Meta: This is a new post series I'm trying out. I've planned a trial run for three months to see if it catches on. If it does, I'll continue it. If not, I'll phase it out.

Tildes Gaming Club is a space to play and discuss games that fit a loosely defined theme. I see it like a Book Club, or similar to our current Album of the Week and Movie of the Week series. Instead of everyone focusing everyone on the same game, however, we're all focused on the same core theme, and we independently choose a game (or games) that fit the theme. I'll also be posting the topics monthly instead of weekly, especially because many games take much longer to appreciate than a movie or an album.

To participate, play at least one game that fits the monthly theme, and talk about it here. You can make one post summarizing your game(s), or you can make multiple posts as you make your way through the game(s).

This month's theme is: Tinkering

In the future, I plan to simply give the theme with no additional clarification, because I like the idea of people interpreting it as they wish, but I feel like giving some examples for the first go-around might help people better understand what I'm trying to get at:

You might choose to play:

• a game in which one of the characters is a mechanic
• a game that lets you build things and take them apart
• a game in which you have to fiddle with the graphics settings to get it to run
• a game that you've modded
• a DOOM WAD you have to set up yourself
• a Windows game on Linux that doesn't "just run" through Proton/Wine
• a game that has "tinker" somewhere in the title
• a game you pirated back on your Dreamcast that you had to burn six different times with different settings before it would actually boot
• and so on...

"Tinkering" is an open-ended theme, not a closed task. Anything that you can personally fit underneath it counts, even if it's an absurd interpretation! Part of the fun is figuring out how the theme can work best for you.

My goals for this are the following:

1. I'm hoping this can be a fun way of choosing something to play.
2. I'm hoping this can bring a group/community aspect to people independently enjoying their hobby.
3. I'm hoping this can yield some interesting discussions about different themes.

The year is over. Aquaman and the Lost Kingdom was released, marking the official end of the DCEU. It goes out with a whimper. Aquaman won't be profitable, but it won't lose as much as The Marvels of The Flash did this year, which I suppose is some consolation prize.

As I said in my summer of busts post only two superhero movies this year made a profit theatrically. In certain corners of the box office community, there was a belief that The Marvels would beat Spider-Verse, but that never seemed realistic. It even came up short of the most conservative initial predictions for it. It did so poorly that it made The Flash's performance look decent.

So what happened? Last year Superhero movies dominated the box office. Although, Top Gun: Maverick and Avatar: The Way of Water were the top 2 grossing movies. Both domestic and worldwide. But still, all three Marvel films opened to over 100M. Two made over 400M DOM, although, one had poor word of mouth. Even Thor: Love and Thunder, with some horrendous word of mouth, almost grossed 350M DOM. And all three were some of the most profitable blockbusters of the year.

I think 2022 laid the groundwork for what happened this year. Doctor Strange in the Multiverse of Madness and Thor: Love and Thunder were received poorly among general audiences. I would also say even though Black Panther: Wakanda Forever was well received, its reception was still pretty tepid, especially compared to the first. And people started enjoying blockbusters with a different look and flavor with Top Gun and Avatar, which made audiences reconsider what types of movies they should watch. Something I think falls in between here is The Batman, which, of course, is a superhero movie, but one that has a distinct look and feel. So, I would place that next to the blockbusters that offered something different than the MCU formula audiences had gotten used to consuming.

Going into 2023, audiences were still interested in superhero movies and, specifically, the MCU. Ant-Man and the Wasp: Quantumania opened to over 100M, a franchise high. The poor reception of the film was, apparently, the straw that broke the camel's back for audiences.

This wasn't evident right away since the two superhero movies that were released right after (Guardians 3 and Across the Spider-Verse) were well-received and were some of the biggest hits of the year. Even with a softer opening, Guardians 3 managed to leg out incredibly well to outgross the first installment of the franchise. The post I made directly after Guardians 3 opened was perhaps premature in this regard. But I think the superhero films to come out after Spider-Verse proved that point right. Guardians of the Galaxy Vol. 3 and Spider-Man: Across the Spider-Verse required fantastic word of mouth to be the hits that they were. If they were received as poorly as the 2022 MCU films, they wouldn't have become the hits they are.

This might seem obvious, you need a good movie that audiences like to be a hit at the box office. But, this was not the case in the prime era of superhero movies. In 2016, Suicide Squad was released with poor critical and audience reception. Yet it grossed 325M DOM and 745M WW. That same year X-Men: Apocalypse still managed to make over 500M WW also with poor reception. Venom would make over 800M WW two years later. Even as recently as 2021, the poorly received Eternals (while the pandemic was still ongoing) made over 400M WW which is double The Marvel's gross.

Quantumania was the start of it but The Flash, Blue Beetle, The Marvels, and Aquaman cemented it. This is a dead genre, and it had an explosive death this year. The top three grossing movies this year worldwide are Barbie, The Super Mario Bros Movies, and Oppenheimer. All three are quite different. And I think they show that audiences are ready for something else, and are shopping around. What used to excite audiences in the 2010s simply isn't exciting them anymore. As GenZ becomes the same age Millennials were ten years ago, they're simply not into superhero movies. The demographic for superhero movies will continue to get older as they continue to fall out of fashion. GenZ is finding interest elsewhere as they made Hunger Games and Wonka hits that outgrossed the majority of superhero movies released this year.

So what of the future?

2024 is barren in Superhero movies. There are technically five comic book movies coming out. However, three of those are from the Sonyverse; Madame Web, Kraven the Hunter, and Venom 3. Two of those seem to be guaranteed bombs and I don't think anyone expects Venom 3 to hit the same numbers as the first Venom. The only two major comic book movies to come out in 2024 are Deadpool 3 and Joker Folie à Deux.

Deadpool 3 is going to be heavily connected to the MCU. With all the plot leaks available, it's looking to be a multiverse cameo fest. This seems exactly the wrong time to be doing this type of film. Cameo porn, as coined by James Gunn, is not a guaranteed money maker as The Flash made it evident earlier this year. Mix that in with the fact that Deadpool 2 was released now almost six years ago, when the market was friendlier to superhero movies, and how heavily connected it is to a Disney+ show, I don't believe this is going to right the MCU ship the way Disney is hoping.

Joker Folie à Deux, however, should benefit from not being a typical comic book film the way something like Deadpool 3 is going to be. And the first Joker has had a long shelf life in the minds of audiences. It should be able to rise above the fatigue of the genre to interest audiences in it.

Still, I wouldn't be surprised if we end up with another top 3 without superhero films. Audiences could potentially gravitate towards other blockbusters like The Garfield Movie, Beetlejuice 2, and Dune: Part Two, or some other variation of films, to make those the three highest-grossing films of the year.

As we look even further beyond, we have Captain America 4 (which was originally set to release in 2024 but got delayed due to them doing massive reshoots), Fantastic Four, Thunderbolts, and Blade for the MCU in 2025. I doubt most of these are even gonna come out in 2025 since some of them don't even have completed scripts! From here on out I think the MCU is just too messy to predict. I suppose if something like Thunderbolts is good (which is being rewritten and directed by the duo that did Beef) that could help them start rebuilding their reputation. I'm not sure if there is gonna be any immediate fix available to jump-start the box office for this universe again though. I think it's gonna take some time. And I don't see the Avengers films currently planned to be massive money-makers either. I think it's time for Disney to reconsider their continuity, start over, and move on. They got too big too fast, and it's over.

Luckily for WB, well maybe not so lucky, the DCEU was already a disaster. So they got a headstart on rebooting and starting fresh with Superman: Legacy in 2025 (they should have rebooted after Justice League but Aquaman making a billion gave them false confidence that they could right the ship). Given Gunn's track record, this should be good. It should be well-reviewed, and it should get a strong audience reception. I think it can easily gross the same amount as The Batman given how much it has going for it. There has not been a good Superman movie since the 80s, I think it's about time a Superman movie breaks out with a 21st-century audience.

Also in 2025; The Batman Part II. Much like Joker, The Batman has kept a long shelf life. It resonated with the primary target audience for superhero films, that being white guys 25-35. It's dark and mature in a way that the audience wants these movies to be. People still talk about it and I don't see its relevancy dying down in another year. I think WB struck gold with The Batman, the way they did with Joker, and I think The Batman Part II could be another billion-dollar hit for WB.

It is weird to talk about a genre this way when it was dominant for most of my life. Writing a post-mortem for Superhero movies was not something I expected to do at the beginning of the year. It felt like something that was always going to be culturally dominant. But trends change and Hollywood is in an interesting place right now.

it's the end of 2023, and I figured it would be fun to put together a list of the games which made the best impressions on me throughout. Post yours! It's cool if it wasn't a game made in 2023; if you found it this year, that's good enough. It's your year, not this year lol.

I've written about most/all of these in longer form here on Tildes. I might end up repeating myself a bit, but if you want a more thorough description they'll be easy to find in my history. Goes without saying I'd recommend any of them. The order here doesn't mean anything.

Armored Core VI: Fires of Rubicon - this was my personal game of the year, and one I'll cherish long after. Armored Core has you building, customizing, and then piloting a mech. AC VI took ideas and mechanics from across its series, blended them together into a new framework, and the result is a fast, explosive experience. As it was in the past, the game takes you through first learning the ropes and exploring new parts, then pushes you to get as good as you can with whatever is fun to you. In the best way, it feels like a game from an earlier time in history - its straightforward mission structure makes for a game you can quickly jump into, make a lot of progress, and jump back out of without having to worry about missing much or forgetting what you were doing. Everything about it has been polished, honed to be about as nice as you could reasonably expect. It looks good, plays great, and tells a story that does with mecha what Fromsoft did with AC's mechanics - it's a little bit of everything, elegantly smashed together.

Exanima - This game is perhaps one of the most unique experiences I've yet to see, despite looking like a lot I have already seen. Exanima takes a very detailed, simulation kind of approach to the objective of dungeon crawling. What makes it unique is its physics system. Controlling a character is more like moving a marionette, where you tug the character along to build momentum and aim your swings. Weapons feel significantly different to each other, and heavy armor changes how well you can move. Once you get used to it, the result of working with this system is a dynamic, visceral kind of combat where you may feel confident, but never certain. An errant slash or clumsy step can mean taking a heavy blow, and recovery is not easy. When the game was younger, folks played and loved the combat so much that it inspired an arena mode. The arena is a separate, distinct mode in which you are tasked with building a roster of characters and participating in tournaments. It is a game unto itself. If you're a fan of games with a very high skill ceiling, Exanima is providing you a system that can go really, really far. The game is a project being worked on by a small group of people, already has a lot of content available, and seems poised to continue development practically forever. Don't let "Early Access" put you off, this one is in a state where it's just good to get more of it. What's there is more than worth its price.

Kenshi - I just got into this one and have been blown the hell away by how much there is to it. In Kenshi you take the role of a person dropped into an alien world, and are tasked simply with surviving. How you do that is up to you, and the world is built to notice and react. There is no story, no main quest or objective. Rather, you can learn more about the world by engaging with it, and determine your own goals within it. As you do things like visit new places, eliminate important people, build your own town, etc., the state of the world will change. This can go in many directions, and there are hours upon hours of videos out there of folks pulling off all sorts of wild shit. Truly, it's a game where your playthrough will become a story the further you go. Mechanically, it's like someone combined Morrowind, The Sims, and Neverwinter Nights, with a big coat of Mad Max paint all over it.

Cyberpunk 2077 - I had played this before, when it first released, and though I did like some of what it was trying to do, the gameplay was busted to the point I didn't care to come back. Now that it's had its expansion and a lot of bugfixing, this game stands pretty tall and I was really impressed with it this second time through. Definitely a case of "they fixed it"; they really, actually did. It's not a No Man's Sky-scale redemption arc but a redemption arc nonetheless, I guess. The big ball of stories and systems rolls along and you roll right up in it, with missions playing out similar to an episode of a higher end tv show. They weave and wrap up satisfyingly, and by the end I feel I had a pretty complete experience of having been a Night City mercenary.

Tactics Ogre: Reborn - Tactics Ogre was always one of my favorite tactics games and this remake both ups its presentation and provides a different kind of challenge. Specifically, it eliminates the ability to power-level anyone; your level is capped as you make your way through the story, forcing you to engage with the game's other systems in order to work out an advantage. The best way I can think to put it, is that it goes in a more Chess-like direction, where you need to be carefully considering how your individual pieces work and planning out a sound approach, because you can no longer action-rpg your way out of it by grinding. At least for me, it felt like a fresh take on something I've enjoyed for a long time, and so became the version I most enjoy playing. If you like Final Fantasy Tactics, TO is its precursor. Give it a go and see what you think - at least for me, it won.

Lunacid - Lunacid is a simplistic game that does what it does exceptionally well. Borrowing primarily from King's Field, it's a first person dungeon crawler in which you piece together the weird place you're in by finding stuff and opening up new paths. It's playing the King's Field influence pretty straight; it lives off being spooky and weird, and spruces up combat to suit a more modern sensibility. What impressed me was just how good of an iteration it is; King's Field is a tough series to get into these days and this game feels like a successful effort to bring it back.

Honorable Mention - Mechwarrior 5: Mercenaries - this one gets an honorable mention because just to be frank, the base game is kinda mediocre. It's through mods that I had a fantastically good time with it. I was never into Battletech, but did play the old Mechwarrior games, and while I did miss some of the more simulation-ish aspects of the older games, MW5 + the mods I used gave me enough to do and experiment with that it just didn't matter in the end. In particular, Coyote's Mission Pack, vonBiomes, and Yet Another Mechlab added just a ton of stuff, and of course you can go much much further with it if you want. The base game is not bad on its own, it's just easy to see all it has to offer really quickly. The mods primarily add variety, to tasks and options, and it's in that swirl of ideas and systems where I found a lot of the fun I had.

Post your picks! Just about all of this is on sale right now, so hopefully too we'll all find some neat stuff to check out.

It's hard to find hopeful sci-fi these days. The zeitgeist is that things are bad and they will keep getting worse. That's a problem, because before you can build a better future, you must first imagine one. This is the first book I've found in a long time that does a credible job of that.

This post is about a pair of novels by Daniel Suarez. The first one is Delta-V, the physics term for a change in velocity; the second one is called Critical Mass. Together they're a heavily-researched look at asteroid mining, offworld economics, and space-based solar power.

The series takes place in the mid 2030s. By this point, the symptoms of climate change are becoming serious, creating what people call "the Long Emergency": famines, storms, and waves of climate refugees. There is real concern that the global economy will collapse under the strain. To avert financial apocalypse, an expedition is launched to mine the asteroid Ryugu; the first book covers the miners' training, their long journey through space, and the hazards of mining an asteroid in deep space. In the second book, they use those mined materials to build a space station in lunar orbit, to set up a railgun for launching materials from the moon's surface into its orbit, and to begin building the first space-based solar power satellites.

I was surprised to learn that space-based solar power is a real thing that the US, China, and several other countries and companies are actively pursuing. Basically, you have a bunch of solar panels in orbit, which beam power down to receiving antennas ("rectennas") on Earth. You lose a lot of efficiency converting the electricity to microwaves and back, but solar panels on orbit have access to ~7-10x more energy than those on the ground, since there's no atmosphere in the way and it's always solar noon. In exchange for a large initial investment, space-based solar power offers always-on, 100% renewable energy that can be switched from New York to California at a moment's notice.

That initial investment is a doozy, though. SpaceX is working on lowering launch costs, but launching material from Earth's surface into orbit is going to be very expensive for a very long time. So these books look at what might be possible if we could avoid those costs. What if we could create mining and manufacturing operations in space? What if we could use those to generate clean power in heretofore undreamt-of amounts?

I’m going to excerpt a conversation from the second book:

[At dinner,] chemist Sofia Boutros described the unfolding water crisis in the Nile watershed back on Earth—and the resulting regional conflict. This elicited from around the table a litany of other climate-change-related calamities back home, from wildfires, to floods, to famines, to extinctions.

The Russian observer, Colonel Voloshin, usually content to just listen, chimed in by saying, "Nations which have contributed least to carbon emissions suffering worst effects." He looked first to Lawler and then Colonel Fei. "Perhaps the biggest polluters should pay reparations."

Dr. Ohana looked down the table toward him. "It's my understanding that Russia has actually benefitted from warmer climate."

Yak replied instead. "Not overall. Soil in Siberia is poor. Wildfires and loss of permafrost also disruptive."

Lawler added. "You guys sell plenty of fossil fuels, too, Colonel."

The electrical engineer, Hoshiko Sato, said, "Complete decarbonization is the only way to solve climate change."

Most of the group groaned in response.

She looked around the table. "That might sound unrealistic, but there's no other choice if we want to save civilization."

Chindarkar said, "We've been saying the same thing for fifty years, Hoshiko. It's barely moved the needle."

"We’ve brought carbon emissions down considerably since 2020."

Boutros said, "You mean we slowed their growth."

Ohana said, "We should be planting more trees."

Monica Balter countered, "Trees require water and arable land. Climate change is causing deserts to spread, pitting food versus trees. Plus, whatever carbon a tree captures gets released when it dies—which could happen all at once in a wildfire."

Chindarkar looked down the table at her. "Nathan Joyce claimed we could use solar satellites to power direct carbon capture. Could that really be done at the scale necessary to reduce global CO2 levels?"

Colonel Voloshin let out a laugh. "That's not even in the realm of possibility. It wouldn't even make a dent."

Monica Balter said, "I respectfully disagree, Colonel." She looked to Boutros. "And Sofia, I understand we must do everything possible down on Earth to reduce carbon emissions: solar panels, wind turbines, geothermal—all of it. But that won't remove what's already in the atmosphere."

Voloshin shook his head. "We must adapt."

Lawler couldn't resist. "Easy for Russia to say."

Balter spoke to Voloshin. "Back in 1850, atmospheric carbon was at two hundred eighty parts per million. Now it's at four hundred fifty-seven parts per million. We put over a trillion tons of CO2 into Earth's atmosphere over that time. Humans caused the problem, and humans can solve it."

The colonel was unfazed. "Yes. All of humanity worked hard to cause this, and it still required almost two centuries to accomplish. It is naïve to think a few machines will correct it."

"Half of that excess carbon was emitted in the last forty years, and direct air carbon capture powered by solar satellites can actually work at a global scale. I can show you the numbers, if you like."

He scoffed. "Even billionaire Jack Macy says that solar power satellites are idiotic—that very little energy beamed from space reaches the terrestrial power grid due to transmission and conversion losses."

Balter nodded. "The number is 9 percent."

The crew around the table murmured.

He spread his hands. "I rest my case."

"But 9 percent of what? Jack Macy neglects to mention that a solar panel up in orbit is seven times more productive than one on the Earth's surface. The fact that he runs a rooftop solar company might have something to do with that.

Boutros asked, "A sevenfold difference just from being in space?"

Balter turned to her. "The best you can hope for on the Earth's equator at high noon is 1,000 watts of energy per square meter—and that's without factoring in nighttime, cloudy days, seasons, latitude. But a power sat in geosynchronous orbit would almost always be in 1,368 watts of sunlight per square meter. So you get a whole lot more energy from a solar panel in space even after transmission inefficiencies are factored in. Plus, a power sat won't be affected by unfolding chaos planetside."

Voloshin shrugged. "What if it is cloudy above your rectenna? You would not be able to beam down energy."

"Not true. We use microwaves in the 2.45-gigahertz range. The atmosphere is largely invisible at that frequency. We can beam the energy down regardless of weather—and directly to where it's needed. No need for long distance power lines."

"But to what purpose? It could not be done on a scale sufficient to impact Earth."

"Again, I could show you the numbers."

Chindarkar said, "I'd like to see them, Monica. Please."

Balter put down her fork and after searching through virtual UIs for a moment, put up a shared augmented-reality screen that appeared to float over the end of the table on the station's common layer. It displayed an array of numbers and labels. "Sorry for the spreadsheet."

Colonel Fei said, "We are quite interested in seeing it, Ms. Balter."

She looked to the faces around the table. "There are four reasons I got involved in space-based solar power... " She pealed them off on her fingers. "...electrification, desalination, food generation, and decarbonization. First: electricity. We all know the environmental, economic, and political havoc back on Earth from climate change. Blackouts make that chaos worse, but a 2-gigawatt solar power satellite in geosynchronous orbit could instantly transmit large amounts of energy anywhere it's needed in the hemisphere below it. Even several locations at once. All that's needed is a rectenna on the ground, and those are cheap and easy to construct."

Chindarkar nodded. "We saw one on Ascension Island."

Jin added, "J.T. and I are building sections of the lunar rectenna. It is fairly simple."

"Right. For example, space-based energy could be beamed to coastal desalination plants in regions suffering long-term drought-providing fresh water. It can also be used to remove CO2 directly from seawater, through what's known as single step carbon sequestration and storage, converting the CO2 into solid limestone and magnesite—essentially seashells. This would enable the oceans themselves to absorb more atmospheric CO2. Or we could power direct air capture plants that pull CO2 straight out of the atmosphere."

Voloshin interjected. "Again, a few satellites will not impact Earth's atmospheric concentrations, and where would you sequester all this CO2?"

"Just a few satellites wouldn't impact climate, no—but there's definitely a use for the CO2—in creating food. Droughts in equatorial zones are causing famine, but hydrogenotrophic bacteria can be used to make protein from electricity, hydrogen, and CO2. The hydrogen can be electrolyzed from seawater and CO2 from the air. All that's needed is clean energy." She glanced to Chindarkar. "NASA first experimented with this in the 1960s as a means for making food here in deep space."

"Really? Even back then."

"The bioreactor for it is like a small-batch brewery. You feed in what natural plants get from soil: phosphorus, sulfur, calcium, iron, potassium—all of which, incidentally, can be extracted from lunar regolith. But I digress..."

Colonel Fei's eyebrows raised. "That is indeed interesting."

"The bioreactor runs for a while, then the liquid is drained and the solids dried to a powder that contains 65 percent protein, 20 to 25 percent carbohydrates, and 5 percent fatty acids. This can be made into a natural food similar to soy or algae. So with energy, CO2, and seawater, we could provide life-saving nutrition just about anywhere on the planet via solar power satellites."

Voloshin was unimpressed. "Yet it would still not resolve climate change."

"At scale it could. Do the math ... " Balter brought up her spreadsheet. "We're emitting 40 billion tons of CO2 per year, 9 billion tons of which can't be sequestered by the natural carbon cycle and which results in an annual increase of roughly two parts per million atmospheric CO2—even after decades of conservation efforts."

She tapped a few screens and a virtual image of an industrial structure covered in fan housings appeared. "A direct air capture facility like this one could pull a million tons of CO2 out of the atmosphere each year at a cost of one hundred dollars a ton. All of the components are off-the-shelf and have existed for decades. Nothing fancy. But it needs 1.5 megawatts of constant clean energy to power it—and that's where solar power satellites come in."

Voloshin said, "But who would pay? Governments? Do not count on this."

Chindarkar asked, "Monica, seriously: How many carbon capture plants would it take to make a difference in the atmosphere of the entire Earth?"

Jin added, "And how many solar power satellites to power them?"

Balter brought her spreadsheet back up. "Merely to cancel out Earth's excess annual emissions—9 billion tons of CO2—we'd need nine thousand 1-megaton DAC plants worldwide, each requiring 150 to 300 acres."

