had seen come to fruition for Snow White was not the life that would come forth for her, so she leaves to go on her own journey, to find herself.

The apple, realising that the life they had once thought was not for them, sprouted forth, grew, and became a princess in search of a story.

Nothing There:

Egg.

Beauty and the Beast:

Change, death, a life trapped in a body that is not *you*, an endless cycle that all parties wish to part from.

Today's Shy Look:

someone in a discord server noted that this abnormality is a parallel to neurodivergence, especially ASD. Unfortunately i beat them to that analysis a few months ago.

The themes of identity, denial, and divergence all carry over to themes of trans nature, however that is not to say that Shy Look is intended to be one, it is almost certainly intended to be that of ASD.

That being said, kill the author with your own bare hands, the autonomous psyche that exists in humanities collective contains these archetypes of identity and denial, and integrally they are linked to these conscious perceptions we have of them — Inseparably these ideals are linked to conscious perceptions, though borne from the unconscious mind, and forth from this there is no way to remove change from identity, to remove denial from the 'self', to differentiate one's societal differences and strife to that of another. We are all human, we all share in this human collective, these unconscious symbols are not defined by a singular perspective, interpret things as you wish. If you disagree with my analyses, by all means, slay me by your own hands; forthcoming the 'Death of the Author' is the 'Birth of the Reader'.

Alriune:

Doll wished to be human, abandoned to the wayside, finding their own goals shattered.

Though Alriune may be interpereted very strongly as a trans allegory, which i also have a different (netzach) project related to, that is once again to the visceral humanity of these abnormalities, which i plan to touch on at a later date if a certain mutual doesn't beat me to it.

Funeral of Dead Butterflies:

Whom also has their own post on this topic. which is another 'death of the author' tangent for you to read on i guess.

The Funeral of Dead Butterflies' thematic is that of death, and hence that of rebirth, of life.

This concept is best demonstrated through a quote from Demian:

“The bird fights its way out of the egg. The egg is the world. Who would be born must first destroy a world. The bird flies to God. That God's name is Abraxas.”

Herman Hesse, Demain

However, i also have a topic essay separated from PM somewhat regarding the nature of death as an allegory, alongside an additional essay named "Transing Death".

Notes of a Crazed Researcher:

"The final chapter ends with the phrase: “Born again.” "

Notes of a Crazed Researcher, observation level 4.

We Can Change Anything:

Don’t like how you look? Are you too fat? Too skinny? We can change that!

We Can Change Anything, Observation level 3.

Being somewhat more serious, with both the notes and this tool, though not integrally linked to that of these allegories, they are both understandably interpretable as this with reasonable argument to support them.

Tier 2: Plausible to Write as a Trans Allegory:

Burrowing Heaven:

This abnormality will come back later. Keep an eye on this one for a moment until then, hold on.

So Burrowing Heaven's gimmick is that of attention, wings, and eyesight.

It's descendant from the trope of 'gazing upon a god' often present in fictional or extant religions such as in the Lovecraft mythos (which is noted in particular due to the abnormality being described i later depictions as "wings of an elder god").

That being said, this abnormality's concept of "existing within ones perception" is interpretable as that of identity, alongside the line of "I could only bear fruit in your sight", akin to the concept of only flourishing when viewed as what or who you are.

Scorched Girl:

Abandonment, sights of a better future, disregard by society.

This abnormality only gets this lower tier due to its source material's differentiation, rather than seeking a better life for strictly herself, she sees in the fires a world of warmth, of joy. Though hope is a powerful emotion, and one that is linked to desires at a primal root neighbouring the king of greed, it is wrote here in a way that is less linked to that integral theme of identity I seek.

The following three exist in the same vein:

Queen of Hatred, Little Red Riding Hooded Mercenary, and Big and Might be Bad Wolf:

All three of these abnormalities share the same virtual story framework, one of managing your identity within a predestined story.

Queen of Hatred defines her existence upon the extant force of evil, though in opposition to it, hence her dual thematic of both love for good, and hatred for evil. Little Red, similarly, is not a being without her antithesis, without the wolf she cannot exist as an individual, without her hatred for the one which haunted her for so long.

