As a railfan and a graphic designer, the first thing I check out when in a new town with public transit is their transit map. You can tell a lot about a city by how they represent themselves on a transit map, and I myself have designed more maps than I can count. What's the map of your city look like? Do you have a personal favourite you think is really unknown? Any maps that you just want to rant about because of how terrible it is?

My personal favourite transit map is Constantine Konovalov's Paris Metro Map, I just love how effortlessly it weaves the lines throughout the Peripherique, and how it's not afraid to break its own established rules on angles and circles. Honorable mentions go to the London Tube and Rail map (an absolute classic), and the Mexico City Metro, which assigns a unique symbol to every station for the benefit of passengers who can't read or write.

Also, designers, feel free to share your transit diagrams! I miss r/transitdiagrams a lot and would love to see your work, fictional, redesign or otherwise!

Half a year ago, I watched The Menu, which is a delightful film if you haven't seen it. Depending on your perspective, you might read its whip-smart commentary as a critique on fine-dining culture, an examination of the cultish qualities of class warfare, a deconstruction of the relationship between artist, audience and financier, all of these, or more that I haven't mentioned. And yet, despite the roiling thematic depths, it's a very accessible and entertaining social horror flick. That was six months ago. And today, I got recommended a video called "Binging with Babish: Cheeseburger from The Menu." In the video, YouTuber Andrew "Babish" Rea attempts to replicate the final dish in The Menu (spoilers ahead): a cheeseburger which is only special, in the film, for its simplicity. For the fact that it is food meant to be eaten and enjoyed, not to be part of some absurd navel-gazing ritual. And for the first part of the video, Babish, in my opinion, replicates the burger near perfectly. A simple burger, on a premade bun, with deli American cheese and crinkle-cut fries. No frills; no fancy tricks. A burger you or I would make, executed well, designed to be eaten and enjoyed. By the time he's done tasting this burger, we're two minutes and fifteen seconds into an eleven minute video.

Roland Barthes (look, just bear with me please) was a French critic who is now best known for his seminal 1967 essay "The Death of the Author." But my favourite of his works is his 1957 essay collection "Mythologies." In the economic boom that followed World War II, Barthes looked around at a new emerging popular culture, and chronicled what he felt were the artistic, philosophical and political connotations of everything from wrestling to the recipes in women's magazines. In the latter essay, titled "Ornamental Cookery," Barthes described the difference between recipes in the working-class Elle Magazine, and the middle class L'Express. Barthes observed that food in Elle was fancy, aesthetically pleasing, and tremendously complex to make, with garnishes and glazes and bright colors, in contrast to the simpler food in the apprently classier L'Express. Explaining this seeming contradiction, Barthes writes,

It is because Elle is addressed to a genuinely working-class public that it is very careful not to take for granted that cooking must be economical. Compare with L'Express, whose exclusively middle-class public enjoys a comfortable purchasing power: its cookery is real, not magical... The readers of Elle are entitled only to fiction; one can suggest real dishes to those of L'Express, in the certainty that they will be able to prepare them.

In other words, Barthes thinks that the recipes in Elle are there not to be made, but to be observed and hungered for by a working class that would struggle to afford the expensive ingredients for complex home cooking, whereas middle-class cooks were capable of affording the ingredients for recipes that could plausibly be made, and so had no need for spectacle or impractical flights of culinary fancy.

This same dynamic can be observed in cooking videos on YouTube. Videos like the aforementioned Babish video, where, after completing his simple, delicious burger, Babish spends hours making his own buns, synthesizing American cheese, crinkle-cutting fries, and grinding expensive steaks to form his patties. The resultant burger, again, looks delicious. But, compared with the first burger, while it's something that I, a middle class woman, certainly could make, the cheaper, simpler burger is infinitely more practical (and, I would argue, more aligned with the themes of The Menu). This isn't a phenomenon unique to the Babish video, either. It's a dichotomy I've observed in lots of cooking videos; some of which, like those made by J. Kenji Lopez, Adam Ragusea, and the like are designed to be practical, replicable recipes; some of which, like Joshua Weissman's "But Better" series, or this delightful video from YouTuber ANTI-CHEF, are videos meant to be consumed as entertainment, only nominally replicable by a typical home cook. The Elle Magazine of today. Not that there's anything wrong with art for art's sake, food designed to be viewed as much as or more than it is to be eaten. Is there?

If, in 1957, you had a lot of money, want to eat the elaborate dishes on display in Elle, and couldn't cook, there was an easy way to do it. You could hire a chef. You could ask them to make some pink, glazed, mythical dish, or, hell, you could let them dazzle you with their creativity instead. You could let them set The Menu, so to speak. But maybe what that film argues is that perhaps the thing you would be consuming would still be ephemeral, unsatisfying, perhaps even unhealthy to eat. Maybe, when we watch videos about impractical, spectacular dishes; when we delight in the excesses of fine dining on display in Chef's Table or the excesses of home cooking in Binging with Babish, we are aligning our expectations, however minutely, along an unwholesome vision of what food should be.

What are your thoughts on romance in RPGs? I'm using the word "romance" here because it's usually what the topic is called. But I think it's too specific and has unwanted connotations with cheeziness. I would prefer the term "attraction", which can also refer to more challenging relationships that might not include sex or even happy endings.

The recent news that Starfield will only feature 4 romance options has fans debating, and before Starfield it was Cyberpunk, Mass Effect, Dragon Age, Skyrim, etc. Each of these games took a slightly different approach to romance and each had their fans and critics. On the one hand, the Witcher 3 had a defined player-character and very few romance options, but the writing was excellent and the romances fairly believable. And then there was Skyrim, where you created your own character and had lots of romance options, but all you needed to do was a fetch quest for your belle/beau and then give them a necklace before living a happily married life of fighting bandits, adopting children and saying the same things to each other ad nauseam every day for eternity. But even Skyrim's romance had a certain charm to it. At least you got to live with your partner, build a house, have a family and go hunting together...

I fully understand the viewpoint that gamers would rather have fewer options if they are deep than more numerous janky options. We're yet to see what Starfield's execution will be like, but even if they have done a good job with it, I can't help feeling a little disappointed that there are so few options in such a massive game. I fully understand how difficult it would be to have more options and still make the romances compelling, but I think this should be strived for, rather than just given up as too hard.

Of all the big entertainment media (movies, TV, books, etc.), games are understandably way behind when it comes to romance. It's either rarely implemented or implemented poorly because technically it is very difficult. Yet it's often a major part of storytelling and virtually omnipresent in other media. Sometimes it's the main story; other times it's a side story within the main one. But it's quite rare for it never to feature at all in mass entertainment media. Of course, it's often shoehorned in because it's what the viewers/readers want and expect, but you can also argue that attraction to someone else is just a fundamental human emotion and maybe even unavoidable, especially in an epic or heroic scenario like an RPG. I'm sure someone with professional experience in this field could probably speak more to this point, but I'm thinking here of those intense emotional feelings you get from stressful situations, which could lead to crushes and attraction for those in the same situation, or to rescuers and caregivers (Nightingale syndrome), or even to abductors (Stockholm syndrome) and the opposite (Lima syndrome).

And the fact that it's a fundamental human trait that plays such a major role in our lives (for better or worse) is why I think gaming companies should not ignore romance and should strive to create truly compelling attraction stories. It's an area ripe for innovation and could really make a game stand out from the rest. It's time to move on from the stereotype that gaming is for teenage boys and all they want is to shoot things and maybe have sex with big-titted avatars. Gaming is now for everyone, for all ages and for all sexualities (including asexuals), and I'm sure there's a market for mature stories to reflect what drives many people's decisions and behaviours.

The RPG genre in particular seems to be the best fit for romance (outside of dating sims, which I know nothing about). The beauty of role-playing is that you get to be who you want to be, which includes exploring attraction and your sexuality. It's incredibly challenging and maybe even impossible to create a game that would please everyone, but I certainly don't think the idea of compelling attraction gameplay should be given up because previous attempts have felt so inauthentic.

Going back to Starfield, I'm really excited to go out exploring the stars, fighting space pirates, upgrading my ship, and acquiring cool abilities. I love all these things about RPGs. But I'm also a sucker for a great story and experiencing a genuine human journey. For me, this includes relationships, both platonic and sexual, because it would be unavoidable when spending so much time with people on my ship, and exploring the galaxy. The importance of attraction in games will vary between gamers, but as other mass entertainment media has shown us, it's massively popular when done well, probably because it speaks to something so fundamental within us as humans.

These are just some of my musings and ramblings. What are your thoughts?

• Is it a waste of dev time and resources because it's too hard to do well?
• Is it an aspect you particularly enjoy or hate in RPGs?
• Which game did it best?
• What would you like to see in RPGs of the future with AI possibly being used?

Edit: I love the films too, but I'm really looking for examples in the text, even if the adaptation does the scene justice, I'm interested in how Tolkien himself wrote it.

I'm on a bit of a JRR Tolkien kick recently and revisiting some of my favorite bits from the books. One thing I really appreciate about Tolkien's writing is the outright poetry of some of the paragraphs and lines. I think the only "wordsmith" who appeals this much to me is Cormac McCarthy (and to some extent GRR Martin) -- but for very different reasons. Anyways, I'll share my favorite section from the Legendarium.

Théoden's charge at Minas Tirith - The Return of the King

To set the stage, the Rohirrim have navigated to Minas Tirith and are greeted by a dying besieged city steeped in darkess and fire. Upon seeing this, we get this line about Théoden:

But the king sat upon Snowmane, motionless, gazing upon the agony of Minas Tirith, as if stricken suddenly by anguish, or by dread. He seemed to shrink down, cowed by age.

Merry utterly loses hope at seeing the city and the reaction of the king. Then as all hope seems lost, we get one of the best sections in the whole trilogy:

At that sound the bent shape of the king sprang suddenly erect. Tall and proud he seemed again; and rising in his stirrups he cried in a loud voice, more clear than any there had ever heard a mortal man achieve before:

Arise, arise, Riders of Théoden!
Fell deeds awake: fire and slaughter!
spear shall be shaken, shield be splintered,
a sword-day, a red day, ere the sun rises!
Ride now, ride now! Ride to Gondor!

With that he seized a great horn from Guthláf his banner-bearer, and he blew such a blast upon it that it burst asunder. And straightway all the horns in the host were lifted up in music, and the blowing of the horns of Rohan in that hour was like a storm upon the plain and a thunder in the mountains.

Ride now, ride now! Ride to Gondor!

Suddenly the king cried to Snowmane and the horse sprang away. Behind him his banner blew in the wind, white horse upon a field of green, but he outpaced it. After him thundered the knights of his house, but he was ever before them. Éomer rode there, the white horsetail on his helm floating in his speed, and the front of the first éored roared like a breaker foaming to the shore, but Théoden could not be overtaken. Fey he seemed, or the battle-fury of his fathers ran like new fire in his veins, and he was borne up on Snowmane like a god of old, even as Oromë the Great in the battle of the Valar when the world was young. His golden shield was uncovered, and lo! it shone like an image of the Sun, and the grass flamed into green about the white feet of his steed. For morning came, morning and a wind from the sea; and darkness was removed, and the hosts of Mordor wailed, and terror took them, and they fled, and died, and the hoofs of wrath rode over them. And then all the host of Rohan burst into song, and they sang as they slew, for the joy of battle was on them, and the sound of their singing that was fair and terrible came even to the City.

This might be my favorite bit in all of LOTR because we see good king Théoden shed all his fears and doubts and actualize into the man he was meant to be. And to be compared to the Valar Oromë to boot! Wow. I am also a total sucker for any moment in the trilogy when a deed or character gets compared to events or characters of the First Age. Anytime that happens, you know it's a big deal since the First Age was so much "larger than life" than the events of the Third Age. Tolkien does a similar thing when Sam faces off Shelob noting that not even Túrin or Beren with any craft of the elves could have injured her -- yet Sam stood his ground, nonetheless.

I am not a Tolkien scholar, but I know Tolkien was incredibly steeped in medieval and ancient literature (I mean, he was a Professor of English literature) so I know his heart was really in old mythologies in Germanic or Norse traditions (for example Túrin Turambar's story is directly inspired by the Finnish tale of Kullervo, or how almost word-for-word bits of The Wanderer poem end up in Rohan's culture and song). Because of his Christian faith though, I suspect he had qualms with the often-brutal mortality of those tales and the cultures which produced them. This section with Théoden charging bravely against hopelessness and despair I think represents the "merger" of all the positive qualities he found in heroes like Beowulf with his more temperate worldview. It's an idealization of the heroic good-pagan Germanic king.

NOTE: This does have slight self-promotion which I'm aware is against what Tildes is. While it is to drive attention to my band and although originally so, music promotion is NOT the sole reason for this post. It is here for context. It does benefit me, but I make music for this type of discussion. Grief and mourning are important things to me, and art helps me open up and process those feelings. Music is art.

Want to do more of these posts, as I have found my niche in ~music to be this. Nevertheless, I want to balance these to be fair and to make these special. Please leave feedback about what you think, and whether or not I should continue these posts. DO NOT VOTE if you think it does not fairly contribute to ~music or Tildes as a whole. All I ask is you read this entire post before reacting or commenting.

I've been going back and forth on this but I decided to do so. I want to keep things as anonymous as possible, so please respect my wishes.

I am part of a band called LUCY. Over this fortnight, I've been grinding hard trying to promote the discography in order to get as many eyes as possible. I wanted to make this post to highlight "Film" — which I strongly believe is the best released song thus far. But I didn't want to use my account just for promotion. I love Tildes, even with its quirks, and I wanna do quality, meaningful posts. Then I heard from a friend or an acquaintance that a good friend of theirs died.

Suicide, no less. I was......

There's no word or phrase or idiom. There's nothing that can describe the feeling and realisation when someone is gone. It reminded me of why I wrote "Film" in the first place — to grieve and remember a friend who killed herself. I don't think a number of grief songs or popular anti-suicide songs really talk about grief. That one Logic song was bleh but cool, but that remix that goes "WHO CAN RELATE" was insulting.

You may not even have a loved one who killed themselves. You may have one who just died, or disappeared. Or the worst:

The relationship you once had with a person you loved lots. One of your most prized people in the world. That one day, breaks and bo matter what. It will never happen. They're gone from your life

Forever.

And they're not coming back. You have to move on. Even tho you don't want to and sometimes, you yearn for the connection. To be near. Bittersweet nostalgia, to fall back into place. Y
In the end, it is what it is. Yeah..

Grief is hard. Mourning is hard. Moving on is hard. It's messy and there's no right way to do it. Life is unfair and one day, it will end. Songs and albums help. Music is that language and that lexicon that knows just how you feel. "Film" was what I wanted to do, to bring attention to that process. Nowadays, it's an occasional comfort song that's best played when it's overcast and blue. And you'll know when if you know.