The group groaned.

Tighe said, "That's a lot of hardware and a lot of real estate, Monica."

"It doesn't have to be on land. Just 2.7 million acres total—smaller than Connecticut. And that would be spread across the entire globe. More importantly, doing that stops the advance of climate change. If we reduce emissions, then it would actually help reverse climate change."

Chindarkar studied the numbers. "Powered by how many solar satellites?"

Balter highlighted the number. "It would take 1.6 terawatts of electricity—or 818 2-gigawatt SPS-Alphas. Each about 7,400 tons. But again: that halts the advance of climate change."

The group groaned again.

"Eight hundred eighteen satellites?" Jin shook his head. "That would take decades to build."

"Not with automation and sufficient materials here on orbit. You've seen the SPS-Alpha I'm building—it's made of simple, modular components."

"Yours is one-fortieth the size of these 7,400-ton monsters."

"But it's the same design. We just need the resources up here in space, and we could scale it rapidly with automation."

Voloshin picked up his fork. "As I said: it is a technological fantasy."

Chindarkar ignored him. "Monica, what would it require to not just halt climate change—but reverse it?"

Balter clicked through to another screen. "To return Earth to a safe level—say, three hundred fifty parts per million CO2-you'd need to pull three-quarters of a trillion tons out of the atmosphere." She made a few changes to her model. "So with forty thousand DAC plants, powered by thirty-six hundred 2-gigawatt satellites in geosynchronous orbit, you could accomplish that in eighteen years."

Fei asked, "At what cost?"

"Roughly seventy-two trillion dollars."

Again groans and an impressed whistle.

Voloshin shook his head. "I told you."

Balter added, "That's four trillion a year, over eighteen years. Spread across the entire population of Earth."

This was met with a different reaction.

Jin said, "That is actually less than I thought."

"And bear in mind the fossil fuel industry has been supported by half a trillion dollars in direct government subsidies worldwide every year for ages. Whereas this four trillion is for just a limited time and would permanently solve climate change, and we'd see significant climate benefits within a decade as CO2 levels came down. And once it was accomplished, all that clean energy could be put toward other productive uses, either on Earth or in space."

She studied the faces around her. "But to accomplish it, we'd need tens of millions of tons of mass in orbit. Launching all that mass up from Earth would never work because all those rockets would damage the atmosphere, too. However, with your lunar mass-driver—and the ones that follow it—we could make this work. This is why I'm here."

Those around the table pondered this. For the moment, even Voloshin was silent.

Boutros asked, "Is it not risky to tinker with the Earth's atmosphere?"

"That's what we're doing now, Sofia. This would just reverse what we've done and return Earth to the conditions we evolved in."

Chindarkar pointed to the virtual spreadsheet. "Does that seventy-two trillion dollars include the cost of the solar power satellites?"

"Yes. And doing nothing will cost us far more. Best estimates are that by the year 2100, continued climate change will reduce global GDP by 20 percent—which is about two thousand trillion dollars. Not to mention the cost of possibly losing civilization.

"But if, as your CEO Mr. Rochat says, we intend to prove the SPS concept at scale here in lunar orbit, well... then you will make this commercially feasible. In other words, you can make this future happen. Everyone else has talked it to death. The bean counters and decision makers back on Earth clearly won't do it, no matter how critical it is. And this needs to be started as soon as possible—before the situation on Earth gets truly untenable."

This book is not afraid to think big. That's what sci-fi is for, right? And it's extensively researched; there's a bibliography at the end of each book that I've used to start my own research journeys.

I like these books because they're ambitious. They never downplay the scale of the problems we face, but they maintain that these problems are solvable, and they expose me to new ideas I'd never heard of. I found them in my local library. Thanks for reading this wall of text!

Hello Tilderinos! As I am finally entering the holiday slowdown, I wanted to express my gratitude for the community here.

I ended up migrating here from Reddit during the Apocalypse. Before that time, I would have told you that Reddit was a pretty good place, but after having time to detox and spending time here, I realize it was just better, but still pretty awful. With a few exceptions (like r/3Dprinting), the negativity I would get hit with when posting anything was pretty toxic.

I also set up Lemmy Sync on lemmy.world, but it's pretty much only good for scrolling shitposts and memes. Which sometimes I want, but if I dig into the comments under a topic, the noise factor is so high that it's usually not worth it.

Tildes is really different. The intentionality that people post with, the quality and positivity of the discussion is all amazing. One thing I enjoy especially is seeing reasonable people express views contrary to my own, and being to learn something from them.

This year has been a year of big changes for me. I left a 10 year run at a startup that was starting to lose the plot, becane a stay-at-home Dad to relaunch my wife's career, and wrestled with major health issues. All of that has been pretty isolating, but Tildes has been a bright spot of connection for me.

Sorry if this comes off as excessively cheesy, but I feel like it's a good time to take a moment and say "Thank you!" I am hoping that if something was really helpful to others, that they will take a moment to share it here.

Hello,

If this topic came up and such a recommendation has been made, please just point me to that post.

I would like to read an introduction to the Israeli-Arab conflict.

I would like the book:

1. to be written by an author with relevant credentials
2. to not be written for academics
3. to not be written by an Arab, Israeli, or European author
4. something that was published before the October 7th invasion of Israel

Thanks much

Reflect on the music you listened to this year.

Tell us about it.

Important:

• You do not have to limit your discussion only to music released this year. Anything you listened to this year is fine.
• This thread is much more interesting if you give details and explanations. Please don’t just list artists/albums/songs on their own. Let us know your thoughts and feelings too!

Conversation starters:

None of the below is required, but feel free to use any of it as a jumping off point for what you want to talk about (if needed).

Consider the following categories:

• Your personal Artist(s)/Album(s)/Song(s) of the Year
• Highlights
• Hidden gems
• Surprises
• Disappointments
• Outliers (stuff you loved from genres you usually don’t)

Consider the following questions as well:

• What music resonated most strongly with you, and why?
• What could you not stop coming back to, and why?
• What music was the most interesting or exciting to you, and why?
• What did your music listening habits say about your year?
• How did you change as a listener this year?

Meta note:

His wife is murdered in the Bataclan terror attack in 2015. Shortly after, Johannes Baus meets Floriane Bernaudat,
who's fiancé was also killed there. They become a couple, and have to learn what it means to love another.

Written by Katharina Render, last updated Nov. 18th, 2023. Published in the "Christ & World" section of DIE ZEIT.

Translated by @Grzmot

When the breaking news from Israel on October 7th pop up on Johannes Baus' phone, he instantly remembers the moment when he was lying on the floor of the Paris music club Bataclan. Islamist attackers shot into the crowd of people, killing 90 attendees, his wife among them. He felt "incredibly cynical morderous energy" in the room, on the 13th of November, 2015, he tells today.

He can feel this murderous lust today, through his smartphone, when the algorithm puts the Hamas hunt for people into his timeline. Videos of young women and men, who like him then, just wanted to dance, murdered, raped, or kidnapped. Johannes Baus defends himself against this hate. The hate of the terrorists now, and even his own. Under no circumstance must he give in to the hate. Get up and live instead! But how are you supposed to do that, when one of the in total 130 victims in the Paris terror attacks in the Bataclane, the Stade de France, bars and restaurants, was the one for him?

In the past four years as a reporter I've talked multiple times with Johannes Baus and visited him in Paris. When we last video-chatted, I asked the lawyer, who's found his home in the french capital; how does one believe in the good of people, when you were forced to live through the most vile thing that people can do to another? When a stranger, because of his upside-down view of religion extinguishes the love of your life? When he makes jokes with his accomplices during the murdering? When you have to bury your wife in her wedding dress, which she wore five months earlier? I wanted to understand: How does hope work?

Two months after the terror of Paris, in January of 2016, hope stands in front of Johannes Baus. She is wearing the same hat like his late wife Maud, and knows like no other, what he has been through. She has lived through the same thing. Floriane Bernaudat, then 27, lost her fiancé Renaud in Bataclan. He was 29. The first bullet hit him in the back, the second entered his groin and exited at his jaw. It was five AM when he died, alone in the hospital, while Floriane Bernaudat was driven to the police with other survivors and a relative of hers called every hospital in the area. When
the relative was finally told, that there is a patient who fits the description, he was already dead. Twelve years they were together. Almost half their lives. Two weeks before the attacks, she had chosen her wedding dress.

And suddenly, there is this stranger, who in a Facebook group for mourners, comments on her post about Renaud: "Your message has touched me deeply, I lost my wife in Bataclan. If you want to meet..."

The so-called Islamic State quickly admitted responsibility publicly, and celebrated the killing of innocents as a "holy raid" against the "crusading France". Almost 700 people were wounded by the terrorists. Floriane Bernaudat and Johannes Baus did not suffer any bodily injuries. But the wounds, that the barbaric murder of their loved ones cut into their souls were so deep, that neither of them imagined, the lawyer nor the headmistress of a private university, they would ever heal. How could they keep on living? The day they first meet, they talk about these thoughts. Till the owner of the restaurant closes for the night, that's how they both describe it.

From a surface perspective, a romance begins to blossom here, how only Hollywood could tell it. It would maybe even be too cliché for the authors of TV soap opera scripts. Too much does this story rely on the "all ends well" trope. It's because it's not true. Not quite. Their love does not grow quick and strong, they are not made for one another. The backdrop of their tale is no idyllic Cornwall, but a Paris, where violence and murders still happen.

Guilt, jealousy, trauma

It's no innocent love between the two, like you could see it on the pictures of the two with their earlier partners. Of photoshoots in tranquil forests and colourful sunglasses on vacations. Floriane Bernaudat and Johannes Baus didn't make their love easy. There was guilt. Jealousy. Secret dreams of their dead partners. Lingering trauma. The fear of being the second choice. At some point they looked at each other and honestly asked: What keeps us together? Are we two sinking survivors who just want to drown together, or do we want something more?

The something more is now five and two years old and doesn't know or understand, what brought their parents together. The first daughter the two survivors called Bérénice. A name of ancient Greek origin, which means: The one who brings victory. The second they called Madeline, "The Illustrious".

When the terorrists storm into the concert of the Eagles of Death Metal, Baus and his wife Maud are standing close to the entry. The tickets were a surprise for them. The 37 year old Maud honestly wasn't in the mood, didn't know the band and was tired from work. In the subway still, she was unsure if she wanted to attend. But when she's there, she really likes it, is how Baus tells me. A happy grooving together. Until they hear the bangs. Like fireworks.

Screaming people run into their direction. He searches for her hand and doesn't find it. He jumps behind the bar and in a break of the shooting, runs out through the backdoor into the open air. Later the police tells him, where they found Maud, who was shot in the heart by the terrorists: Supposedly, she was next to him behind the bar. When you ask Baus to go through it by the minute, he remembers many details, for example a fan which he found and "armed" himself with, until he realised just how stupid that is against an assault rifle. To this day the idea of Maud being right next to him does not fit into his head. His memory of her blanks the moment they run and his hand doesn't reach hers. He believes that
his brain is protecting him from the thought that he could have left his wife behind.

That Madeline and Bérénice "the victory-bringer" were born, is a victory over the doubts. The choice to give in to hope, despite everything. Hope for a world, where the girls will live well. A second yes to life, and the opposite of what drove the terrorists of Paris, who sought their salvation in the next life and some of which blew themselves up.

One of the main culprits of the attacks was later caught in Belgium: Salah Abdeslam, 34, convincted to life in prison. Baus and Bernaudat didn't really follow the court case. They didn't want to give the individual any more attention. It's important that the judiciary is doing its job, they say, but at the same time they understand that the case isn't going to give them any satisfaction. A warmer idea to them is the thought that "our story inspires someone or gives them hope, especially to someone who is afraid of terrorism or the general tragedy of life. That would be wounderful. But it would be even better, if a potential suicide-attacker, who is in danger of seeing a nihilistic act of self-destruction as the best alternative to life, became inspired to see the positives of life and take small steps in a good direction."

This point of view is the result of a long process of therapy and intense work with the human condition. It's an attempt to escape the role of a victim which society attributes them with. Johannes Baus doesn't want to be damned to mourn forever. His thoughts are shared by the journalist Antoine Leiris, who put a similar impulse to paper after the attacks. His wife also died in the Bataclan club. The journalist wrote, addressed to the perpetrators: "I will not give you the gift of hating you. Even when it is what you want. To answer your hate with rage would mean to give in to the same ignorance that made you who you are."

"Make it stop"

Floriane Bernaudat likes this perspective, she tells today. If she liked it back then, when she was hiding in the little space between ceilings, which she climbed to from the wardrobe? The biting glass wool which was supposed to isolate the space, but didn't protect her from hearing the execution shots below her in the hall? When she was one of the last survivors to leave the building, and the policemen told her to look up into the air and not down at the corpses? At Renaud's funeral, when she hated the musical arangement, which her late husband would not have liked?

Both find it difficult to give general advice, for example to the survivors in the middle east. Part of the fact is, they explain, they wouldn't know where they would be without each other. At the same time they agree that love by itself is not the answer. But their example shows, that even close to the wounds on their soul, new moments of happiness can grow. Though they point out, it would be a lie to say that it is easy to remain humane after having witnessed so much inhumanity. Just recently a Algerian colleague of Bernaudat's told her that it's beautiful, that she is able to treat him as a Muslim exactly the same how she treats everyone else. There are many people in France, and not just there, who after the terror of 2015 cannot tell the difference between members of a religious group and islamist fanatics.

They want to teach their daughters that. Of course they should also know, that the "first loves of their parents" existed. But now it's too early. For everyone. That's how Baus and Bernaudat think of it. That's why there are no pictures of Maud or Renaud in the little house in the Paris suburbs, into which the family moved four years ago. But what remains still, is the close connection of the parents to their dead partners. The children have four grandmothers and four grandfathers. Sometimes, Floriane says, she feels like Maud and Renaud guided her and Johannes together from
the afterlife. "They are in our hearts, and our hearts told us, what is right".

In October 2017, almost two years after the attacks, Johannes Baus and Floriane Bernaudat marry. At the wedding, they announce that they are expecting their first child Bérénice. Bernaudat wears a dress which is very different to her first wedding dress. The best man of the wedding, Mehdi, was Baus' best man at his first wedding too. "Maud gave me a part of her gentle soul", believes Johannes Baus. Floriane got a little tattoo of a fox on her arm. In French, "renard" means fox, which almost sounds like Renaud, who is now forever under her skin.

She still sees that last image of him in front of her eyes. How he's dancing happily on the Bataclan stage and waves at her, wanting her to come closer. Floriane is standing a little bit away. She's tired and needs a short break, and it's hot on stage. Then the attacks happen, and pure chaos bhreaks out. Shots, screams, blood everywhere. A man, hit, falls on top of Floriane and begs for help. When Floriane sees the shooters reload, she crawls out from under the injured man and runs to an exit. With approximately fifteen others, one of them a mother with a young son, she ends up in the wardrobe for the musicians. A man takes her hand, "I don't want to die!" Someone manages to punch a hole into the ceiling. Bernaudat climbs into it, crawls over electric cable and fibreglass wool, until she can't anymore. She hears phones ring and shortly after shots ringing. She doesn't dare calling Renaud, but writes a message, "I'm in the ceiling, where are you?"

Johannes Baus sits next to Floriane Bernaudat on the couch. The kids are colouring in princesses. He caresses her arm, the arm with the fox tattoo on it. They talk about the Hamas attacks once more. And to the question, what gives hope in the pitch black. During therapy, the myth of the phoenix rising from the ashes played a big role repeatedly. To gain strength even when facing complete destruction. Maybe that's what it's about, says Bernaudat.

Johannes Baus finds his words in songs, which he composes. Music has always given him much. The bass of his songs plays Matt McJunkins, 40, the ex-bass player of the American band Eagles of Death Metal, who were standing on stage on the 13th of November 2015. McJunkins hid with others, in part injured ones, in the room behind the stage and survived there. Baus asked him some time ago, if he wanted to teach him. Now they make music together.

In the song Chaos Rebuild Baus writes in English how it feels when the world falls apart. When all security is lost and you are thrown into chaos. What do you do then? Then, the song goes on, it's your duty to build a new world. In the chorus of the song, Baus gives us a picture of his new world:

Make it good

Make it just

Make it clean

Make it gentle

Make it stop

This is Album of the Week #8 ~ This week's album is Tame Impala - The Slow Rush

Year of Release: 2020
Genre(s): Psychedelic Pop
Country: United States
Length: 57 minutes
Listen! (Album.Link)

Excerpt from NPR:

As a producer, Parker has more moving parts to balance this time, but he arrives at a deft auteur-pop synergy in which every last decision, down to the assorted cathedral-like reverb effects that lend his voice an otherworldly aura, become as intrinsic to the music as the melodies or the words. Though there's a lot going on in the latticework of the music — springy analog synthesizer arpeggios, guitars doing unguitarlike things, layers upon layers of pastel lushness — the post-psychedelic swirl of The Slow Rush registers as an organic blend, with the songs never feeling cluttered or too tightly scripted.

Discussion points:
Have you heard this artist/album before? Is this your first time hearing?
Do you enjoy this genre? Is this an album you would have chosen?
Does this album remind you of something you've heard before?
What were the album's strengths or weaknesses?
Was there a standout track for you?
How did you hear the album? Where were you? What was your setup?

--

Album of the week is currently chosen randomly (via random.org) from the top 5000 albums from a custom all-time RYM chart, with a 4/5 popularity weighting. The chart is recalculated weekly.

Missed last week? It can be found here.

Any feedback on the format is welcome ~~

I'm looking to get a new laptop for when I want to go work at a coffee shop or something.

I have seen the Framework laptops and like the idea of a modular computer you can upgrade or repair.

I'm a little hesitant though. The last laptop I tried was to buy a Pinebook a year or two ago. I got it, turned it on once and it worked fine, but then after that it would just get a black screen when I powered it on. Some posts online indicated that it might be because the memory card wasn't seated properly and it might fix the problem to reseat it. But the tiny screws on the bottom were really tight and I ended up stripping one of them while trying to open it up, so now I just have a laptop I've used once collecting dust.

I want to make sure I have an easier experience with my next computer. Can anyone attest to the reliability of the Framework 13?

This is Album of the Week #7 ~ This week's album is Cloud Nothings - Here and Nowhere Else

Year of Release: 2014
Genre(s): Post-Hardcore, Indie Rock
Country: United States
Length: 31 minutes
Listen! (Album.Link)

Excerpt from The Quietus:

And damn, the boy Baldi can write a hook. While Here And Nowhere Else is a noisy onslaught that rattles along at a cracking pace, there's a real sense of fun and catchy melodies that Billie Joe Armstrong would be proud of (especially album closer 'I'm Not Part Of Me'), which will probably see the album appropriated by beer-guzzling frat boys, despite lyrically being about life on the fringes – alienation, despair, heartache. More parallels with Cobain there, perhaps. Baldi told the A. V. Club around the release of Attack On Memory that he hadn't really listened to Nirvana, pinning any similarity in their sound to a mutual love of The Wipers. However, fans of Bleach and In Utero (and anyone yearning for what might have been as the circumstances surrounding Cobain's suicide are picked apart in ghoulish detail) should lap this shit up like milk-starved pussy cats.

Discussion points:
Have you heard this artist/album before? Is this your first time hearing?
Do you enjoy this genre? Is this an album you would have chosen?
Does this album remind you of something you've heard before?
What were the album's strengths or weaknesses?
Was there a standout track for you?
How did you hear the album? Where were you? What was your setup?

--

Album of the week is currently chosen randomly (via random.org) from the top 5000 albums from a custom all-time RYM chart, with a 4/5 popularity weighting. The chart is recalculated weekly.

Missed last week? It can be found here.

Any feedback on the format is welcome ~~

Hello,

I have quite some technical question and my DuckDuckGo-fu seems very weak on this one. I hope it is ok to post questions on Tildes, as it is not really discussion material... but someone can still learn and use whatever come from this.

I have Live Aid concert that I ripped from my DVDs and I wanted to merge the individual video files (there are four) into one long video. I'm on Linux and I'm used to ffmpeg in command line, though I do not know it that much. Each of the input videos has its own chapters and I would like to transfer those chapters into the final video as well. Preferably adding a chapter in between every input video.

I was unable to find if ffmpeg allows for something like that in a single inline command. I may have to export chapters from each input video and add them into one "chapter" file and redo times by hand on them and then use this file as "chapter" input when merging the videos, but all this is just a theory on my part.

Is there some FFmpeg expert here who has done something like that?

Hey folks

I've got a couple of months to put together an overview for tools that a company could use as part of television production and I'm hoping for your input.

It goes without saying that everyone in the tech world is pushing ai heavily. Having been in IT for almost 3 decades I know what to watch, look at, out for, etc. AI is still very much regurgitation of its input but the input is vast. What I have right now is some bare bones of what I want to throw around for insight and discussion for what would help people in TV production tool wise.

For those that do not know how TV production works it's a simple idea: you generate a huge raft of ideas for shows, absolute basic outline of what the show would be about and put that in to a paper. You then sit around in your research/Dev dept and pitch to each other and the ones that people go "yeah, that could make a good show" get some extra meat added. Those ideas get pitched to dept heads who then take the best ones to channel/broadcasters execs and see if any get hooked at all. If they do, they get given some development funding to put together a taster/pilot/video version with the funding they have. This means shot on camera, run through an edit for cutting, audio, graphics, etc, still in its infancy and development state. This video and a bigger padded Treatment (documented idea with its bones, flesh and now make-up added) goes back to the broadcaster and you wait for feedback. If you get lucky you get a greenlight and order for X amount of shows and then you have a production. The production is taking the idea to it's full potential, shooting it, audio and music, graphics, the works and that's what you see on TV.

I'm after working out what tools AI offers today that would help them with this process. Right now, ChatGPT v4 will generate some great treatment ideas for shows, except I would imagine these shows already exist or have been tried to channel/broadcaster before? AI is regurgitation and not thoughtful to its own ideas and imagination. I suppose with great prompts it could generate great output.

Okay, that's the process and I'm rambling. Right now I have a short list of LLMs such as ChatGPT and Bard types that will help with the idea stage for researchers. I could use some decent links for prompters to help the research know how to ask AI for what they want out of it.

When it comes to generative AI for graphics I only have experience with txt2img using the likes of DALLE and Midjourney, along with some inpainting for changing images with lies, I mean, graphics (insert plane on fire, etc).

Does anyone have any other ideas and tools which would help production or useful things I can look at and research myself to see how they could be helpful? Auto audio generation? Graphic building that takes less time? Think of those great show intros for the likes of Game of Thrones, can that be done using AI yet or are we no where near that level for AI? Even basic video edits, where are we for AI help? Can we feed it some clips and have it autostitch based on an input document? If so, what tools should I be looking at and researching?

I'm asking here before I plop search terms in Google and Bing and then get swamped with whichever has paid the most or played the SEO game to be top of the pages. Asking for real human input is definitely better than asking AI which may actually be the whole point of my talk when it happens.

Thanks for listening and any help/pointers/sites you can give.