The Might be Bad Wolf exists in a barely different stream, though still that of a predestined story, it is rather that of societal fatalism, wherein its nature as a wolf determined its future, the wolf is always the villain of the story, the wolf is meant to hunt.

The wolf is also the most trans-coded out of any of these abnormalities, its nature of being hated due to its nature alone, its lack of decision in the matter, its fate, it "will be" the Big and Bad Wolf.

The former two however share this in many ways, due to the aforementioned predetermined nature of their tale, however in both a meta, and mirrored parallel.

The Hood and Queen both define themselves on another's basis, being unable to exist without the other, leaving themselves as incomplete — In queen's hysteria we can see the repercussions of this unfold, her strands of being still loose she unweaves into a beast, into a creature that she does not *want* to be.

The Hood exists in a slightly different manner once again, as she has found herself in the wolf's hunt, though less so in this unweaved state that the Queen has.

Warm hearted Woodsman:

Desires and is denied a heart due to its nature from birth, from its creation.

Do you know what letters heart has? thats right. HRT. I rest my case.

Der Freischutz:

Loss and searching for identity, sacrifice of ones old life in order to create a new one on their own accords.

Red Shoes:

This abnormality is the literal incarnation of desire, so much so that it's EGO is the only one to actually include the word "desire".

The Firebird:

The Russian avian version of Moby Dick essentially, a bird which wishes to be perceived, wishes to be hunted like it once was, in order to regain its glowing feathers.

This bird exists in the same concept of Burrowing Heaven (you can stop keeping an eye on it now), wanted to exist in ones perception, as beautiful as it truly can be.

Plague Doctor/Whitenight:

Both Plague Doctor and Whitenight share both of their placements due to its fucktonne of different plausible interpretations, this one was extant on its own, but furthered by someone named "chaos" in a twitch chat when i first made this list.

This concept is mostly that of change, of becoming your true self, and finding those that know about and accept this self before the advent comes.

This transformation is integrally linked to Whitenight, alongside Plague Doctor, however they will get their time in the spotlight soon enough.

Mirror of Adjustment:

Changing one's self though appearing the same in the mirror, see Limbus Company canto 4 for more details.

Meat Lantern:

Appearance verses reality.

Knight of Despair:

Yet another struggle to find one's identity in a cruel world, a tale as old as time, where the knight's experiences, her cycles of despair, lead to her view of herself, her sough purpose in life, to be naught.

This purpose is then renewed through the protection and guidance of others, similar to mine, like how i attempt to guide others (in both understanding themselves, alongside subconscious themes, and media literacy), the knight attempts to guide others, and protect them from the harm that she could not protect others.

Yin/Yang:

The innate feminine and masculine traits that each holds, alongside their obvious dichotomy and wholeness in unity can be understood as one coming to understand or accept their true identity.

The reason that this is not in a higher tier is because of some psyche stuff that i don't want to get into here but i think i may have wrote about in the past.

[Censored]:

This abnormality is by design an enigma, which is its entire purpose, the concept of a hidden form, of redacted information, of a 'true form'.

Now as the river of humanity I may be a bit biased but i think that this abnormality is the peak form that one could take in a transition i think.

Tier 3: Transphobic:

Forsaken Murderer:

Medical experiments forced upon someone in order to cure an unseen disease of the mind, which removes ones identity and personhood in the process.

The above paragraph is describing what is known as "conversion therapy" which is a fucking horrendous concept that draws parallels to the forsaken murderer's story involving medical experiments forced upon someone in order to cure an unseen disease of the mind, which removes ones identity and personhood in the process.

Whitenight:

This is about people who use religion to justify their hatred of others, about people who make their anger justified through their posited god, who make their disdain, their xenophobia, into a so called 'Divine' wrath.

Plague Doctor:

[...] cure an unseen disease of the mind, which removes ones identity and personhood in the process.

(me, 3 paragraphs ago).

The plague doctor, sharing the concept of Forsaken Murderer, seeks a so called 'Disease of the mind', which culminates in the deaths of many once its mission is seemingly complete.

Bald:

[...] forced upon someone in order to remove [...] which removes ones [Hair] and [Hair] in the process.