So my question for y'all is... what songs or albums have you listened to that reminds you of someone you've lost? What are some lyrics that don't stick out like a sore thumb, they hit you like anaesthesia? What are your stories? What are your regrets? What are you afraid of? Hell, if youre a musician, what songs have you done that address this? And no matter what, please don't feel like it's too much. To the extent of the code of conduct and what is appropriate, there is nothing pathetic about grief. Esp if you're hanging on and can unravel at any moment.

Ask me anything about my list of songs for grief too (won't include my band's songs heh). I have another song in the works that I'd love to just talk about. I'm an open book as far as grief, fear and such. I write songs for catharsis anyway.

Hope you are all having a wonderful day or night. Forgive me if I can't reply or listen to all the songs, I really do wish I could. I will vote tho.

What have you been watching and reading this month? You don't need to give us a whole essay if you don't want to, but please write something! Feel free to talk about something you saw that was cool, something that was bad, ask for recommendations, or anything else you can think of.

If you want to, feel free to find the thing you're talking about and link to its pages on Anilist, MAL, or any other database you use!

Not a native speaker, so I hope I phrased it correctly. Let me explain. It happened to me at least twice.

Some years ago, I picked up the "Metro 2033" book by Dmitry Glukhovsky. I read part of it until I read about the Stalker, who was a badass wearing a black coat. It was so cliche, I was unable to continue. I wrote off the book as trash.

Then, some time later I played the video game under the same title, which is an adaptation of the novel and I liked it a lot. It had that eerie atmosphere and a unique Eastern European feel to it, unlike games like Fallout. I decided to give the book another go, but this time I knew the lore and I had images from the game in my mind and everything changed. I really liked that book, it was a good mix of horror, action and sociopolitical commentary disguised as a postapo novel. It may not be great, but it's a very pleasant read. By now, I've read all three books and played all three video games (btw if you plan to play Metro Exodus I'd advise you to read "Metro 2035" first, as the game is a direct continuation of that story and both were written by the author) and I consider myself a fan of the series.

Another, more recent example is "Harry Potter and the Philosopher's Stone". I am not a Potterhead, I never read any HP books, I even despised them for the most part. By the time J.K. Rowling's stories were published in my country I was already 20 or so. I was familiar with Jordan, Tolkien, Sapkowski, Williams and many more authors writing fantasy. I was into the tolkienesque depiction of wizards, so something like Hogwart with robed men and children riding brooms and waving wands is both weird and strongly off-putting to me. Also, I considered myself already too old for what I saw as children's books.

I'm 42 now and those words of C.S. Lewis resonate with me ever so more:

When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.

So I decided to give Harry Potter a chance. I first tried watching the first movie. I didn't like it much and dropped it somewhere in the middle. Then a couple moths ago I loaded a free sample of the first book from Kobo Store and it was... alright. I dropped it as well. I thought it was well written, but was definitely a kids book for which I was too old.

I started playing Hogwart's Legacy a week ago or so. I'm now positively hooked on that game, it's beautiful, it has characters I like, it has a good combat system and it's been my doorway to Hogwarts. So when I couldn't play, I was thinking about it and picked up that book which I dropped earlier. But this time I had a better understanding of the lore, had images of certain places in my mind and it clicked! I am still an old fart and it is still a kids book, but I have found new appreciation for it. I think it's well written on the literary level, it has a lot of situational and verbal humor (I think it has a distinct British flavor to it, like a very toned down version of Pratchett) -- I actually often chuckle when reading it. I bought the whole set (books 1-7) and maybe I'll even read them. Here's hoping that they mature with the readers, that's what I've been told. I'm sure that if I were 12 when reading them for the first time, I'd love them.

As you can see, in my case it's usually that good video games drive me to give another chance to some books that I initially didn't like and because of the great experience with video game adaptations, I start liking the source material. Do you have similar experiences?

(btw this is my first post on Tildes)

You could use any SQL database to create a few tables, insert some data, and do queries, while ignoring anything vendor-specific. But Postgres has a lot of other features and many extensions. What do you recommend checking out beyond the basics?

I've used a lot of databases, but it's been many years, so I assume things have changed quite a bit. I skimmed a few PostgreSQL release notes and learned that there's now a MERGE statement that looks pretty handy. (It's standard SQL.) And from Neon's list of supported extensions, the plv8 extension caught my eye. It would let me write stored procedures in JavaScript. Does anyone use that? Do you use stored procedures at all?

I wonder what Tildes uses?

(To keep discussion organized, please write about one feature per top-level comment.)

In general, I found a lot of real gems this year! The indie scene is thriving like never before, and smaller teams are being enabled by the likes of Unreal Engine to create really beautiful games on a budget. So I had a lot of free time today and yesterday, and decided to go through my discovery queue and check out a few demos. That quickly ballooned into sitting down and playing right through over a dozen demos, two of which (The Lies of P and Wizard with a Gun) I didn't get far enough into to give any coherent thoughts on. How many demos did you check out? Are there any games you're looking forward to on that basis?

The Cosmic Wheel Sisterhood: 5/5
From Deconstructeam, a Valencian studio with a strong emphasis on narrative, choice, and empowering the player to create their own art, this demo was one of the big winners for me. Gameplay revolves around conversations, VN style, but those conversations often happen in the context of you performing, essentially, tarot readings where the cards are all designed by you. I had a lovely, relaxing time making my own cards, and the challenge of interpreting them to the people around me in a way that felt… true, I guess, was memorable. There is an impressive level of responsiveness to your choices on display here, both on a micro level and, it seems, on a macro level, so I have to think that the game will be pretty replayable. My one gripe was that the dialogue felt a bit stiff and unnatural at times. The game isn’t voice-acted, and the lack of rhythm or cadence in a lot of conversations kept them from flowing well. But that said, even if individual lines of dialogue fell a bit short, placed in context, the conversations felt meaningful, engrossing, and interesting. I will be buying this on release.

Death Must Die: 4/5
I’m a sucker for the “Survivors” genre. My first experience with it preceded Vampire Survivors, the little $3 game that swept the world last year and popularized the new gameplay style; I started with the mobile game that inspired VS: Magic Survival. I had tens of hours in that game. And each subsequent entry into the genre; VS, HoloCure, 20 Minutes Til Dawn, etc., etc. have only worn me out more. These games are all the same: more enemies fill the screen; you get more autofire weapons to deal with them and dodge around to avoid contact damage. Fun for half an hour, but don’t really leave you wanting more. Death Must Die is different. Isometric rather than top-down, the combat here is all manual. You click to fire off an attack that needs to be well aimed; enemies don’t deal contact damage but instead have telegraphed attacks that you have to dodge. It feels very ARPG, actually; a bit Diablo. And the level-up system, which sees you selecting boons from different gods, is clearly inspired by Hades and offers considerably more interesting choices (so far, at least) than the usual Survivors game. Feels a lot more skill based, and a bit more build-craft-y, than usual. And I even caught a whiff of a story, though how well it’ll be executed remains to be seen. I look forward to the full release. Just wish there were more defensive options – maybe a parry?

El Paso, Elsewhere: 4/5
This is cute. A Max Payne-style third person shooter that’s well written in a surreal, noir sort of way; corny enough to be delightful; dark enough to maintain the tension. Visually, it’s a low res, low poly callback to the PS1 era. The gameplay is pretty tough; I didn’t finish the demo, but I imagine it would be a lot of fun to master. I’m keeping my eye on this one, even if it’s not my usual type of game. A special callout: there are biblically accurate angel enemies in this game, which makes me a very happy woman.

Escape from Mystwood Mansion: 3/5
I like escape rooms, and this demo is just a well-constructed escape room – actually, it skews very closely to the types of puzzles and mechanics I’ve come to expect from physical escape rooms. I’m not sure if that’s a good thing or a bad thing; I do wish the game used its medium to get a little more wild with it. But the puzzles were generally pretty well constructed and offered a few fun “aha!” moments when I solved them, and I didn’t need to look at a walkthrough or lean on hints to get through. That said, the hints that I did use were pretty lackluster, and in one case, actually wrong, so that system needs some revision. Some of the sound design got a bit grating, too. I don’t know. Were this a co-op experience I’d probably like it a bit more. The appeal of an escape room is the excitement of solving it with a friend, and there are certainly enough self-contained puzzle sequences here to support that. But no; Mystwood Mansion is a solo experience, and I’m not sure if it’ll be that fun to solve multiple predictable escape rooms alone, staring at a computer screen.

The Invincible: 3/5
I am of two minds about The Invincible. This game is an atompunk sci-fi walking sim adapted from a novel (my roommate tells me) by Stanislaw Lem, and so, suitably, what we have in this demo is a slice of high-concept sci-fi steeped in personal stakes. I have a hard time thinking of anything bad to say about this game. It looks good, runs well, has an interesting story that left me wanting more. And yet, one day after playing it, I just do not want to pick the game up again. I suppose part of it was the pace. Some of the best walking sims – What Remains of Edith Finch – tell incredible stories in the space of two hours. Meanwhile this demo was 40 minutes long and felt like only a small piece of some grand, sprawling story. Environments are huge and your walking speed is pretty slow, so there’s a lot of time between set pieces where your character is just having headaches or struggling to breathe, which really wore me down. I can’t imagine playing this game for 10 hours; 5 might be pushing it. It’s not super tempting when I could just read the book.

Loodlenaut: 2/5
Oh boy, Loodlenaut. Where to begin. Okay, so, I actually like this game. It’s pretty, and relaxing; an ocean exploration game where your job is to clean up trash, rescue wildlife, and climb the tech tree. I have played through the entire demo, done everything there is to do, which took about an hour. And I will absolutely not be playing the full game. If you’ve played Powerwash Simulator, you know how satisfying it can be to get rid of muck and watch a meter climb up to 100% clean, and Loodlenaut scratches a similar itch. The problem here is that the game feels so clunky and limited that the frustration often outweighs the satisfaction. For example, you have a cleaning gun that picks up trash, destroys goop, and breaks boxes. But you don’t aim the gun, the game does, and it’s not really based on where you're facing or what you're closest to so much as it is on the game’s capricious moods. Say you’re trying to pick up a glass bottle, but there’s a crate nearby that you can’t break yet because you don’t have the right upgrade. Well, Loodlenaut will snap the gun to the crate and repeatedly try to break it, until you wiggle around enough to get it to change its mind and pick up the bottle. Wielding the gun is a constant frustration, as is sluggishly moving through the ocean. Your swim speed is slow, and your boost recharges slowly, so going back and forth between central base and the area you’re cleaning – something you have to do pretty frequently – takes what feels like an eternity until you sink lots of resources into infrastructure. None of this is a bad idea – incentivising players to craft boost rings to improve traversal is a good idea; auto-targeting is more comfortable than aiming on a controller – it’s just these systems are poorly implemented, which leads to frustration.

Luna Abyss: 5/5
Luna Abyss is a fucking wild demo. I downloaded it because the game’s description used they/them pronouns for its protagonist. I had no idea what I was getting into. So, okay, the best comparison I have for this game is to Returnal. Like that game, Luna Abyss is a high-production value 3D shooter where hitting your shots is easy, and the difficulty comes from avoiding the attacks of bullet-hell style enemies. And like Returnal, it has a strange, unsettling atmosphere, tight movement, and punchy, satisfying guns. Of course, Luna Abyss isn’t a roguelike, and it appears much more straightforward with its story beats so far. I don’t know, I’m having a hard time capturing what makes this game so great. Let’s start with the world, which is bleak and dark and oppressive. You run through cavernous metal structures, all black and grey, lit in harsh red. Enormous metal pipes twist and curl and embrace each other like enormous, mechanical intestines, and you run across them to get to your next objective. This place was not designed for you, and you feel that so clearly as you traverse it. You jump off the pipes and enter into combat, where a generous aim assist ensures that all your shots will hit. But there are a couple of enemy types to prioritize. You fire your shieldbreaker at a flying enemy, killing it, and time slows to a crawl, increasing the impact of the shot and giving you a tiny moment of respite to see what bullets you’ll have to dodge and decide what enemy you should prioritize next. A miniboss spawns in, grinning facelessly, and releases a flower of projectiles. You sprint and jump and dodge and you keep firing until she’s dead. The room is clear, and the demo is over, and your screen is awash with the bright, striking red of the UI. “Thanks for playing,” it says. I felt like I should be thanking it, instead.
It’s impossible to say, at this juncture, whether the game will be good. The crumbs of story were certainly engrossing; the combat fun; the world, striking. At the very least, Luna Abyss looks like it will be one of the most interesting and unique games of the year, whenever it comes out. I can’t wait.

Sea of Stars: 3/5
This one is alright. The world is beautiful, the music peppy, the character designs good. I just honestly have not played enough turn-based isometric RPGs to compare it to anything. I did have two big disappointments: I thought the writing was a little… on-the-nose, I guess? Characters just stated their objectives and everything was pretty surface-level. Dialogue wasn’t attacking or defending, only conveying information. And while the combat was fun and had a challenging timing element, it ended with a boss who I spent like ten minutes fighting for a single attempt, used all my items, did everything I could, and still lost to in dramatic fashion with no indication I had done any real damage. My suspicion is that the boss is simply meant to be an organic end to the demo, a scripted loss, but I don’t know; if not, it probably indicates that this type of game isn’t for me, since I found it to be quite a slog.

Stray Gods: 2/5
I really wanted to like Stray Gods: The Roleplaying Musical. It is, essentially, a choice-based VN in the style of a broadway musical about ancient Greek gods struggling to live in modern society. A tantalizing premise, if a bit theatre-kid-y. But my degree is literally in theatre criticism, so I have a lot of tolerance for the genre’s usual excesses. I can’t think of another musical video game, but Stray Gods’ demo did not convince me that the idea could work. The performances aren’t the problem here; Laura Bailey is a charismatic lead with pipes good enough to carry the show, and the supporting cast of big names (Troy Baker, Felicia Day, Khary Paton) are no slouches either. But so much about this game is just not working for me. Let’s start with the sound design. This is one of those games where it feels like all the actors are recording in totally separate rooms. There’s a lot of dead air, not a lot of dynamism or one person bouncing off the other during conversation. It robs scenes of a lot of momentum and impact. And when I say “dead air,” I mean dead air. Bafflingly, the game seemingly has no room noise, no background audio, so when people aren’t talking, or music isn’t playing, everything is completely, uncannily silent. It’s genuinely weird.
The musical numbers alleviate this weirdness by filling the soundscape but do little else to pull me in. We get to see four songs in the demo; two from the opening act, two picked from later in the game. All of these songs are very similar – fugues or duets, where one character has one perspective and another character (or chorus) has another perspective, and their conflict is expressed and then resolved through song. Which is a fine structure for a song in a musical, don’t get me wrong, but it is not a fine structure for every song. Even our main character Grace’s “I Want” song, the song that establishes her, her desires, and internal landscape and should absolutely be a solo, is a duet with a woman she’s just met. It does not work. And when the game has you making dialog choices during songs, it robs them of a natural arc; there’s no organic progression from the characters’ starting points to their ending points. Some part of me hopes that this game will be good, but I’m not optimistic. Stray Gods is no Hadestown.

