My friend and I embarked upon a journey over the past few months to create a tabletop board game. The interesting part is that we were motivated by the emergence of generative AI and the capabilities it had in rapid prototyping concepts. On a whim we said, let's see how far we can push making a board game. We pushed Midjourney, ChatGPT, and a variety of creative tools to help build the foundation for our game. We both have design chops and are into diy, creative design, and 3d printing, and technology to help get this thing past the finish line.

We are now at the point were after many iterative sessions, we have a functional and fun to play game! Our intention is to give it away as a free downloadable that folks can 3d print and paper print all the parts so they can play too! Huzzah! We are balancing the rules and creating the instructions which is not something we are relying on AI aside sticking to the theme. We are in search of inspirato on what makes gameplay fun for folks today.

Question What are the most fun, exciting, or challenging aspects of any tabletop or board games you play? What keeps you engaged?

EDIT
I didn't give many specifics on the game itself, and figured it might help. Remember we used AI to come up with this storyline. The prompt was to write a story for a "Sci-fi Christmas Horror" board game...

The basic premise is that you are attending a party at the North pole celebrating the research of Dr. Frost on ancient Christmas magic. Predictably things go bad, and you have to find your way out before it's too late and you are killed by a troop of Christmas themed monsters.

The games objective is to work together to escape the facility by collecting sleigh parts, fighting monsters, navigating a maze in dark hallways, and visiting special rooms to solve puzzles. It's all kinds of ridiculous but fun it its own way.

Pretty much the title. We all play all sorts of games, and they generally are all good games. However, every once in a while you start a game that just hits the right notes and you hate putting your controller or device down, and you can't stop thinking about things you want to do when you get back in front of that game. I figure we could post up our current addicting games so others can search them out as well :)

My current addiction is Frostpunk. Got it on a whim from the Steam Summer sale, and my Lord am I addicted. It's a really good (to me) post civilization survival game where you try to establish and rebuild life with a new world around you. Surprisingly challenging and the scenarios are very fun. I bought it 2 weeks ago and have 63 hours into it.

https://kffhealthnews.org/news/article/nonprofit-hospitals-tax-breaks-community-benefit/

POTTSTOWN, Pa. — The public school system here had to scramble in 2018 when the local hospital, newly purchased, was converted to a tax-exempt nonprofit entity.

The takeover by Tower Health meant the 219-bed Pottstown Hospital no longer had to pay federal and state taxes. It also no longer had to pay local property taxes, taking away more than $900,000 a year from the already underfunded Pottstown School District, school officials said.

The district, about an hour’s drive from Philadelphia, had no choice but to trim expenses. It cut teacher aide positions and eliminated middle school foreign language classes.

“We have less curriculum, less coaches, less transportation,” said Superintendent Stephen Rodriguez.

The school system appealed Pottstown Hospital’s new nonprofit status, and earlier this year a state court struck down the facility’s property tax break. It cited the “eye-popping” compensation for multiple Tower Health executives as contrary to how Pennsylvania law defines a charity.

The court decision, which Tower Health is appealing, stunned the nonprofit hospital industry, which includes roughly 3,000 nongovernment tax-exempt hospitals nationwide.

“The ruling sent a warning shot to all nonprofit hospitals, highlighting that their state and local tax exemptions, which are often greater than their federal income tax exemptions, can be challenged by state and local courts,” said Ge Bai, a health policy expert at Johns Hopkins University.

The Pottstown case reflects the growing scrutiny of how much the nation’s nonprofit hospitals spend — and on what — to justify billions in state and federal tax breaks. In exchange for these savings, hospitals are supposed to provide community benefits, like care for those who can’t afford it and free health screenings.

More than a dozen states have considered or passed legislation to better define charity care, to increase transparency about the benefits hospitals provide, or, in some cases, to set minimum financial thresholds for charitable help to their communities.

The growing interest in how tax-exempt hospitals operate — from lawmakers, the public, and the media — has coincided with a stubborn increase in consumers’ medical debt. KFF Health News reported last year that more than 100 million Americans are saddled with medical bills they can’t pay, and has documented aggressive bill-collection practices by hospitals, many of them nonprofits.

(article continues)

The other day I created a post here to evoke discussion around what kind of topics, and community norms we might consider. I offered up initial thoughts to spark conversation and there were a lot of people offerings deep insights. I spent the past few days learning from everyone and reading through comments. I tried to capture the high level take aways in a summary and added it as an edit to my original post. Here is a link to the full thread.

It was suggested I post that summary as a new topic for better visibility and so that's the intention of this new post. This is only the foundation of what we could consider as we evolve the discussions, and it helps surface the initial thoughts and perspectives we have collectively shared.

