My Dearest Sinophobes:
Your knee-jerk downvoting of anything that features any hint of Chinese content doesn’t hurt my feelings. It just makes me point an laugh, Nelson Muntz style as you demonstrate time and again just how weak American snowflake culture really is.
Hugs & Kisses, 张殿李
It would be a VERY bad thing to have this image turned into a UV DTF sticker and place them on Teslas (Cybertruck or otherwise) in your region. Why would it be bad? UV stickers are insanely difficult to remove. If you put this as a UV sticker on someone else’s property and they tried to remove it manually, they would probably damage their car, and that would be wrong.
But these games weren’t published by “the general public”. They were published by people in our hobby. Just people in our hobby who had somehow missed out on every game ever made since the publication of AD&D or AD&D2. I mean I know my general level of obsessive “I gotta know” is unusual, but I submit so is their degree of active avoidance of even basic human curiosity.
Yeah, that was the Forge clique’s term for it, but I try not to use their jargon.
But it was so weird that they popped up in the '90s. In the '70s it’s understandable. But with 15-20 years of good solid design to look back on, to come up with a slightly improved AD&D as “the ultimate game” was astonishing.
There was a whole phase in early “game design” where every game was basically D&D with a bit of a facelift here and there. Genuinely new games were few and far between (and are the celebrated games of the era now). Then the '80s happened and game design went all over the place with wildly creative ways of doing things happening (and like every wildly creative phase in any discipline, a lot of it was a really stupid direction to take things, so withered quickly on the vine).
Then this weird phase happened in the early '90s where people nobody had ever heard of or from came out of the woodwork to tout their “grand new RPG” that “solved all the problems of previous games” … and it was always just another variant of D&D. These were people who’d been playing (usually) AD&D for over a decade building up house rules and then deciding that they would publish these house rules as a “new” game system. And it was clear they’d never even once been in a game store, not to mention talking with other designers or playing other games, over their entire span. Because they would “solve” things by proudly proclaiming the number of classes they had so you could play the character you want. (One game had 114 classes!) Or how you could play any race and class in combination. Or, you know, things that hadn’t been an issue at all since the introduction of Runequest in 1978.
It was always so tragic. These games were amateur in the literal sense: the product of great love. A lot of time, effort, and money had gone into their publication. And they were doomed on impact because while they were, arguably, an improvement over AD&D (the king of the gaming castle at the time) they weren’t sufficiently good to be worth switching to. I had about 20, maybe even 30, of these games on my bookshelf just as a mute testament to what happens if you try to hit a market without even elementary market research.
Don’t waste your breath on the Apartheid Manchild servicers. Especially the ones who can’t read.
The accident was the drunken driver.
The fact that they couldn’t get to the trapped victims was the Cybertruck.
I’m not sure which part of this is confusing.
I had a similar arc, only I was introduced to it with D&D/AD&D in the '70s.
Today I don’t play D&D or any of its derivatives, though.
The first system I played was the 1977 Dungeons & Dragons Basic Set, which I tried with a cousin in 1978, but the first one I owned was Advanced Dungeons & Dragons which I purchased in 1980 or 1981.
A literal Space Nazi writes a book in which the ruler of Mars (albeit democratically elected) is called “Elon”, after whom Errol Musk’s next loin turd is named, and said loin turd is obsessed with Mars. And being a Nazi.
What. A. Coincidence.
They bounced three. In one of those links they cited SIXTEEN who openly used Nazi symbolism just in their avatars and whatnot.
Substack is still a Nazi bar.
But of course you didn’t bother to check, did you?
You’ve (collective) got the information. And the solution to it, no less, in the last link. What you (collective) choose to do about it is on your head. But given what I’ve seen in the USA’s so-called “left” you’re going to cheerfully continue using a service that profits from Nazis.
You do you, boo.
Substack is a leftist platform? Since when?
There’s more. Many more. And a list of literal (as in swastika-flaunting) Nazis being hosted on Substack would be far longer. (Oh, and you might want to have a look at the dates on those articles. This is not new information.)
What do you call a bar, again, that lets Nazis openly associate? And what do you call the other patrons also in it?
Maybe the non-Nazis should read this: https://ghost.org/docs/migration/substack/
The irony of using a fasc-friend platform to talk about resisting fascists when Ghost is right over there.
The Apartheid Manchild has this weird obsession with Mars.
There will be no permanent settlement on Mars in the next decade. (I frankly doubt that there will even have been human footprints on Mars in the next decade!) There will be no permanent settlement on Mars in the next century. There will likely be no permanent settlement on Mars in the next millennium. And I’m saying that last one not because I don’t think we’d have the technology in a thousand years, but rather because there is no point in living on Mars.
Mars has nothing we need that’s worth maintaining a settlement in the face of conditions harsher than the absolute worst the Earth has to offer. If people want to live in a permanently cold shithole with nothing usefully accessible they can just build a house on Antarctica. It’s a far cheaper way to fuck around and find otu.
Read George Polti’s The 36 Dramatic Situations. It’s a list of plot elements that have a snappy title, a list of participants in the plot element, a brief discussion of how it works, and then (unfortunately dated) references to dramas that used them.
Using this when building a world, or a campaign, or a local setting, lets you quickly set up a bunch of conflicts (ideally with interlaced participants so that single NPCs (or PCs) can be in different roles in different dramatic situations. Then you just let the events flow logically, and as the dramatic situations get resolved you get a plot. PCs can interfere with these dramatic situations and thus have an impact on resulting plots even if the overall setting is far larger than they are.
For depth in world-building I use a rule I call “Y-cubed”. (I got it from somewhere else but can’t recall the source anymore.)
For every detail you make, you ask the question “Why” three times.
So a village the characters have reached stop all work every 77 days for a festival. Why? It celebrates an ascended local hero who saved the village from a magical blight. Why 77 days? It took 77 days for effort for the blight to be defeated. … And so on.
This is a rapid way to both build depth in your setting quickly, as well as inspire possible mysteries and intrigue for investigation later.
A slight modification works also for giving NPCs depth.
Anybody who thinks that the Apartheid Manchild was ever intending on reducing spending needs to be given a dunce hat and forced to sit in the corner.
I am not sure what you mean by saying the CPC isn’t Communist anymore.
The CPC has never been communist.
It’s socialist.
To clarify for any pseudo intellectual who happens to be reading:
“<X> is true for <reason> you utter idiot” is not an example of the ad hominem fallacy.
“<X> is true because you’re an utter idiot” is an example of the ad hominem fallacy.
Glad to be of service.
OK, I’m not understanding a word of this.
OK, so print costs will increase, but print costs will decrease for the US. Clear as mud. Maybe the example will help:
Nope. Gets even more confusing.
Did nobody copy edit this? Or is a nearly 15% drop “slight” in USAnian?