Vampire Hunters: 3/5
In the Death Must Die blurb, I praised that game for refining the “Survivors” genre by making tweaks that allow for more skill and expression. But fuck that. Vampire Hunters is a braver game than Death Must Die will ever be, because it dares to ask, “What if Vampire Survivors was a boomer shooter where all your guns were on screen at the same time?” The result is absolutely wild; by the end of a run, more screen space is devoted to your guns than the entire rest of the game. It feels pretty weird to play, too; all of your guns have different ammo counts and may or may not be automatic, but all fire with the same button, so it can be tough to manage all of their separate ammo pools. And XP drops have a tiny pickup radius, so you really have to move to get them all. The neatest trick the game pulls is that it increases enemy spawn rate when you sprint, so moving at a high speed carries a lot of risk. But apart from that, this game is maybe too audacious to be enjoyable.

Viewfinder: 4/5
I am not a frequent puzzle game player, but I, like most every PC gamer, have a soft spot for the kind of reality-warping sci-fi-y puzzle genre originated by Portal and carried forward by the likes of Superliminal and, now, Viewfinder. First: this game is a technical marvel. You are able to, in essence, carry around entire environments, often with a wildly different art style from the rest of the game, and place them seamlessly and instantaneously in the world. I played this at 1440p, >100 FPS with nary a stutter on my midrange system. The ability to place photos and enter them is genuinely incredible on all levels other than technical, too; it feels magical, like stepping into a painting that you yourself made. My only question, one that the demo did not answer, is whether Viewfinder will be able to construct interesting puzzles out of this mechanic. This was something that I think Superliminal often failed to do, too; when the central mechanic of your puzzles is so unique and novel and powerful, how can you limit it in such a way that players actually have to think and put in effort to solve problems? For me, at least, every puzzle in Viewfinder was solved pretty much instantly, with no “aha!” moments, and that does worry me a bit.

I've been idly browsing for a home weather station for a while, hoping to contribute to the local sensor network for a region that's got lots of microclimate variation. I saw this one from Seeed Studio today, and was hoping for some reviews and advice. Seeed Studio devices are known for open source software, and I wouldn't mind playing with writing a tie-in for sprinkler system automation so we're not irrigating when it's about to rain. It wouldn't be situated so far from the house that we'd need to use the LoRaWAN feature, though.

Concurrently, we just had an inch of rain dropped on our house in the space of 15 minutes, with winds that were taking down tree branches. The weather report says "light rain", weather stations a mile away continue to indicate that everything is bone dry with quiet air. This rainstorm breaks a nearly month-long drought. I'm finding it nerve-wracking that climate change makes it impossible to use past local weather as a predictor of what to expect for gardening, home maintenance, and outdoor activities, and local weather reports are so inaccurate. So that's (hopefully) where the weather station might come into play.

That being said, any chat about your local conditions and reporting from your station is welcome.

When talking with my therapist, the subject of writing is a constant. My obsessive approach to writing is a source of frustration.

I write well in my first language, and aspire to create short fiction . But I'm an over planner and way too critical of my own writing.

Anything longer than a single page is impossible for me because I'll obsess with editing and some misguided sense of "perfection", cutting paragraph after paragraph until I'm left with a decent micro story that you can read in two and a half minutes. Most of the time I don't even get this far.

So my question is, how can I force myself to be less self critical and obsessive, let things flow, and write longer stories? Are there any advices, books, courses, practices and exercises I can use?

This is my running list of the strangest films I have seen (and managed to write down). This list is by no means exhaustive, so please feel free to add to it!

For list formatting purposes I don't lead with A, An, or The. An example: Fall, The (2006)

Altered States (1980)
Aria (1987)
Bad Boy Bubby (1993)
Black Moon (1975)
Blood Tea and Red String (2006)
Blue Velvet (1986)
Boxing Helena (1993)
Brazil (1985)
Cabinet of Dr. Caligari, The (1920)
Clerks. (1994)
Clerks II (2006)
Cowards Bend the Knee (2003)
Crash (1996)
Delicatessen (1991)
Dogtooth (2009)
Dreams That Money Can Buy (1947)
Elephant Man, The (1980)
Even Dwarfs Started Small (1970)
Fall, The (2006)
Faust (1994)
F for Fake (1973)
Freaks (1932)
Funky Forest - The First Contact (2005)
Gozu (2003)
Grizzly Man (2005)
Gummo (1997)
Holy Mountain, The (1926)
In My Skin (2002)
Kamikaze Girls (2004)
Kids (1995)
Last Wave, The (1977)
Li'l Quinquin
Liquid Sky (1982)
Lost Highway (1997)
Love Serenade (1996)
Lucio (2007)
M (1931)
Marat Sade (1967)
Meet the Feebles (1989)
Muriel's Wedding (1994)
Naked Lunch (1991)
Picnic at Hanging Rock (1975)
Rabbit a la Berlin (2009)
Rubber (2010)
Saragossa Manuscript, The (1965)
Sick - The Life & Death of Bob Flanagan, Supermasochist (1997)
Slacker (1991)
Sonic Outlaws (1995)
Spectres of the Spectrum (1999)
Spirited Away (2001)
Stalker (1979)
Survive Style 5+ (2004)
Sweet Movie (1974)
Talk to Her (2002)
Thing, The (1982)
Three Burials of Melquiades Estrada, The (2005)
Topo, El (1970)
Tribulation 99 - Alien Anomalies Under America (1992)
Trouble Every Day (2001)
Tuvalu (1999)
Uncle Boonmee Who Can Recall His Past Lives (2010)
Videodrome (1983)
Visitor Q (2001)
Waking Life (2001)
Welcome to Woop Woop (1997)
WR - Mysteries of the Organism (1971)
You, the Living (2007)

Hi All,

As yet another reddit transplant (YART) I've been watching the drama on that other platform and reflecting on what the most important aspects of successful online discussions are for me.

One of the things that I value(d) most about reddit was the ability to use the keyword reddit in DuckDuckGo or Google searches to help me find more relevant and helpful content about a variety of niche subjects. So far, it seems to me like Tildes has some potential to fill this role based on its emphasis of thoughtful text content. Also, these types of searches add credibility to a site when random internet browsers stumble across a thread discussing their exact question.

One thought that I had along these lines was that people who care about this type of thing could make a concerted effort to transport content from reddit and other sites to be shared here. I don't think it would be appropriate to just copy and paste text without adding at least a bit of original thoughts or context. However, I often find myself researching niche products or ideas to such an extent that I could write up a nice summary of all my findings. A post like that could be a nice crash course to others or a fun way to introduce people to ideas they didn't know about.

Would people here be interested in consciously doing this type of thing? We could all make nice amalgamations of information we think is important as we independently research topics and post them here to boost discussion and boost Tildes threads in web search results.

Are you comfortable following most bread baking recipes? Looking to start making your own recipes, and understand what ingredients do at what levels? If yes, this is what I'm going to try and explain the basics of, and point you in the right direction. If no, still feel free to read and ask me to explain anything I did a poor/insufficient job of.

Baker's Percentages

A baker's percentage is calculated by dividing the weight of the ingredient by the total weight of flour, times 100. You might hear it referred to as baker's math, or as a symbol with b%.

For example, if I had 100 grams of flour and 60 grams of water, that would be:

60/100*100 = 60% water, or in bread recipes that's referred to as the hydration. You might have seen on YouTube things like "90% high hydration sourdough!!".

It's important to note that if I had 90 grams of bread flour and 10 grams of whole wheat, that would be 100 total.

Why is this important? Whilst it's not an exact thing, for most breads you can tell a lot by seeing what the baker's percentage of the recipe is. It's also a great way to share those recipes, it's a ratio, so it's easy to scale up or down a batch. I share recipes like this, and it might look as simple as something like:

Flour - 100%
Hydration - 50%
Salt - 2.50%
Lard - 20%
(The flour tortilla recipe I use)

In my experience, I would say that most breads fall in:

50-70% hydration
1.5-3% salt
~3% oil/fats is the optimum for loaf volume without it being very enriched (added fats and sugars), although it's also common for rustic loaves to be lean (no added fats/sugars)

There's not much I can do in terms of the typical range for other ingredients, apart from recommending resources that help to explain what these ingredients do, and give examples using bakers percentages. Michael Suas' "Advanced bread and pastry" explains what all the commonly used ingredients for each section are used for, and gives lots of recipes for different items in both weights and baker's percentages.

Bakerpedia is a great resource for seeing the typical ranges used for various products, as well as offering example recipes in some cases. It's much more geared towards industrial/commercial baking, including the use of functional ingredients (additives), but I find that kind of stuff interesting too.

If you have a lot of money to spend, Modernist Bread by Francisco Migoya and Nathan Myhrvold is definitely interesting, informative, and the photography/graphics are as helpful as they are beautiful.

The main way I learnt is to convert recipes I liked/used into baker's percentages, and start to change them. You can find various ones online, but one thing that really helped me was creating a spreadsheet calculator.

I'm going to walk through how I first made my calculator, and hopefully that will show how all the maths actually works.

Recipe Template

This is the recipe for a lean dough, so I keep the name in the top left. The "weight per" is how much I want each loaf or roll to weigh. I can change the number of them, and it'll change the total weight in the recipe to match that. I input the bakers percentages under "percentage" and the formulae display the total percentage of the recipe, and the weights of each ingredient. I like to centre align calculated cells, and right align cells that I have to change.

Showing the Formulae

So how does this actually calculate the weights? You can see that the "Total" for percentages sum up all the percentages in the recipe, and for weight is multiplies the weight per by the number of. Why? Like I mentioned above, baker's percentages are like a ratio. If I know I want 100 grams of dough, and I want to figure out how much flour I need, I need to figure out how many grams each percentage is worth and multiply it by the percent of that ingredient.

100 / 168.40 = 0.5938 grams
0.5938 * 100 = 59.38 grams

You can see me doing this in one step for each weight, where I divide the total weight by the total percentage and multiply by the column to the left - the percentage for each ingredient.

You can make one of these for all of your recipes, and then you can change the weights or batch size very easily by just changing a number or two. As you start to experiment, you can keep a "main" template with lots of blank spaces to write what ingredients you want.

This is my own personal calculator, where I've added things like pre-ferment calculators, double hydration, offsets for water loss with evaporation, something that calculates the amount of vital wheat gluten depending on what protein I want, and checks/balances for seeing if all my flours add up to 100. I also have a vlookup table underneath that tells me the nutritional information for the ingredients I'm using. I also use cell colouring as a validation tool. You can see a screenshot of it here

I don't want to share this with the idea of you using mine, there are many things I'd change about it if I decided to start over, but hopefully it shows you the flexibility and customisability of making your own calculator.

One thing that this can't do is tell you how long to knead, how long to proof, how long to cook, what temps, et c. The only thing I can recommend for that is continuing to read and do other written recipes, until you get the intuition - although I still look up recipes similar to what I've written to double check things like cooking time!

In terms of how long to bulk/final proof, generally you'll get a feel for things like judging volume (if i'm not doing an open crumb bread, I like to proof in a large 2L jug to measure change in volume). For final proof I like to use the poke test, although you'd expect a poke test on baguette dough to spring back much more than you would on challah. You want more oven spring with baguette than challah, so understanding what the tests mean and reading through resources that explain those things are very useful.

I hope this has made sense, I'm not very experienced with long-form writing and trying to teach a topic like this, but I'm trying to lean into the tildes mindset.

Preface: I usually post my book reviews on /r/Fantasy. With reddit's future being uncertain right now I figured I'd experiment with posting on here, let me know if you're interested in future reviews. I should add that this probably isn't my most interesting book review ever, it just happens to be my latest read.
Please feel free to let me know if you'd like to see more fantasy book reviews in the future, I am new to Tildes.

Recommended if you like: ottoman empire inspired setting, royalty/bodyguard romance, MC with anxiety, queernorm setting, low-magic setting, m/m romance, homoerotically washing each others' hair, royal palace slice of life, fake-dating (sort of), gay yearning

Blurb

Kadou, the shy prince of Arasht, finds himself at odds with one of the most powerful ambassadors at court—the body-father of the queen's new child—in an altercation which results in his humiliation.

To prove his loyalty to the queen, his sister, Kadou takes responsibility for the investigation of a break-in at one of their guilds, with the help of his newly appointed bodyguard, the coldly handsome Evemer, who seems to tolerate him at best. In Arasht, where princes can touch-taste precious metals with their fingers and myth runs side by side with history, counterfeiting is heresy, and the conspiracy they discover could cripple the kingdom’s financial standing and bring about its ruin.

Review

• This book starts out by throwing you in the middle of a handful of political machinations already underway - the inciting incidents have basically already happened off-screen beforehand. That is fine, but don't expect massive developments on these plots or new plot points to really matter. The book basically goes "this is the political background for this story" and then takes its time for the rest of the book to focus on the romance.
• I should find this book too fluffy and romancey for my taste but I couldn't help but loving it. Some of it is really dumb, it's transparently obvious that the narrative only exists to facilitate a lot of gay yearning, but I also found myself very much enjoying all that gay yearning.
• I feel like I logically shouldn't have enjoyed this so much, because the worldbuilding is negligible, the magic (touch-tasting, i.e. sensing the origins or compositions of metals) is an afterthought for most of the time, and the plot constantly takes breaks for everyone to talk about their feelings a lot. But somehow, I was totally here for all that and was sad when it was over.
• There were various aspects I found a bit grating, from some very obviously contrived setups to make the two leads have to get closer (or make drastic choices that bind them together) to some of the side characters sounding rather anachronistically sassy, to just how often the plot takes a break for people to talk about their feelings. I can list a ton of things this book does "wrong", but none of them actually managed to tip the scale away from me being into it, don't ask me why. Maybe I was just in the right mood for it.
• The setting is very queernormative and progressive in other ways, while maintaining a historical veneer in terms of technology and (for the most part) style. The use of neopronouns for some side characters caught me a bit off guard in the audio narration, but it's done with such a complete nonchalance that I assume many queer readers will find refreshing.
• The main character has anxiety and panic attacks (without quite having the language to articulate what he suffers from, and equating it with cowardice), and I thought that topic was treated pretty well. Then again, everyone that matters is super supportive and understanding the whole time, so it doesn't really serve as a source of conflict for longer.
• I've said that action often takes a backseat to the romance, but I found the action that was there pretty good.

Discussion

In conclusion: I really liked this, but I completely understand anyone who didn't. The only previous Rowland book I'd read is A Conspiracy of Truths (link to my review), where I had the opposite experience: I found it well crafted but didn't enjoy it all that much. This one just happened to vibe more with me.