It's encouraging to see such in-depth and thoughtful conversations on ~life.men. I wanted to take a moment to recap the significant themes I read up to this point. This is high level, so please correct me if I got it wrong, and I may have missed something valuable that needs called out.

Our discussions around Stoicism have been quite enlightening, and we've recognized its potential to encourage self-control and inner resilience. Nevertheless, we've also acknowledged its potential misuse, which might inadvertently promote unhealthy aspects of masculinity. This is a subject that requires more nuanced exploration.

We've unanimously expressed the need for a supportive environment for men of all identities. This includes cis, gay, trans, and men of all other identifications. Despite potential challenges such as toxicity and inactivity, many believe this forum can serve as a respectful and positive space to engage in discussions about contemporary masculinity.

Conversations have emphasized challenging traditional gender norms and fostering inclusivity. There's been a strong consensus against defining masculinity by outdated stereotypes. We've expressed a shared commitment to creating an environment welcoming everyone, regardless of gender identity. We also acknowledge the role of diverse geographical and cultural backgrounds in shaping our understanding of gender, which we deeply value.

The topic of men's role in promoting gender equality has been prominent. We agree on the importance of men as allies in this movement. Tackling the rigid roles defined by patriarchal norms is crucial, as is having open and transparent conversations on these issues. Progress in gender equality benefits everyone - it's not a zero-sum game.

We've also delved into gender norms, roles, and the usage of gendered language. It's been helpful to see such scrutiny of societal expectations and a strong emphasis on promoting universally beneficial values and inclusivity. There's a shared understanding of the complexity of gendered language and how it can both define personal identity and represent broader affiliations.

We've explored varied experiences in male-specific spaces. From the importance of representing all demographics to discussing the challenges of modern fatherhood, we've covered extensive territory. There's a shared commitment to guard against potential toxicity and ensure balance in all our discussions.

We have expressed the importance of focused discussions on men's experiences. Challenging assumptions about masculinity and addressing men's issues from multiple perspectives can impact our society.

I'm new to Tildes and not sure where to go from here. Given all the valuable insights and themes we've gathered, how can we adopt draft guidelines for our community? I suspect we can see how this develops organically, but I appreciate approaching things intentionally. Thanks for all the comments and discussions. It has me thinking much more broadly and about things I hadn't considered.

EDIT
I received early feedback that "guidelines" may be the wrong ask here. The thought was to be intentional and surface a "purpose" for having a men group. Being new to Tildes, I'll defer to community as to what's the right way to move forward. Regardless, I appreciate the conversations and discourse that Tildes brings.

The idea of what it means to be a man has evolved significantly over the last century. We can build a fresh perspective on understanding masculinity beyond the stereotypical confines of strength, stoicism, and dominance. I appreciate Deimos trying out new groups and allowing topics to flourish. I could see this group having healthy discussions about the diverse experiences and expectations of men in today's society.

I envision topics on personal anecdotes, insights, and questions. I wanted to list out a few possibilities for future discussions that are top of mind.

1. The changing roles and responsibilities of men in personal and professional life.
2. The impact of societal norms and expectations on men's mental health.
3. Embracing vulnerability and emotional openness.
4. Men's role in promoting gender equality and mutual respect.
5. The significance of self-care and well-being in men's life.
6. How men can effectively communicate their emotions, needs, and concerns.
7. Relationships, expectations, and stereotypes

While not comprehensive, it's a start of areas we may consider. What are your thoughts on what this group could be?

EDIT - Grammar and Summary 7/9/2023 @3 pm mountain

Hello, everyone. It's encouraging to see such in-depth and thoughtful conversations on ~life.men. I wanted to take a moment to recap the significant themes I read up to this point. This is high level, so please correct me if I got it wrong.

Our discussions around Stoicism have been quite enlightening, and we've recognized its potential to encourage self-control and inner resilience. Nevertheless, we've also acknowledged its potential misuse, which might inadvertently promote unhealthy aspects of masculinity. This is a subject that requires more nuanced exploration.

We've unanimously expressed the need for a supportive environment for men of all identities. This includes cis, gay, trans, and men of all other identifications. Despite potential challenges such as toxicity and inactivity, many believe this forum can serve as a respectful and positive space to engage in discussions about contemporary masculinity.

Conversations have emphasized challenging traditional gender norms and fostering inclusivity. There's been a strong consensus against defining masculinity by outdated stereotypes. We've expressed a shared commitment to creating an environment welcoming everyone, regardless of gender identity. We also acknowledge the role of diverse geographical and cultural backgrounds in shaping our understanding of gender, which we deeply value.