UPDATE:
I went off and did some research. Enjoy these if you want. I had issues linking so if a mod wants to go ahead and do that, feel free:

Pre-Production:

Treatment idea generation

Generating a great idea is usually through using knowledge and research, but these days you can literally ask an AI engine to come up with a show idea. Here I will list some good AIs that use a very large language model (LLM) to come up with ideas:

ChatGPT4 from OpenAI

ChatGPT is the best known AI out there, but essentially it's the AI that everyone uses. What's different is the data that is fed to it. ChatGPT from OpenAI has a lot of knowledge, however, it's generally backdated information and not up to the minute.

You.com

Built on ChatGPT4 AI. Data fed in more up to date as it's based around a search engine. Due to the plethora of sources being fed to the You.com Chat bot, you may find some more interesting results and ideas.

Bing.com - Chat

Directly leverages the latest version of ChatGPT4 from OpenAI but uses additional media from Microsoft sources. Responses are more natural due to the Turing Natural Language.

Copy.ai

A fun LLM designed for advertising agencies and the alike. The difference here is you can upload a back-catalogue of your own data for it to analyse to take on your brand voice, mix up your ideas and generally become one of the family.

Prompting

Just from picking one of the four AIs listed above, you can straight out ask for a basic show idea. All of them came back with interesting ideas from the prompt of "Generate me a great show idea for a television production treatment. The show should be a documentary for daytime viewing."

Prompting is the hardest part of any AI interaction, the results can wildly vary depending on what and how you ask. Due to this, there's a new type of website to help with prompting:

https://promptperfect.jina.ai/prompts

Using the line from above about generating a great show idea, promptperfect injects a lot more information into the prompt before running: "Please create a compelling show idea for a daytime documentary television production. The show should be engaging and informative, catering to a broad daytime audience. It should focus on a specific topic or theme that is both educational and entertaining. The documentary should be well-researched and provide in-depth information on the chosen topic, presenting it in a visually appealing and accessible manner. The show should aim to captivate viewers and leave them with a better understanding and appreciation of the subject matter. Additionally, please provide a brief outline of the structure and format of the documentary, including the number of episodes, approximate runtime, and any unique features or storytelling techniques that will make the show stand out." The quality of the Treatment created will be far superior to the initial request.

https://webutility.io/

An interesting take on generation of prompting. It breaks down the prompts to dropdown boxes with key words such as create, design, analyse along with the focus type. This forces the ai to create some more complex and well thought out documentation for a treatment idea with explanation of how it got to where it did.

AIs to help with show production

Location finding/scouting

With the latest AI image searching features, you can now upload an image and get a "related" search. Using this technology, you could, for example, look for English Country Gardens that you would like to film out of. Uploading this image would give you a list of locations, similar places and website associated with the image:

On each of the following sites, in the search bar, click the Image Icon to upload the image:

https://www.bing.com/images/
https://images.google.com/

Scheduling (not specifically AI)

Scheduling shoots should be simple. We've seen all the fun from an Excel spreadsheet that's laid out like a calendar, through to the most complex diary entries in a shared Google calendar. We already have the tools for this in Microsoft Office:

Microsoft Bookings: This is a great tool for scheduling a diary of a single person or a whole team. It allows to have a Web Page where people can book in time for appointments, whether virtual or in person. Perfect for a researcher trying to book interviews with a host. The AI lies in the ability to cross search a calendar and pick associated times available.

Microsoft Planner: A tool for project and time management. Breakdown the show in to buckets (categories) and assign out tasks to people and teams, due by dates or exact dates, etc. You can even keep all of the documents in the plan.

Microsoft Shifts: Team management for your production using Shifts. This allows you to schedule team members in Teams, allowing them to clock in and out, as well as specifying when they need to be available.

The three tools all work with the Outlook Calendars so each person knows what their plans are well in advance.

Post-Production

This is the one most people are interested in for AI at this time. The tools used for image generation, manipulation, etc. The market is currently being flooded with tools and not all of them are equal, but here's a few ones to watch and use.

Auto-Clipping & Social Platform

OpusClip, using the power of OpenAI, can take a long video and create 10 viral clips from it at the click of a button. The AI behind it analyses the video, looks for compelling sections and highlights, then seamlessly rearranges in to short videos. This tool will be great for generating short promotional videos of long form shows, documentaries, etc.

Descript is a great tool that can take a video, give you a transcription, then you can edit the transcript, where it then edits the video to match. You can remove words, create studio quality audio from a standard mic, remove common error words such as um, and er, etc. One of the bigger cool things it can do is voice mimic using AI. You read it a line and then you can type out a whole transcript and it'll narrate it in your voice and allow export.

AI Generative

Moving on to the more scary AI platforms, we have completely generative AI. This is where AI generates absolutely everything including the "avatar" of the human speaking. It's getting so real, you could probably make a documentary using nothing buy AI voice for narration and even have an interview with the AI Avatar.

Video Generation

Synthesia has 120+ voices, over 140 AI Avatars and an editing tool that is extremely easy to use. Mostly aimed at Sales, Training and Marketing Teams, but could easily be used to create development tasters and cuts by mixing in the AI with real video. An example video here.

AI Studios from DeepBrain is another tool, similar to Synthesia. The avatars are based on real humans being recorded but then converted in to AI models. Again, lots of models, full text to video.

Spline AI is a 3D modelling engine that will generate models from text prompts. It's still in Alpha stages but specifying something like "A cube", "rounded corners", "floating", "spinning slowly" will generate exactly that. This tool is aimed at animators but is likely where CGI effects will head.

Still Image Generation

Txt-2-img is amazing and growing at an ever rapid pace. With the wealth of images out there to learn from, the styles, etc, it's no wonder it's doing great. However, it's far from perfect, even now. You'll often find that it adds limbs or fingers to models, shadows completely wrong, crazy styles that are not what you asked for, and that's just the start of the issues with it. However, when it gets it right, it's amazing.

DALL·E3 from OpenAI is the current leader in image generation. If you need to whiz up a picture of a steam train, crossing a suspension bridge at sunset with a woodland in the background, this is the tool of choice.

Bing Image Creator is probably the second biggest right now and has very good accuracy of text to image due to the absolutely huge database of images with high detail being fed to it by Microsoft. It's also free.

I'm not going to list too many more as a lot of them stray off in to fantasy land, being trained on Anime, comics, however, DeepAI definitely deserves a mention. These are the folks behind a lot of the viral videos where you can scan your face and and speak a few lines, then it adds you to a section of a movie as a "Deep Fake". You can have it chat, generate images and even AI edit images with txt-2-img.

Video Edit Tools

The biggest AI enhancers right now are tools that help in the Edit at a professional level.

Topaz Video AI is one of the leading tools in Post production. Upscale footage from SD to 8K and HD to 16K. Full denoise, sharpening, 16x slow down with AI interpolation including building new frames. Corrects people and faces. AI Stabilized video to stop bounce and tracking issues. This is a complete Post Swiss-army knife.

Adobe After Effects which everyone knows. The Adobe AI, called Sensei, is under constant development. Easy animations of text and logos via text to video, rotoscoping video objects to remove the background of a person and replace, or removal of all objects in a scene using AI generative filling is all extremely easy.

Adode Premiere deserves a mention, but again, this down to Sensei. The current AI tools coming in to the suite are things such as Auto Rough Cut using the transcript to generate the video, full auto transcription with subtitle creation for multiple languages. Auto Colour will fix most colour issues using AI to save time in grading. AI Morph Cut adds visual continuity to cut transitions, remix for music matching with visuals, and Auto Ducking – popping dialogue over background audio to make sure you can hear voices correctly.

ColourLab AI is a new kind of grading tool where you no longer need to spend time with an artist grading every scene. The tool is a plugin to Davinci or Premiere and will do cool things such as film grain matching or stock emulation, which allows you to match any scenes together to look exactly the same. Take a video of a pigeon flying over a statue in London, and have it grade using a still frame from The Martian to get those awesome colours automatically, for the whole scene.

Audio/Narrator/Voice Over

The final piece is the new voiceover AI generation. No longer do we need voice over artists. In fact, Hollywood thinks the same and fired the whole staff of Snow White and replaced the Dwarfs with CGI and AI voices.

Altered Studio can change any persons voice, in any way you wish. Record your voice for narration and then adjust it to be male, female, Elvern, whatever. It also does full transcription and allows for VO with text-to-speech using AI voices.

A quick shout out to a member of Tildes who wants to remain anonymous for some of the cool links that they sent over - much appreciated.

For anyone who is writing fiction, it can be difficult to find suitable readers who are willing to provide extensive notes on their work, especially when writing anything over 300 words. Generally speaking, the longer the story, the harder it is to get notes on it.

One of the most successful subreddits for fiction criticism is /r/DestructiveReaders/. That sub has a series of rules and recommendations for its functioning, but, to summarize, you are only allowed to request feedback on a story if you have previously provided quality feedback to a story of equal or larger length than yours.

Each critique you make gives one "credit" that you use to receive a critique on something of your own.

It's a great idea and, by and large, it works.

The issues of /r/DestructiveReaders/ are, essentially, the issues of Reddit as a whole, as a consequence of the existence of downvotes. Members can take the notion of "quality critique" to an extreme, going way above what the rules actually require. They may require something overly lengthy, or something that appeases a subjective criteria. Some may even downvote the "competition" so their own posts stand out.

That can lead to some unfair, frustrating experiences the mods can do little to prevent.

In this post, I am proposing that we create a series of recurring posts that function in many ways similarly to /r/DestructiveReaders/, but in a way that is more flexible and adapted to the needs and peculiarities of the Tildes community.

The posts could be either monthly or created when the previous got too long.

I would maintain the "credit" system, but I would use a notion of "effort" which takes everything into account, including the length of the review, but other criteria we can come up with as a group. We could possibly have a scheme in which the authors themselves would say how useful that review was. Sometimes, three paragraphs can be useful, and I would like us to have a way to ascertain this.

I wouldn't have any powers to remove anything, so the whole thing would be in the honor system. Essentially, I would be merely suggesting behavior, and, if someone decides to simply not follow the rules, I won't even try to admonish or shame anyone.

I would track credits and submissions on the body of the post itself. At least in the beginning, I could serve as the sole organizer, but anyone else who wishes to contribute will be welcome.

And, oh: we could be open for non-fiction as well. That could mean biography, history, or even technical writing. But I'm not sure how to incorporate everything into that idea.

What does everyone think?

I find stream-of-consciousness-style writing helps me wrestle with ideas and concepts, organizing thoughts into ideas from the chaos. To be clear, I'm a leftist agnostic (some might say atheist) who's been thinking about new atheism and skepticism a lot recently. I spoke to a friend who is a liberal atheist, and they consider themselves a skeptic first, and an atheist second. This seemed strange to me, not because I'm unfamiliar with the skeptical movement, but because it doesn't fit into my current mental model of skepticism. I don't really like the term skeptic. Below, I will attempt to work out my ideas into words, and hopefully have a conclusion.

A quick note: my view of atheism, especially from this era, was largely mediated by YouTube and limited to trends in the US.

Late '00s and early '10s: The Rise of Reactionary Skepticism

For me, no one embodies this era of atheism better than Christopher Hitchens. His videos were one of the many factors that led to me "converting" to atheism. He was a brilliant debater, and mastered the art of crafting rhetoric. Being successful in debate doesn't equate to having more accurate beliefs, but it does mean you can convince people of your ideas more effectively. Upon re-watch of these old videos, they are somewhat intellectually unsatisfying. A case that was impactful to me recently was that upon being presented with a fairly standard formulation of the moral argument, Hitchens feigns shock, and implies that Craig (his opponent) had implied that atheists couldn't act morally (which he clearly didn't.) This is why Hitchens destroys his opponents; he is far more effective at debate than Craig, who looks weak when trying to maintain philosophical precision by choosing statements carefully and hedging/qualifying his statements.

Being skeptical is a valid, often important epistemic tool for increasing the accuracy of our beliefs. For the sake of this post, I will oversimplify skepticism to something like "deconstructing big ideas" and "poking holes in overarching narratives". It starts from a position of neutrality, and seeks to determine if there is rational warrant in believing ideology "X". There are various reasons why one could use skepticism to shape their worldview.

There's a certain kind of skepticism that gained popularity during this time. It was the "'x' DESTROYS 'y' in debate" where "x" was often a new atheist and "y" was often an apologist. There's something both persuasive and cathartic about seeing someone representing your worldview deconstruct someone else's. For many, the reason for watching the content was nothing more than the entertainment value of seeing people get "DESTROYED" in debate. For some, the satisfaction of humiliating the opponent intellectually was the entire point.

Early to mid '10s: Seeking Out Other Ideologies to Destroy

There are only so many religious debates one can have before getting bored. There's basically a set list of apologetic arguments one can have these sorts of debate about before they either get too philosophically dense, or are just so incredibly silly that it isn't satisfying to DESTROY them (in the case of young Earth creationist apologetics.) How many videos can one possibly make debating the Kalam before viewers get bored?

It shouldn't necessarily be surprising that many skeptics turned out to be reactionary. Skepticism is, at least dialectically and sometimes politically, a reactionary position. It turns out there are a lot of ideologies and overarching narratives the left believes in: feminism, progressivism, and various beliefs relating to sexual and gender identity. Gender identity at this time wasn't really on the map, but feminism was. Many prominent atheist YouTube channels pivoted to "'x' DESTROYS 'y' with FACT and LOGIC" but instead of deconstructing religion, it sought to deconstruct feminism. If Christopher Hitchens embodied the previous era, though not an atheist, Ben Shapiro embodies this era.

It seems correct to me that these folks were "skeptical" of feminism. They, from a position of neutrality, sought to "poke holes" in feminist ideology. Of course, the new atheists weren't neutral on religion; they were strongly atheistic. So too were these feminist skeptics. They were strongly misogynistic. Of course, like the new atheists before them, only so much content can be made

2016 to Present: Reactionary Skeptics Abandon Atheism

Peter Boghossian, author of A Manual for Creating Atheists is the person I pick to personify this era (he was also partly inspiration for these weird person-on-the-street interviews of Christians where they just begin so-called Socratic questioning ("but WHY do believe that, and WHY do you believe that?"), similar to right-wing person-on-the-street interviews of feminists). He's had multiple interviews where he states that criticizing religion is unhelpful; that Christians can be powerful allies against a much worse religion in needing of deconstruction: Wokeism. (yes, he really does use that word)

Skepticism is now a mainstream component of conservative thought. While Climate Change skepticism has been around for awhile, in the COVID-era, skepticism of vaccines and masks is probably one of the more powerful pieces of evidence that skepticism is a core component of modern American conservative ideology. It's also applied to right-wing ideologies: once united on subjects like foreign interventionism and free trade, now there's greater skepticism among conservatives about once unquestioned conservative beliefs. Despite whether you think they are "doing skepticism the right way" they are certainly "doing a skepticism".

Jordan Peterson, famous reactionary, identifies as a Christian. His actual metaphysical beliefs, though he tries to squirm out of elaborating on them, are closely aligned with what the majority of people would describe as atheism. But, like Boghossian has already recognized, Christianity is a tool to be wielded for reactionary political aims, even if you are a de-facto atheist. In 2023, "Christian" implies "conservative" more strongly than any period in my living memory.

New, New Atheism

The movement that has been abandoned by who I call the Reactionary Skeptics has been left primarily with progressives, LGBTQ folks, and many suffering from religious trauma. Christianity more strongly maps onto conservatism in the modern era, therefore its negation isn't a merely reactionary process; it is a progressive, revolutionary one. In keeping with my cringe habit of anointing a YouTube creator for each era, I'd point to Genetically Modified Skeptic (there's that word) as the embodiment of this era.

Obviously these folks were part of "the movement" (if it can even be called such) the entire time. But they are largely who is left. Why did reactionaries decide to leave? Because they realize that religion structures power in a way that they find beneficial, and that atheism can be used to restructure power in a progressive or revolutionary way.

This movement, due to the aforementioned abandonment is far more profoundly progressive than any previous era. Folks like The Satanic Temple come to mind. It's hard to find an atheist creator nowadays that isn't an outspoken proponent of LGBTQ rights and feminism. Atheism has been ceded to the left.

What's the point of this damn post?!

If you are talking in earnest about atheism now, you're probably a progressive. And I don't think it's helpful to use term skeptic. Yes, what a dumb quibble. And yes, you are a skeptic of one particular largely right-wing overarching narrative. But the term is unhelpful. Its confusing. What is meant by skepticism, whenever I press my progressive "skeptical" friends is something along the lines of "having rational beliefs" or "'good' epistemology", which... like come on, that's not what skepticism means. Besides, most people believe they "have true beliefs", which leads me to wonder, what's the point of telling people you're a skeptic?

I get the point. It's about saying something more than "God's not real." But there are simply better, more impressive political projects with less baggage than skepticism.

Thanks for reading :)

I became a fan of Premier League Soccer after an epic battle with YOShInOn, my smart RSS reader. (I tried to convince it I liked American football and not the other kind of football but in the process of trying to understand why it couldn't learn the difference I changed my mind.)

There's a free Premier League game on NBC OTA TV around 12:30 PM EST and once I got hooked a Peacock subscription seemed like a good idea so I can catch games (somewhat) early on Saturday and Sunday. The university I work at has men's and women's soccer games that I go to (it was fun to go to one where youth players showed up and I felt like we were part of a huge soccer universe) and sooner or later I am going to check out the games of the college on the other hill.

I know there's Major League Soccer here in the US and I understand it's gotten better than it used to be, and I understand you can get an add-on subscription to Apple TV which has all the games. Is there anyone out there who follows MLS?

I try to post a few articles a week about the Premier League and European Soccer and I think it would be great if somebody did the same for MLS, as something interesting has to happen every gameday.

Timasomo is "Tildes' Make Something Month": a creative community challenge that takes place in the month of October.

This is its FIFTH year (can you believe it?!).

If you would like to participate (or simply follow along), make sure you are subscribed to ~creative.timasomo.

The Roll Call thread will be posted there on October 1st. That is where people will formally commit to projects for Timasomo.

FAQs

This Thread: Planning!

Post your ideas.

Give feedback to others.

Set up collaborations.

Ask questions.

Everything in this thread is non-commital! Bounce around ideas and figure out what you'd like to do in our communal brainstorming session.

Also, please do NOT start work on your project yet! Stage setting, planning, and other preparations are allowed (e.g. getting supplies/materials, setting up workspaces, etc.), but save the creation initiation for the 1st.

Get excited for a FIFTH YEAR of awesome projects!

First of all, this is a lot about me and myself and I'm sorry it's a bit self-centered; it's been bouncing around my head and I want to get it out somewhere. Please let me know if this isn't appropriate here.

Secondly, teachers or those in training to become one: I want to hear your thoughts on this question.

Why am I becoming a teacher?

I've been finding that I'm asking this question of myself a lot lately. My goal is and always has been the same for years: I want to teach, I feel good teaching, I feel I have a purpose and that purpose has been what's driven me forward when I wanted to give up. Truly though - why do I want to be a teacher?

I could do the same style of work in other settings. I could become a tutor, self-employed or otherwise, and assist students in a specific capacity. I could be a YouTuber, creating video essays on self-researched subjects of passion. I could be a writer, bringing the same content through literature to a wholly different audience. In all of these, there is the potential to make more money, reach a wider audience, and leave a more indelible impact upon the world.

So, why am I becoming a teacher?

15 years ago, I dropped out of college, suffering depression. I wasn't the only one depressed; aside from the millions of others reeling from mental health issues, the economy was entering a recession in 2008. I was a NEET - jobless, out of school, and seemingly stuck. My family (read: my dad, stepmom, and sisters) had abandoned me - they had other matters to worry about than their wayward son - and I was fortunate my mother whom I'd dissociated from years before reached out to me. With her help, I got back on my feet, moved across the country, and began looking for work with slight hope. I volunteered one day to read at the school she worked at, and the teacher in the room went to the admins and demanded I be hired on the spot. I was.

Thus began a journey of discovery. I was good at something, and I felt good about doing it. I felt something to replace my depression and self doubt: worthiness.

Over the years, I honed my craft and continued sporadically attending school - when I could afford it - in order to become able to lead my own classroom in our private school/daycare. That was 7 years ago, and I've been teaching prek (4-5 year olds) since then. I'm able to teach reading, writing, mathematics, chess, life lessons, history, biology, astronomy, geology, entomology... the list goes on and on. I have a passion for learning, and for sharing that learning.

Is that why I am becoming a teacher?

The biggest obstacle to achieving my ultimate dream - teaching in public schools - was always the degree. I had dropped out of college twice - in 2008 and again in 2013 - before finally completing an Associates degree in 2016. I felt that, financially, getting my bachelor's would never happen. Massive student loan debt (private debt north of $30k) and low wages in childcare meant I wasn't getting anywhere. Life changes though, and the stars aligned - the private debt was written off, I got out of defaulting on my federal loans, and just in time to qualify for a state program to get me in school again and have a full ride scholarship. It was happening!

Now we live in a post-pandemic world... Do I still want to become a teacher?

At first, attitudes were siding with teachers. There was sympathy for their struggles and worries, the low pay and high barrier to entry. That quickly changed, as it did for medical workers and others in the pandemic world. Teachers struggle more now than they have before. Fewer resources, more troubled students that desperately need help, more resistance from parents and communities trying to prove that teachers and schools aren't necessary in the way they have been, and more burnout and shortages across the nation.

I see all this and yet I press on. Why?

The thing is, I'm not sure. My resolve is strong and I've been persistent and diligent in my schooling. I've worked too long and hard to give up this opportunity. Why do I still want to teach, though? Why not find an administrative job with potentially more pay and better work environment? Why not leave education altogether and use my skills elsewhere?

It comes back to what drove me forward in the first place: purpose. I feel in direct connection with the future by doing what I do. I feel like in some miniscule, imperceptible, but meaningful way, I can help create a better world tomorrow by doing what I do today. It gives my life meaning, and nobody and nothing can take that from me. I've changed hundreds, potentially thousands, of lives already. Students return years later to tell how much I meant to them - these are students I had known at ages 4 and 5 who still remember me a decade later!

So, why am I becoming a teacher?

Because someone has to do it, and that someone might as well be me. I enjoy my work, I enjoy the ups and downs, I enjoy the struggles and challenges and overcoming them, I enjoy making difficult topics understandable to young minds, I enjoy what I do even when I hate it. To me, that's love.

With good luck and a positive outlook, I'll be graduating with a degree in Early Childhood Education next September. It may not be prestigious, it may not make me a lot of money, but it will allow me to continue on the path I've set myself. Thanks for reading.

Minor Starfield lore spoiler's ahead

Originally written for /r/games, but the last discussion thread of Starfield in that place saw many user who said they personally like the game downvoted and replied to by mentally-questionable individuals that said not-so-nice things.

As I pass 170 hours in Bethesda newest, hottest, controversial game. I am happy because it is just as fun as I had hoped it to be.
Yet as I explore the cities it has to offer there is always a small detail that I keep failing to ignore (whenever I'm not busy thinking of new ship designs that is).