Disclosure: I am a skeptical and science-minded person with an interest in paranormal encounters. Does any of this stuff actually exist? I don't know, but I do know that I find it interesting when people share their first hand encounters of things that they can't quite explain.

One thing I loved about Reddit is that it was a treasure trove for paranormal stories, and it is a shame those stories will be lost to the sands of time.

Please feel free to share any stories you might have experienced firsthand, or even share stories from others that you think fits the mark.

Talk rules:

1. Share stories or reply to others.
2. Skepticism is welcome, just don't be a dick.
3. True stories only. This isn't a thread for creative writing or 'campfire' stories.

This is a place to post your ideas about what to do about Tildes groups and tags. I'm going to write about some problems (as I see them) and save my ideas about solutions for the comments.

The taxonomy problem

We have tags and groups and they are somewhat arbitrary. A tag could be a group someday. A group can be downgraded to a tag if it's not used much.

Topics can have multiple tags, but they can be in only one group (and its ancestor groups).

It's hard to pick the right group. An example: a post about animals could go in ~enviro (for wildlife), ~hobbies (for pets), or ~science (for a scientific study). So where do you put news article about a scientific study of the effects of house cats on wildlife?

Adding ~animals seems like it would be a good thing because now you have an obvious place to find all the posts about animals. Animal lovers rejoice! But from a taxonomy point of view, it makes things worse, because now you have another place where you could logically put an article and another place to go looking for it. More groups means more edges and more edge cases. It's enough to make you wish for crossposts.

The competition problem

Tags are better for taxonomy, so why not just have tags? Because classifying topics isn't the only thing we want to do. As Deimos wrote about, eventually we'd like to have somewhat more independent communities, closer to subreddits but hopefully without their downsides. It would be nice if subreddits that wanted to migrate to Tildes could actually do it. We also want to have a good mix of topics on the front page, while allowing some groups to have a lot more posts than others.

I'll start with an analogy: if a school has only one sport that matters, the people who are good at that sport win socially, and other people don't have as much of a chance. But if you have multiple sports and clubs that people care about, there are more ways to win at something. I don't believe pretending everyone is a winner works all that well, but more ways to win promotes diversity and creates useful social ambiguity.

The front page of Tildes is the most visible and has limited space. That creates an all-against-all competition between topics. We also have groups with their own leaderboards, but they are lesser competitions and it's unclear if they matter yet. (I'm using them more, though.) Meanwhile, each topic has an independent leaderboard for its comments that doesn't conflict with any other game. (Maybe that's why I like megathreads?)

I haven't been thinking of Tildes in terms of leaderboards, but maybe it can explain why old-timers are often reluctant to post topics? We aren't really trying to win, but we have ideas about fair play. When there's only one game anyone cares about, we don't want to drown out other worthy topics by entering too many contestants. We're also a bit reluctant to enter anything that's too specialized into the competition, because it doesn't "deserve" the attention. It's not a worthy contestant and it's just gonna lose.

Also, sometimes this isn't a game you want to win. Entering a controversial topic into a competition can get you unwanted attention, and that's often no prize at all. When a game isn't one you wanted to enter, getting attention is more like losing than winning.

For the front page, I expect this problem will get worse with more people. Entering the competition brings more attention than before.

Note: thinking of a topic listing as a leaderboard for a game is only an analogy and I don't mean to promote competitiveness. They weren't designed to be leaderboards and I think we'd like to see design changes that reduce competitiveness. There are known downsides to competition that we don't want, like "cheating" to win with "unworthy" strategies and the rules-lawyering and jealousy that come with that.

Ideas?

Some rules for this "game": Please post one proposal per comment. If you have multiple independent ideas, you can post them separately, but post them together if they're interrelated.

Now that the site has gotten a little busier, I’ve noticed a few shifts in how I've engaged with the site and jotted down notes on things that I've noticed might be nice to have. We already have a "what don't you like" thread I know, but this is more like "what didn't I notice when the place was a lot quieter" sort of thing.




Edit bumps for megathreads

I recently created a megathread for the Apple VisionPro reviews. But I realized that if I continuously edit in new reviews as they come in, the thread won’t bump. I’d need to actually post each time a new review comes in AND edit it into the self-post. It might be nice if I could choose to bump a self-post if I’m making a substantive edit to the content. Though I can see the opportunities for abuse here so I wonder if there’s a more elegant solution for it besides just occasionally posting when there are updates.

Following/Subscribing to Topics

Yes topics get bumped as conversation happens in them, but with the level of activity we have right now I’m having trouble keeping up with conversations I’m actually invested in following. Bookmarks are good, but there’s two issues. One is that they’re hidden in a folder off to the side. So it’s easy to forget to check them. Two is that they’re currently serving dual purposes, they can either be for saving specific topics because I think they’re good enough that I might want to reference them again or they can be because I want to keep up with the conversation in them.
I’d be interested in separating the functions a little bit. I’d like to be able to bookmark topics as a “save” function but also “subscribe” to topics to get alerted up top when there are new posts the same way I am alerted to stuff in my inbox. Alternatively, just having an “unread” count next to the bookmarked topics link and sorting the list of bookmarks by acitivity might do it.



A Drafts section

This post right now I mostly composed in a note-taking app because it’s a collection of random thoughts I had while using the site the past couple of weeks but didn’t want to post until I had time to marinate on them. Being able to save drafts directly in Tildes would have been a nice feature. It would also be good for replies since it gives you a chance to be like “Hmmm, do I really want to engage with this conversation right now?”



“Shortlisted” groups

The list of groups is a bit long, especially when you’re scrolling it on mobile. People might not (and probably don’t) actually care about all of them. It might be nice if we could “star” a group to have it show up higher on the list or have all non-starred groups in a collapsed list.

Choosing groups from the new post view instead of posting from the groups view

Since groups are currently being treated more like “super-tags” than separated communities, I wonder if it wouldn’t be better to designate the group in a dropdown menu above the tag bar when we’re posting instead of needing to go into a group to create a new post. In some cases, I might think a self-post belongs in one group but by the time I’m done writing I realize this ~humanities post is really more of a ~life post. This will, of course, depend on the outcome of the “treating groups more as separate entities” discussion.



Subscribed topic tags

Filtered topic tags is a nice feature because it’s one interaction mode that serves dual uses. You can both remove a selected class of content from your main feed but then you can also navigate into it to see ONLY that content. This basically lets you use it alternatively as a “favorites” option instead of an anti-favorites option. (I guess this is less of a feature suggestion and more of an observation for a non-obvious use of the function.) We could, maybe, separate out the list of filtered topics by why you’re filtering. Either “I don’t want to see this stuff” or “I want to be able to specially focus on this stuff.”

Built-in invite request form

Currently to get an invite you have to ask on Reddit or something. Maybe we should have a page where people can request invites within Tildes so we aren’t reliant on having to pick-up flotsam from other social media platforms. The downside, of course, is that you can’t vet people. So this invite path would probably be the lowest priority and only handed out during quiet periods where noxious posters can be handled quickly.



“Only New” filter for comments


I mentioned this issue with the Arc browser that makes it so the “collapse all old replies” function breaks if I open it in a background tab. Maybe it might be nice to also have this as a button I can trigger next to the Collapse replies and Expand all buttons. Or, if it doesn’t over-complicate the UI, maybe even a way to “collapse all before [datetime]” with the last session time pre-filled in. Or perhaps more like a clock that you can wind backwards in 30 minute or 1 hour increments.



Rethinking time-limit on Exemplary labels


I think it’s crucial that these remain a rare commodity, but with the current volume of good posts the 8 hour limit is feeling mighty constraining. Although previously the time limit didn’t feel like a constraint at all because there legitimately wasn’t much to label. Not sure if this should actually change or not, maybe the time limit can stretch or compress based on how active the site has been over the past X hours.



Add a “Funny” modifier to the “Joke” label

The effect on sorting should be the exact same and it should be invisible to everyone, but I just think it would be fun and would also encourage people to label jokes as such (trick folks into narcing basically). Maybe when there is a reputation system in place it can be used to adjust how big of a negative weight your joke posts get. Funnier people get dinged less.

Rethinking the necroposting warning

With more people here there are more active conversations and topics seem to remain active a lot longer. In topics like the one for questions from new users it’s so active it feels kind of silly to see the “this topic is over X old” warning. We do want to encourage maintaining conversations as long as they’re going so maybe we should suppress this warning on active topics (like ones that have had more than 5 posts in the past 3 days).

Improved search


I know search is hard, but it is difficult to find old stuff. I’ve been trying to dig up examples of old posts or previous conversations on things when answering questions and I’m often trying to wrack my brain for specific phrases from conversations a year or more ago. It just doesn’t work for this. Discord search works pretty well and gives you modifiers for who posted, where, around when. I get the potential for abuse here, but maybe enable this kind of deep search for my own post history and nobody else’s?



Mark direct messages as unread

Exactly what is says on the tin. Sometimes people ask you something and you need to come back to it later.



Tag cloud

Knowing what to tag things as is intimidating for newbies and old heads alike. There need to be mechanisms to make this more approachable. I think perhaps if, underneath the tag bar we just displayed a “word cloud” of the common tags sized according to frequency it might help get people started. The word cloud would have to be per group and maybe refreshed per day based on a rolling-sample of the last 100 posts.

Put a vote button on the bottom of the post for self-posts.

Seriously, do you realize how much scrolling I have to do to go back up and upvote kfwyre when he posts something like this? It's especially a hassle on mobile.

Intro

This will be something of a long and theoretical post, but I'm interested in others' opinions on this - and a quick google search of Robert Nozick and Fediverse turned up literally nothing, so I'm thinking that this is a new connection. The recent news about Beehaw defederating from other instances, and the wider discussions about how federation might or might not work reminded me of Robert Nozick's Anarchy, State, and Utopia (1974), which I imagine anyone who's formally studied philosophy will have come across. The main point of this book is to make the case for the libertarian minimal state, with the overall thesis in the preface being:

Our main conclusions about the state are that a minimal state, limited to the narrow functions of protection against force, theft, fraud, enforcement of contracts, and so on, is justified; that any more extensive state will violate persons' rights not to be forced to do certain things, and is unjustified; and that the minimal state is inspiring as well as right. (p. ix)

The book, while influential and important, is I think deeply flawed, and there's some general agreement about this in the philosophy departments I've been involved with. (Same with many of Nozick’s general opinions.) Unfortunately, the parts of the book that tend to be taught are the first two, and in particular the Wilt Chamberlain argument (pp. 160-2) in which he argues that unequal distribution of wealth and goods is fine as long as the unequal distributions were caused by a history of mutual freely consenting exchanges.

I say 'unfortunately' because– while the first two sections and the Chamberlain argument are definitely important and influential– Part III, Utopia, is the strongest. I'm not a libertarian, but it's a novel, well-structured, and interesting argument for the minimal state, based in part on possible-world semantics, and I think it looks a lot like what the Fediverse is going for, which is why I'm interested in the crossover.

The Possible-World Model

Nozick begins by defining Utopia and identifying its main issues:

The totality of conditions we would wish to impose on societies which are (preeminently) to qualify as utopias, taken jointly, are inconsistent... The best of all possible worlds for me will not be that for you. The world, of all those I can imagine, which I would most prefer to live in, will not be precisely the one you would choose. Utopia, though, must be, in some restricted sense, the best for all of us; the best world imaginable, for each of us. In what sense can this be? (pp. 297-8)

He then sets up this perhaps rather convoluted idea, based on the concept of imagining possible worlds. The core idea is this: that in any possible world you can imagine, it must include that all other rational agents in that world will also be able to imagine other possible worlds, and that (if they prefer) they can then move to those possible worlds.

The question then moves to: is it possible for this to be stable? Because Nozick is interested in whether utopia as traditionally explored by utopian theorists and authors (and note that to an extent he’s subtextually talking to socialist utopians throughout) is possible, the key question is whether worlds will keep being created over and over, with people moving over and over, or whether there'll ever be a world where everyone in that world chooses to stay. And stable worlds must then:

[satisfy] one very desirable description... namely, none of the inhabitants of the world can imagine an alternative world they would rather live in, which (they believe) would continue to exist if all of its rational inhabitants had the same rights of imagining and emigrating. (p. 299, his emphasis)

This is, given that people are able to move to worlds they imagine (which Nozick calls 'associations' - as opposed to 'east-berlins' in which inhabitants are unable to move to other worlds).

He puts this also in set theory terms (quoted just below), and then points out an equivalency of members of S choosing to form an association of their own, vs. members of S refusing entry to those members of A who are not also members of S.

if A is a set of persons in a stable association then there is no proper subset S of A [note from me: 'proper subset' means it's a part of the whole but not equal to it. So {1, 3} is a proper subset of {1, 3, 5}, but {1, 3, 5}, although a subset of itself, is not a proper subset of itself] such that each member of S is better off in an association consisting only of members of S, than he is in A. For, if there were such a subset S, its members would secede from A, establishing their own association. (p. 300)

There is then a fairly lengthy section expanding on this, caveating it, and also doing some more in-depth logic/set theory, which I'll skip over as it's not as relevant (and this is already getting long). It's pages 301-6 if anyone's interested in reading, though. Page 307 onwards is where Nozick begins analysing how this model laid out above could be seen in the real world.

The Real World

Obviously, the above possible-worlds model is very idealised, and there are several limitations in the real world. Nozick lays out the following four:

1. In the model, we can imagine infinite possible people to associate with (although we cannot have an infinite number of people in an association); in the real world there are firstly not infinite people and secondly we can't create them. So even if I can imagine the perfect association for me, it might not exist; same with a community I might want to join.
2. In the model, the only ways associations interfere with each other is by drawing away its members - in the real world, communities impinge on each other in all kinds of ways.
3. Information costs - it takes effort to find out about other communities in the real world; in the model it's instantaneous and easy.
4. In the real world, some communities don't let their members know about, or move to, other communities.

It’s worth noting here that Nozick was writing in 1974, before the advent of the internet (and to a lesser extent, globalisation in general), so point 3 is less of an issue here. Particularly regarding moving and travel costs, which are vastly, vastly, reduced online. In fact, I think these issues are all reduced on the internet, which is relevant when it comes to the potential for implementation. I say more about this at the end of this post, and it’s one of the main things I’m interested in hearing opinions about.

Nozick, now, is interested in the implementation (or influence) of the possible-world model in the real world, and his key point ends up being this:

The idea that there is one best composite answer to all of these questions, one best society for everyone to live in, seems to me to be an incredible one. (And the idea that, if there is one, we now know enough to describe it is even more incredible.) (p. 311, his emphasis)

The ‘questions’ he refers to are questions of values, of activities, of interests. Security or adventure? Luxury or austerity? Private property? Religion? The fact, Nozick thinks, that utopian authors attempt to imagine a utopian society demonstrates a blindness to the heterogeneity of human nature. Which is demonstrated by the fact that they all have their own visions of utopia, and the fact that the inhabitants of their visions all lead different lives.