The topic of men's role in promoting gender equality has been prominent. We agree on the importance of men as allies in this movement. Tackling the rigid roles defined by patriarchal norms is crucial, as is having open and transparent conversations on these issues. Progress in gender equality benefits everyone - it's not a zero-sum game.

We've also delved into gender norms, roles, and the usage of gendered language. It's been encouraging to see such scrutiny of societal expectations and a strong emphasis on promoting universally beneficial values and inclusivity. There's a shared understanding of the complexity of gendered language and how it can both define personal identity and represent broader affiliations.

We've explored varied experiences in male-specific spaces. From the importance of representing all demographics to discussing the challenges of modern fatherhood, we've covered extensive territory. There's a shared commitment to guard against potential toxicity and ensure balance in all our discussions.

We have expressed the importance of focused discussions on men's experiences. Challenging assumptions about masculinity and addressing men's issues from multiple perspectives can impact our society.

I'm new to Tildes and not sure where to go from here. Given all the valuable insights and themes we've gathered, how can we adopt draft guidelines for our community? I suspect we can see how this develops organically, but I appreciate approaching things intentionally. Thanks for all the comments and discussions. It has me thinking much more broadly!

I figured I would help kick off this new subgroup by starting a discussion on how people with ADHD try to manage it.

I had a late diagnosis a couple years ago as an adult, and I have been working with a counselor to develop some behavioral techniques (in addition to medication). Not all of them stick, which in my experiences is the primary challenge of this disorder, but I've had good results when I do use them.

Primarily, I have a calendar where I put reminders and plan things out. If I have parts of a project I need to get done, I lay those out and assign them to certain days of the week. Working in academia, I live my life a semester at a time and this helps me reevaluate certain goals and it feels reasonable to me to plan out a few months at a time.

One thing I struggle with when it comes to planning is coming up with accurate estimates of how much time it might take to spend something. This was always a big obstacle in my way when it came to planning things out before - I wanted to know the exact time on how long it took to do something so that my schedule would be perfect. My counselor suggested that I come up with an initial estimate of how long something should take based off my intuition, and then double it (e.g. if I think a task should take 30 minutes, plot it out for 60 minutes of my day). This has been great for me because usually it's a win-win. Often, my initial assessment is underestimating how long something takes, so by accounting for slippage in time I can better chunk out my day. On the other hand, if I do get it done sooner I can pat myself on the back and I now have extra time in the day to get other things done.

I wanna find better ways of trying to stay on track with habits. I've tried some different apps and none are working too well. Recently I picked up Sunsama which has helped in terms of reviewing the day and looking at subtasks, but as I've gotten busy with experiments I've kind of lost track of that. What are some things that you do to accommodate the way your brains works?

The first three episodes didn't quite hit the mark for me, but this felt like proper TOS style Star Trek.

Starfleet messing up the Prime Directive. A villain who is actually a victim. Spock is challenged on feelings versus logic. The overall theme of exploring the importance of personal memories and the straight forward metaphor of fascist regime controlling the people, didn't feel as hamfisted as I have found some of the other newer trek episodes. It does stand on its own as a well rounded singular trek story. I do however still have a bit of a problem with how newer trek seems to like hand to hand combat violence so much. Feels unnecessary in most cases.

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

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

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

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

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

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

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

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

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

Lox is a toy programming language that is designed in Java and C at craftinginterpreters.com.

My challenge to you is: given the constraints of the Lox language, what are some creative or advanced programs you can create?

This page provides a rundown of the design of Lox.

To kick it off, here's a simple function that estimates the value of pi:

fun estimatePi(rounds) {
	var pi = 0;
	var alt = 1;
	for (var i = 0; i < rounds; i = i + 1) {
		pi = pi + alt * 4/(2 * i + 1);
		alt = -alt;
	}
	return pi;
}

print "The value of pi is:";
print getPi(100000);

I have been (without paying attention) been reading more and more articles/op-eds etc from substack, usually linked from reddit or as of late, from here on Tildes. I decided to sign up and create an account for myself and found the list of suggested substacks to subscribe to fairly run-of-the-mill and not very enticing.

So, what are your favourite substacks? Which substacks raise topics new to you, challenge your perspectives, captures your attention for longer than intended?

An offshoot of /r/cocktails recently had a weekly challenge of making cocktails with specified ingredients. In lieu of that, I thought it might be neat if you had an ingredient (spirit, liqueur, fruit, etc.) that you've wanted to use in a cocktail, we could workshop potential uses. Alternatively, if you've found something that works (maybe unexpectedly), you can share it here.