200,000 units are ready with a million more on the way

So say the slender being that has been tasked with creating an army to defend a galactic spanning government of countless worlds. At this point Montgomery, Zhukov, MacArthur, Jodl, or any-other-WW2-command-figure-of-your-choosing are rolling on the ground clapping each other's backs laughing their socks off. Because 1.2 million is an absolutely puny and pathetic number of troops for a galactic war.
I'm no Star Wars deep lore fan, I understand that fans and later authors has since tried to 'fix it' by making the Clone War more that just the clones. And yet those 1.2M clones was all there was when episode 2 released to theatres.
Most Sci-fi writings has similar a problem with scaling to their subject. It is not news. It even has a tv tropes page (the page is more about distances, but it's in the same ballpark).

Quest for the Peoplefield

So where does Starfield go wrong in this? The ships are puny. The wars and the numbers stated are puny.
Certainty more ways than one, but the one that I wish to focus on is this: where the hell are all the people?
A brief summary of the lore. Humanity has invented FTL and has seemingly solved all energy problems. They had to evacuate Earth, but this was successful and so the starfield should be absolutely teeming with tens of billions of human souls spreading to all corners of the galaxy and its many already habitable worlds.
And yet, Starfield feels so barren. I see no grand interstellar civilizations. Only dirt huts on a hill surrounded by walls that support barely a thousand people. Yet this dirt hill is supposed to be a capital or an interstellar superpower. Heck, they are even scared shitless of their own fauna.
The opposites capital is no dirt hill, yet still smaller than a modern earth country town.
And it's not like the main population centers are just outside player-accessible areas. All the NPCs ever talk about are Akila, New Atlantis, and Neon. These tiny puny cities.
It doesn't feel like the evacuation of Earth was a success. It feels like it was a catastrophe, and all that remains are scattered remnants playing civilization.

And yet... The Starfield is actually lively, just not where it should be. There is a scale imbalance, because spread across nearly every world in the settled systems are countless research stations, outposts, deserted or populated, you name it.
Yes, those procedually-generated buildings that spawn nearly everywhere you land in the settled systems.
Where did these come from? Surely the UC couldn't have built them. Manning just the ones that I have come across in my playthrough would empty New Atlantis 10 times over!

Bethesda built their open-world game style upon Fallout and Elder Scrolls. For both it makes sense that the worlds are sparely populated. One being post-apocalyptic wasteland, and the other a medieval society.
But now they have built something in a completely different realm. But they way in which Bethesda built the scale at which the game is presented remains the same.
So why did they go with this approach? I don't know. Maybe they just like making "small" worlds and didn't want to fit the new universe. Maybe the idea of 'climbing any mountain you can see' is a very hard rule and they didn't want to limit player movement in metropolises, that would undoubtedly be unfeasible to make fully traversable.

But lets pretend they actually tried. And perhaps it can be done without really changing how the game is designed or played.

So you can do it better huh?

A Microsoft executive plays the game as it's nearing launch. He feels there is something missing with the scale of the Starfield universe.
So he does the only rational thing he can think of and storms into the street and picks the first rando he can find, puts the Bethesda crown upon his head, and orders him to fix Starfield's problem of scale.
The exec is later found to be mentally ill and fired, but it does not matter for I am now king of Bethesda and my words are design directives.

Tell, don't show

The simple solution that requires no real work but some change in lore. New Atlantis is no longer a capital, just a administrative and diplomatic outpost. Akila is now just a small border city. The real population centers are now on entirely different worlds. Inaccessible to the player.
Why can't players go there? Well it shouldn't take much suspension of disbelief to acknowledge that governments might not want any random idiot, in a flying hunk of metal capable of tearing space-time at it seams, to go anywhere near their main population centers without considerable control.
NPCs should no longer talk of sprawling New Atlantis, Neon, or Akila, but rather these other places that you can see on the map but are not allowed to go to.

Show enough

The population planets are now accessible, but restricted in where you can land freely. On the map it should show big cities. And just like how you cannot land in water, you can neither land anywhere in cities or its surroundings.
Just like with New Atlantis and Akila, you can land at a designated spot. The difference is when you look into the horizon, because rather than a procedurally generated landscape you will instead see a sprawling metropolis that tells you "Yes here! Here are all the people!".
The other change would be that, unlike the landscape, if you try to go beyond the player-area of the city you will hit a wall. But that is a sacrifice I am willing to make.
New Atlantis and Akila can stay, but like the other solution they would change status.

All in all the scale issue is no big problem and the game is fine as it is. This was just something that has been on mind for some time and I wanted to put it to writing. So do you agree that Starfield has a scale problem? If yes, how would you fix it? Or maybe I missed some crucial info-dump and the entire premise of this writing is wrong?

I've run similar weekly discussions in the past elsewhere to varying degrees of success. I've been really happy with how Fresh Album Fridays has been going so far, so thought there might be some interest in centering discussion around one certain album each week.

There's a few ways of doing this that come to mind - if anyone has any other suggestions let me know

• It's entirely random from the top 2k-10k albums on RYM. You tend to get a very interesting spread of albums this way.

• In the past I've done a 'time travel' version where each week is a year ahead from the last, with each album being chosen randomly from that year's top 20 or so albums. It's a fun novelty, but decades can get a little samey for 10 weeks.

• Albums are user nominated, hopefully with a write up from that user. I'm least keen on this idea - I like how random albums keep things on an even playing field. A personal touch is nice, but requires some organization and consistent interest (might end up being the same few people).

Also there's timing the discussion. There's a couple options I can think of

• Each week the new album is declared, and the thread remains the place to discuss that album until the next album is posted.

• A new discussion thread is created a week after the album is declared, while also declaring next week's album. This gives people time to hear the next album, and acts as a reminder for anyone behind, but maybe sours any chance for immediate impressions - folks might feel less inclined to write their thoughts a week after hearing something.

Eager to hear any and all thoughts.

So, this won't be like the usual posts on Tildes. This will be on the long side and rambly, so I apologize for that in advance. Maybe this would fit better on a blog, but I don't have one so I'll post here instead. But while this post is definitely meant to be cathartic for me, I think maybe this will help some people too. Especially those who haven't experienced a super close or sudden loss yet.

I want to talk about neurodivergence and grief.

To start, I'm a 28-year-old woman. Higher end of the autism spectrum (diagnosed with Asperger's, though that term is out of favor now) and ADHD, and my parents managed to get me diagnosed by first grade. I've always known I perceived the world a bit differently from others, and this is further impacted by the fact I'm a writer. I often say one strange silver lining to being a writer is that everything is experience for writing. I've always been able to "detach" myself from reality pretty easily and view it from an almost outsider's point of view. Not full-blown disassociation, but I can step back more easily than most and start analyzing myself and others' actions. That definitely came into play here.

Two weeks ago on Wednesday, August 23, my dad died at the age of 68. Heart attack while golfing, stemming from a lifelong heart defect (structural issue, discovered when he had a heart attack at the age of 17). He had no other health issues, he went to regular checkups every six months or so and his heart checked out as fine as it could at the last one. There was zero warning, he was in perfect health that morning and everything was totally fine and normal up until the attack. The autopsy confirmed there were no external factors like the heat at play, just his heart suddenly giving out.

Just, one minute he was fine, and then less than 24 hours later my mom and I were sitting in a funeral home talking about packages and then to the cemetery to buy grave plots. It's the definition of a sudden death.

They say that everyone grieves differently, but I've been aware for a while that my grief is different from others. Until now, my experience with loss has been limited to three grandparents and pets. No aunts or uncles died during my lifetime, no cousins, no friends barring a former classmate who I didn't know too well but who committed suicide. With my grandparents, I definitely noticed I reacted differently. For example, I ended up checking out caskets during my grandmother's wake and talking to the workers about things like cremation jewelry. I still feel a bit bad for my dad who patiently followed me in there during his mother's wake. With my maternal grandfather, I remember thinking about a book I gave my grandmother while at their house, and I'm pretty sure I mentioned it to my cousins. Keep in mind, this would be like two hours tops since he died.

So, yeah. I've been aware for a while that my reactions to death and grief thus far aren't really "typical". I sometimes felt a bit guilty with how easily I felt okay after my grandparents died while seeing everyone around me nearly break. And more than that, I've been concerned about how I might react to other deaths. Particularly my parents.

So what I'm saying is that my dad was my first brush with super close and sudden loss.

So, now that you have the facts, I'll just start explaining my experiences with grief.

The Initial Reaction

My very first reaction: shock. Not even numbness, just shock.

My mom came home, and said she had bad news. I immediately thought it must be my grandmother, who's currently 97 and whose health has been on a steady decline. Instead, she told me my dad had a heart attack at the golf course (oh my gosh, is he okay?) and was pronounced dead at the hospital. For the first time in my life, I found myself asking if it was a dream and genuinely wishing it was. I hugged my mom and whispered "please be a dream", just like I often read and wrote in emotional scenes, and I meant it.

Almost right after she said that, the garage door opened and my first thought was that it was my dad, but instead it was my aunt.

That's around when my "writer-brain" kicked in. I looked at her and said "(Aunt), Dad's..." I couldn't finish the sentence—or maybe it wasn't a matter of could not but did not, because my writer-brain pulled upon all the similar scenes I'd read and written. My aunt pulled me in for a hug, followed by my two uncles, and I cried into their shoulders. I repeated this when my dad's brothers and their wives showed up, and pretty much everyone else who visited in the coming days.

Writer-brain led me to making a couple of docs on my phone: the first titled "Feelings of Grief", the second titled "Dad". "Feelings of Grief" was a bullet-point list of observations of my feelings and reactions. My arms felt heavy and kind of numb. Lifting my phone could be hard, every time I'd set it down or lower my arms in general my arms would just flop down to my side. I'd randomly start to cry and tear up. My chest hurt a bit. I felt empty. It was stronger when alone, maybe because I could distract myself with other people. Noted later in the evening that my arms were still kinda limp, and I didn't have many photos of dad on my phone, and please please PLEASE let mom's phone be synced to the cloud and the photos she had still there.

One interesting note I left: it wasn't the same hollow feeling as the former classmate who committed suicide. Writer-brain had kicked in similarly back then. I remember noting to myself how my jaw just naturally fell open of its own accord, I even closed it and it automatically went slack. When our vice principal first mentioned he'd died, my first thought was "oh no, it must be a car accident". But when he revealed it was suicide, it was a gut punch and the feeling was just... hollow. I reaffirmed this the next day while talking to my mom that there's a difference between "hollow" and "empty", not one I can put into words, but a difference nonetheless.

The second document on my phone, "Dad", started on Wednesday night as an obituary. When my grandfather died, my dad had told me how sad he always found those short obituaries, so I knew we'd have a long one. I'm a writer, so it felt natural that I start on it to take some of the burden off mom. The next day, I read it to mom and we ended up using it with minimal changes.

What I didn't tell her was that the rest of the document was basically me journaling. I don't journal, but I know writing helps me process things and organize thoughts, so I just wrote. Starting with the words "Dad, I love you." I wrote out all my thoughts, a letter he'd never get to read. I wrote about checking the Ring camera and it automatically pulling up the video of him getting the paper with the dog that morning. I made my bed and cried, put away dishes and cried, couldn't finish folding the laundry because I realized some of it was his. At that point it clicked in my head that the format was poem-like, and I wrote lines with questions that could fit a poem structure. I'm not even a poet, I've always preferred prose, but that's where my brain went.

And I also wrote about how I knew I'd be okay, because I already knew my grief was different. And how awful that made me feel. How I felt guilty that I wasn't there when mom was downstairs. She got the call while doing laundry, and I think I came downstairs right after she left. She went there alone, my uncle meeting her at the hospital, and had to wait until the doctor came out, while I was at home totally oblivious to the fact the most important man in my life was gone.

So, I never saw my dad in the hospital. Never saw how awful he looked after the attempts to revive him, only saw him on Monday at his calling when he'd been cleaned up. Both docs had me wondering if maybe the fact I hadn't seen him let my brain detach more, let me distance myself from his absence and the situation, and if seeing him on Monday would be when it really felt real.

Day 3 and Onwards: Weirdly Okay

On Friday, Day 3 after my dad died, everything felt... weirdly normal.

I think on Thursday, my brain was already starting to push me out of heavy-grief mode. Every time I hugged people on Wednesday I'd automatically cry, but I think towards the end of Thursday that reaction was dwindling. I think on Friday itself, it stopped entirely. I'd hug people but tears wouldn't automatically spring like the previous two days. I could even already tell, "Oh, I'm gonna get kinda tired of all these hugs, aren't I?" On Thursday I randomly cried a couple times, had to run upstairs to hug my mom as it crashed into me once again, but that didn't happen as much on Friday.

I'd already joked about "literal Covid flashbacks", because I got Covid this year and my primary symptom was an eternally runny nose. I went through at least one tissue box on my own and by the end my nose was just sore from blowing and wiping it so much, so I joked my brain didn't want a repeat of that soreness.

Inwardly though, I was reflecting on my previous experiences with grief. I knew I'd enter an "okay" state sooner than others, but I didn't expect it to happen so fast after my dad died. I still felt sad, but I wasn't randomly crying anymore. I live at home, never moved out and even attended a commuter college, we've always been an incredibly close family, so his death should be more... I guess devastating? Heart-breaking? It felt bizarre to me, to already feel like I was edging back towards okay.

My theory: it's an evolutionary trait promoted in neurodivergence, to ensure that at least one member of the "pack" won't be vulnerable. Make sure someone can be functional enough to identify potential threats and such, maybe go out for supplies. I mentioned this theory to a few people in the coming days. My mom said it was almost like a superpower when I explained it.

And as the child in the situation, it sucks. I don't have the experience or knowledge to do all these arrangements. All the financial stuff is on my mom since she has the accounts, she knows who to inform and could estimate how many people to expect, she had all the contacts who could help arrange and set up a reception at our house, etc. And even besides that, as the child in the situation, it wasn't exactly "my place" to do a bunch of that stuff. I couldn't directly help with anything but the obituary, provide tech support for getting the photos for the calling, and providing emotional support.

So, yeah. That sucked for me because I knew I felt much better than mom did, but couldn't really do much to ease her burden. So it felt like I was largely leaving her on her own to navigate the funeral process. We had my aunts and some of her friends present to help, including some who'd experienced similar abrupt loss and could help guide and advise her, but there's still a lot of stuff she needed to do herself. She didn't have much time to really process it on her own because she was just so busy, I don't think she really got a chance to relax until Wednesday after everything was over. So for most of the process, I was much more cognizant of my mom's grief than my own.

And I was honestly quite open with this. I didn't flaunt that I was weirdly okay, but people would ask how I was feeling and I'd be honest: "I think my neurodivergent brain is helping." By Sunday, I was still weirdly okay. The calling was the next day. I helped mom submit the pictures to the funeral home's website. We had a small horde of friends and aunts help move stuff to the backyard to prepare for the post-funeral reception at our house on Tuesday. We got through the day, and picked out dresses to wear.

The Calling

At the calling on Monday, I got to see my dad for the first and last time.

My mom originally wanted a closed-casket calling, but agreed to open-casket because we knew some people needed it. Including my uncle, who'd been present at the hospital and who my mom described as even worse off than her.

It turns out, my mom needed it too, more than she realized.

My dad had an autopsy for a few reasons. I kind of expected one given his heart defect, but there was also the fact it was an incredibly hot day and he hit his head when he fell, so the coroner wanted to confirm what exactly the cause was. And as I said near the start, it was just his heart. As far as I'm aware, he most likely died instantly from the heart attack itself, but they tried to revive him for a while before calling his death, maybe half an hour. The doctor at the hospital said he'd tried everything he could to bring him back. Surgery, intubation, etc.

To sum it up, he didn't look too good in the hospital. When I expressed regret I hadn't been with mom, she said she was glad I hadn't been there. I still wonder if that might have helped me get "okay" so quickly, since I didn't have the traumatic memory. He died away from home, so there's no traumatic memories associated with his body in our house. My first and only time seeing him post-mortem was at the funeral home, after he'd been cleaned up and dressed.

My dad in the casket looked peaceful. I don't know if I'd say he looked like he was sleeping, but he looked so much better than I had feared. At one of the last funerals I attended, I felt like their body hadn't looked like them (and my mom also felt that way when I mentioned it to her later), so I'd worried that might happen here. It was a relief that dad still looked like dad. Later, one of the morticians commented about the nasty bruise on his head from the fall, and I know that bruises can be particularly stark on corpses, so. Big kudos to the mortician. I think seeing him like that, instead of her last memory being at the hospital, was a big help to my mom.

Mom and I hugged in front of him and cried. We talked to dad a bit, and then people poured in. Relatives first, and then friends started coming, both friends of my dad and my mom. My mom is a social butterfly and has a MASSIVE social network in the local branch of her industry, to the point there's an actual joke about "Six degrees of separation from (Mom)", so there were a LOT of visitors just to support her. So my mom was in her element talking to people, while I floated around a bit talking to people I knew, hanging out with my cousins, helping introduce one of my dad's friends to other specific people he wanted to meet, etc.

I myself had four friends visit during the calling. And this is what inspired me to make this post.

Neurodivergence and Grief

One of my friends also abruptly lost her dad a few years ago. It's been a while so I can't remember the exact cause, but I think he'd died of a heart attack too. And like me, she's also neurodivergent. So of everyone I know, she's the one person who could relate to me the most.

So naturally, I told her about how I felt weirdly okay. I'd mentioned to others about how my neurodivergent brain seemed to be helping, mentioned my theory about it being an evolutionary advantage, but I went into more detail with her. I opened up a bit more than I did with everyone else, because I knew she'd gone through the same loss.

And she'd had the same thing happen.

I won't try to summarize everything we talked about. Some of it is personal and I reached some internal conclusions about her own experience she might not want me to share, but one thing that stuck out was that she told me not to let others act as if I was grieving wrong. She assured me that everyone grieves in their own way, and while everyone says that, hearing it from someone who went through the same experience as me just gave it so much more weight.

I'd been aware my reactions to loss would be different since my grandparents died. I've had years to think on it, and by the calling I already accepted that it was a quirk of my brain. It didn't mean something was "wrong" with me, that I didn't love my dad any less. It's just my brain being kinda weird and helping me adapt faster. I'd once read a theory years ago that autistic people don't struggle with feeling emotions at all, they struggle with feeling too much, and their brains get overloaded and just shut down the emotion. I don't know how true that is, but at times like this, I think that might be true.

But despite knowing and accepting this, hearing that I wasn't alone, that it wasn't just my brain and someone else had experienced this weird "okay-ness", helped more than I expected.

And that's why I'm writing this.

Neurodivergent brains don't process things the same as "normal" people. Anyone who's ND knows that, and every person's experiences with it is different. Even if you, the person reading this right now, also have ADHD and autism, you probably don't have a "writer-brain" analyzing events and your own emotions for writing reference the way I do. I got lucky to be born to two amazing, loving parents who never made me feel like I was wrong or broken for my differences, and to help me adapt to the world instead of trying to suppress those. They helped me accept it as part of myself.

But while I've always known and accepted this, it doesn't change the fact that knowing others feel the same way can be a relief. Confirming that it's not just you, that there are others—it can mean so much.

It's why I proudly identify myself as asexual to people I meet, to help educate others that it's a thing that exists and they're not broken. It's why I was so ecstatic to learn immersive and maladaptive daydreaming are things, to discover that my lifelong game of pretend isn't just some quirk of my autism and ADHD but something thousands of other people do, including full-grown adults. It's why people find pride and comfort in having labels at all, why even diagnoses can be a reason to celebrate: just being able to know you're not alone.

I got lucky with my parents, who have loved and supported me throughout my whole life. I don't even like referring to ADHD and autism as disabilities, because to me, they're just different forms of cognition. Nothing to be ashamed of, they're just a part of who I am. I've spent years thinking and reflecting over myself, and managed to understand the core pieces of myself as a person fairly early on. And I'm happy to say I like who I am.

Unfortunately, my story isn't nearly as common as I'd like though. Many neurodivergent people grow up thinking something is inherently wrong with them, either due to not knowing about their conditions, or because their own families tell them as much. Far too many people think they're awful people, stupid because of learning disabilities, or even just broken. Our "normal meters" are off by default compared to neurotypical people, and if you don't know why, it can really bother you.

This strange okay-ness and quick recovery from grief seems like one of those things that would haunt people, lead to all sorts of guilt for not feeling grief strongly enough when you "should". The words "everyone grieves differently" feels like a kind of hollow platitude in the face of those feelings. It's one of those sayings that everyone spouts, like "time heals all wounds", but there's a huge difference between saying something and experiencing it. It's just one of those things that people say, regardless of experience with it. Especially when it's "normal" people saying it.

So, take it from me now, someone who's neurodivergent and has just experienced close and sudden loss: You might feel okay sooner than you expect, and that's perfectly fine. It's just our brains being weird, and it says nothing about how we feel about the person we lost.

Maybe the circumstances of the death will make it easier or harder for you to adjust. Maybe it will hit you harder when you're alone. Maybe you'll find comfort in surprising details. Or maybe it will hit you in bits and pieces, in the smaller things you notice as time passes.

There are so many ways you can react. It really is true that everyone grieves differently. No matter how you react though, it doesn't automatically mean you're a bad person or don't miss them enough. It just means your brain processes things differently, and might be trying to shield you from the full brunt of the pain.

And besides, even if you feel like you’re recovering too quickly, I think there’s a good chance you feel that loss more strongly than you actually realize.

Nighttime Talks with Dad

The last time I saw my dad was Tuesday, August 22, before he went to bed.

I don’t remember our exact final conversation. We had a nightly ritual though where we’d either try to get our dog Zoey on the porch, or step out there ourselves. Zoey hates people hugging and kissing. For some reason at nighttime, just standing near each other can set her off. Every night when dad would come upstairs from the basement, the second one of us spoke, she’d start barking because she knew that was a precursor to physical contact. (Also, yes, this DID make the initial hug-fest after the news broke a bit frustrating since she barked constantly.) I like to say that she’s brought our family closer together than ever, and she hates it. Dad would go out of his way to give extra hugs and kisses just to set her off, laughing while she’d go crazy. Usually we’d try to get her on the porch so she couldn’t jump up on us while barking, but even after letting her back in he’d still sometimes give an extra hug and kiss just to mess with her.

If she wouldn’t go on the porch, we’d just go out there ourselves. And in more recent months, we’d step outside on the deck to look at the night sky. Dad would usually go out there in the summer before going to bed, so I just started joining him. I think the only constellation either of us can identify is the Big Dipper, but it was still nice to look at the stars and moon.

On Tuesday, August 22, we went outside as part of that ritual.

The next night before going to bed, I stepped outside to talk to dad again.

And I’ve done that most nights since then.

I just step outside and talk to him. I don’t know if he can hear me. I’m not particularly religious and honestly terrified of the unknown eternity that is the afterlife, and I told him that. But I want to believe he can. I tried talking to him from the porch one night, but it felt wrong so I stepped outside to do it. So maybe it’s just psychological and in my head, or maybe it actually means something.

And when I do, I usually end up crying a bit.

That’s one thing I’ve noticed: while I stopped randomly crying throughout the day by like Friday or Saturday, I still cry at night when I talk to him. I think that little note I made on night one that I might feel the grief more strongly when I was alone was right. I’ve even said as much out loud, just asked, “Dang it, why do I only do this at night?” It’s the kind of time where I’d want to hug someone like mom, but by that point she’s in bed.