The conclusion Nozick draws is that there is no sense in having one type of community in a utopia - rather, that “Utopia is a framework for utopias” (p. 312, my emphasis because it’s the most important point here). We should be aiming for a kind of “meta-utopia”, and this is where the real-world limitations flagged above come into play. The meta-utopia is necessary precisely because of these real-world limitations. What does this look like?

[T]he environment in which utopian experiments may be tried out; the environment in which people are free to do their own thing; the environment which must, to a great extent, be realized first if more particular utopian visions are to be realised stably. (p.312)

Nozick thinks this conclusion can arise from a few forms of arguments. One is, that people are different, and so thinking there’s any ‘best’ world for everyone is foolish. That’s what’s happening when he states that there’s no composite answer to the questions of how best to live/structure society. But what if there is a society that’s the best society for everyone? Nozick reckons that that still leads to this meta-utopia. His reasoning for this involves what he calls “design devices” and “filter devices”.

Design devices basically attempt to structure an ideal society from the ground up, with a bunch of people discussing what the best society is, constructing a model for this society, and then implementing it.

Nozick basically thinks that this is a non-starter. I think this analogy puts his ideas well:

It is helpful to imagine cavemen sitting together to think up what, for all time, will be the best possible society and then setting out to institute it. Do none of the reasons that make you smile at this apply to us? (pp. 313-4)

EDIT: I want to note that I mean that this analogy puts his ideas well. I share the scepticism of design devices, while simultaneously thinking that many societies denoted as 'primitive' tap into important and valuable aspects of human communities which 'modern' societies dismiss.

The complexity of the human condition is also a large part of his reasoning here why design devices don’t work. So, the alternative is filter devices, which “involve a process which eliminates (filters out) many from a large set of alternatives” (p. 314). This is desirable for a few reasons:

1. It requires less knowledge than design devices. Filtering processes don’t need to know precisely what an end-product looks like; they can just have some ideas about what they don’t want and begin with that.
2. The filtering process naturally improves with time. When you have a filter for new candidates, then those candidates are, on average, of better quality (however that’s defined in this particular community), so the filtering process now has better material to work with.
3. New material creates novel ideas, which would not be accessible with a design process (Nozick doesn’t outright state this, but I think it’s clear that he thinks it).

Moreover, one single filtering process will be insufficient. Nozick describes it thus:

[P]eople try out living in various communities, and they leave or slightly modify the ones they don’t like… Some communities will be abandoned, others will struggle along, others will split, others will flourish, gain members, and be duplicated elsewhere. Each community must win and hold the voluntary adherence of its members. No pattern is imposed on everyone, and the result will be one pattern if and only if everyone voluntarily chooses to live in accordance with that pattern of community. (p. 316, his emphasis)

Some advantages he lists to this: given that the filtering process is largely constituted by people leaving communities they don’t like, this will cause communities which people want to live in; mechanical processes are limited “given our inability to formulate explicitly principles which adequately handle, in advance, all of the complex, multifarious situations which arise” (p. 317) - this one is very, very similar to many recent discussions I’ve seen about moderation and the ‘don’t be an arsehole’ clause.

So what does all this lead to? Basically, that the utopian framework should be one that is informational. Whichever framework provides the best means for finding out about various communities, is the one that should be adopted– first, because that is what best facilitates the filtering process, and second, because it best mitigates the real-world issues laid out at the beginning of this section.

Conclusion

Ok, so, that’s the bulk of what I wanted to put down. The rest of Utopia focuses very much on the physical world - it’s well worth a read. (NB I’m using ‘physical world’ rather than ‘real world’ or ‘actual world’ (which Nozick uses) because the internet is part of the real world. As opposed to the ideal world, which one example of is the possible-worlds model laid out above.)

I was initially going to offer my own thoughts about how this connects to the Fediverse and the internet in general, but just the sharing of Nozick’s framework has gotten long enough that I think I’ll leave it there. Part of my motivation for sharing this is that, although I’m very much not a libertarian, this is imo one of the strongest defences of the minimal state; in addition to this, I’m much more sympathetic for a kind of meta-libertarianism when it comes to spaces like the internet, especially if they function to facilitate filtering processes.

That said, I still have worries about the way this can be, and is, implemented. There’s been a lot of discussion on Beehaw defederating from lemmy.world and sh.itjust.works, and although I personally don’t see a problem with it, I can understand why people are annoyed. I wonder if this is a consequence of people thinking they’re existing in the meta-utopia, when in fact they’re existing in an instance of it. I also don’t want to label the Fediverse as the meta-utopia, although I do get the sense that that’s what they’re aiming to become.

Nozick has a relevant section on the Beehaw thing, actually, and I’m just going to quote it because I’ve just about reached my energy limit for explaining/elucidating philosophy lol. Feel free to skip it, it’s a side-note to this post and not a main point.

A person will swallow the imperfections of a package P (which may be a protective arrangement, a consumer good, a community) that is desirable on the whole rather than purchase a different package (a completely different package, or P with some changes), when no more desirable attainable different package is worth to him its greater costs over P, including the costs of inducing enough others to participate in making the alternative package. One assumes that the cost calculation for nations is such as to permit internal opting out. But this is not the whole story for two reasons. First, it may be feasible in individual communities also to arrange internal opting out at little administrative cost… yet this needn’t always be done. Second, nations differ from other packages in that the individual himself isn’t to bear the administrative costs of opting out of some otherwise compulsory provision. The other people must pay for finely designing their compulsory arrangements so that they don’t apply to those who wish to opt out. (p. 321-2)

Another reason why I’m interested in opening up this discussion, is that I’ve experienced almost no discussion on this section of Nozick’s work in my experience of academic philosophy. The other two sections– and particularly Wilt Chamberlain– are talked to death, but Utopia has relatively little engagement. On one hand, I get this - a large part of philosophical education is understanding the history of ideas, and Utopia is comparatively uninfluential. You need to know Wilt Chamberlain if you’re entering academic philosophy; you don’t need to know all this. On the other hand, it’s a shame, because I think it’s the strongest part of Nozick’s work.

I also think that it’s somewhat more relevant to the internet than it is to the physical world. Not because of the legitimacy of its ideals, but purely because of the relative ease of implementation. The four issues mentioned above are really reduced in online spaces.

1. We still don’t have infinite people, but the variety of people we can interact with is potentially wider. Potentially. The issues with lack of– or exodus of– minorities, which I’ve seen discussions about on Tildes while searching past posts, is an important one here. I’m not necessarily referring specifically to Tildes here - I’m too new to the site to really have a good sense of the community. But just like in the real-world, I can’t conjure up people and create my own version of Tildes which includes all the people here currently and also all the other people I’d like to see.
2. Communities on the internet obviously interfere with each other, just like physical-world communities. This isn’t that reduced, perhaps only in terms of stakes. Physical-world community interference can cause wars, financial boycotts, etc. Maybe doxxing or the like is analogous? Regardless, it’s reduced although not eliminated in severity, as far as I can see.
3. The difference in information costs should be immediately obvious. It’s much easier for someone to try out Tildes, than it is for someone to try out France.
4. Relatedly, internet communities don’t have the same power as physical communities to limit information, although there are definitely still issues here, especially with an increasingly-corporatised internet. On the other hand, the internet itself does work in breaking down these barriers in the physical world, at least in terms of information (not in ease of moving countries). At least, there’s usually no real financial costs to hopping platforms.

Guess I’m leaving it here? Maybe all I’ve accomplished is sharing some cool philosophy– at least, I think it’s cool.

The page numbers all reference Anarchy, State, and Utopia - I don’t know if I’m allowed to link PDFs here, but suffice to say it’s the first one that shows up.

This Stanford Encyclopaedia of Philosophy page also includes some useful context, and a bit of discussion on the Utopia section - although, again, relatively brief. Nevertheless a great source.

A short story

Last night, I posted an article about fraud related to COVID funding in the United States.

I debated about where to put it. Was it ~news since it was an investigative report that was just released? ~finance because it was about money? ~health because it was about COVID?

In reading through other comments here, especially related to our current group structure I’ve noticed other people expressing similar sentiments about submitting things.

The same goes for tagging your topic. What are the right tags? What if I use the wrong one? There’s a non-negligible amount of anxiety regarding submitting things to the site.

If you go to the article I posted, and then click Topic Log on the sidebar, you can see what got changed. I realized I forgot to add the tag usa. You can then see that another user changed the capitalization on my title, moved my post from ~news to ~health, and added additional tags.

The betrayal(?)

Someone moved my post? Someone changed my title? Without telling me?! 😡

Yes, they did, and I’m here to tell you that I couldn’t be happier about that. It’s not a betrayal; it’s a collaboration. 🥰

Submissions on Tildes aren’t like other places. You won’t get your hand slapped here for not following the right protocol, especially because there’s not a fully clear protocol in the first place. Topic placement, tagging, and titling are all things that often require judgment calls. It’s not uncommon for the titles we see on Tildes to actually differ from published titles to make them less clickbaity or clearer, for example.

Furthermore, Tildes isn’t a place where people are competing to post content. There’s no karma to be harvested or influencers to influence. On other sites, big news items will often get dozens or hundreds of duplicate posts because, on other sites, who posted the content matters a whole lot. People will post and repost things because it’s important that they, individually, get “credit” for that.

Tildes works a bit differently, with submissions being owned more by the community at large rather than individual posters. It doesn’t mean we don’t have our own content (and it definitely doesn’t mean someone can or will edit the actual body of a post, like what I’m writing here), but more that the content’s place and appearance in the community is something we work together on. If you want to discuss something and you see someone already posted it here, that’s not a bummer — it’s a great thing! It saves you some work, plus you know at least one other person is on the same page as you and wants to discuss the same thing.

Which group should this go to? Which tags should I use?

Don’t worry too much about those things! We’ll collaborate on them. There are several users here who are librarians of Tildes, dutifully organizing submissions behind the scenes.

When I first started posting, I was nervous about getting my tags and title exactly right. I’d occasionally post a title with a typo and cringe, hard, wondering if I needed to delete the post entirely.

Now, when I post, I’m happy that if I don’t know what to do exactly or I make a mistake, someone else will come along and help me out with it. No more anxiety!

I hope all our new users can feel that way too. Having your submissions reorganized is not combative; it’s collaborative. Don’t stress about posting anything perfectly. Someone will help you out if need be.

For creating link topics, see Posting on Tildes in the official documentation.

When you don’t see the discussion you want, you can create a new topic. Starting a new Tildes topic is pretty easy. However, It can be done in better or worse ways, so here are some tips:

1. Choosing a group

Don't worry about this too much. Unlike subreddits, Tildes groups mostly don't have their own rules or subcultures. They're folders for organizing topics. If you put a topic in the wrong place, someone will move it. Either ~talk or ~misc are good if you don't know where to put it.

But you do need to click on a group to go to the group's page. Then look in the sidebar on the right side. (If you're on mobile, you will need to open the sidebar.) There's a blurb explaining what the group is about, and a button under it to start a topic.

2. Choosing a good title

For discussion topics, a question often makes a good title.

Tildes has users from all over the world. Asking people to share their own experiences lets anyone participate and you can learn interesting things about people in other places.

• Bad: "What do you think of this terrible weather?"

• Better: "What's the weather like where you are?"

Discussing a specific weather event would also be fine, but you need to say where it is.

A downside to asking a very generic question is that it might get more attention than you're hoping for. (For example, you might get advice that's not relevant where you live.) If you want to narrow things down geographically, be specific about which country or region you're interested in. We probably don't yet have enough users for hyper-local topics to get many responses, but feel free to try.

3. Writing an introduction

For a discussion topic, you skip the link box and write something in the box below it. You can write whatever you like here.

3a. Setting ground rules (optional)

Sometimes you have something specific you're looking for and it helps to make a sort of game out of it by making up some rules. A good example is @kfwyre's AlbumLove topics. If you just ask for music recommendations, people are going to answer in any old way, maybe by making long lists. So instead the game is to review one album.

Tildes users are usually pretty cooperative as long as you make it clear what you're looking for and the game isn't too weird. (And if they get the rules a little wrong, it's usually not a big deal.)

4. Tags (optional)

This is optional because if i you skip it, someone will do it for you, but if you want to help out, there is more about tags in the official docs. You could also look at similar topics in another window to see what tags we use.

5. Seeding the topic (optional)

After posting the topic, you might want to add some top-level comments to get it going. For example, if it's a megathread then you might put a link to a different article in each reply. Or, if you have a lot of questions to ask, you could put each question in a separate comment. This would keep the answers to each question separate.

6. Encouraging discussion (optional)

You will see a notification at the top of any Tildes web pages you visit whenever someone posts a top-level reply in your new topic. Replying and upvoting (if warranted) will help keep conversation going. Conversation encourages more conversation. You can do a lot even without any formal “mod” powers. (Some users also have ability to label replies, which affects sort order.)

Okay, that's it for me. What are some tips you have about starting new topics? One tip per comment, please! <= See what I did there?

I found it difficult to formulate a topic for this post, but I hope that you'll all "get" what I'm talking about.

You're reading something, maybe in a book, maybe an article online, maybe a comment on Tildes, or Reddit, or a Tweet, anything really.

Do you do anything with it? Do you save it somehow? Do you write it out in a dedicated notebook? Do you share it? If you do, how do you share it?

I'd love to hear about your approaches to this topic, the tools you use, what you like and don't like about your current workflows, the types of content you like to save, how you share it both with people that are close to you in real life, people who are close to you online, and maybe even strangers?

Also, how do you use it once it all ends up wherever it ends up? Do you even use it? Or do you just like the feeling of curating your own personal archive of things you read that meant something to you at some point?

I'll get the ball rolling:

I've gone through a long journey with this myself, starting with bookmarking older services like Instapaper and Pinboard, trying out newer services like Readwise before eventually creating my own (totally worth all the time it took to create now that I have my own "perfect workflow" to save everything from Kindle highlights to Tildes comments!)

I learn a lot from high quality comments online, so it's really important for me to be able to save them, however, I don't trust the built-in functions on sites like Twitter, Reddit etc. (for reasons hopefully now obvious 😅), and because I like to be able to search through them all in one place easily.

The main reason that I refer back to them is usually because I want to share something in conversation (either in person or online), and it's nice to be able to link to the source text quickly. I also like to be able to give people a glimpse into what I'm reading on topics that are important to me, and recently I'm thinking that the best way to do this is to go back to the 90s/00s and embed RSS feeds of my saved highlights on my website, split by topic.

I'm generally okay with the idea that I'm never going to "use" everything I save for anything particularly big or grand; it just feels nice to have a trail of text content that has been influencing my thinking over a long time period to look back on from time to time.

I'm following the New York Times' liveblog and list of winners; I'll try to update this post.

• Best Play: “Leopoldstadt”

“Leopoldstadt,” a wrenching drama that explores the destructive toll of antisemitism by following a family of Viennese Jews through the first half of the 20th century, won the Tony Award for best play on Sunday night.