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

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

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

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

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

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

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

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

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

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

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

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

Dungeon Crawl Classics

I think this game is great and I was surprised to see nobody recommended it in their non-D&D game lists. At the system level, Dungeon Crawl Classics (DCC) is a rules-light version of 3.5. You never need more than one sourcebook and there are quick-start rules to play for free on the website.

At its core, though, DCC is an old school sword and sorcery setting heavily inspired by the authors of Appendix N. For those not familiar, in the first edition of D&D, Gary Gygax published a list of authors that inspired D&D in an appendix in the back of the Dungeon Master's Guide. It has some obvious ones that I think most RPGs pull from (Tolkien and Jack Vance {of the Vancian magic system}, for instance), but there are also some deeper cuts that I don't think are really leveraged in many tabletop RPGs (Robert Howard of Conan the Barbarian and Solomon Kane, and H.P. Lovecraft). Those last two in particular, pulp-y fantasy writers who defined a genre, heavily influence DCC in my experience.

Aside from this, though, there are a few very unique and fun mechanics that got me totally hooked on this game.

The 0-level funnel and death as a narrative device

Traditionally in D&D, you end up spending the majority of your first session designing and building a character. In my experience, it usually takes around 2-4 hours depending on complexity. This results in mechanically unique characters, but it also ups the stakes for the DM. When was the last time you played a game of D&D and the survival of your character was ever truly in question? Nobody wants to spend 4 hours on their character only to have it killed off in the first play session -- that's not fun. But, in the end, it's also not challenging.

In DCC, it takes about 5-10 minutes to create a character (and there are online tools like The Purple Sorcerer that will generate them by the dozen). Every character starts with a profession (and by extension, a tool of their trade), a random piece of gear, and a block of random stats (3d6 rolled in order, none of these "points" or "4d6 drop the lowest" business). In the first session, you roll 4 of them and you play all 4 in what is termed the 0-level funnel. Over the course of this adventure, 2-3 of your characters will die -- after all, adventuring is a treacherous business fraught with peril -- and your surviving character(s) become level 1. At this point, they get a class and a couple additional abilities.

The core interesting thing to me about this is the emergent gameplay that results. Oftentimes, the character that rolled the best stats aren't the ones that actually survive. A single unlucky roll or an undiscovered trap results in unceremoniously striking down another one of the PCs, whereby they pick up the gear leftover from them and continue on their grim quest. I've seen the character with the lowest luck somehow being the one that survived and it forging a bond with the person playing it unlike anything I've seen in D&D. What did they do to earn that? What is in store for the doomed character that somehow managed to outlast 3 of his fellow villagers? It gives you a ton of tools as a DM and as a player to craft interesting narratives. And it also reminds the players that this character probably won't last forever. That opens the door for dramatic moments involving death that you don't really get to explore with D&D. Magic that restores life is exceedingly rare and would require a quest of comparable bravery to discover.

Magic as a dangerous and unpredictable tool

I've heard some complaints about Vancian magic in other topics and DCC also does away with this, but it does it with two chaotic and, at times, hilarious mechanics: the mercurial magic table and the spell table.

The Mercurial Magic Table

Magic is, by nature, a chaotic tool for the desperate. No two casters cast the same spell in the same way and the mercurial magic table is a representation of that. The first time a character casts a spell, they have to roll on the table to determine how they invoke that spell. There's a big chunk of the table that's just 'as normal,' but there are also things like 'every time you cast this, a digit on your hand or foot disintegrates. Take a -1 to dex for every two digits that disappear.'

How badly do you need to cast that magic missile? Is it worth invoking the unpredictable elemental energies required to do so? Is it worth....your thumb?

The Spell Table

Once you invoke the spell, you roll your spellcasting check and consult the spell table. The quality of your roll (of which there are a couple mechanics to affect this) determines what the spell actually does -- and they can be wildly different! That magic missile might fire a single missile that does 1 damage or it might summon 1d4 that do 1d4 damage each. Your darkness spell might allow you to create a 20' sphere of darkness at a point of your choosing or it might center a 5' magical darkness sphere on you.

Magic is chaotic and difficult to control. But as a result, it is almost always very powerful. Your spell might not do exactly what you expected, but it makes for much more interesting combat and on-the-fly thinking.

Should I play it?

Emphatically, yes! The rules-light nature of the game allows you to focus more on story-telling and mood-setting than being buried in the books all the time (except for looking up spell effects, everyone at the table seems to get excited when we have to do that). The deadly nature of the game has resulted in both better and heavier storytelling than anything I've done before -- stakes without it getting personal, as it were. And the adventure content is awesome -- there are some great resources on Sample Adventure Paths, but even the starting 0-level adventure in the back of the sourcebook is strong. I swear I'm not a shill, I just want more DCC in the universe.