I’ve probably weirded out Zoey with the near-nightly hugs after these talks. I doubt she understands dad is gone for good, and I don’t think she fully gets we’re sad. That dog lives in her own world and isn’t the brightest. At least she’s finally made the connection that water helps with thirst (no, I’m not joking. We genuinely questioned if she realizes water helps with thirst, and now that she’s drinking regularly we’re pretty sure the answer was “no”).

Right now, I think during the day I can function fine. I think I am mostly fine already, wrong as that feels. I know that it will be the little things I’ll miss the most. Like him making my bed every day, or being able to suggest watching a show, or messing with the dog together, or coming home from visiting friends to see him and mom slow-dancing in the living room.

But at night, when I step outside to talk to dad... Well, I think that’s when I allow myself to really process it. To process his absence on a subconscious level that I just can’t do consciously. Maybe it’s because it’s too much to process, like that theory about autism I mentioned earlier. I don’t know.

One thing I do know: everything still feels surreal.

My mom and I went to my cousins’ lake house over the weekend. We had already planned to go before, and last Wednesday my mom said “Screw it, let’s go up anyway.” We needed the change of scenery and time to decompress after the funeral. She later said it’s basically us avoiding the situation for just a little longer, and I think she was right about that. Being away from the house made it a little easier to act as if it was just a normal vacation, almost like a "girls' trip".

I didn’t talk to dad while up there, maybe due to avoidance, or maybe due to my brain suddenly deciding it doesn’t like being surrounded by water in the dark. It was never an issue on previous visits. Last time we were up there, dad and I sat on the dock staring up at the stars and just being in awe. We’ve been reminiscing about it all summer long. I planned to talk to him, but the first night on the dock I turned off the flashlight on my phone and my brain basically went “nopenopenope, water everywhere verybad runrunrun get to land runrunrun”. So that's a thing now, good to know I guess?

So, yeah. We got back on Tuesday, and were exhausted from a seven-hour car trip. And then I talked to him again last night. Cried a bit, because that’s just how those talks tend to go, and then I went inside to hug the dog before sitting on the couch to resume my usual quasi-nocturnal routine. (I got upstairs and into bed before 4 am though, so I'm getting better! Little victories.)

Closing Thoughts

There’s a lot more I could say, but I don’t know what. Usually I like to edit these sorts of rambles to heck and back, but this time I’m doing minimal editing. (Editing note: I apparently lied, just went back to reread and edited it as I went along, dang it.) For now, I want to focus on some more closing thoughts and miscellaneous details. Things I couldn’t fit above too well, but think need to be said and shared. Maybe it can help you, maybe it won’t.

The benefits of how my neurodivergence is impacting my grief: I can help my mom more. I’ve already decided I’ll take on the task of figuring out all the account transfers (e.g. Netflix, Ring, etc.). I was also able to go through my dad’s laptop to find photos, just quickly page through them and look for any photos with him. I’m not sure my mom could have done that herself without getting sucked into each memory they held.

I will say that, as a writer, I like to think I understand emotions better than most people. I like putting myself in people’s shoes to figure out why they feel a certain way, understand their mindsets and how it influences their thought processes and actions. I’m definitely incredibly empathetic compared to the average person. That said, just because I understand their feelings, it doesn’t mean I know how the heck to handle it. My brain tends to freeze up. Happened when my aunt burst out crying and hugged me when my grandfather died years ago, and it will probably happen again now.

So I’m still out of my element if mom suddenly breaks down sobbing and crying. I think this will apply to many of us. So uh. Sorry guys, I don’t have much advice for comforting people other than “just hug them as needed and let them vent”. Hugs can REALLY help though, I think some people these past two needed the hugs more than I did.

On that note, feel free to reject the parade of hugs. I know a lot of ND folks don’t like physical contact or hugs anyway, but neurotypical folks can get over-hugged during these times too. One of my mom’s friends who lost her husband told us that we might get sick of hugs. So don’t feel obligated to accept them just because of the occasion. You're the one grieving, so they can't judge you for refusing. If they judge you anyway, they're assholes and don't deserve to have their opinions considered.

One of my main coping mechanisms is humor. I try to be mindful of it and keep some of them to myself, but I might've made some jokes that are "too soon". For example, our dog is the only thing now standing between my mom and I from becoming crazy cat ladies. Previously it was my dad's allergies, so yeah. If you also cope with humor, just be careful about telling the jokes. The pain can be more raw for some than others, and some jokes might be too much. Some people are really good at putting up a strong front, so you can't always be sure how they'll actually take it. So be careful.

I mentioned earlier that when my mom told me the news, I first thought it was about my grandmother. At the time, part of me wished it had been my grandmother, which made me feel guilty. But I later found out pretty much everyone had this exact reaction, including my aunt (her daughter) and I think even my grandmother herself. We've all been sort of mentally bracing for her death, and she's 97 so she’s lived a long and good life. It would still be sad of course, but, well, we’re expecting it. No one was expecting my dad to die though. So if you find yourself with similar thoughts, don’t feel like that makes you an awful person.

One of the biggest benefits of my neurodivergence though: I was able to give a eulogy for my dad.

I honestly expected I’d give one from day one, but apparently no one else did until I talked to the minister right before the service. Originally we said I’d go second, between my dad’s best friend and his brother. After his best friend’s speech though, I realized I should definitely go last. I could tell they’d be telling more lighthearted stories, and mine would set a different tone that served better for the end.

I wanted to talk about dad’s love, his most defining trait and the most important thing he passed on to me. He was the kind of man who’d sacrifice for the people he loved, who’d go out of his way to find a specific restaurant despite wanting to go home just because we mentioned wanting milkshakes from there. Heck, last Christmas we all agreed to buy just three gifts each, and guess who didn't stick to that rule? I swore I'd buy a blu-ray player sometime this year instead, our DVD player doesn't work with the new TV we got in the basement so just needed to run to a store together. (I still might, but it's a lower priority now.)

Besides all that, I wanted to share a story he told me, that I’ll also tell you now.

When my grandfather was a little boy, one day at school a classmate came in raging mad about a fight with his own father. They’d had some argument, and this kid was ranting about how he hated his father. Petty, empty words because he was still mad at his dad over whatever they'd fought before.

Well, his father died at work that day. Car accident, I think. And the boy grew up knowing his last memory with his father was that awful fight.

Yeah, that sounds like an awful story to tell a kid, huh? I must have been five or six when he told me, and it was probably because I was pretty angry at my mom for some stupid petty reason. Just a kid throwing a tantrum, you know how it goes. Maybe it was a true story, maybe he just made it up on the spot to show me that being mad at my mom over petty little things was wrong. Either way, it worked. And I think it worked better than my dad ever knew. Thanks to that story, I grew up aware in the back of my head that death can happen suddenly and without warning. Maybe that’s a bit of a bad thing, but I’m grateful I got to understand that so early on without experiencing that sort of sudden loss myself. And it stuck with me, just how awful it would feel to have your last memory be such a bitter one.

So, I made a point to always say “I love you” to my parents and any others I care about. They go to bed, “Good night, I love you.” They're going on a trip, “Have fun, love you!” when they leave and at the end of every phone call. They’re just running to the grocery store five minutes away, I open the garage door to stick out my head to say “I love you” just to make absolutely sure it’s the last thing I said to them, just in case.

I don’t remember my exact last words with my dad. But I know that it was almost certainly “Good night, I love you” just like countless other nights. And I am so damn grateful I can say that.

So I passed on that story at his funeral. And afterwards, I got countless compliments about how strong I was for speaking at all, and how I didn’t stutter or need notes (someone asked if I had public speaking experience, and I don't, so I guess I might have a natural knack for speeches??), but... I think that was most definitely because of my neurodivergence. I think I’ve already made it quite clear over the course of this post, but by the time of his funeral, I was, weirdly, okay. Sad and empty, but not devastated. So I could deliver my message clearly, the same one I'll pass to you:

My dad was a wonderful, loving man, and everyone should remember that you never know which goodbye will be the last one. So make sure you always punctuate your farewells with an “I love you”, and try not to ever part on a bad note. Not even when you’re just going to sleep.

If you’ve read all of this, thanks. And I hope maybe this ramble of mine can help people a bit too, especially those who have yet to experience such a loss themselves.

Remember, everyone experiences grief differently. Maybe it will devastate you and you won't be able to function for a while, or maybe you'll be able to largely go back to "normal" a bit faster than you expect like I did. Brains are weird, even without throwing neurodivergence into the mix, and there's so many factors in grief that makes every experience truly unique. I'm not sure I'd be nearly as composed if I'd seen my dad at the hospital, or if he'd died in pain or of heatstroke. The inevitability and quickness of his death, the fact we could have done nothing to prevent it, has been a surprising comfort to both me and my mom because there are no agonizing "what ifs" to haunt us. We're not sure how we'd feel if it was something preventable, that's a "what if" I don't want to consider.

Just remember that no matter how you respond, somewhere out there, there's likely someone else who's had the same feelings and reactions as you. You're not broken, you're not an awful person. You're just you. Your reaction won't diminish whatever feelings you have for the person—and note that I said have and not had: just because they're gone doesn't mean those feelings are gone too. He's still my father, I'm still his daughter. Death doesn't change that, it just means I can't hug him and tell him that directly anymore. The same applies for every other loss we'll experience. There's a reason some people refuse to date widows and widowers.

Today, my aunt left. She’s been staying here since he died, she flew in from out of state. Tonight will be the first night with just me and mom at our house. This is the first night of our new “normal”. I don’t think we’ll have anyone over tomorrow besides the cleaning lady (who last came the day after he died—felt kinda bad for her to visit that day knowing what happened), so tomorrow will be the first day it’s really just us. The first day we won't have any real distractions from his absence.

I don’t know how we’ll feel in the coming days, how things will go from here. Maybe his death will finally really hit us now that we’re not in funeral-preparation or vacation mode, and can sit and breathe in our own house. Maybe I’ll have a delayed grief reaction. Maybe my mom will break down sobbing in her bed tonight or tomorrow. I don’t know. Everything feels almost dream-like, like we’re in a weird limbo but also not. The world’s still moving without us, and we’re slowly moving with it.

All we can do is take it one hour at a time.

About this one: https://tildes.net/~news/19bm/regional_news_thread

First of all I want to thank everyone who participated and gave it a shot despite the weird setup, and apologize for ghosting the meta-discussion about it. Y'all have many suggestions which convinced me that my original idea was flawed.

For one, I agree with Algernon_Asimov that splitting into a separate 'US-local news' and 'non-US global news' would have made more sense. If there's a next round, I think I'd focus on US states first, then non-US countries in another thread. But before that I want to get some feedback to make sure.

Do you think general news threads like that are necessary?

Algernon_Asimov said that news should just be posted directly to the frontpage to be more visible.

spit-evil-olive-tips made a point about the distinction between local news of general interests vs. local news of local interests, and the latter could benefit from having dedicated threads.

For me, I believe megathreads are fine as long as they're optional. In my experience, people do sometimes prefer to post in comments instead of as full topics. As long as people are free to choose either way (which is different than on Reddit where if there's a megathread then posts outside it got removed), overall we should end up with more activity not less.

Does the comment-to-comment format make sense?

In my head I imagine that to be a natural way to generate location-based grouping, but I could see the convoluted setup might be confusing and unenforceable. One the one hand, if each location only has 1 post then the extra step is unnecessary. On the other hand, if there are multiple locations, each with multiple posts then trying to find your regions of interest would be a pain.

Is the scope of the thread too broad?

This was a point made by skybrian here, which was in the context of the original thread being both US and non-US. But even if we divided them into separate US and non-US, are they still too broad?

Having one thread for each location is probably the most natural way, I fear that currently that would ended up being too niche. This was touched on by merry-cherry here as well. I could imagine that would work for a US state (which ever has the most people here) but since no one tried it yet, it's hard to know which states are most likely to succeed. And we probably shouldn't just make one each for all them (which would fill the entire frontpage with nothing but state names).

Should these threads be news-focused?

While that was my original goal, maybe megathreads could be more useful if they fills the needs of the people posting in it rather than just the one starting it. Usually that requires guesswork by the poster but since I'm already asking, might as well.

For the US-local thread, if the goal is to serve as testing grounds to see whether there's enough activity to make the case for local groups, maybe news is not necessarily the most popular when it comes to local content? If anyone support this direction, please share some examples of what types of content you'd like the most when visiting local groups. If you do, please also rank them in order of importance. That way the scope of the thread could be made to focus on the most needed activity as starter.

For the non-US global thread, do you still want dedicated global news? If so how should we set it apart from just regular posting? boxer_dogs_dance mentioned r/anime_titties being quite high quality for global news, any lessons we can adopt from them?

Digging around and I found this post asking about how to do cultural exchange on Tildes, maybe shifting the focus from global news to this might be more fruitful? (people are probably more willing to share nice things about their country than drama). Each subthread can be something like this Turkey Information Thread, or something else maybe.

Should they be recurring?

News probably make sense as recurring, others depend. Since this is still in trial whatever arrangement we agree on, I'll probably just make one and see from there.

Anything else you want to let me know (like maybe don't do this anymore haha), shoot away. Also it's not like I'm an official thread maker or anything, if any of y'all have your own take, go for it! The more people trying out stuff the better.

Note: Because the post is already going to be long enough, this will only cover the movies from May to July. August still counts as the summer movie season, but there's usually not a lot of big movies released, and this August hasn't been particularly interesting so far (do we really need to wait for Blue Beetle to bomb to talk about DC?).

On paper this should have been a great summer: The last Guardians of the Galaxy movie, another installment in the highly successful Fast and Furious movies, another Disney live-action remake which have been incredibly successful, a movie featuring Michael Keaton back as Batman, Indiana Jones, and a Tom Cruise movie after his highly successful Top Gun sequel.

That was on paper.

So what actually ended up happening?

Well a lot of busts.

First let's go over the saga of Guardians of the Galaxy Vol 3. Early on it was a contender for a billion dollars this summer. Unfortunately for Disney Ant-Man and the Wasp: Quantumania came out with the absolute worst reception of any Marvel movie since Eternals (and honestly even then it was definitely worse received). The Marvel brand was now tainted, at least a little. Pre-sales (that being the sale of tickets that people buy in advance) was looking bad. At one point it looked like it might open below 100 million.

In response to this, and confident in the product they had, Disney decided to drop the review embargo earlier. Resulting in similar positive critical reception that Black Panther: Wakanda Forever received . This finally made pre-sales climb higher, and once people actually started watching the movie positive word of mouth lifted it up to 118 million for the opening weekend. Still, this was much lower than what Guardians 2 opened up to six years ago (145M). It had a similar Cinemascore (the gold standard for audience reception) as Black Panther: Wakanda Forever (A) but if we look at other factors it indeed had better word of mouth. It's because of this glowing word of mouth that it was able to leg it out 358 million. Having the best multiplier of any Marvel movie since... well the first Guardians. It also had more appeal internationally than the previous two Guardians movies (maybe due to the darker tone) and it made nearly 850 million worldwide. Which is phenomenal, especially considering it got off to a shaky start that first weekend.

I should re-iterate: Marvel movies don't perform like this anymore. They usually have big openings and weak-ish legs. Having a softer opening but longer legs is a thing of the past for these types of fan driven movies, they're usually reserved for films aimed at older audiences.

I'm gonna group the next two May releases together. Fast X and The Little Mermaid also had high expectations. Both are coming from predecessors that have made billions of dollars. And actually, both didn't perform too bad overall. Fast X didn't do well domestically (it's basically a dead franchise stateside) but did very well internationally making 700M WW, and The Little Mermaid didn't do well internationally but did pretty well domestically nearly reaching 300M DOM and 550M WW. These are respectable grosses. Just one problem: their budgets. Fast X is sporting a 340 million dollar budget, making it one of the most expensive films ever made, and The Little Mermaid is sporting a 250 million dollar budget. The break-even points for these films are 850M and 625M respectively. They did not reach them. They would have been profitable if Fast X had the same budget as F9 (225M) and The Little Mermaid had the same budget as Cinderella (95M). Those would have been the responsible budgets to make these films with, but alas shit happens. They were both shooting during the pandemic, which raised costs on productions, and Fast X had to switch directors half-way through production.. Still, money losers are money losers.

June starts off with a bang. Spider-Man: Across the Spider-Verse opens to 120 million, more than Guardians 3 and four times more than what it's predecessor opened to. With great reviews and great audience scores, it becomes the first true out and out success since Guardians 3. It also had a much lower budget than all the summer blockbusters thus far. 100-150 million, according to differing reports (we'll know by the next year when Deadline does their most profitable blockbuster list) making profitability much easier. The film basically covered it's production budget in one weekend. It legged out pretty well. Outgrossing Guardians 3 domestically (375M) but not being able to match it internationally making nearly 700 million WW. While it did "fail" to meet the high expectations of 400M DOM, it's still massively successful. And will remain in the top 5 grossing films domestically.

The rest of June is a different story. First up we got Transformers: Rise of the Beasts, which was, at one point, one of the biggest movie franchises around resulting in two billion dollar films. While it beat expectations opening weekend, opening to 61M, it did not leg it out very well. 155M DOM and 420M WW is not a great number, especially not compared to it's 200M budget. It made less than Bumblebee despite having twice the budget. It's basically a dead franchise at this point, and it was not the win Paramount needed after Dungeons and Dragons also flopped.

Then we get a double whammy. The Flash and Elemental open the same weekend. At one point The Flash was projected to open well above 100 million just for the weekend, but pre-sales told another story. Pre-sale trackers on the forum BoxOfficeTheory, saw what industry tracking couldn't: a lack of interest. The sales just weren't there. DC as a franchise is already on the decline. This was a movie about a minor character that debuted in Justice League (which also bombed heavily), with a controversial lead star, and just unappealing trailers, who would be interested? Michael Keaton fans, supposedly. That was what people were clinging onto. The older Keaton fans would come out and help the movie. Apparently there aren't any. Doesn't help that Keaton had his last Batman outing over thirty years ago, meaning no one below the age of 40 even really cares about him as Batman. It opened disastrously to 55 million. dropping throughout the weekend from toxic word of mouth. It didn't even manage to hit the lower end of those initial projections throughout it's entire run. WB dumped so much money into this, just for it to be the biggest bomb in their studio history.

Elemental, on the other hand, ended up fairing a little bit better. Not on opening weekend. God no. It opened to 29M, one of the lowest openings in Pixar's history. But, it was really well received by audiences. And people kept watching it week after week, resulting in some of the best legs Pixar has had in a while. Reaching over 150M DOM, and over 400M (and counting) WW. If it reaches 500M WW, which it still looks like it might, it would break even theatrically. That's not great, as studios would love to make money theatrically, but considering this could have been a massive money loser for Disney, it's quite an impressive run. Thanks to Disney's re-commitment to theatrical, their animation studios are slowly building themselves back up in the eyes of audiences.

To end the month came Indiana Jones and the Dial of Destiny. Supposedly the Top Gun: Maverick of 2023, at least that's what some people had pegged it as at the beginning of the year. Once again, it didn't work out that way. It premiered at Cannes to mixed reviews, and while the funko pop critics were able to get it to fresh on RottenTomatoes, the damage was done. Indiana Jones spent months with a rotten symbol. Even before that, trailer views were weak, the interest just wasn't there. Why? I think perhaps Crystal Skull was supposed to be the last outing for the character (which actually ended up being the second highest grossing film of 2008 and even outgrossed The Dark Knight internationally), and even before that The Last Crusade was supposed to be the last outing of this character. And now we're getting another last outing for the character. Except now he's 80. A fantasy wish-fulfillment character being 80 is probably not a great thing. It's also another situation where no one below 40 really cares about Indiana Jones (me excluded but I don't share the viewing habits of other people my age). So... it was over before it even started. It opened okay all things considering, 60M isn't bad. But it had mediocre drops week to week, no doubt due to mediocre word of mouth. And again, the budget was out of control. Initially reported to be 290M, the actual budget ended up being 320M. It didn't even get close to 400M WW. Making it one of the biggest bombs of all time, and certainly the biggest bomb of the year. This is probably the last straw for Lucasfilm. I can't imagine Disney letting them continue doing things this way.

Next one comes a sad one for me personally, Mission Impossible: Dead Reckoning - Part One the first big movie of July. They decided to release it over a 5-day weekend. And, more importantly, decided to open the weekend before Barbenheimer. Unfortunately, that meant that no one was paying attention to Tom Cruise's latest critically acclaimed action film. It opened below 80 million for the 5-day weekend, below Indiana Jones even. It's only hope was to leg it out well. But again, two big movies would come out a week later. Mission Impossible was yet another victim of Paramount's idiotic release date decisions. Dungeons and Dragons opened a week before Mario, despite positive reviews and audience reception that ended up dropping like a rock too. If Paramount had picked more empty dates both of these movies would have done better. MI is the only blockbuster this summer to be extremely well reviewed, to get positive audience reception (same scores as Fallout) yet not be a success at the box office. The budget didn't help, 290M, it was one of the first productions to restart during the pandemic that's where this audio of Cruise yelling at crew members breaking protocols comes from. They actually set the standard for productions during the pandemic. But, money losers are money losers, and Paramount has been bleeding a lot of money.

One of the more interesting success stories so far this year is Sound of Freedom. Originally produced in 2018, 20th Century Fox held the distribution rights. When Disney bought Fox they shelved the movie. Angel Studios then got the rights to the film. They opened it on the Fourth of July weekend (America!) to rave audience reactions. It opened modestly, to 19 million, but has legged out spectacularly. Outgrossing summer blockbusters like Transformers: Rise of the Beasts and Indiana Jones and the Dial of Destiny. Domestically anyway. It was powered by conservative influencers and the often reliable christian market. It's been debated if this should count. As they had a pay it forward service, meaning people would buy tickets for others to use for free. There were several reports of sold out screenings playing to a largely empty room. Whatever it is. It's money for movie theaters. And it's clearly playing well to an underserved market.

Now we get to the big one: Barbie and Oppenheimer. For over a year these two have been building up hype. Christopher Nolan, who usually has his films distributed by Warner Bros., was incredibly unhappy with how they sacrificed his film Tenet during the 2020 pandemic and even was even less happy when WB announced that their entire 2021 slate would be day and date on HBOMAX. He then takes his next project to Universal, after they agreed to a laundry list of demands. They pick the date July 21st, because that's the date Nolan likes and is "reserved" for him. Warner Bros originally had Coyote vs Acme there, a live-action Looney Tunes film with John Cena. However, they remove Coyote vs Acme from the schedule (it still has no release date) and instead put Barbie there. It originally started off as a "battle." Who would win, who would flop? But as we got closer, it became something else. The stark contrast between the two films, while both being from filmmakers who are lauded by younger people online, led to the creation of Barbenheimer. It wasn't "which one will win" it was "we're excited for both." It also wasn't, as some people think, manufactured by Universal and Warner Bros (why on earth would competing studios work together) it was organic. If it wasn't organic it wouldn't have worked. Barbie opened to over 160M and Oppenheimer to over 80M.