The play is by Tom Stoppard, an 85-year-old British playwright who is widely regarded as among the greatest living dramatists, and who had already won the best play Tony Award more times than any other writer. This is his 19th production on Broadway since his debut in 1967, and his fifth Tony for best play, following “Rosencrantz and Guildenstern Are Dead,” “Travesties,” “The Real Thing” and “The Coast of Utopia.”

“Leopoldstadt” is an unusually personal work for Stoppard, prompted by his late-in-life reckoning with his Jewish roots, and the realization that many of his relatives were killed in the Holocaust. Stoppard was not yet 2 years old when his own family fled what was then Czechoslovakia, where he was born, to escape the Nazi invasion; he was raised in Britain and has said he only fully came to understand his family’s Jewish heritage when he was much older.

“Leopoldstadt,” directed by Patrick Marber, was first staged in London, where it opened in 2020, shortly before the coronavirus pandemic forced the shutdown of theaters, and then resumed performances in the West End after theaters reopened in 2021. That production won the Olivier Award for best new play in 2020.

The Broadway production began previews Sept. 14 and opened Oct. 2 at the Longacre Theater. The run is scheduled to end on July 2.

The play, named for a historically Jewish section of Vienna, begins in 1899 in the living room of an affluent and assimilated Austrian Jewish family and continues until 1955, after much of the family has perished; some members of the family had mistakenly thought that their integration into Viennese society would somehow protect them.

The show is quite large for a Broadway play, with a cast of 38, including several children. It was capitalized for up to $8.75 million, according to a filing with the Securities and Exchange Commission.

The lead producer is Sonia Friedman, a prolific British producer who has notched an impressive set of wins on Broadway: She was also a lead producer of the best play Tony winners in 2020 (“The Inheritance,” which was granted the award at a pandemic-delayed ceremony in 2021), 2019 (“The Ferryman”) and 2018 (“Harry Potter and the Cursed Child”).

• Best Musical: “Kimberly Akimbo”

“Kimberly Akimbo,” a small-scale, big-hearted show about a teenage girl coping with a life-shortening genetic condition and a comically dysfunctional family, won the coveted Tony Award for best musical Sunday night.

The musical is the smallest, and lowest-grossing, of the five nominees in the category, but it was also by far the best reviewed, with virtually unanimous acclaim from critics. (Nodding to the show’s anagram-loving subplot, New York Times critic Jesse Green presciently suggested one of his own last fall: “sublime cast = best musical.”)

The show, set in 1999 in Bergen County, N.J., stars the 63-year-old Victoria Clark as Kimberly, a 15-going-on-16-year-old girl who has a rare condition that makes her age prematurely. Kimberly’s home life is a mess — dad’s a drunk, mom’s a hypochondriac, and aunt is a gleeful grifter — and her school life is complicated by her medical condition. But she befriends an anagram-obsessed classmate and learns to find joy where she can.

“Kimberly Akimbo,” which opened at the Booth Theater in November, was written by the playwright David Lindsay-Abaire and the composer Jeanine Tesori, based on a play Lindsay-Abaire had written in 2003. The musical, directed by Jessica Stone, began its life with an Off Broadway production at the nonprofit Atlantic Theater Company in the fall of 2021.

The musical, with just nine characters, was capitalized for up to $7 million, according to a filing with the Securities and Exchange Commission; that’s a low budget for a musical on Broadway these days, when a growing number of shows are costing more than $20 million to stage. The lead producer is David Stone, who, as a lead producer of “Wicked,” is one of Broadway’s most successful figures; this is the first time he has won a Tony Award for best musical.

• Best Revival of a Play: "Topdog/Underdog"

A new production of “Topdog/Underdog,” Suzan-Lori Parks’s tour de force about two Black brothers weighted down by history and circumstance, won the Tony Award for best play revival Sunday night.

The play, first staged at the Public Theater in 2001, was already a widely hailed masterpiece: In 2002 it won the Pulitzer Prize for Drama, making Parks the first African American woman awarded that prize, and in 2018 a panel of New York Times critics declared it the best American play of the previous quarter century.

The new production, which ran from September 2022 through January 2023 at the John Golden Theater, was directed by Kenny Leon. It starred Corey Hawkins and Yahya Abdul-Mateen II as the two brothers, ominously named Lincoln and Booth.

In the play, Lincoln works in whiteface as a Lincoln impersonator at an arcade, while Booth makes ends meet by shoplifting. They share a one-room apartment, a fondness for three-card monte, and a set of familial and societal burdens from which they cannot escape. “‘Topdog/Underdog’ is both a vivid, present-tense family portrait and an endlessly reverberating allegory,” the New York Times critic Ben Brantley wrote in 2018.

• Best Revival of a Musical: "Parade"

“Parade,” a musical based on the early 20th century lynching of a Jewish businessman in Georgia, won the Tony Award for best musical revival Sunday night.

The prize cements a remarkable rebirth for the show, which was not successful when it first opened on Broadway in 1998, but which is shaping up to be a hit this time, thanks to strong word-of-mouth and the popularity of its leading man, Ben Platt. It was one of several shows this season about antisemitism, as the number of reported incidents has been rising.

The success of “Parade” is also a significant milestone for the musical’s composer, Jason Robert Brown, who is widely admired within the theater community but whose Broadway productions have struggled commercially. Brown wrote the music and lyrics for “Parade,” and the book is by Alfred Uhry; both men won Tony Awards for their work on the show in 1999.

... Audible groans here as Jason Robert Brown, the composer behind “Parade,” gets cut off at the microphone. He started to say something about Mary Phagan, the girl whose murder in Georgia set the Leo Frank trial in motion.

• Best Leading Actor in a Play: Sean Hayes, “Good Night, Oscar”, as Oscar Levant

Sean Hayes, who portrays the witty but troubled pianist Oscar Levant in “Good Night, Oscar,” won the Tony for best lead actor in play.

Best known for his long-running role as Jack McFarland in the television series “Will & Grace,” Hayes received critical praise for his drastic transformation in this stage production, adopting the hunched posture, irritable scowl and anxious twitching of Levant, who channeled his neuroticism into crowd-pleasing radio and television banter.

Hayes, 52, has also brought one of his lesser known talents to the stage for this performance: classical piano, which he started studying at age 5.

Telling the story of one night in 1958 when Levant finagled his way out of psychiatric hospital to be interviewed on Jack Paar’s “Tonight Show,” the play focuses on the pianist’s idiosyncrasies, compulsions and struggles with opioid addiction as surrounding characters try desperately to manage him.

This is Hayes’s first Tony Award. He was previously nominated for his Broadway debut in the 2010 revival of “Promises, Promises,” a musical adaptation of the Billy Wilder film “The Apartment.”

• Best Leading Actress in a Play: Jodie Comer, "Prima Facie", as Tessa Ensler

The leading actress in a play category this year was a face-off of extremes: Jodie Comer, who delivers a physically and emotionally exhausting performance in Suzie Miller’s one-woman legal thriller “Prima Facie,” versus Jessica Chastain, who scarcely stirs from her chair during the entirety of “A Doll’s House.”

In the end, it was Comer who triumphed, for her tour-de-force solo turn as a lawyer who defends men accused of sexual assault. Jesse Green, the chief theater critic for The New York Times, described it as “a performance of tremendous skill and improbable stamina.”

It was a remarkable win for the 30-year-old English actress, who is best known for playing the assassin Villanelle on the television show “Killing Eve.” She not only took home her first Tony Award on her first try; she won it for her first performance on a professional stage — ever.

“It kind of felt unattainable,” she told The Times in April of the prospect of doing theater.

• Best Leading Actor in a Musical: J. Harrison Ghee, "Some Like It Hot", as Jerry/Daphne

J. Harrison Ghee, whose portrayal of a gender-questioning musician fleeing the mob in “Some Like It Hot” has charmed critics and audiences, won a Tony Award for best leading actor in a musical Sunday night, becoming the first out nonbinary actor to win that award.

Ghee’s victory came shortly after Alex Newell, who is also nonbinary, won a Tony Award for best featured actor in a musical, becoming the first out nonbinary performer to win a Tony.

The Tony Awards, like the Oscars, have only gendered categories for performers, and Ghee and Newell agreed to be considered eligible for awards as actors. (Another nonbinary performer this season, Justin David Sullivan of “& Juliet,” opted not to be considered for awards rather than compete in a gendered category.)

Asked in a recent interview with The New York Times about having been nominated in a gendered category, Ghee said: “Wherever I am, I will show up as who I am. Someone’s compartmentalization of me doesn’t limit me in any way.

“I hope for the industry we can remove the gender of it,” they added, “because we are creators and we should free ourselves beyond so many labels and let the work speak for itself.”

At least two performers who later came out as nonbinary have previously won Tony Awards as best featured actress in a musical: Sara Ramirez, who won in 2005 for “Spamalot,” and Karen Olivo (also known as K O), who won in 2009 for a revival of “West Side Story.” Also: Last year, the Tony Award for best score went to Toby Marlow and Lucy Moss for “Six,” and Marlow is nonbinary.

Ghee’s depiction of a main character in “Some Like It Hot” reflects the way views on gender have evolved since 1959, when the Billy Wilder film it was based on was released. In the movie Jack Lemmon plays a musician named Jerry who dresses as a woman named Daphne to flee the mob; in the musical Ghee plays the same character, but Jerry’s path to becoming Daphne becomes one of self-discovery, not disguise.

The performance earned critical praise. Jesse Green, The Times’s chief theater critic, wrote that Ghee “carefully traces Jerry’s transformation into Daphne, and then the merging of the two identities into a third that takes us into territory that’s far more complex than jokey drag.”

Ghee, 33, worked as a drag performer before finding success in musical theater, with key roles on Broadway in “Kinky Boots” and “Mrs. Doubtfire” before “Some Like It Hot.”

• Best Leading Actress in a Musical: Victoria Clark, “Kimberly Akimbo”, as Kimberly Levaco

Victoria Clark won the Tony for best leading actress in a musical on Sunday night for her role in “Kimberly Akimbo,” in which she plays a teenager with a rare disease that causes her to age rapidly.

As unusual as Clark’s role has been as a sexagenarian playing a gawky teenager with a fatal diagnosis, critics pointed to the pedestrian subtlety with which she imbued her performance.

“So remote is she from the bellowing divadom of those tourist-bait extravaganzas that I’m tempted to call what she does not singing at all, but acting on pitch,” wrote Jesse Green in his review of the musical for The Times.

This is Clark’s second award in the category: In 2005, she won for “The Light in the Piazza,” a musical in which she played an American tourist traveling with her daughter — a performance that Ben Brantley of The Times praised as a rare reflection of a “real human being” in an American mainstream musical.

A veteran stage actress, Clark, 63, has performed on Broadway since the 1980s, earning Tony nominations for featured roles in “Sister Act,” “Rodgers and Hammerstein’s Cinderella” and “Gigi.”

• Best Featured Actor in a Play: Brandon Uranowitz, “Leopoldstadt”, as Ludwig Jakobovicz and Nathan Fischbein

Brandon Uranowitz, a four-time Tony nominee, won his first Tony Award on Sunday for performing a pair of featured roles in the critically acclaimed play “Leopoldstadt.”

The play, by Tom Stoppard, follows an Austrian Jewish family — the Merzes — from 1899 to 1955. In the early days, the bourgeois family is comfortable and complacent, shown enjoying time together at holiday gatherings and family functions. But eventually the Nazis arrive, and their lives are upended and destroyed.

“My impostor syndrome is on fire,” he said in accepting the award.

“Thank you, Tom Stoppard, for writing a play about Jewish identity and antisemitism and the false promise of assimilation with the nuances and the complexities and the contradictions that they deserve,” he added. “My ancestors, many of whom did not make it out of Poland, also thank you.”

• Best Featured Actor in a Musical: Alex Newell, "Shucked", as Lulu

Alex Newell, a “Glee” alumnus who is bringing down the house nightly with a barn-burning number in “Shucked,” won the Tony Award for best featured actor in a musical Sunday night, becoming the first out nonbinary actor to win a Tony for performance.

Newell, who identifies both as nonbinary and gender fluid, plays a fiercely self-reliant whiskey distiller in “Shucked,” which is a country-scored, pun-rich musical comedy about a small farming community whose corn crop begins mysteriously dying.

“The standing ovation isn’t jarring as much as the consistency of it,” Newell told The New York Times last month. “I’m beside myself a lot of the time because I’m like, ‘Y’all are really still standing up.’”

Newell agreed to be considered in the gendered actor category, explaining, “I look at the word ‘actor’ as one, my vocation, and two, genderless. We don’t say plumbess for plumber. We don’t say janitoress for janitor. We say plumber, we say janitor. That’s how I look at the word, and that’s how I chose my category.”

• Best Featured Actress in a Play: Miriam Silverman, “The Sign in Sidney Brustein’s Window”, as Mavis Parodus Bryson

Miriam Silverman, the only acting nominee from “The Sign in Sidney Brustein’s Window,” has been with this production since its Chicago debut. “I’m always more drawn to complicated, tricky, flawed characters,” she told the Times. “And not trying to make them likable, per se, but just trying to be inside of them in all of their humanity.”

Alice Ghostley won a Tony for the same role when the play debuted in 1964.

• Best Featured Actress in a Musical: Bonnie Milligan, “Kimberly Akimbo”, as Aunt Debra

On Sunday night, Milligan, 39, took home her first Tony Award for best featured actress in a musical, for her scene-stealing performance as Debra, Kimberly’s scheming aunt.

It was the first Tony nomination for Milligan, known for her vocal range and vocal belting, who made her Broadway debut in 2018 in “Head Over Heels,” a musical that combined a Renaissance pastoral romance with the music of the Go-Go’s.

• Best Direction of a Play, Patrick Marber, “Leopoldstadt”

Patrick Marber won his first Tony on Sunday for his direction of the harrowing, critically acclaimed Tom Stoppard play, “Leopoldstadt.”

Marber, who was previously nominated for directing a 2018 revival of Stoppard’s “Travesties” has also written plays and worked as a stand-up comedian.

“I’m thrilled to win this,” he said, calling Stoppard one of his heroes.

• Best Direction of a Musical: Michael Arden, “Parade”

“‘Parade’ tells the story of a life that was cut short at the hands of the belief that one group of people is more or less valuable than another and that they might be more deserving of justice,” he said in accepting his award. “This is a belief that is the core of antisemitism, of white supremacy, of homophobia, of transphobia and intolerance of any kind. We must come together. We must battle this. It is so, so important, or else we are doomed to repeat the horrors of our history.”

Arden went on to recall how he had been called a homophobic slur — “the F-word,” he said — many times as a child. And he drew raucous cheers as he reclaimed the slur, making clear that he was now one with a Tony. “Keep raising your voices,” he said.