Personally I'm none too keen on this new action focus that SquareEnix has taken the series but many people like it.

What really has me second guessing myself are the graphics. They seem not necessarily bad but dated and/or lower budget than I expect from a main series release. Their character models still suffer from lack of mocap especially facial details. The backgrounds are lackluster and the textures basic. Even during one of their much touted Epic Eikon battles they use a completely gray background?! I feel like my PS5 hardware is taking a nap while playing this game.

Edit: turns out that after adjusting settings on both the game and my TV everything looks much better. For some reason my usual game profile on my TV made everything look super washed out. Between that and the beginning of the game being pretty monotone for the first bit with the game look super washed out and without detail.

One of the main driving factors of the series have always been the progression tree. Historically unique awesome visual representations of the skills you can gain with varying paths to choose from. FF16 has a basic interface that essentially amounts to equippable skills with (so far) no exploratory elements whatsoever.

Lastly the main protagonist seems almost like a clone of final fantasy FFXV character. The clothes are similar, his backstory is similar, and his skills are similar.

I understand that I'm probably aging out of their target demographic and I'm especially curious on younger people's thoughts on it.

Edit: After about 30 hours and almost at the end of the game it has grown on me a bit. The combat while still super easy at least it is more fun with added Eikons. The side missions get a bit better towards the last third of the game and some of the hunts are pretty challenging. I'm still disappointed in the lack of RPG elements such as, skill trees, elemenal and status mechanics, and equipment variety but I've enjoyed the game and can at least appreciate the accessibility to a wider audience.

Are you stuck in a reading rut? Can’t decide what to read next? Overwhelmed by choice? Join me in my reading challenge!

The challenge is simple - read the alphabet. Start by choosing an author whose surname begins with A, next book the surname begins with B and so on through the whole alphabet.

I did this a few years ago after having a baby, and in my sleep-deprived haze couldn’t make decisions easily. The library was too overwhelming and I needed to narrow down my options somehow!

I have additional rules for myself, like I try to prioritise female and POC writers as I find myself tending to read a lot of white men, but it isn’t a hard and fast rule for me - first and foremost it has to be a book I’m keen to read.

I propose organising the comments like this: top line comments will be the letter, replies to that will be the book you chose, plus a short summary or review (even just a rating out of 5 will do) to help others find books they might like, and then people can discuss the individual books under those comments if they like. This keeps everything in one post for people not interested to ignore, and hopefully builds up a nice reference of all sorts of books in one place.

Happy reading!

Edit: I guess there’s a limit on quick comments to avoid spam so we’ve just got the first few letters for now. I’ll come back to complete the alphabet when I can :)

I often engage in thoughtful discussions with my friends regarding our current socio-economic situation, and I find it challenging to discover a more fitting description than the term coined for it.

Wherever I direct my attention, I observe life increasingly being shaped by the well-oiled machinery of capitalism, a system devoid of inherent morals and existing solely to maximize profits for its shareholders.

To me, the notion of "late stage" capitalism implies a bleak future fueled by the insatiable demand for constant and unsustainable growth. This, in turn, hampers our ability to effectively plan for the future, as investors prioritize immediate gains. Consequently, our planet suffers the repercussions through climate change and the exacerbation of wealth inequality.

Moreover, the ruling of FEC vs Citizens United, wherein corporations were granted the ability to lobby as individuals, seems to have unleashed a relentless flywheel that perpetuates and nourishes the insatiable beast of capitalism and greed.

I am genuinely intrigued by the perspectives of others on this topic. If we collectively recognize that we are heading in an unfavorable direction, what steps can we take to regain a more positive trajectory? How can we incentivize prioritizing moral values and environmental impact over monetary gains?

This is sort of a "does anyone else?" type question, but I think it can create some interesting discussion.

We have become accustomed to having many things for free online. Search, social media, news, videos, games etc. The price of course is ads and our personal data. But spending money on these kinds of services that exists for free sometimes feels like a hurdle to overcome. I recently gave the paid search engine Kagi a try, and I spent way too much time pondering whether it was worth the $5. Yet I can spend ten times as much on random physical purchases or a round drinks with only a few seconds of decision making.

Even though we have lived with digital products for decades now, having something tangible and physical between your fingers still feels better. With some exceptions, because most people are paying for streaming services but renting movies in the video store have always cost money, so we are used to that - unlike stuff like search and email which many of us have gotten used to being available for free.