What makes their successes so great for the industry, is that they're in genres that have not been doing well post-pandemic. Even pre-pandemic comedies like Barbie were struggling. The last big comedy to hit 200M DOM was Ted back in 2012. Barbie easily blew past that. It's also a female oriented film in a time where women have been one of the slowest demographics to return to theaters. Adult dramas were also on lifeline. Elvis had been the highest grossing one post-pandemic, but pre-pandemic we would get multiple hits. In 2019: 1917, Little Women, Ford vs Ferrari, and Once Upon a Time in Hollywood all grossed over 100M DOM. In the two years since the pandemic only Elvis managed to hit that mark. But now Oppenheimer, something that on paper is tailor made for the end of the year Oscar season, opens like a blockbuster in the summer. It's the first drama to make over 200M DOM since Joker, and first non-franchise drama to make that much since Bohemian Rhapsody and A Star is Born crossed that threshold back in 2018.

Maybe it's a fluke, maybe it was just because it was these films specifically. But it's hard not to feel optimistic that this will translate to other dramas like Killers of the Flower Moon and Napoleon, and other female-oriented films like Wonka.

Smaller successes and optimism for the future of theatrical:

I covered the big movies. But what about the rest of the slate? Movie theaters can't just survive on 20 or so big movies a year. They need the smaller films to still deliver some money. These past two years, the box office has been incredibly top heavy. We either got films that only made a ton of money or we got movies that made no money.

Let me give you an example of the struggle of this specific market. The Peanut Butter Falcon was the 100th grossing film domestically of 2019. It grossed 20 million. In 2021 it was The Father with 2.1 million, in 2022 it was Cyrano with 3.8 million. You can see the toll the pandemic took here. But you can also see slight recovery.

I believe 2023 is the year we see substantial recovery in his part of the market. Smaller, non-franchise, and art-house films have been making more money than they have been in the past two years.

Let's look at some examples:

Asteroid City has the highest opening PTA (per-theater-average) of any film since the pandemic. Over 100k PTA something that used to be more common before the pandemic. And, once it goes wide, grosses 27 million domestic. Compare that to Wes Anderson's previous film which grossed 16 million domestic.

Past Lives also opens to a healthy PTA of 58k. That's higher than TAR and The Banshees of Inisherin. And that's without any star power and without having a well known Director. It has Oscar buzz, to be fair, but so did the other two and it still managed to outgross both of them when it went wide. So these types of awards films are already doing better than they were even six months prior.

No Hard Feelings not so much a small film, it's not an art-house film, and it's not an awards contender. It's a mid-budget comedy that relied solely on star power as a selling point. It's exactly the type of movie that failed countless times in 2021 and 2022. Yet, it outgrossed star-studded R-rated comedies from last year such as Amsterdam, The Menu, and Babylon pretty easily. Making 50 million domestic. It, perhaps, did not turn a profit theatrically, but it at least made some of its money back. Even a year ago, the thought of this type of movie making anything more than it did would have been unfathomable. Even Ticket to Paradise, which did make more than No Hard Feelings especially internationally, was PG-13 and had two old school stars headlining it instead of one young one.

I think these three movies really do show how much the market continues to improve, even as we faced massive bombs. When something as benign as Theater Camp can open with a PTA on par with Banshees of Inisherin, we're definitely heading in the right direction.

This was quite the summer for Hollywood. With so many high profile bombs, and two surprise hits, this already feels like a transformational year for the industry. Trends are changing. Franchises from the 2010s (mostly from Disney) are no longer the guaranteed money makers they were. The unions are on strike. Studios are looking to cut costs. It's a whirlwind.

Hi everyone! Today I am releasing Backtick API, an unofficial Tildes API. I originally wrote it to power Backtick but quickly realized that it could be useful for other clients and projects that require Tildes data. The project is open-sourced, both because I would love community contributions and because I want to make the project as transparent as possible.

Q: Does it require or store any user credentials?

No. All the endpoints that are implemented scrape publicly available data that do not require any user credentials.

Q: Will this overload Tildes?

To prevent Backtick API from being a nuisance to Tildes, the code caches calls to Tildes for a short period of time. Depending on usage, it should reduce the number of calls to Tildes (vs a client querying Tildes directly).

Q: How can I use it?

A hosted version of the code is available through RapidAPI here: https://rapidapi.com/asnewman/api/backtick-api

Q: Are there any limitations?

To prevent the project from being abused and becoming a financial burden on myself, I'm using RapidAPI to manage usage. There is a generous free tier and a reasonably priced paid tier which will be used to cover server costs. In addition, I will be donating a portion of the paid plan revenue (my goal is 50% but will depend on load and subscription count) directly to Tildes via Github Sponsors. It's really important to me to keep this project and Tildes as sustainable as possible. I really would love to provide everything for free, but unfortunately, there are countless examples where that doesn't work out down the road.

Of course, if you do not want to use the hosted version, you are welcome to deploy the code yourself!

Q: Isn't scraping prone to breaking?

Yes! Users beware! Obviously, I will try my best to fix things if the Tildes code changes in a way that breaks Backtick API, but it's definitely a possibility.

Q: Why not just work on and contribute to creating an official Tildes API?

An official Tildes API will always be better than something like this and I look forward to when/if it gets implemented. That being said, I'm choosing the route that would be the quickest to continue the development of the Backtick mobile app. In addition, it's also the choice that is most fun for me. To work on a Tildes API, if the powers that be even want to have one, would require lots of coordination and codebase learning, something that will take a lot of time. I highly commend anyone who chooses to take on that task, but I do too much of that kind of work for my real job 😂

Please report any issues or feature requests through Github, this post, or the Backtick Discord server. Finally, I just want to thank everyone in the community for all the great conversations I've had, for providing helpful feedback for Backtick, and for creating a place on the internet that I very much enjoy being a part of 😊

As a preface, this comes from the perspective of an American looking in on Europe. I'm curious in particular what any Europeans (please include your country of origin/ethnicity if you feel so inclined) feel about this post and the future of the EU.

Europe is a unique region, to put it lightly. The extremely high level of development relative to the rest of the world over this last millennium as well as so many technological innovations in that period of time led to a Europe ready to exert its influence upon the rest of the world. We can comfortably say that, while examples do still exist, colonialism as an institution has largely faded. Europe is a much more varied continent culturally and ethnically despite a space roughly equal to that of the USA. We've all heard the common sayings about 200 miles is long in Europe where 200 years is long in America and generally speaking that does hold true.
That said, Europe in the modern era really does feel like many small countries functioning as one big entity with the European Union. The EU has only gained credibility and legitimacy and it is now the institution I expect to hear from on matters within the EU first, even ahead of any individual nation state.
All of this to say, I think a united Europe is the strongest possible future for Europe. No individual state in Europe is large enough to exert an influence upon the world without the rest of Europe behind them. Globalization, while diminished in recent years, is still happening and I don't see a decentralized Europe as "winning" globalization as dozens of individually tiny states.

I could continue writing, but I think you understand my position. Now I would like to point to the article I found that really made me think about this, here.

I would also like to ask, what do you see Europe and the European Union standing for? Should it continue to centralize or is the current level of control enough? Too much? I didn't mention Ukraine or defense in this post but obviously that has a huge impact on all of these questions and I would love to hear if that has impacted your perspective on this admittedly grandiose idea for a united Europe.

People from all countries welcome to discuss, but please do mention your country if you feel comfortable doing so!

Edit: More reading for anyone interested.

##NEWS## "A bipartisan group of lawmakers on the House Oversight Committee says a high-profile hearing on UFOs is just the start of their push for answers. And they are threatening to use heavier-handed tactics if the Pentagon and intelligence agencies stand in their way." (The Hill) ##

Since many people are upset about the homepage getting swamped with UFO/UAP news, maybe a dedicated thread to contain all the discussion would help.

Edit: also please keep the conversation civil

Direct links to each sub-thread:

Link posts (newest first)

• "A bipartisan group of lawmakers on the House Oversight Committee says a high-profile...
• "The UFO congressional hearing was 'insulting' to US employees, a top Pentagon official...
• "Congress update: U.S. Senate passes multiple UAP/UFO measures" (D. Dean Johnson...
• This comment on Reddit explained the legislation that this hearing is about, I'll quote...

Text posts (newest first)

• I share sentiments with several others in this post. While the topic of extraterrestrial life is...
• Just my $0.02 since opinions are like assholes, everyone has one... I'm not arrogant enough...
• I want to point something out here as a skeptic and as someone who laughs at these...
• I don't want to drag the conversation down with an extensive write-up of my own thought...
• This comment was deleted by the poster, but there're still some discussions underneath
• Does anyone want to hypothesize why there are congressional hearings about this? Do...

Off-topics (newest first, posts are placed here only after it's noticeably clear that comment labels have taken effect)

• Hypothesizing that aliens might well exist based on the vastness of our universe is not...
• With COVID lab leak article getting traction here, and now this story getting attention, I'm...

I've got a basic garage in the backyard - essentially a sheet metal shed with a concrete floor. It would have been built in the 1980s so I doubt the concrete slab had a water barrier - or if it did it probably wore away over time.

When we have wet weather, the concrete gets damp underneath items on the floor - like rubber mats etc. There's also some mineral staining. Doing some reading online, it looks like concrete efflorescence.

I'm considering demolishing the shed and building a better workshop (insulated etc.) on the existing concrete slab. Can I make the existing slab a usable floor by sealing it with something like epoxy? Or would I be better off using the slab as a footing and building the new structure on posts with a separate floor suspended above the slab?

My goal is to avoid getting any damp or mould in the new structure.

Edgedancer (a stormlight archives novella) came out a few years ago, but since there's little Cosmere discussion in Tildes and I just finished reading it a few days ago, I figured it would be worth posting my thoughts on this. The only book of relevance to this which I haven't read is Dawnshard, so please mark any discussion about that with spoilers.

I've seen a lot of complaints about Lift on reddit, and I can see where people are coming from. But I always liked the way Lift think and is written. I feel like Lift's stories would make great bed time stories because of how sweetly they end. In the first interlude where Lift appears, the people of Azir are having trouble picking a "king" because they keep getting assassinated. Lift's involvement solves this problem that we're introduced to at the start of the story. And now in Edgedancer, Nalan is still hunting down budding Radiants because he doesn't believe that the Everstorm has really come back. But at the end of the story Lift swears the third ideal "I will listen to those who have been ignored" and shows Nalan the truth. Which feels like a very fairy tale ending, compared to them getting involved in some epic battle. I honestly expected Szeth to intervene and team up with Lift against Nalan.

The moment at the end where she hugs Nalan to comfort him as he's crying was touching. It got me crying! I didn't expect to feel any sympathy for Nalan, but at the end it feels like a fog is lifting off of him and he's been in a haze this whole time. Which I suppose is true of all the Heralds at this point.

I kept trying to guess who the Radiant in Yeddaw was. Of course it had to be a minor character that we've already seen. So I was thinking it would be that guard we met earlier, since they mentioned trading to get some spheres with stormlight so that she can read. I thought this was a lie, with the real reason being using the stormlight to practice some surgebinding. The other candidate was the old man, but that turned out to be a very interesting misdirect that I'm hoping to learn more about in Dawnshard. (The actual radiant was the woman at the orphanage)

The description of the city of Yeddaw was very interesting and new. I wish there was more art to go along with the descriptions, but I feel like I don't really understand the layout of the city. I feel like it would be dark all the time (except noon) if it was carved into the ground like I imagined. Also I wonder if there's more to the story than it just being created with loaned out shardblades. We know that the total number of shardblades in Roshar is very small. Even assuming something like 5 shardblades that were loaned out, how is it possible to create a whole city with that in a reasonable amount of time. Feels like it would take many decades.

I was inspired to write this after reading this reddit post. It ranted about people who attempt to disuade people from commiting suicide by telling them that they are selfish because of the impact it will have on other people (I do think it is explained better in the post if you are interested).
However I have also been thinking about how suicide prevention is handled by most governments. I am not sure of exactly what process happens in other countries, but in America if you fail a suicide attempt you can be involuntarily put into a mental health asylum for a temporary period of time, and from reading many accounts of what people have experienced in these asylums and from my ongoing experience with suicidal idealation I very much feel i would be 10x more likely to commit suicide if I was put into such a facility once i got out.
But I also wanted to talk about other ways individuals may try to disuade people from suicide which i find problematic. Before i continue, i do want to say that I am not blaming these people, they have very good intentions. But something that has bugged me for a while has been that whenever people discuss suicide/mental health problems the first thing that is done is just recommending suicide hotlines/telling the person in question to seek a therapist/psychologist. While these options can be good for many people, i want to mention that

1. Suicide hotlines (mainly 811) are known for reporting people to police and having them put in mental health asylums (often times unnecisarlly). And staff at these suicide hotlines are often uneducated or rude to callers, or will just not answer or even hang up.
2. Many people in these circumstances do not have access to trained proffesionals. Even if you live in a country with public healthcare, you may be in a situations (mainly abuse) where you cant get access to one either way.

Anyways sorry for the rambling, my brain is tired and i just wanted to get this out there. But based off of the above points, do you think that suicide prevention in society is flawed, and what could be better? While i do agree that it is flawed and there are ideas related to government on how to handle suicide prevention, i do not know what could be done on the individual level. To me one of my only resources apart from seeing other people experiences online is music (mainly Elliot Smith, Linkin park, Soundgarden and Nirvana) which I deeply relate to. But anhedonia can prevent enjoyment of such things.

About a year ago I was approaching 200 lbs. I work from home since pre-pandemic. I used to bike to an office but since then, I’ve moved somewhere less biking friendly. My strategy to tackle weight was intermittent fasting. And it was generally working for ~10 lbs and I stopped weighing myself for a year. And shirts were not fitting me, and then I learned the weight had come all back and more.
I knew enough that the fasting was going to do nothing if I was not telling my body to really use anything it stored up. Serendipitously I read about someone with a recumbent bike under their standing desk, and gaming, they’d wrack up the miles. I realized I needed that setup. I’m someone who just hates to go out of my way for working out.

Found one that was literally a desk chair with a bike under it and ordered it. I went from ultra sedentary to light exercise for ~4 hours a day. I’ve had it for about 2 weeks, and this thing is great. I’m listening to my body and not trying to do it too hard (for those who are concerned). Without every really trying to sprint I’ve been doing 40 miles a week-day. On the 4th of July I tried to see how far I could go biking all day. When I started I could not go anymore at 80 miles. Last weekend I easily knocked out 70 miles. The big thing is breaks. I’m not on a real bike, so there is no problem in taking a 5 minute break to knockout dishes or something. I don’t know if I trust the machine telling me I’m burning ~1,000 cals on my 40 miles, but I know what I am doing is healthy and I’m curious how my body will feel in 6 months or a year.

How do my legs feel? Oddly enough, during the day or after the work out, they’re beat. They seem to feel better by the time I’m ready to ride in the evening so no rest days yet. I’m shocked how much the leg fatigue really goes away once I start riding and focus on whatever is on my PC. Most of the discomfort is really from my bum. It has gone away generally though.
An odd risk I had to solve for myself was that upon pushing away from my desk while on my bike, I nearly topped my standing desk over. This was solved by well-placed PVC pipes and padding locked between the desk and the wall.

What bike do I recommend?
The budget version: https://www.amazon.com/dp/B004O6TXVS/
The one I have: https://www.amazon.com/dp/B0C8MVYLLT (but from their original website)
A cushion that the I book marked when I was doing research: https://www.amazon.com/dp/B01EBDV9BU

When I look up recumbent biking exercises, it’s kind of funny. It’s often recommended for the elderly because it’s potentially such a low intense workout. It’s great in a long duration. I would actually feel guilty spending this much time at the gym, but this method rocks. I have not worked out for this long since playing a Highschool sport. I won’t ever be shaped like a teenager again, but I can work towards it.

:wave: everyone, I've been thinking about where to put non-technical blog posts and what to call them since, so far, I have bookmark/, cheatsheet/, howto/, note/, snippet/ and tutorial/ folders already[1].

I think those cover most of the things I like writing about and I intend to share, but I also enjoy poetry, analyzing movies, political commentary and writing an essay here and there.

Following from that, I kept essay/, poem/ and commentary/ around for whenever I felt like sharing some of my non-technical writings, but I don't like those folders :smile:. They seem way too granular, more akin to tags than categories, both of which are contained in each file's metadata.

Tags, however, don't feel like a "pillar"/category of a Zettelkasten/ramblings/thoughts crate. They're empty at the moment and in draft/, so it's the perfect chance to do some re-structuring and avoid the issues I faced when I ditched blog/category and chose the current structure.

In case you're asking yourself why I didn't put everything in the same folder, as they reflect categories and each .md file has category metadata already, it's because the drafts in draft/ became unmanageable (+120). So, in an effort to give myself an easier way to navigate and edit, I decided /folders were going to reflect the categories that existed. I'm aware it can be that after note #50 or something I have the same problem, and thus it wouldn't have made a difference whether notes were together with tutorials or not. I've decided to deal with that problem when it arises :)

I'd be very interested in hearing your thoughts! Would you keep essay/, poem/ and commentary/ or merge them into something else? note/ are short and wouldn't feel right for longer ramblings. I am not a big fan of writings/ as everything is a "writing", prose/ also doesn't quite fit and so far the only one I've sort of liked is reflection/ since essays, poems, and comments on happenings are the result of reflecting.

/rant over, I know, I'm overthinking it. Let those not guilty throw the first stone :)

[1] I've removed quite a bit of the irrelevant stuff but kept what I believe is relevant, but feel free to ask away in case something necessary is missing.

.
├── bookmark/
│   └── sample.md
├── cheatsheet/
│   ├── sample.md
│   └── sample.md-data
├── commentary/
├── draft/
│   ├── bookmark/
│   │   └── sample.md
│   ├── cheatsheet/
│   │   └── sample.md
│   └── ...
├── essay/
├── extra/
│   ├── archive/
│   ├── blob/
│   └── robots.txt
├── howto/
│   └── sample.md
├── note/
│   └── sample.md
├── poem
├── private/
│   └── sample.md
├── snippet/
│   └── sample.md
└── tutorial/
    ├── sample.md
    └── sample.md-data/
        ├── sample.png
        └── ...

A post for this exists.

I checked, I searched for it first thing and skimmed through the comments. So this should be the end of it. I know you shouldn't make a duplicate post, lest make any kind of post in a different group.

(if you don't know what I'm talking about, click the link at the top, open the article in incognito mode, read.)

As young folk say, idc. I feel this is beyond the scope of the original post as industry talk deserves serious, dedicated discourse. ~talk seems to be the place for this, anything here barely gets the same engagement like ~talk posts; they garner lots and lots... I mean, LOTS of comments. Plus, the WGA writer's strike is still goin on — they been doin this shit for 2 months with tedious media coverage, and have made their presence known. If they can do that, I think I can take a page from their book and post here.

This is not a retread on the Vulture article, not necessarily about your opinions on the work culture Phil Lord creates, etc. If you feel like this post is a duplicate: Don't vote, don't comment! Ignore this post! Revive the original post — you can do it as long as it's on-topic and thoughtful.

This post is about the ripple effects of what that article says, and how it may reflect industry-wide treatment of animators, and even adjacent subcultures and sectors. Take VFX, for instance: Lots of ppl seem to criticise Marvel Studios for their overuse of CGI in their productions, blissfully unaware that Marvel Studios is a bad client to work with.

In other words; this post is meant to discuss Phil Lords in the industry that cause over 100 animators to quit (which I think is too much to ignore). This post is a launching pad for industry awareness, and should hopefully give you the idea to protest in your own way. Don't believe skipping movies will work? It doooooeeeeeeessss~~

So.... what do we REALLY think about the Spider-Verse article on Vulture? What does this truly reveal about the broader treatment of animation in Hollywood? Does Sony raise good points? What are some other instances where a producer or executive caused such upset during the production of an animated movie? What are other reasons or work culture tidbits outside people or moviegoers don't know about? What's it like being an animator working in Hollywood?? What are some labour unions or orgs to look into? What are some novel solutions or fixes that should be pushed by everyone as much as possible?

I was gonna post this on ~talk, but decided last minute not to. If you have read this far (and think this is not a duplicate post), I implore you to vote a/o comment! If this gets to at least like... 40 or 50 comments, that would be so amazing. If not, oh well. But I think it would be a disservice since no matter how small or insignificant this post is, it will help. It may inspire someone here to do something out there, and I think that's more than enough reason.

From what I have seen discussions here seem mostly about published books but I had figured I will try posting here and see if anyone is interested. They have both positives and negatives compared to published/or even just completed fiction but mostly I am interested in them for the higher variance which also means that it is harder to find something good.

Just listing some I liked over the years, both more and less known:

• The Gods are bastards by DD Webb (on hiatus, extremely long) - set in a world in a magical industrial revolution where adventuring as career is all but over it follows a class of students in the University. Contains several other viewpoint characters and ever expanding cast.

• Fall of Doc Future trilogy(and extras) by WD Rieder (on hiatus, very long) - a story about superhumans where the abilities and their effects are treated seriously. Contains some social commentary and several polyamorous relationships in later parts.

• Time to Orbit: Unknown by Derin Edala (ongoing, long) - a psychological mystery/horror set on a colony ship. A colonist wakes five years early to find that the crew is missing and things are wrong. The mysteries so far constantly escalate but in way that mostly makes sense. The culture of this future is detailed and interesting.

• Mother of Learning by nobody103 (complete, extremely long) - a time loop progression fantasy following Zorian - a student mage from a minor merchant family.

• This Used to be About Dungeons by Alexander Wales (complete except epilogues, very/extremely long) - a slice of slice comfy story(at the beginning it slightly escalates later) containing extremely light litrpg elements. Focuses on the group dynamics of a party going to dungeons(sometimes).

What are some good ones that you would recommend?

Hey everyone. I just beat FFXVI and wanted to share my thoughts in case anyone was thinking of getting the game, or if anyone wants to have a good discussion about the game. I tried to make it as spoiler-free as possible, but please do be advised that this could end up accidentally spoiling certain story elements.

Please note, these are just my opinions. I haven't really played any other FF games, so I'm only comparing this one on it's own merits. Please, if you disagree with something, don't lash out at me. I'm just a dude posting this for good fun and have 0 accolades on why I'm qualified to review anything lol

Also, if you're reading this and have a gaming recommendation for me, I am 100% open to it. I've been looking for some new games to play, so if you think of one I might enjoy while reading this, please let me know.

Pros:

• Graphics: This game looks amazing. There were times where I would just walk through locations and really appreciate how everything looked. I don’t do this often in video games, so it’s nice to see a world that felt genuinely awesome to appreciate and admire. You can tell a lot of work went into building these towns/locations, aside from some of the later areas.


• Combat: The combat in this game is great, addicting fun. I know this is a point of contention for fans of previous FF games and how this is a definite departure from the turn-based style, but some of the best moments I had were chaining combos and getting staggers quick. Towards the end of the game, I was able to bring down some of the mini-bosses extremely quickly and it never got old to pull off. I see people saying things like “You just press square the entire time and win” which I don’t agree with at all. If that’s how one chooses to play the game, then you’re actively not engaging with the combat mechanics and that’s on you. The combat can be complex with different abilities interacting with each other to obtain massive damage, that's what I like in a game.