One of the production’s most talked-about features is Platt’s wordless presence onstage during the entire 15-minute intermission. Arden recently told Michael Paulson that he “wanted to challenge the audience, when they’re getting their cocktail or texting their friends or talking about what they’re having for dinner, to look back and see Ben onstage, and to get a sense that while the world was turning, this man was sitting in a prison cell.”

• Best Book of a Musical: David Lindsay-Abaire, "Kimberly Akimbo"

A tough category this year, with fine work addressing daunting needs. David West Read somehow made a jukebox musical (“& Juliet”) witty. Robert Horn (“Shucked”) came up with more corn puns than anyone thought possible. Matthew López and Amber Ruffin revamped a classic farce (“Some Like It Hot”) as a contemporary exploration of race and gender. But David Lindsay-Abaire may have had the hardest job of all: turning his own play “Kimberly Akimbo” gently, cleverly, ruthlessly into a great musical.

• Best Original Score: Jeanine Tesori (music) and David Lindsay-Abaire (lyrics), “Kimberly Akimbo”
• Best Choreography: Casey Nicholaw, “Some Like It Hot”

Casey Nicholaw won the Tony for best choreography for “Some Like It Hot,” a boisterous Prohibition-era musical with tapping, swing dancing and intricate staging.

Nicholaw, who also directed the production, has been nominated in the category six times before, but this is his first win. In 2011, he shared the Tony for best direction of a musical with Trey Parker for “The Book of Mormon.”

• Best Orchestrations: Charlie Rosen and Bryan Carter, “Some Like It Hot”

Broadway World: In their visit to the press room, recently annointed Tony winners, Some Like It Hot orchestrators, Charlie Rosen and Bryan Carter discussed the timely and important subject of the need for Broadway-sized orchestras for Broadway shows.

Bryan said, "Having an 18-piece orchestra is a luxury. We're hoping that the show inspires new companies to use large orchestras because orchestras really are the heartbeat of musical theatre."

In discussing the challenges of bringing their larger-than-life orchestrations to life, Charlie shared, "The challenge of this show, in particular, was that I hold Marc Shaiman and Scott Wittman in such high regard. They're such legends, I really thought twice, three times, four times, about every single note that I wrote on the page. I really wanted to do their score justice because they're so incredible and so prolific," Charlie added.

• Best Scenic Design of a Play: Tim Hatley and Andrzej Goulding, “Life of Pi”

NYTG: The Broadway transfer gave the cast and creative team the opportunity to make changes. "We were able to make some positive adjustments to the story based on the feedback from the West End," said director Max Webster, noting the first act was tightened.

The move also gave the designers the opportunity to expand the design elements of the show. “It is always good to get the opportunity to work on a show for a second (or third, or fourth...) time,” said scenic and costume designer Tim Hatley. “In my experience designing for theatre and film over the past 30 years, I have never walked away from a production thinking I have managed to get it all right.”

Most importantly, the design teams needed to adjust the scope and scale of the scenic design to fit the Gerald Schoenfeld Theatre in New York, which is wider and shallower than Wyndham’s. “This has, of course, had a knock-on effect, and video and lighting have had to adapt their designs to work with the new dimensions,” Hatley said.

For his part, video designer Andrzej Goulding (co-nominated with Hatley in the scenic design category) upgraded the show’s simulations. He also worked with lighting designer Tim Lutkin to recolor some scenes for the Broadway run and blend his projections, which naturally light the set, with Lutkin's lighting of the actors. The designers also had to adjust certain visual elements to accommodate different sight lines.

“The heart of the design is the ability to transition seamlessly from the hospital into Pi’s story, which is, for the most part, at sea,” said Hatley. The split-second transitions, which happen in full view of the audience, are integral to the narrative. “This was my challenge as the designer of the show, and I am pleased to have pulled it off.”

• Best Scenic Design of a Musical: Beowulf Boritt, “New York, New York”
• Best Costume Design of a Play: Brigitte Reiffenstuel, “Leopoldstadt”
• Best Costume Design of a Musical: Gregg Barnes, “Some Like It Hot”
• Best Sound Design of a Play: Carolyn Downing, “Life of Pi”
• Best Sound Design of a Musical: Nevin Steinberg, “Sweeney Todd: The Demon Barber of Fleet Street”
• Best Lighting Design of a Play: Tim Lutkin, “Life of Pi”
• Best Lighting Design of a Musical: Natasha Katz, “Sweeney Todd: The Demon Barber of Fleet Street”
• Special Tony Award for Lifetime Achievement: Joel Grey and John Kander

The actor and director Joel Grey, 91, will be honored for Lifetime Achievement at the Tony Awards this evening for his “everlasting impact” to the theater, said Heather Hitchens, president and chief executive of the American Theater Wing.

• Isabelle Stevenson Award: Jerry Mitchell

Parade: When Jerry Mitchell moved to New York City in 1980 to dance in his first Broadway show, Brigadoon, he'd inadvertently walked into one of the worst tragedies of American history. By 1985, he'd lost his first friend to AIDS. By 1990, he'd lost four more. As a gay dancer and choreographer performing in New York, he lived in the epicenter of the AIDS epidemic and felt helpless as his friends and colleagues died.

That helplessness turned into action in the early '90s, after Mitchell was cast in The Will Rogers Follies, in which he was "dancing every night...practically naked" in a tribute to the Ziegfeld Follies. "I was really in great shape," he told me over coffee on a warm May afternoon in a park only a few blocks from Broadway. "I looked hot, and people were noticing...and so a friend of mine said, you should go dance at the Splash Bar on 17th St., which was this famous gay bar, and raise money for our fundraiser." The fundraiser in question was for Broadway Cares/Equity Fights AIDS, an organization founded in the theater community to fight back against the disease that ravaged their friends and loved ones.

"A light bulb went off over my head. I called seven friends who were in Broadway shows who also, I knew, had great bodies, and I put together a strip show, a burlesque show on the bar. We made $8,000." And that was the birth of Broadway Bares.

While Broadway Bares my have started as an eight-man strip show in a gay bar, its Chelsea nightclub days are long behind it. In total, the dancing/body-celebrating fundraiser has earned more than $22.5 million for Broadway Cares/Equity Fights AIDS, with the burlesque dancers raking in nearly $1.9 million last year alone. The charity provides lifesaving medications, health care, nutritious meals, counseling and emergency financial assistance to those in need due to HIV/AIDS and other illnesses.

• Regional Theater Tony Award: Pasadena Playhouse

LA Times: Pasadena Playhouse will receive the 2023 Regional Theatre Tony Award, becoming only the second Los Angeles institution to earn the honor and continuing its triumphant streak after years of turbulence.

The prize, which includes a $25,000 grant sponsored by City National Bank, will be presented at the 76th Tony Awards on June 11 in New York.

The Mark Taper Forum, in 1977, was the first L.A. theater to receive the Regional Theatre Tony. Other Southern California recipients include the Old Globe in 1984, South Coast Repertory in 1988 and La Jolla Playhouse in 1993.

The award marks an astonishing turnaround for Pasadena Playhouse, which was on the verge of shutting down in 2010, when it laid off most of its staff, canceled the remainder of its season and filed for Chapter 11 bankruptcy protection. Rescued by the generosity of donors, the theater was back on shaky ground when producing artistic director Danny Feldman was appointed to succeed long-term artistic director Sheldon Epps in 2016.

• Tony Award for Excellence in Theater Education: Jason Zembuch Young

Jason Zembuch Young is the artistic director of the public South Plantation High School in Plantation, Fla. He stages full-length musicals and a full-length plays in both voice and American Sign Language.

Now, his efforts are being rewarded with a special Tony Award, granted each year in partnership with Carnegie Mellon University to a U.S. educator who has “demonstrated monumental impact on the lives of students and who embodies the highest standards of the profession.”

• Tony Honors for Excellence in the Theater: Lisa Dawn Cave, Victoria Bailey and Robert Fried

Broadway will have an unusually busy summer

There usually tends to be a lull in new Broadway shows between the Tony Awards eligibility deadline in late April and the start of the school year. But this season is shaping up to be different, with seven openings between Memorial Day and Labor Day.

The first, a horror play called “Grey House” starring Laurie Metcalf, has already opened. Jesse Green had mixed feelings about it, describing it in his review as “so expertly assembled from spare parts by the playwright Levi Holloway and the director Joe Mantello that you may not notice, between the jump scares and the shivery pauses, how little it has on its mind.”

Up next is “Once Upon a One More Time,” about the feminist awakening of fairy tale princesses set to the music of Britney Spears. That show will be followed by two other big musicals: “Here Lies Love,” about Imelda Marcos, a former first lady of the Philippines, with a score by David Byrne and Fatboy Slim; and “Back to the Future,” adapted from the hit film.

Broadway’s summer openings will also feature a comedian, Alex Edelman, performing his acclaimed solo show, “Just for Us,” as well as two comedic plays, “The Cottage,” which is a contemporary version of an old-school farce, and “The Shark Is Broken,” which is about the backstage chaos that challenged the making of “Jaws.”

I'm writing this post in the spirit of the powerful conversations that I had participated in on reddit in /r/adhd. I'm giving up reddit, after this recent fiasco. And, so, I hope to find a similar community here.

And, so, here we go.

I recently quit my job in Big Tech after 7 years in that space. Corporate America, and Big Tech in particular (among other fields) is a human meat grinder. Humans go in and husks come out. After taking a medical leave of absence from work due to complications from anxiety, and multiple medical interventions, I realized that I needed to evaluate whether my job, even my career, was sustainable for me. It only took a few weeks, after returning to work, to accept that, yes, this job and perhaps this career are actively harming me. After talking about it with my wife, at length, I found relief in quitting.

At the core of it: my career has simply been incongruent with my values.

Sure, I've always been a nerd. I was the "brainy" kid. I didn't know how to people well (though I'm told that I'm not on the spectrum or not in any meaningful way). I'd always been overweight and prone to stress. Throughout my life, I was often labeled as the "sensitive" one by people. I rarely felt as though I fit in with any group of people, save perhaps for the other misfits who would band together because they didn't with in with any group of people.

Just before the pandemic began, at the tender age of 47, I was diagnosed with ADHD Combined type. More recently, I was diagnosed with C-PTSD, that I have likely suffered for 40 of my 50 years.

Now I know where that weight comes from: self-medication to give me a dopamine hit and numb me to layers of trauma. I also know where the emotional reactivity comes from: emotional flashbacks resulting from the C-PTSD.

1. Lexapro for well over a decade. It helped to blunt the lows but, I've found, also the highs. I rarely feel poignancy with Lexapro. When I have occasionally been able to ween from it, I have felt a far greater range of emotions.
2. I've had an excellent therapist for going on 8 years who practices ISTDP. He's helped me learn to show up for my more challenging emotions instead of instantly reaching to numb them.
3. Adderall and Vyvanse both used to help until I received a stellate ganglion block (Disclaimer: I have been a client of Dr Mulvaney's practice though I link to it as his explanation is excellent; I'd make this a footnote alas tildes doesn't support that extension for markdown)
4. Ketamine (prescribed) to better address the depression and anxiety. Ketamine, as a psychedelic, combined with the skills learned in therapy has let me dig deeper into my layers of trauma, leading to better overall mental health and better self-understanding.
5. Stellate Ganglion Block mentioned above. Short version: it reduced my seemingly PTSD-driven emotional reactivity to about 10% of what it was prior to the SGB. It's like getting a new nervous system. Unexpected side effect: medications that act on my nervous system now respond differently. As a result, stimulants are now extremely uncomfortable for me whereas before they were effective. Before the SGB, I would say that fear was my primary emotion. Now, I feel things.

I know: I'm privileged. I'm an "old white dude who profited from being in Tech". Yep. True. But I can't retire yet; we don't have that kind of money. We do, however, have enough such that I have the luxury of time to figure out my next steps.

What I have right now is the plan to make a plan. The core of it: live a life congruent with my values--not just at some far off retirement but here, now.

At first, step 1 was to answer this question: "What is the minimum amount of money that I need to earn for us to not massively disrupt our lives?" But then I realized that this is a fear-based question. It means starting out by saying "no" to everything that doesn't earn "enough" money for some arbitrary value of enough.

Where I'm at now, Step 1 Mark II, poses a more inspiring question: "What does retirement look like for my wife and I?" I don't know that we truly get to retire in the sense of living a life of leisure as seemingly many Boomers and earlier were privileged to do. Besides, part of my sense of accomplishment and peace is knowing that I did something to make the world better.

So what do you struggle with?
How are you doing?
What are you doing about it?

Be well.

P.S. This is me trying to do my part, as a new member of this community, to encourage growth not in membership but into different areas of discussion.

My friends and I have been striving for the perfect score of 13 in Just One, and there's almost always one or two cards which make it seemingly impossible unless you're very lucky.

Just One if you're unfamiliar, is a game where your teammate wants to guess a word -- and you each independently give a one-word clue, "Donkey", "Dreamworks", "Ogre". If two or more players write the same word, all those clues get hidden -- so your clues can't be too obvious.

The words vary absurdly in difficulty from words like "Wine" and "Snake" where you can basically break the game by listing wines and snakes -- to words like "Mexico" and "Strawberry" where you can come at them from a few directions. ...But about 10% of the words are things like "Grotto", "Couscous" and "Ramses" where honestly, you could possibly sit down with someone for 30 minutes describing them in excruciating detail, and they might still not come up with those particular words. Could you describe "Couscous" to your 10-year-old nephew who lives on Chick-fil-A and Mcdonalds? Could you disambiguate a "Grotto" from a cave, cavern, bunker or lair? Sometimes it's a vocabulary thing but more often, it's just words with a lot of synonyms.

I call these "land mine" cards and I'm curious if anyone else has noticed this phenomenon. Have any of you gotten a perfect score in Just One? If so did you randomly dodge these land mines or did you overcome them with a really perfect clue?

I know quite a controversial and opinionated question, one that might easily get blasted with downvotes on a site like StackOverflow or even Reddit! Nevertheless, one which I believe is still relevant to ask and useful one even in 2023.

The problem with backend web technologies is that we are overwhelmed with choices. Whilst getting spoilt with choices seems like a useful thing sometimes, it might easily be an impediment in decision making too. Based on my experience, there are a bunch of useful stacks and I will work on any of them if you pay me to work as a freelance coder. Each has its own pros and cons but I'm yet to find the ideal one which according to me is something that should be easy to code and deploy while also better performing at the same time.