Can this ever change outside very tech-minded people? Because services that rely on subscriptions rather than dataharvesting and ads do exist, but with the exceptions of maybe the big streaming services, few get wider appeal and the masses flock to the so-called free services instead. I find it almost depressing that we have all these brilliant and innovative tech companies around the world doing amazing things, but a good deal of it all ends up with the goal of showing more ads. It is hard to compete with free, but is it possible to challenge the current most successful business model of "paying" with ads and data?

I'm looking for some games I can play with my team at work as part of our next team building event. We're 7 people, so finding a game that can seat everyone is challenging (and we don't want to split tables in this case).

My favorite board game is 7 wonders, which obviously is perfect except for the fact that it's pretty rules heavy and my team is mostly not boardgamers, so will probably be overwhelmed.

Cards against Humanity was also mentioned but is probably not PG enough for a work event.

What would you play?

I really like tinkering with older PC's, trying to make them work for modern usecases which is mostly using web browser.

Anyone else do this here? Or interested in it?

I have old 10" netbook from 2007 or so, it has 1gb RAM and Intel Atom 32bit that barely can handle things. However, I switched it's old SATA hard drive to an SSD, and it is a bit faster at booting now! I also ordered 2gb RAM stick, so maybe that will help it a bit too. It's also running OpenSUSE Tumbleweed 32 bit, but i dont recommend this for linux newcomers since it's a bit different distro.

If you have an old laptop or PC lying around, try breathing life into it by installing a Linux distro like Debian 12. Change a spinning hard drive to an SSD. For even older retro hardware there are even SD card adapters and such, that can work in place of old hard drives.

My goal is to make this tiny netbook good for light web browsing and maybe even scripting on things and having a Matrix chat window open. It's perfect tablet size, but very underpowered, even during it's release, so it's a challenge. But that's what makes this kinda fun! Also it helps tone down e-waste if one can use an old device for modern things.

I recently finished the second season of a hilarious but little-known Canadian animated TV show called Gary and His Demons about a middle-aged, "Chosen One" demon slayer who just wants to retire. The amount of laughs, charm, and animation quality that this show packs into each episode's less than 10 minute run time truly blew my expectations away. I originally stumbled upon it while browsing Mondo Media's channel on the now-defunct VRV animation app and now, tragically, the show is not available to stream anywhere in the US currently. But, it got me thinking...

If I have a few favorite niche shows that are difficult to access or stream, then surely others do as well. I was also inspired by this thread about similarly obscure video games.

The other show that immediately comes to mind for me is GameCenter CX, a precursor to the traditional "Let's Play", in which Shinya Arino, a Japanese comedian, attempts to clear brutal retro games in one sitting. I randomly came across the show while searching for unique Nintendo DS titles and browsing the Wikipedia page for "Retro Game Challenge", a curious title that I assumed was shovelware. The game is actually very good and now the show is one of my favorite cozy and comfortable shows to just chill out to.

So, what are your favorite treasured and unique TV shows? I'm looking for mostly for shows that are not easily available on traditional streaming services or physical media, but feel free to suggest very underrated shows as well!

So I was wondering if anyone else here is an immersive or maladaptive daydreamer.

If you've never heard of those terms, this site describes it pretty well:

[They are a] detailed, vivid and narrative form of daydreaming, featuring complex plots and a cast of characters (either imaginary or based on real people). Daydreams may focus on one scene for many minutes or hours at a time, and usually return to the same story in future daydreaming sessions, so that the plot evolves over weeks, months or years. Often, the topic of the daydream is unconnected to the daydreamer’s real life.

If it helps you get a clearer understanding, I personally like to describe it as never really outgrowing playing pretend. To this day I still call it "playing my game", and I use fictional worlds as a basis (which I then load with tons of original characters and lore of my own design).

The main difference between maladaptive daydreaming and immersive daydreaming is that with maladaptive, it gets in the way of life since you let it take precedence over life. One article I read when I first learned about the terms had someone describe it as an addiction to your own mind, which... Yeah, I think you can see why that's a challenge to overcome.

I personally think I'm more in the immersive category, with some maladaptive tendencies, but I think it's helped me overall more than harmed me. I'm an only child and was "the weird kid", so I spent a lot of time daydreaming as a kid. I credit it with why I'm able to relate to other people so well, and why my sense of self is so defined. I got to do all my self-exploration pretty directly inside the daydreams, and it let me explore a lot of scenarios I'd never encounter in real life. As a writer, I also use it sometimes to explore story ideas and concepts.

The downsides for me personally: I'm definitely able to "disconnect" from reality more easily than others, for better and worse. If I don't have time or space to play for an extended period of time, I can get pretty restless too. Also, music is both my greatest motivator and my bane. I sometimes spend more time trying to find a song to fit a scene's mood than actually daydreaming. I also learned that music can actually drain my energy after working at Goodwill one Christmas. My mom described the playlist as "dirges", which is the best word because those songs were all super slow (minus one high-energy Jingle Bells cover that was honestly jarring). I'd come home from work feeling exhausted.