• Story: The story of this game is phenomenal and I was engaged most of the way through. I’ll have some of my thoughts on story-beats below because there were times where this game dragged on, but the overall concept of a nation at war with each other and essentially starting your own faction from the ground-up is a lot of fun. About 50% of the way through, you’ll unlock a mechanic that allows you to see how all the factions have been interacting with each other, what wars were started and why those wars were happening throughout the entirety of timeline of the game. I spent a solid hour reading everything in these menus because I was intrigued by the complexity of everything and how it all tied into other events, and how sometimes your main characters crew were beyond detached from what was going on in the main world to achieve an ultimate goal. It’s really awesome to see what other antagonist are doing despite your current story beat being involved with something else at that moment, and I wish more games would incorporate this because it really works to make it feel like the game doesn’t revolve around you but that you are apart of an overall story.

Cons:


• Eikon battles: For those not in the know, you’ll occasionally transform into a giant beast (Eikon) named Ifrit and take on other giant beasts (Eikons) throughout the story. At first, these were really fun to play and were truly spectacular to watch but as the story goes on, the fights get less and less engaging. In these parts of the game, you really can just press square and win. Aside from dodging, there is practically no complexity or strategy to these fights. There really isn’t strategy with the main combat either but at least with the main combat, you can pull off insane combos. As Ifrit though? Forget about it. The best combo you can do is ‘Square, Square, Square, Square, Triangle’. You do get 2 abilities as the story goes on, but they’re really nothing special. I actually started to play these section how I play Diablo; outheal the damage. I just used the one combo and healed 2-3 times per fight, while closing the distance as much as possible. I guess this is a valid strategy but I can’t imagine this is how the devs wanted these parts to play out.


• Quicktime events: I think QTE’s should stay in the 360/PS3 generation. I haven’t seen a current Gen game utilize QTE’s, let alone utilize them as many times as FFXVI did and it’s these dated mechanics that are definitely contributing to others saying the game feels outdated. There are multiple times where you’ll go up to a door click ‘X’ and it will be like ‘Now hold R2’. This happens a lot in the game. It happens so often that I’m not convinced at all that it has anything to do with enhancing the gameplay and was made simply to show off the Dualsense controls because, whilst I don’t like the QTE, the Dualsense will give this haptic feedback during these parts. I can’t really explain it, but it does occasionally work well enough to be immersive. The other QTE events are during Eikon battles, and they’re literally just ‘Press X’ and ‘Press R2’ in an extremely generous amount of time. There’s also another QTE even where you just mash square endlessly until you win, which reminds me of mini games in Mario Party 1… on the Nintendo 64 nearly 30 years ago. It’s just an outdated design IMO and I would have rather just watched cutscenes than occasionally press a button. I will say though, there was one QTE which I laughed at. There’s a scene where the MC is coming to grips with an important story-beat and the QTE literally says “Press L3 & R3 to accept the truth”. This gave me giant “Press F for respects” vibes, and I don’t know whether they meant for this to be hilarious but it was. This is the only QTE event I thought was good.


• 70% fun, 30% drag: I found the first 70% of this game to be an insanely good experience. Truly next-gen and one of the best action games I have played. The story was engaging, the combat was really fun and the character/world building peaks about here. Afterwards though, not so much. It goes from being a story about conflict between nations but once that resolves, it’s a story about killing God. From here, I really couldn’t care less about the happenings. The people you’re built to dislike from the beginning have resolved story arcs, they introduce new antagonists that aren’t super interesting and it’s just an overall slog the last 30%. Also, that’s a specific percentage, but when I found myself wanting the story to wrap up, it was right at the 70% mark. From what I’ve read/watched about the FF series, it seems like a few of the games have this inevitable drop-off and can get pretty convoluted, but what I can say is… that first 70% was some of the best gaming I’ve had in a while. The last 30%, not so much.
 The ending of the game was great though and I hope that we get a continuance of this story later on.

Random Thoughts:


• Side-quests: I’ve seen people saying the side-quests are generic MMO like side-quests and I flat out disagree. First off, I think the only reason anyone is making the MMO comparison is because the same team that made FFXIV (an MMO) created this game, so it’s low hanging fruit and easy to criticize without putting in any effort. The side quests are not any different from any other RPG game I’ve played. Most side quests in most RPGS boil down to “Talk to this person, go kill this thing, come back and get a reward”. I have played very few RPG’s that didn’t have these as a majority of their side quests. Even something as recently as Diablo 4 has primarily only these types of side quests. I don’t understand why people give FFXVI so much flack, but I just don’t agree. The side quests are more about world-building and getting to know what your average person existing in this world deals with. You’ll learn backstory about your companions you wouldn’t know otherwise, get various upgrades/mementos and really get to know the world you are playing the game in. I’m not saying that some of these side quests aren’t just “Go talk to this person, then talk to this person and win”, because there are some that are really that simple, and if that’s not your thing then that’s okay, but I seriously don’t understand why people are giving this game flack for doing the same things that every RPG has done before. Just seems unfair IMO.


• RPG Mechanics: This game should have either added more RPG mechanics, or leaned into the action style and got rid of them entirely. There is no point in leveling up in this game. You don’t get rewarded for leveling up. It happens automatically and you don’t get to distribute any skill-points or anything like that. You literally don’t get anything but new weapon unlocks and an increasing number. I have never played a more shallow RPG. You get Ability Points which can increase your Eikon powers, but somewhere down the line, you just start stockpiling these because you have nowhere to spend them. Sure, you can unlock more abilities and increase those powers, but why would you do that? This game has obvious skills that are significantly stronger than other skills, so why would you use those other skills? I’m sure if I experimented around, I can find some great ways the skills I never used can interact with each other, but why would I when the ones I use now are already doing massive damage? IMO, they should have just leaned into the action gameplay and did away with the RPG mechanics. I know this is FF and FF is an RPG series, but the RPG mechanics are insultingly bad in this game and I can see why FF take offense to it. I do, and I’ve never extensively played any of the others. They could have at least added damage modifiers, resistances, etc that you can spend Ability Points on. By the end of the game, I had 8000 unspent Ability Points because there was just nowhere to spend them once you've got your play style.

Overall, I'd give the first 70% a 9/10 and the last 30% a 7.5/10.

See title. I thought this might make for an interesting topic and I can't see one like this in the search, so...

What sorta got me thinking about this - a couple days ago, I noticed that Dying Light 2 got a sizeable update, with a pretty heavy emphasis on changes to the game's parkour mechanics. I absolutely loved the first Dying Light, as well as both Mirror's Edge games - parkour and other kinds of momentum-driven gameplay are my jam - so that got me curious enough to check it out again, for the first time in a year.

I played for a few hours, got some of the way in, and... felt pretty underwhelmed. It certainly feels better than it did last time I played, and the change to retain momentum during parkour moves does feel pretty nice... but it still feels far too slow and floaty to me. It feels awkward and unresponsive to me. On top of that, the combat updates - while I actually appreciated DL2's changes to the combat over DL1's (a major gripe I've always had with DL1's combat is that sometimes zombies take just one or two hits and sometimes they take twenty, and I have never been able to detect any kind of pattern to it - combat level, game progress, weapon damage, etc., none of them seem to impact it so I have no idea what's up with it), playing it again now... left me feeling pretty disappointed.

I booted up DL1 for the first time in a while the next day, just intending to compare how it feels - and I've since found myself drawn several hours into it. Even in the first half hour of the game, where your climbing's super slow and everything, it feels so much more snappy and reactive - it feels good. And while my previous gripes with its combat are still present, it feels so much better to me now than DL2's does (for the most part - fighting human enemies still sucks). I can't quite put my finger on what it is, but there's just something really visceral and satisfying about it that DL2 doesn't have.

As I've been playing DL1, as well, I've been thinking about its story again. As much as it's maligned for its story, I think it's actually a really interesting subversion and deconstruction of expectations in a lot of ways - while that could be a thread (or video essay, I've thought about it) of its own, the way I see it: despite how the intro and story set him up, Crane actually fails pretty hard at being a hero until towards the end. I mean, the very first thing he does is take a crowbar to the back of the head, get bitten, and get someone else killed. It's a pattern that continues throughout most of the game (and even The Following, I'd argue, even though I don't care for it much). I find it pretty memorable beecause of that, even if it falls flat in some places.

Meanwhile, Dying Light 2... I honestly couldn't tell you much about the story? It didn't leave any kind of impact on me at all. I'm not really the kind of person who plays games for their stories very often (unless it's something like Ace Attorney where that's explicitly the point), and I have to admit that I went into DL2 with low expectations to begin with (I held off getting it at launch because of Denuvo, by the time I did pick it up reviews were already fairly negative; and I tend to view "your choices really matter!" in advertising as a huge red flag so that wasn't a good sign either), but even so. It might be in part because I actually quite liked DL1's ending - I found it pretty refreshing for a post-apocalyptic zombie game - so DL2 throwing that out didn't sit well with me from the get-go (also part of why I'm not too keen on The Following, but that's a different matter).

Overall, it just sorta left me thinking about how... even though I'd tried to go in with tempered expectations - all I really wanted was a fun zombie-flavoured parkour game, where climbing and jumping and swinging and stuff felt fluid and rewarding - I still found myself left feeling pretty hollow about it, even after an update that allegedly addressed some of my biggest issues with the game. It's especially frustrating, because the Inner Circle (I think that's what it was called, I can't remember - the second city map) is really, really cool and I would absolutely love to just aimlessly run around it... if the movement didn't feel floaty and awkward. Stuff like climbing to the top of the VNC Tower felt exhilarating and awesome - I could catch a glimpse of something excellent there, but it was so outweighed by everything else.

So... Yeah. I dunno, I thought this'd make for an interesting question. Have theere any been any sequels you've played that left you feeling underwhelmed, in comparison to the previous game? If so, why?

alright maybe some part of me just wants to ask this so i'd have an excuse to waffle about dying light and its story a bit but still i think it's an interesting topic nonetheless
EDIT: formatting

I was nervous to post this in ~news, because it's more of a question than a story, but here goes.

I'm looking to turn down the temperature, pace, and volume of my news consumption habits, as well as limit how much time I stare at a screen (I do that enough professionally). I've recently experimented with subscribing to fewer, higher-quality news sources and getting them delivered via RSS*. This works pretty well, but I'm still left looking for something even slower. Something like a weekly news publication, which is delivered once a week in a print format that I can read away from a screen.

I've subscribed to Sunday papers in the past, but it's too much and there's a lot in it - I think I'm looking for a little .. less. A slimmer publication, fewer pages. Almost as if someone selected the top five to seven stories covered on the Wikipedia current events page in the week, then wrote a few thousand words apiece on each. Something I can make it through with my coffee on Sunday mornings in a few hours.

Does anyone do this or have recommendations? If so, what do you read and how would you assess that publication? I think I've tried a fair number in the past, but I will take anyone's suggestions. Thank you so much in advance.

--
*I use Reeder for macOS / iOS - which is great btw, and it's shocking how much of the modern web still supports RSS. Highly recommend folks reconsider RSS in general.

I love microtonal music. Ever since discovering the concept about 6 years ago, I’ve become deeply fascinated by alternate tuning systems and have sought out and listened to microtonal music wherever I can. Most people I’ve talked to are not familiar with microtonal music, or have had a bad experience with it, so I wanted to make a post that explains what it is, and how one might appreciate and eventually acquire a taste for it, along with providing a variety of examples to choose from. All discussion related to microtonal music welcome!

What is microtonal music?

In short, microtonal music is any music that contains notes or intervals not found in the standard Western tuning system. Of course, this invites the question: what is the standard Western tuning system? If you are a musician, you are probably intimately familiar with it: the division of the octave into 12 equally-spaced steps, to which we typically give letter names like C or E flat (etc.). Most people come to unconsciously use these notes as the baseline for determining whether a note or interval is in tune or out of tune.

However, there is nothing intrinsically ‘correct’ about the Western tuning system. In fact, by some standards, it can be quite out of tune. If you listen carefully, you may even notice that our major thirds are ‘wobbly’ - the notes come close to a 5:4 ratio of frequencies, but the interval is about 14 cents too wide, which causes a subtle wobbly sound. We find these slightly ‘off’ intervals acceptable in part due to sheer familiarity. But it turns out, you can familiarize yourself with almost any interval!

There are a great many ways to design a tuning system that produces notes and intervals which are different from what we’re used to. Some of these might be more ‘in tune’, others less so. And there are even those that are in tune with respect to ratios that don’t even exist in the Western tuning system. As a result of these unfamiliar features, microtonal music may give the uninitiated listener the general impression of being ‘out of tune’. But if you give it a chance, it may surprise you - the only way to develop the familiarity that governs taste, after all, is to keep listening.

I think it also helps to know a bit about different tuning systems, to ‘see what’s going on under the hood’, so to speak. This conceptual familiarity may eventually support a degree of aesthetic familiarity.

Tuning Systems

Equal Division Tunings

Where the Western tuning system chose 12 steps, we can also divide the octave into some other number of equally spaced steps. These tunings are often referred to ‘EDOs’ (Equal Division of the Octave) - e.g., the Western tuning system could also be called 12-EDO.

Globally, perhaps the most common EDO (other than our very familiar 12-EDO) is 24-EDO, which is used by many musical traditions in the Arab world, such as Turkish, North African, Persian, or Arab itself. Conceptually, 24-EDO is interesting because it ‘contains’ all the notes of 12-EDO, plus 12 new notes exactly in between the other 12. As a result, it can be used to play all the intervals we are familiar with, and music which strongly relies on this feature is definitely on the more accessible end.

I tend to refer to 24-EDO music as simply being ‘quarter-tonal’ (the 12 semitones of 12-EDO being divisible into 24 quarter-tones). This distinction is useful since in many cultures, quarter-tonal tunings are not precisely 24-EDO, but some slightly sharp or flat variation of the general 24 notes per octave structure. It can be hard to distinguish the two, so ‘quarter-tonal’ is probably most accurate.

You could divide the octave equally into any number of notes, though - I’ve seen as low as 5 and as high as 500. Each has a unique sound depending on what intervals the division produces. Some EDOs, such as 19-EDO, 31-EDO, and 53-EDO produce very similar intervals to what we have in 12-EDO. Played with some restraint, they can be difficult to distinguish from 12-EDO, though they also have the option to play unfamiliar notes as well.

Other EDOs, such as 17-EDO, 22-EDO, and 27-EDO sound quite different from 12-EDO, producing lots of unfamiliar intervals while ‘missing’ ones you’d expect to hear in 12-EDO. And finally, there are of course EDOs such as 10-EDO, 13-EDO, 23-EDO (and many more) that produce few truly ‘good’ sounding intervals. Nevertheless, this doesn’t stop people from trying to extract something decent-sounding from them!

Just Intonation

In short, just intonation is the practice of tuning different intervals to exact ratios of frequencies. Instead of trying to accommodate or work around ‘out of tune’ notes you might find in EDOs, why not just make every note perfectly in tune, after all? The result of this is notes that harmonize perfectly with each other, even if these harmonies are at first unfamiliar to the untrained ear. Often, just intonation produces intervals or whole chords that have a very clear, resonant quality.

The downside of this, though, is that since the notes do not equally divide an octave, you cannot simply transpose scales and chords to a new key. You may have made everything in tune with respect to, say, B flat, but it may turn out that with respect to D, the ratios are far more complicated and their sound commensurately dissonant. To compensate for this shortcoming, a lot of just intonation music tends to play in only one key, or perhaps a few related keys. Certain genres of music, such as drone music, or modal examples of rock and folk, better lend themselves to this technique.

There are many possible tunings within the broad category of just intonation. Usually a musician selects, say, 9 different notes that form specific frequency ratios with each other, and limit themselves to that. So describing specific just intonation tunings often comes down to a list of ratios, which can be hard to interpret without experience in microtonal music.

Free Intonation

Enough of ratios and equal divisions - maybe you just have a particular sound in mind, and you’ll know it when you hear it. This practice of tuning notes semi-arbitrarily, is known as free intonation. The notes chosen may simply sound good to the musician playing them, and at times they may even come close to the just intonation ratios. At other times, they may be chosen because they are out of tune. Maybe the ‘beating’ quality of out of tune notes provides a desirable texture, or maybe a certain ugliness itself is desired.

Free intonation per se is somewhat less common than the other two categories of microtonality. However, some musical traditions are actually more similar to free intonation than anything else, the difference being that instead of the ‘ad hoc’ quality of free intonation, the specific tunings are passed down from generation to generation.

Examples of cultures that use non-just, non-EDO tuning (for lack of a better name) include Indonesian gamelan music, Georgian liturgical music, and lots of different types of African and Asian music, just to name a few. If you needed proof of the notion that microtones are, in principle, capable of becoming familiar, even ‘normal’, these long-lasting traditions of unsystematically tonal music should suffice.

Examples

After listening to a lot of microtonal music, some good, some bad, some very bad, I have amassed quite a collection. Below I have listed what I feel to be prime introductory examples of microtonal music in a variety of genres. A lot of it is very approachable to people unfamiliar with microtones, and I hope you can find something you enjoy among the albums listed.

Of course ‘microtonal music’ is such a broad category I can’t hope to be even close to exhaustive. In many cases I am summing up a huge subcategory (such as Turkish psych rock or Arab dance music) with one or two representative examples.

For any other fans of microtonal music out there, please post your favorite albums or tracks! I’m sure there is some great stuff I’ve missed, and I would love to expand my collection further.

Rock

Altın Gün - On
YouTube / Bandcamp
Altın Gün - Aşk
YouTube / Bandcamp
A lot of Turkish folk music uses a tuning similar to the quarter-tonal tuning used in the rest of the Arab world, and a lot of modern Turkish rock music (especially starting in the 70’s and 80’s) features these same tunings. I think Altın Gün is probably the best example of the ‘Turkish Psychedelic Folk’ style from the past decade or so. Some songs on these albums, in part or in whole, focus more on the normal Western tunings. But pay attention to the vocal parts and the baglama (similar to a guitar) and you’ll hear lots of quarter-tonal inflections. These two albums are a very accessible introduction to quarter-tonal tunings, in my opinion.

Balungan - Kudu Bisa Kudu
YouTube / Bandcamp
This album is a juxtaposition of Javanese gamelan music (explained in detail at the very bottom of this list) with RIO-style avant-rock (featuring the drummer of French band Etron Fou Leloublon) that uses the more typical 12-EDO. Bombastic and strange without being too inaccessible.

Brendan Byrnes - Neutral Paradise
YouTube playlist / Bandcamp
Brendan Byrnes - 2227
YouTube / Bandcamp
Brendan Byrnes has some excellent microtonal rock music which generally uses a lot of electronic elements as well (synthesizers, digital effects, and occasionally drum machines). Sometimes this recalls synthwave, but genre-wise it’s very much its own thing. He uses a variety of tunings, particularly 22-EDO, but also 27-EDO and just intonation, among others. His guitar work fuses these exotic tunings with fluent, articulate playing that is a joy to hear.

Compro Oro - Simurg
YouTube / Bandcamp
Another great modern example of Turkish psychedelic folk, from a psych / funk / fusion band whose other albums do not use microtones (most of them exploring a more ‘Ethio jazz’-influenced style). As with a lot of music in this style, the microtones often play a more ornamental role, which makes them more accessible to the uninitiated listener.

Feeding Fingers - Do Owe Harm
YouTube playlist / Bandcamp
Some very fresh-sounding post-punk / darkwave that uses quite a diverse selection of exotic tunings (listed on their Bandcamp page). This album has that dour, ‘Joy Divison’ sound, and the use of microtonality alternately lightens the sentimentality or darkens the menace that music in this genre evokes.

Horse Lords - Interventions
YouTube / Bandcamp
Horse Lords - Comradely Objects
YouTube playlist / Bandcamp
Horse Lords are one of the most exciting, interesting microtonal rock bands out there, in my opinion. They primarily use just intonation tuning, and a lot of their tracks even use other compositional elements to point out the mathematical features of this tuning (for instance, using a 3 on 5 on 7 polymeter, with instruments that play the 3rd, 5th, and 7th harmonics of a note). Polymeters and polyrhythms are a regular feature in their music, and along with other cool techniques such as hocketing, change ringing, and repetitive riff structures reminiscent of North African music, they serve as a fascinating, unique vehicle for exploring just intonation. These two albums are probably the best examples, but pretty much everything this band has put out is excellent.

King Gizzard & The Lizard Wizard - Flying Microtonal Banana
YouTube playlist / Bandcamp
King Gizzard & The Lizard Wizard - K.G.
YouTube playlist / Bandcamp
King Gizzard & The Lizard Wizard - L.W.
YouTube / Bandcamp
King Gizzard is probably one of the biggest-name artists on this list, and while only 3 of their albums (out of like 20-something) are exclusively microtonal, they are a great example of heavy psych rock or garage rock that draws a lot from Turkish psychedelic rock. This is some high energy rock music for dropping acid and kicking ass. Flying Microtonal Banana, which marked the point at which I personally got very into microtonal music, is almost entirely based on the microtonal ‘Huseyni’ scale most common to Turkish folk music. The other two albums on this list have more variety, but still employ the characteristic quarter-tone tunings.

The Mercury Tree - Spidermilk
YouTube playlist / Bandcamp
Some very aggressive prog rock using the curious 17-EDO tuning. The sound of this tuning is very different from the standard 12-EDO, which gives this album a dark, otherworldly sense of harmony that fits its angular melody and unconventional rhythms. And yet, the vocal parts are very smooth and natural sounding, which is an interesting contrast. The Mercury Tree have several other albums using this tuning, but I think Spidermilk is their best work.

Secret Chiefs - Book M
YouTube / Bandcamp
Extremely eclectic music (featuring members of the bands Mr. Bungle and Estradasphere) that employs Arabic-style quarter-tones. The band wanders between folk traditionalism, speedy electronica, swanky funk rock, and industrial metal with each subsequent track, but somehow the aesthetic is all of a piece. Some really great musicianship here as well, especially the violin parts (in my opinion). A few of the band’s other albums feature microtones but I think this one is the most cohesive and approachable.

Ventifacts - Ventifacts
Bandcamp
A duo consisting of the frontmen of The Mercury Tree and Jack o’ the Clock, who play rock music which heavily features the hammer dulcimer (of all things). Stylistically, you could call it progressive rock, leaning towards acoustic but still quite intense in places. Some of the songs use quarter-tones, but others use such tunings as 10-EDO or the 17-EDO favored by The Mercury Tree.

Yossi Fine & Ben Aylon - Blue Desert
YouTube / Bandcamp
Israeli hard rock / world rock which uses the standard Arabic quarter-tone tunings. Heavy desert vibes, with simple, approachable riffs and microtonality that is way out in the open, but still very accessible.

Metal

[syzygy] - [escape]
YouTube / Bandcamp
10-EDO is a pretty wild-sounding tuning, and [syzygy] works it beautifully into some stoner doom metal. This EP unrepentantly embraces the out-of-tune feel that this tuning has, but it was surprisingly easy for me to acquire a taste for. It helps that the singer belts out a very strong performance, exactly nailing those hard-to-grasp notes. Not necessarily for beginners, but rewarding if you can get into it.

Agonanist - The Cynicism of Solitude
YouTube / Bandcamp
Atmospheric black metal with extra creepy microtones (I’m pretty sure it’s 17-EDO but I couldn’t find any information about it). The microtonality is a good fit for the genre, where the extra-dissonant parts find themselves buried among blast beats and guttural roars. Yet at times, the tuning provides a melancholic feeling that is softer than you might expect. Really interesting stuff, especially if you’re already into black metal.