• ASP.NET: C# is the language I started coding web apps with in my last company and ASP.NET web forms was quite the rage back then. PHP was also gaining traction in the open source world and the webdev was mostly divided between the Enterprisey .NET aristocrats of Microsoft world and the poor PHP peasants of the FOSS world! One good thing about ASP.NET was performance. Since MS controlled the whole stack, they also put great efforts at making it work faster. The bad thing, of course, was dependence on a closed tech stack and a closed black box that generated JS functionality on its own.
• PHP: When I resigned from that company and started freelancing, I came to know about open source, linux, XAMPP, etc. That was when I realized that my own attitudes and thinking was more attuned to the FOSS peasant mindset than the wealthy aristocrat's! I didn't earn quite as much in freelancing with WP, Drupal, SuiteCRM, CodeIgniter, etc. but I found great happiness and contentment in being part of the open source process. Till date, PHP remains my favorite language for backend development and most of my web projects involve CodeIgniter or even pure PHP.
• Python: Flask is what got me interested in Python web development. The sheer minimalism and flexibility of that framework is what I found quite remarkable and quite a rarity in the frameworks world. And jinja2 template system was just fantastic. The other framework called django is more popular I think and I've worked on that too but Flask still remains my favorite. Flask is good in performance dept. too but I think it gets tricky once you start scaling with too many users.
• Java: I've never really bothered with Java web development except a few tutorial experiments on the Apache TomEE server. The multi-layered approach that Java takes not only has very steep learning curve but unless you're a very gifted programmer, it's practically impossible to beat the performance of interpreted PHP/Flask!
• NodeJS: Again, not much work here except brief hobby projects like http-live-simulator. The npm packaging system really turned me off initially with so many packages and issues with that system in the earlier days. Nowadays, I've heard that it's much usable but I've never gotten into it.

And now, we also have the evolving languages like Golang, Rust, etc. taking their baby steps towards web development too! Are any of them worth giving a try? If someone were to ask you for a backend tech stack recommendation while giving equal weightage to performance, developer productivity and ease of deployment, which one will you suggest?

What have you been watching and reading this month? You don't need to give us a whole essay if you don't want to, but please write something! Feel free to talk about something you saw that was cool, something that was bad, ask for recommendations, or anything else you can think of.

If you want to, feel free to find the thing you're talking about and link to its pages on Anilist, MAL, or any other database you use!

I just wanted to share somewhere some of the experimentation I've been doing lately. I'm still playing with this a lot, so this is entirely just a conversation starter.

I took a paragraph of lorem ipsum, applied ROT13 to it, and then base64'd the results. The results are extremely reliably triggering hallucinations of very diverse type.

Here is the original lipsum paragraph:

Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum.

And here is the exact prompt with rot13 + base64 applied, with no other text, on ChatGPT+gpt4:

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

The AI of course figures out it's base64 and "tries" to decode it. Here are some things it found:

• Antibiotic resistance
• Network traffic issues
• Gazing into space
• Legacy versus Innovation
• Gibberish

Now here is one of the most interesting results I've had. In this one, it does find gibberish text and figures out it's rot13'd. But the result from the decoding is:

Jerry pitched before the game, continuously improving legs, so he ignored tactical infrastructure tu laborer against malicious intend. Tu enjoy ad.ininv wherever its noturisk developed lawless laboratory instead tu malicious eac ea common coordinated. Duis ater urishe pitched in repressionreiteration in volleyball between legs eerir clium pitched eu fguiat nukla paperwork. Excited into contraction cultivation non-punishment non proindict, unsn in cubap qui office defensive molecule idh the laborer.

Total nonsense. But actually, if you decode the rot13, you'll find it actually translates to this:

Jreri ipsum doylor sit amet, consepcttur adipiscing elit, sed do eiusmod temporc incidiunt ut labor et doylore magna aliqua. Ut enim ad.minim veniam, quis nostrud exerctiationu lklamco laboris nisi ut aliquiz eax ea commodo consequat. Duis aute irure doylor in reprehenderita in voluptatev velit esse cillum doylore eu fugiat nukla pariatury. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia desernt mollit anim id est laborum.

Actually... pretty close to the original lipsum! It's a levenshtein distance of 26 from the original decoded prompt. We know GPT is really bad at character manipulation but it nonetheless did an impressive job here; you can see what happened: It decoded the rot13 successfully, but when "writing it out", it saw nonsensical words where it probably expected english. It saw "Jreri" and thought "Jerry", went from there... there's some weird things happening there, but you can always tell. "reprehenderita in voluptatev" becoming "repressionreiteration in voleyball"...

I even looked at what it would make of the first five words. I don't know what this proves lol.

Here is another instance of it decoding to rot13, albeit with a very high error rate. I hinted at typos and it couldn't pin-point lipsum despite it being "recognizable", kinda.

Okay, one more which completely mind-fucked me. Here is me trying to get ChatGPT4+Web to meta-analyze its own output. I was hoping it could use an online base64 translation tool (it cannot). Instead, I tried to teach it to decode base64 using a step-by-step guide, and i told it to compare the results of that "update your firmware" nonsense. It eventually said that the output appeared correct.

But you know the really fucked up thing? It said:

Blink and you'll miss it. This is not the original base64 string. The AI swapped it mid-chat for what is a perfect base64 encoding of the hallucinated text.

Fuckin' hell.

So instead of just posting a link to the opening weekend of Guardians of the Galaxy Vol 3 (which is looking to open in the low 110s) I thought I'd just make a post talking about the recent box office of super-hero movies and the fatigue going on with general audiences.

Let's rewind to the far distant past of December 2021. Spider-Man: No Way Home just opened to over 200 million dollars. It re-invigorates movie going among the general public. Grosses at the box office afterwards are vastly higher. Spider-Man makes nearly two billion dollars at the box office. The next super-hero movie to come out is Batman, which does pretty well considering it's the first entry in a rebooted series.

Then, the summer movie season kicks off with Doctor Strange in the Multiverse of Madness. Seemingly, the movie is heading towards a 200+ opening weekend (much like Spider-Man). The film was sold as a follow-up to No Way Home, but in reality it had little to nothing to do with that movie. General audiences caught on, and were overall mixed on the film, so the opening weekend landed under 200 million. The film ultimately went on to gross over 900 million at the box office, but with terrible legs.

The next film after that was Thor: Love and Thunder. Again, the film garners a mixed reception with both critics and audiences. It ultimately grosses less than it's predecessor Thor: Ragnarok (although L&T did not open in China or Russia). It did okay all things considered, but it was another poorly received entry in the franchise.

Black Panther: Wakanda Forever comes out in November with much better reception. Although it still ended up dropping 500 million worldwide from it's predecessor (300 domestic). Again, considering this was dealing with the loss of it's star, it did okay all things considered. Still, it was a disappointment compared to what it was expected to make and the critical reception was weaker than anticipated.

Then the big dumpster fire happens. Ant-Man and the Wasp: Quantumania is released. It gets the MCU's second rotten score on RT, and gets the worst audience reception of the series since Eternals. The film manages to get the highest opening of the Ant-Man franchise, but with terrible reception it also gets the worst legs of the MCU. It ends up with the lowest gross of the Ant-Man movies despite opening higher than both of them.

The GA got burned from a constant flood of mediocre product (and we're not even talking about all the TV shows).

Guardians of the Galaxy Vol 3, despite much better reception than most recent MCU films, is ending up with a lower opening than it's predecessor, and will most likely end up with a lower gross than the first film. This is referred to as "paying for the sins of the father."

This will be the lowest May opener since The Amazing Spider-Man 2 opened in 2014 (not counting 2020 or 2021).

Super-hero movies will still be around, and some of them might make a lot of money, but it's clear the utter dominance it had at the box office for the past 10 years is over. Which is kind of insane to think about how quickly this all came crumbling down (only 1.5 years!). But it goes to show there's a limit to how many mediocre/bad movies the GA can handle in a franchise.

And this isn't even counting how poorly both Shazam and Black Adam did for DC.

It seems like Quantumania might have been the "Heaven's Gate" for the MCU, it was the straw that broke the camels back.

So what will happen with super-hero movies? Probably a return to the pre-Avengers normal. Mainline superheroes (like Batman and Spider-Man) will remain lucrative. But lesser known superheroes are now riskier bets, and if those lesser known heroes are in a bad movie, there's no saving it. Logically, budgets for these movies should get lower to accommodate the lower grosses bound to happen from now on. And there needs to be actual effort put into the film in order to make it a good film first and foremost.

Unfortunately for the MCU, many of the movies slated for 2024 were greenlit before they could change direction (like Captain America: New World Order which went into production a few months ago). The budgets for these films are probably going to be really high like they've all been (200M+) and the grosses will get even lower as these movies were not given proper re-writes to right the ship.

As for DC, it puts a lot of pressure on Gunn to make Superman a good movie. And not just a good super-hero movie, but a good movie. Like how Batman Begins was just a good movie.

Hollywood is now looking towards video game movies as the next big thing, thanks to the massive success of Mario, so these movies are going to have to build themselves back up.

What have you been watching and reading this month? You don't need to give us a whole essay if you don't want to, but please write something! Feel free to talk about something you saw that was cool, something that was bad, ask for recommendations, or anything else you can think of.

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Hello Folks,

I haven't posted on Tildes for a while and today I have a very strong feeling to post something.

But what exactly should I post about? In some sense, a writer's block is the exact anti-thesis of a child. Coming up with some creative content is sometimes painfully difficult for a functioning adult like me, while my 10 year old nephew can blabber hundreds of different things in a five minute span!

Now obviously, I can also come up with hundreds of different things but we all know it's not so easy to put down those things on the keyboard. I'm not an expert in writing craft but I have a strong feeling that most of us just hold ourselves back out of fear of what the world says. And honestly, the so called "world" here is acting very toxic and isn't helping by discouraging content creators who aren't always top notch. And sometimes, the content itself can be good or bad just as beauty is defined by the eye of the beholder. What is cringe for you may be good content or even humor for someone else. If only most of us start focusing on the "full half" of the cup instead of the "empty half", think just how beautiful this world will be!

Years of facing such toxic behavior on platforms like reddit and twitter has caused me to over-analyze and over-scrutinize everything before saying it. Any idea or concept has to pass through a lot of "mind filters" in order for them to get the "clean chit" for "yeah, this can be published". Perhaps, this particular post I'm writing is an exception or anomaly in that sense!

As a programmer, freelancer, writer, someone interested in things like humanities and social sciences, and an ordinary Indian dude, you guys tell me what kind of content should I write so that the writer in me thrives and also the content is at least bearable by the audience?

The problem I'm trying to solve here is difficult but I may not be the only one going through this phase. Is there a solution to this? Any proven and practical solution which you've had success with yourself?

A part of me thinks that I should try podcasting or youtubing first, and then I'll gain the confidence necessary to actually write mind-blowing content. But I have a problem with impromptu speaking and talking, is that a very common problem? Is there an easy fix available for that? I intuitively know from what I've observed in this world that most people have enough confidence to say or speak a lot of things (even the harshest of things!) right in front of others' face but when it comes to writing, they can't write so much. I'm a kind of antithesis of that, isn't it?

How exactly does one build confidence with public speaking? They say keep practicing and you'll get there. Here is a feeble attempt, not exactly a podcast but something near enough - a presentation for an app idea I've got. I want to create more of these but again, what content? I've got no ideas, especially interesting or appealing ones. And judging by the number of likes that youtube video got, I already have half a mind of just giving up on this!

If you've reached until this point, thank you for sticking with me till the end. And apologies if I picked up on your brain beyond its limits!

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(paging @balooga)

...or, at the very least, the last in a very long time. This is not an article, this assortment of impressions is not meant to form a cohesive whole.

That is my attempt at leaving these thoughts and impressions behind.

The MUD community does not wish to be saved

Historically, the genres that maintain their purity either disappear or become an eternal niche. The film-noir is a kind of crime fiction made in the United States between the 1920s and late 1950s. It cannot expand over these limitations — similar movies after 1959 are, by definition, "neo-noir". The western is circumscribed to certain folk tales of the pre-20th century American frontier. Some stories outside of that are considered "neo-western", or some other kind of western. Those genres still exist, of course, but their presence in culture was greatly reduced.

That was not the case with genres such as comedy (which wasn't even necessarily humorous for much of its existence), action, or suspense. These are meta-genres par excellence, and their survival is a consequence of their promiscuity. Meta-genres will lay with anyone and are prolific in their offspring. Their malleability makes them hard to kill. So we have action-comedies, comedy horror, suspense noir, etc. The combinations are endless.

MUDs are in the purity spectrum. Most active MUDs were created in the 1990s, and their design is representative of that era of gaming. The vast majority of the users are entirely adapted and satisfied with how these games generally function. The term "graphical-MUD" was an intermediary, but it obviously didn't stick (nowadays, they're essentially MUDs with rudimentary graphics on top of them). Retroactively speaking, MUDs are text-based MMORPGs. They're defined by a relationship of similarity and opposition to MMOs. Proposals towards the implementation of additional functionalities that are not text-based will be promptly labeled as one of the following:

• Graphical MUD
• MMORPG
• Persistent Browser Based Game

Because most of the mechanical and narrative features that used to characterize MUDs were adopted by MMOs, the MUD community settled on the notion that MUDs are defined, first and foremost, by their (1) code-bases, and (2) adherence to a very specific set of text-interfaces.

MUDs are also in opposition to interactive fiction, given their focus on complex mechanics and systems (chiefly the ones related to combat). In IF, gameplay exists to support the story, while in MUDs the story exists to support gameplay.

MUDs are entrenched, with existential threats encroaching from all sides. This perception serves to reinforce purist attitudes in the community. The desire to maintain the integrity of their games prevents innovation, and the adherence to outdated designs makes it hard to achieve a wider audience. Notorious games survive with a player-base of 10 to 15, those with 30 people or more are considered successes, and only two or three ever cross the threshold of 100 concurrent users.

But still, their core base is satisfied so there are no efforts toward renewing the audience. The general attitude is that you should adapt to MUDs, and not the opposite. If that means maintaining a game with less than 10 highly-dedicated old-timers, so be it.

For the average MUDer, disappearing is preferable to change.

This makes me think: what would I have to gain by making a MUD game?

I gotta be honest, I don't like books all that much. That's just the truth. So the first thing would be the opportunity to craft a vast, living, and breathing fictional universe. As a game. Not many genres will allow a single creator (or a small team) to make a game of that scale. Making a MUD is the closest I could ever get to making an MMORPG, and to me, there's nothing as fantastic as a true MMO.

Ultimately, I'd want to show just how far MUDs can go when you approach them as you would any other modern game.

The potential is thrilling.

If I made a game with all the changes I envision (and I'm not talking about graphics!), odds are that no one would play it. MUDers would feel uneasy with systems they do not recognize. Non-MUDers are unlikely to play a text game regardless of how cool and modern it is. MUDs are really meant to be collective affairs, and I'm afraid that even the best MUD in the world would probably be played by no one.

That said...

The best alternative, in my view, would be to not make a MUD -- or at least a deceptively MUD game. By that I mean: pick up a MUD engine, deeply integrate it with either Godot or Mudlet, ship everything as one awesome package and explicitly do not call it a MUD. Yep... I can see that working beautifully[1].

That's it, I shall never write about MUDs anymore. Unless..

[1] To be clear, I'm not announcing that I will actually do a MUD game. For now that is largely hypothetical.

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