What about you guys? Anyone else here an immersive or maladaptive daydreamer?

I have a very close friend that has been in the deepest troughs of depression for the past couple of years. They live about an hour away, so though my wife and I try to physically show up to support them whenever we can, that's much less often than we'd like. Their support network is thin, and day-to-day basically consists of only their partner, with whom they live, and who is visibly fraying at the seams.

This person (I'll just call them John for the sake of readability) is currently on medication for their depression and OCD (I'm nearly certain it's Lexapro, can't remember for sure) and has on and off therapy, though they often find themselves at odds with their therapists' perspectives. Some of this is because it feels like the profession has been flooded with folks who lack experience with patients with severe chronic mental illness, and some of this is (I suspect) John's illness distorting their thinking, leading to frustration and anger in the moment that doesn't make sense in retrospect.

John had a particularly bad day yesterday, and after I spent some time with them, we started talking about how they felt like they needed considerably more support than they were able to get in their current situation. Unfortunately, the only option he was aware of was "group homes", which seems like a pretty broad term and I don't know much about what they look like (or how successful they are at helping people like John).

I'm trying to get a sense of the spectrum of options available for people like John who are suffering from severe chronic mental illness. On the one end, there's what we're doing now; regular psychiatry and counseling, and on the other end, I guess, is involuntary in-patient behavioral health/medicine clinics. Being involuntarily committed to such programs has been a source of trauma for them in the past, so I'd like to avoid anything even close to that end of the spectrum, if possible. I know that there are, for example, 90-day rehabilitation centers for folks with substance use disorders (I have a family member that found a lot of success at one of these), but do similar programs exist for folks non-substance-related mental illness? Does anyone have personal experience with any of these programs?

Thanks in advance to anyone who takes a moment to read and share their thoughts; I know this is a really challenging topic.

I’m looking for new things to read, having more time on my hands as I work on some things in my personal life.

No rules, I just want to challenge the way that I think. Anything goes.

Edit: wow, I didn't expect such an incredible response, thank you everyone! I will try my best to grab as many of these that sound up my street as possible, and I will reply properly with my thoughts. Bare with me! <3

I've recently started teaching myself piano again after a long hiatus. I started by picking back up a piece I half-remembered from years ago -- Chopin's Nocturne in E Minor, Op. 72 No. 1 -- and about the first half of it feels right for my current skill level (basically everything up until all the RH 16th note runs start). While that's going great so far, I no longer have a piano teacher to recommend me new pieces beyond just this one, and I'm not entirely sure where to look myself to find things that are interesting without being too technically challenging. Would love a few recommendations from any pianists on here, either for specific pieces to look into and/or for good ways to find suitable pieces more broadly!

Reddit refugee here, I've been posting my book reviews on /r/Fantasy for years and figured some of you all would be interested in a best of list. My full list of all book reviews can be found here, but most of the links are broken right now because the Fantasy subreddit is still private. Still, perhaps the titles, authors and keywords are helpful.

What I enjoy

A brief list of things I care about in books, to help you jugde whether your taste overlaps:

• a good balance of romance and plot, where there is prominent romance but never feels like the story is just about that
• quality prose and dialogue
• believable relationship development, including romantic tension and explicit payoff for it
• high stakes drama, be it interpersonal, warfare, duels, court politics or heists
• LBGTQ+ main characters and queer romance

Note that these aren't the only qualities of the books listed below, just generally what I look for. I'll also gladly take recommendations for fantasy books that fit these criteria if you have any!

Books

Kushiel's Legacy by Jacqueline Carey

A divinely blessed masochistic courtesan and spy uncovers conspiracies against the crown of fantasy France. This series is probably my absolute favorite for how it combines intrigue, romance, kink and action, all with excellent prose and characterization. It has deliciously horny worldbuilding and ends up telling an epic fantasy story with an incredibly unique protagonist.

Silver Under Nightfall by Rin Chupeco

A recent addition to my absolute favorites. The author described the book as "vampire couple finds himbo in the trash and takes him in". If you're not sold on that, imagine a vibe like Netflix Castlevania and The Witcher - vampire hunter who's highly competent but looked down upon, vampire science, undead threat, dark gothic kind of setting, sprinkled with some "who's the real monster actually?" philosophy.

A Dowry of Blood by S.T. Gibson

A Dowry of Blood is about healing from abusive relationships through murder. It's also walks an excellent line between being sexy and horrible. It tells the story of Dracula's "brides", and the beautifully messed up relationship the four of them have.