Cryptic Ruse - Unfertile
Bandcamp
An impressively heavy sludge metal album featuring the super dissonant 23-EDO tuning. Cryptic Ruse has albums with other tunings, but this one is especially impressive with how well such a strange tuning works. Of course, by any reasonable standard, it’s still extremely bizarre, so tread with caution.

Jute Gyte - Perdurance
YouTube / Bandcamp
Jute Gyte - Mitrealität
YouTube playlist / Bandcamp
If there was such a thing as using quarter-tones for evil, Jute Gyte is it. Absolutely crushingly heavy avant-black metal with hyperspeed blast beats, harsher-than-harsh vocals, and the most dizzying, angular approach to quarter-tones possible. These two albums are a good place to start if you like the sound of pure madness. The liner notes on the Bandcamp page for Perdurance explain a bit of the (really crazy) compositional approach.

Kostnatění - Úpal
YouTube / Bandcamp
Blackened death metal that incorporates microtonality through the usage of fretless guitar. A lot of the microtonal sections seem to roughly follow quarter-tones, but there appears to be some free intonation stuff as well. It’s a surprisingly accessible album, at times seeming to draw a bit from (Slovakian?) folk music. A really catchy release, overall.

Last Sacrament - Enantiodroma
YouTube / Bandcamp
Death metal using the 16-EDO tuning. Interestingly, this tuning preserves the tritones and minor thirds present in 12-EDO, so it’s a good fit for a genre that heavily relies on these intervals in its riff structures. At times it almost just sounds like regular death metal, though there are plenty of places (such as guitar solos) where the microtonality shines through.

Scarcity - Aveilut
YouTube playlist / Bandcamp
Atmospheric black metal using 72-EDO. With high-numbered EDOs like this one, you get so many intervals you can approximate almost anything you want, which allows this album’s droning guitars to be quite consonant - when they want to be. Long song structures allow for very gradual development of harmony, and it’s all underpinned by blast beats and screams like you might expect from the genre.

Victory Over the Sun - Nowherer
YouTube / Bandcamp
Blackened sludge metal using 17-EDO. Really dissonant, not only due to the standard screams and guitar distortion, but also along with sections that are kind of minimalist and not overwhelmingly distorted - rather, just written to be intentionally kooky and compositionally abrasive.

Electronic

Aphex Twin - London 03.06.17 [field day]
YouTube / SoundCloud
Aphex Twin is a pretty big name in electronic music in general, producing stuff in the IDM / drum & bass / acid genres, but a lot of his music is also microtonal. The London 03.06.17 EP is one where pretty much the entire thing uses microtones (I’m not sure of the tuning; it might be free intonation), but you can also find a healthy dose of microtonality on several of his other works, including Syro and Analord.

FASTFAST - New Color Bomb
YouTube playlist / Bandcamp
Bright-sounding funky synthwave which uses a wide variety of tunings. Very accessible, with some really refined-sounding, psychedelic vocals which gives even the most electronic tracks a slightly more organic quality. A lot of the chords are nearly the same as you’d hear in 12-EDO, but the changes between them occur over microtonal intervals. Neat stuff.

Lynyn - Lexicon
YouTube playlist / Bandcamp
Hyperactive drum & bass / IDM music that occasionally incorporates microtones (sometimes quarter-tones, other times more of a free-intonation thing). These harmonic qualities really fit the wonky, glitchy sound of the music, at times playing almost more of a textural role - as a result, it’s a very accessible album if you like the genre.

Omar Souleyman - To Syria, With Love
YouTube playlist / Bandcamp
The music of Omar Souleyman is like something you’d hear at a Syrian wedding party. Quarter-tones are common to most forms of pan-Arabic pop music (a huge category that would of course be hard to effectively summarize), but I’ve found that I keep coming back to this album, among others that Omar has recorded. Incredibly fun dance music (‘dabke’) with a sort of cheesy 90’s techno vibe.

Sevish - Harmony Hacker
YouTube playlist / Bandcamp
Sevish - Morphable
YouTube / Bandcamp
Sevish is a big name among electronic microtonal hobbyists, and for good reason. Bright, uber-synthetic timbres are used on these albums to deploy a wide variety of equal temperament and just intonation tunings. Alien sounding for sure, but the fun, pop drum & bass approach keeps the overall experience pretty approachable. Sevish is probably many an internet-dweller’s introduction to microtones.

Trauma Triad - A North Facing Window
Bandcamp
I feel awkward promoting my own music here, but I do honestly think my album of quarter-tonal IDM / fusion is actually pretty decent and worth a mention. Primarily using electric piano and 808 style bass synthesizer, I tried to explore quarter-tones from a more harmonic and less modal perspective. A more detailed explanation of the harmony is included with the (free!) Bandcamp download of the album, for any deeply interested parties.

Jazz

Amir ElSaffar - Rivers of Sound: The Other Shore
YouTube / Bandcamp
This album explores a combination of contemplative spiritual jazz and quarter-tonal Iraqi folk music. The large ensemble provides a huge diversity of instrumental texture, and long song structures provide a chance to let the microtonal harmonies sink in before proceeding through the sprawling yet gentle improvisation. A must for any jazz lover.

Firas Zreik - Salute
YouTube playlist / Bandcamp
The first half of this album leans towards quarter-tonal Palestinian folk music, while the latter half develops more into actual jazz. The star here is the kanun, an instrument similar to a dulcimer, which Firas absolutely shreds. The mastery of this instrument on both a rhythmic and harmonic level is really impressive. Overall quite accessible and entertaining.

Giorgi Mikadze - Georgian Microjamz
YouTube
The full album doesn’t seem to be available on YouTube or Bandcamp, but one track should at least give you a taste of the truly unusual Georgian folk harmonies. Neither equal temperament nor just intonation (nor even an approximation of either), this is some extremely strange sounding stuff, especially combined with some spacey instrumental timbres. Yet it’s ultimately buffered by a more familiar jazz fusion stylistic approach, complete with virtuosic solos and skittery rhythms.

Land of Kush - Sand Enigma
YouTube / Bandcamp
This album features Arabic quarter-tone styles worked into large ensemble avant-jazz. The addition of multiple vocalists is also rather unique. At times, the music swings like you’d expect, but a lot of the music here is more textural and experimental. There are sections of fiery free jazz, creepy noise-sculptures, and much more.

Mike Battaglia - Sweet Lorraine
YouTube
While I try to focus more on albums than individual songs, this cover song from YouTuber microtonalist Mike Battaglia is particularly fascinating. Using a stride piano style that gradually works in more and more quirks of the 31-EDO tuning, it perfectly toes the line between detuned honky-tonk piano and truly intentional microtonality. Mike has a bunch of other neat microtonal covers on his channel if this provokes your interest.

Ambient / Electroacoustic / Folk / Classical / Etc.

75 Dollar Bill - I Was Real
YouTube / Bandcamp
Incorporating the quarter-tonal aesthetic of North African music, 75 Dollar Bill deeply plumbs the idea of desert folk for this really excellent, wide-ranging album. Many of the tracks are in a sort of meditative near-ambient style that highlights the subtly-amplified guitar. In others, hand percussion and occasionally other instruments (e.g. viola, saxophone) push lightly in the direction of rock. Overall an extremely relaxing album.

Basiani Ensemble - Georgian Polyphony Singing
YouTube
I bet you didn’t think you’d be listening to microtonal Georgian church choir music today, but here you are. As I explained for ‘Georgian Mikrojamz’ above, Georgian folk tunings are quite otherworldly, but here as a solemn purely vocal performance they acquire a strange profundity that is hard to describe. Some of the tracks use typical 12-EDO harmonies, but about half of them have these odd, resonant microtones that probably sound even better in a huge space like a church (I imagine). Start with tracks 2 and 5 if you want just a taste.

Duane Pitre - Omniscient Voices
YouTube / Bandcamp
Ambient electroacoustic music primarily featuring piano. The very slow pace and gentle, quiet sound are very conducive to hearing the details of just intonation tuning, whose exactly tuned ratios produce intense and evocative ringing sounds. A great album for relaxation or meditation, in my opinion.

Guillaume Costeley - Seigneur Dieu ta pitie
YouTube
Guillaume Costeley was a 16th century French composer, and one of the first Western examples of experimentation with microtones - particularly, he used the 19-EDO tuning, which is good at approximating similar intervals to 12-EDO, but gives new options for key changes. This video is a brief composition of his, played on microtonal organ, along with sheet music and a more detailed explanation of how this tuning works. Fascinating stuff.

Julia Reidy - World In World
Bandcamp
On this album, just intonation tunings are played using only almost exclusively clean electric guitar, using heavy reverb, delay, and looping to create some expressive, mystical soundscapes. The almost tactile textures produced are sometimes rather dark, though never sinister. At other times they are bright and expansive, though no less quiet and intimate. Another great relaxation album.

Methods Body - Methods Body
Bandcamp
Electroacoustic avant-rock that uses free intonation to create harmony that is bizarre yet curiously organic-sounding. You can hear the warbling texture of the intentionally out-of-tune intervals in a lot of these tracks, which fits the earthiness of the acoustic instrumentation. A lot of the tracks also have a danceable groove to them reminiscent of some free intonation African music. Methods Body also recently released an album called Plural Not Possessive that is an even more low-key, ambient example of some of these features.

Sound Tracker - Gamelan
YouTube
Indonesian folk music, also called ‘gamelan’ music, uses some very unusual tunings - neither equal temperament nor just intonation, but some idiosyncratic set of intervals cooked up long, long ago. In addition, gamelan ensembles pair up instruments that are tuned slightly differently, so when they play in unison you get a beautiful, ‘shimmering’ texture. Unfortunately, there are not a lot of high quality recordings of purely traditional gamelan music. This is probably the best one I’ve seen, and it also lets you see some of the musicianship involved in actually performing the stuff.

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)

Bit of an odd question but one I'm becoming a little self conscious of.

I posted a thread earlier today on ~LGBT asking people to share their experiences of coming out. Because it's a somewhat sensitive topic and sharing your experiences can be a little vulnerable I've been taking part and interacting with everyone who's shared their experience.

Im being sure to try and actually contribute, bring my perspective and continue the conversation, and importantly thank people for being open about something that can be difficult.

My problem is that I worry that this is a habit I'm bringing over from Reddit that's perhaps not suitable for Tildes, but I'm not sure?

I generally see it as a good thing when an OP takes active part in a discussion they started, but maybe it's more of a hindrance here?

I'm not sure how I feel, and I'd like to get the opinions of other regular users on what would be appropriate?

Edit: I should specify and make it clear in my case I'm talking about actively replying to most or all top level comments. Not necessarily replies but still a fair number. I worry about crossing a line into just contributing to noise.

I haven't seen a post talking about or sharing pets on Tildes yet. My pets are a huge part of my life, and I'm sure others are the same way. Tell their stories, and post some pictures!

Lily was my wife and I's first pet. We got her at an adoption event, and she was a wonderful animal. Unfortunately, she did not like getting a lot less attention when we had kids. It got to the point where we gave her up to a new home because she was violent with our children. She needed lots of attention, and we couldn't do that for her, she found an only-cat home and is much happier.

Solo was our second pet, and the old man of the house, being now 10 years old with FIV. My MIL fed the neighborhood cats before they moved, and we noticed this guy in terrible condition. He had no chip, and it looks like no home for a while. My wife originally said we would keep him until he got better, then we would put him up for adoption. Instead, we decided to keep him. At night he comes upstairs and lays on me before bed, purring heavily. Best anti-anxiety medicine ever!

Aurora is our newest addition to our family. She's a total goofball and brings joy and silliness to our home. even though she's a Husky, she doesn't "talk" much, but all the other melodrama is still there. She always wants to hold my hand as a sign of affection, and wants all the love all the time, just like she gives. She helps me stick to my running regiment being my running buddy, and has done noticeable wonders for my mental health, something both my parents and siblings have told me.

This month, I have been exploring reddit alternatives due to the ongoing events currently going on the site. It resulted in me requesting to be invited to this site, but I also played around with Lemmy, Kbin, Beehaw, and other sites within the lemmy/mastodon network. The conclusion I have come to is that these federated sites shows a lot of potential into becoming something interesting if proper care is put into it by the community and the mods and admins. But as it is now, it is fundamentally broken, ill-equipped to handle the userbase it has inherited from the reddit fallout, and potentially dangerous if steps aren't taken to protect users and their communities.

The signature feature, greatest strength and biggest weakness of these sites all lie within the "fediverse" (which I hate the term. gives me "metaverse" vibes.) From how I understand it, There are several different instances of lemmy that acts as its own site, hosts it's own content and users, and can have its own rules, features, and restrictions. All the content of these instances can be featured on other instances, basically allowing you to see all the communities, users, and content within the fediverse without having to leave the instance you are on. The admins are also able to restict the content of other instances from being shown on their site, though how this works I don't completely understand, and I'll go into detail later.

Anyway, I figured all this out through a lot of trial and error. When I first tried to search for and join Lemmy, I ended up joining the Canadian instance by mistake, and my feed was mostly Canadian related news and communities. I eventually figured out there were several differences I could join. I ended up joining lemmy.world and kbin because they were the most popular, but I basically had to create sepperate accounts on each.

I started out spending most of my time on Kbin. I was mostly following gaming communities, hobby communities, a few tech communities, and the lgbtq community. one thing I noticed in the comments in some of the lgbtq posts were a lot of transphobic comments. Granted they were heavily downvoted, and there was a lot of pushback from the community members, but they were featured near or at the top of the comments, as if I were sorting by controversial on reddit.

I also noticed there were a lot of pro-Russian articles featured in the news, with the majority of the comments pushing Z-propaganda. Apparently a lot of these came from an instant called lemmygrad, which is a pro-China, pro-Russia instance of lemmy. To the fediverse's credit this particular instance is blocked by most other instances, but it didn't stop me from seeing many of these posts featured, or users from that instance commenting in other subs.

At this point I was starting to get a little skived out. It gave me the same vibes Voat gave me during the reddit migration of 2014. I decided to try lemmy. world instead, since it seemed a little more down to earth. Had a few of the same problems there, though I began to sort some of them out as I began to learn the site better. It was around this time when the news that Beehaw, one of the instances that hosted many of the lgbtq and other communities I followed basically unfederated lemmy.world and a few other popular instances due to harrassment from the instances. At this point I was getting fed up, but thought, maybe I'll stick it out, and just follow Beehaw and Lemmy. world separately. After joining beehaw, I posted some of my grievances on the chat community there. In the end, I ended up getting an inbox flooded with notifications, which I couldn't turn off, many of which were replies from the post ranging from supportive to accusational, to some harrassing DMs. This happened on beehaw, which was supposed to be one of the "safer" instances, but many of the replies came from off the instance, and even from instances defederated by beehaw. What's worse is I even posted one of the means spirited replies as an example, and many people accused me of making it up because they couldn't find the reply itself, which I guess you can or cannot see depending on the instance your on and WHO THE FUCK KNOWS AT THIS POINT!

I ended up deleting all my accounts on the fed instances I had accounts on, except for beehaw, because the interface would often keep infinitely loading. The gripes mentioned above aside, I would frequently have issues with the site breaking, up and downvotes not showing the proper numbers, replies disappearing into the ether, accidentally double posting, seeing infinite amounts of the same comment posted over and over again, infinite loading, and so one, no matter what instance I was on.

At this point I have given up on the fediverse. Maybe if all the bugs are ironed out, and the site(s) are better managed, maybe I might return to it. But as it is now there are just way to many fundamental flaws that get in the way of me getting any enjoyment out of it. And none of the communities ever felt like a replacement for the subreddits I left behind.

That all being said, I have enjoyed my time on Tildes so far, and I think it is due to the fact that it is a smaller and better managed site than anything on the fediverse. The discussions here feel a lot more down to earth, the communities safer. And hell even the disagreements actually worth engaging in. Granted, there are a lot of niche topics missing here because subs aren't community created, but it's nice being able to view a site, and not have to self filter half the site because anything and everything is overloading my feed.

Anyway, forgive me if this was hard to follow. I wrote this at 4am with not a lot of clear direction. Just wanted to get my thoughts on lemmy and the fediverse out there, and why I decided not to stick with it.

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.

Hi all, I'm a recent reddit refugee who is very happy with my transition here. I like the spirit of the community a whole lot and am a fan of the admin approach, which is designed to promote engagement and deep content and prevent a shallow (advertiser-friendly) scrolling experience.

A the philosophy page on content says:

In-depth content (primarily text-based) is the most important

and

In general, any changes to the site that will cause "shallower" content to gain an advantage should be considered very carefully.

I agree with this fully. My thoughts, though, are that there are definitely forms of image post that are not just memes or jokes, and do lead to deeper discussion.

For instance, if somebody has created some art and would like to post it for feedback (or just to share), this feels more like a discussion topic than a 'quick scroll' post. I feel that this kind of image post is 'pro community'. Somebody is posting something they care about and want to discuss.

On reddit, a sub I always liked was ImaginaryMonsters, where people post cool pictures of monster art and discuss them (either original art or properly credited). This is for people who want to admire and discuss artwork. Again, I don't think this necessary falls into the category of 'shallow content'.

So, what am I suggesting?

I think it would be good for the site to actively promote the posting of the right kind of image content in the right places.

My angle is, essentially:

• Some image content does promote depth of discussion.
• This type of content may be quite vital for certain wedges of the community, especially moving forwards as the site grows (and making creatives feel more welcome).
• Rules regarding self-promotion already exist in the Code of Conduct.
• Because of how the web works, it would make sense to have limited embedding of certain images in at least thumbnail format (but it needn't show the full image in the feed like other scrollable 'content' sites). .
• Creating certain groups/subgroups specifically for posting certain types of images doesn't need to be seen as a slippery slope, if the rules are clear.
• There is even the possibility of purging image posts that don't have n amount of engagement within a specific time, so as not to end up with clutter.

I should point out two things:

• I am aware that images can already be posted as links on the site, and I applaud the reasoning for the overall tentative approach. Here, I'm talking about some select subgroups of the site that are specifically for certain types of image posting.
• I don't necessarily think I'm right. I am new here and making observations - I'm thinking about things I'd like personally - I know I don't have all the information to understand the full impact of such things here, but I am interested in knowing what other people think.

So, do you have an opinion on this? Thanks for reading!

Edit:

I just wanted to point out a couple of things based on responses.

• When I mention image posts, I'm not talking about image hosting - that's a whole can of worms - the site already allows links. I'm just talking about image links (with maybe some QoL surrounding that).
• I wasn't totally clear above, I'm not suggesting image posts everywhere, or even necessarily a whole new post type. My first thoughts were about one or two specific, limited subgroups with specific purposes.
• Those concerned about moderation, I understand that angle, but I am keeping in mind this recent post by @Deimos, where they talk about expanding moderation, or even handing it off to individual communities, subreddit style:

If the activity stays at this level or keeps increasing, we will probably need to add more moderators soon.

• Those concerned about feeds being overrun by images, there were thoughts about this from Deimos in the same post:

I think we should probably take advantage of this current high activity level to try moving the groups towards being more independent spaces. This would involve switching away from the current "opt-out" approach to an "opt-in" one, and would probably need updates to a few different sections of the site to support it.

• I also think it's worth mentioning my thoughts above do not preclude having some minimum text requirement along with every image. I agree about not encouraging shallow content, and am attempting to focus on exactly where that line lies.
• Finally, I do want to make it clear I'm not coming here as a new person trying saying "nice site, change it like this!" - which I think some people may have taken this as (I had one or two single-sentence responses). I genuinely like what I've seen so far because of what it is, but am also aware things may well be changing in some other ways already (as per the post I linked). Sorry if this seems like 'another reddit user trying turn us into reddit' - this is not my intent whatsoever, I am just interested in specifically how it could be done in a Tildes way. I am glad it started a half-decent discussion though!

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.

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?

@Deimos can tell us how many bans we've had so far on Tildes. Last count I knew was in the 50s months back, and some of those were the same person - out of 13,000 users. I'm sure it's rising right now, I'm also pretty sure it's still under a hundred, and I don't actually care if it's 1500. (Edit: It was four new bans, omg so nazi.)

If you take the time to learn something about social forums, you'll discover that 1% of the users cause 90% of the problems. Tildes will ban that 1% aggressively. Act like an asshole, attack someone, and you will find the door. You do not however have to tiptoe around like there are landmines here - nobody is going to ban you unless you start attacking other users or trolling all the time. You are in fact allowed to swear here, just not at people. Take a lesson from Louis Black - rants are best when aimed at inanimate objects. :)

Have you ever been to a nice big social party? Did you act like an asshole there? Did the bouncer throw you off the balcony? Probably not. That's because you didn't punch people in the face, piss all over the kitchen floor, or set the living room rug on fire while you were there (I hope). Try pretending that this is a real world party and adjust your behaviors accordingly. It is really not that difficult. Extend people here the same courtesy at a minimum that you would for a real world social gathering - maybe even go as far as you would for a black tie affair. The rest of us would appreciate it, I promise.

I'm sure by now most of you know about /r/redditalternatives. It's an old subreddit that has been collecting links to anything and everything even remotely like a social site for years that came out of the 2015 blackouts. Most of their favorites are long dead, and most of the ones they love now will be dead in a few years. They've been telling us we would be dead in two months for the last five years - which tells you how much their average user knows about social software. They are not exactly well read on the topic.

They are a useful link archive, and also a place for people to whine about the bans they've earned from other websites, or to shill for their own websites. Plenty of astrotrurfing for lemmy and squabbles going on there. Some of you folks are over there right now trying to sell them on Tildes, or worrying about the complaining about the bans.

I'd advise you not to waste your time commenting in that place. They do not want us there shilling, and you will never convince a redditor of anything due to the mindfuckery that place has inflicted on its users for decades. Let them be. Everyone who gets banned here (or on most other sites) posts a thread about it over there, and always has - this is tradition now. Laugh at it, like I always do. It's Shawshank all over again - everyone in there is innocent, lawyer fucked them.

Tildes was linked in the /r/videos post, which was #1 on reddit and why Deimos has an inbox taller than mount everest today. The 'secret' is out now. You do not need to go into forum warrior mode and try to defend Tildes. That's what your instincts are telling you to do, because 'tribes' are a thing, but it's not the right course of action. I guarantee you will have a better day if you just go for a ten minute walk, right now, rather than posting on reddit.

Frankly, bettervanilla's big collection here is the only useful thing to show up in that place in years, so good on them for giving that place a purpose again.

If you do want to help out, then use your invites. It's better if you pick, rather than just emails and invite threads. You do realize if Deimos tops everyone up to 5 codes, that's almost 100k new invites available and almost 20k people who can send them out, five at a time. This place is already past the point where it can die from the evaporative cooling effect, which did in fact have us on ice for a while there, but that's over now.

Look for conversations not where people are looking for alternatives, but where people are talking about real forums, pining for the old days of the internet, deep discussions, and complaining about cat posts and low effort content. Those are the people who will thank you for telling them about Tildes. Let's not be the same spamming, astroturfing jerks that every other website has become.

Edit: I take it back, this is also a remarkable post about the fediverse's moderation problems and I wish that place had more discussions of that nature. Also, Deimos says he banned 4 people in the last week, out of thousands of new users. Clearly, we're being unreasonable. :P

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.”