Note: this one can't be described as having a "romantic subplot", since that implies some sort of happy ending. You know, because of the murder. (that's not a spoiler, it's revealed on page one)

A Charm of Magpies by KJ Charles

A disgraced nobleman returns to England years after escaping his father and finds himself and his family estate haunted. He hires a magician - who happens to bear his family a grudge. The Magpie series is fast paced, highly entertaining, well written, and plays with some delicious power dynamics between its initially hostile and soon reluctantly mutually attracted main characters.

Folk of the Air by Holly Black

The only YA series on this list, Folk of the Air holds a special place in my heart for its delicious fairy court politicking and for not pulling its punches. The titular Cruel Prince is a wonderfully hateable love interest, and even though I feel a few years too old to properly enjoy this series, the stabby and vicious dynamics between the two leads is just wonderful.

Nightrunner by Lynn Flewelling

A young man gets innocently imprisoned and receives unexpected help from his cellmate: a spy, rogue, thief and nobleman. The latter offers him a way out and an apprenticeship, which leads to well... spying and thievery, but also sinister necromantic plots against the throne. The highlight of this series is the ongoing relationship development between its leads. Book 1-2 are fantastic, book 4-5 are really weird, but the whole series remains a favorite despite some strange choices.

Rook & Rose by M.a. Carrick

A skilled con artist, a masked vigilante that challenges aristocrats to duels, and a dashing crime lord turned nobleman. The Rook & Rose series shines in its rich worldbuilding and prose, but especially in its handling of its main characters' multiple secrets, cons and identities. And especially shines when those schemes start crumbling down and some of the secrets become unveiled.

If the third book in the trilogy sticks the landing later this year, this series will firmly establish itself among my all time favorites.

The Stariel Quartet by AJ Lancaster

Years after leaving her family, a young woman returns home for her father's funeral and soon needs to deal with a magical estate that has a mind of its own, and discover that there may be more magic in the world around her than she's realized. The Stariel series is cozy and home-y in many ways, but doesn't shy away from tension either, and I find myself still in love with the main characters even long after finishing the series. I also really enjoyed the spinoff, A Rake of His Own recently!

Harrow Faire by Kathryn Ann Kingsley

Most of the books on here are fantasy with romance, while this one sits more firmly in the capital R Romance genre. But it is dark romance ("villain gets the girl"), and features an absolutely unhinged love interest, a lot of murder, and an evil circus. The series isn't without flaws (some of the side characters get a bit too much page for
how flat they are, and the pacing is a tiny bit uneven in parts), but I blasted through all five (short) books in a week because I had so much fun with it.

The Last Binding by Freya Marske

This series takes place in an early 20th century England where a secret magical society exists in parallel to the world 'as we know it'. There's even a bit of magical British bureaucracy that reminded me of aspects of the Harry Potter books, though the series have little in common otherwise.
Every book in this trilogy follows the same overarching plot, but features a different pairing of main characters and romantic leads. It's queer, fun and fast-paced, though sometimes a bit on the fluffy and romancey side for my taste.

That's just a brief selection of favorites, I highly recommend heading over to the reddit post (I should back that up at some point with Reddit's future being a bit shaky rn) to find more titles.

Thank you for reading! There's lots more to say on each of theses books of course, but I didn't want this to get way too long.
Let me know if you found this interesting, if you have similar books you'd recommend to me, or just share if you also enjoyed any of these books. This is my first post on Tildes and I'm happy to meet new fellow readers :)

I don't know if I'll do this every week but I figured now is as good a time as any to start. With their new show AEW Collision premiering this Saturday on TNT at 8pm Eastern featuring the return of CM Punk, their upcoming Wembly Stadium All In PPV (which is their equivalent to Wrestlemania), and the Forbidden Door collaboration show with New Japan Pro Wrestling, there has never been a better time to jump into AEW. That being said, welcome to the very first AEW Dynamite tildes discussion thread for June 14, 2023! We're returning to the Capital One Arena in Washington D.C., home of the very first episode of Dynamite that I was fortunate enough to attend.

MATCH CARD

World Title Eliminator: MJF vs Adam Cole

After a break from the spotlight, AEW World Champion MJF is stepping back into the ring to face Adam Cole in a high-stakes World title eliminator. Can Cole seize the moment to secure his title shot, or will MJF demonstrate the truth in his claims of a lack of competition?

Trios Match: Blackpool Combat Club vs The Hung Bucks

Riding the wave of their victory over The Elite at Double or Nothing 2023 PPV, the Blackpool Combat Club—made up of Jon Moxley, Claudio Castagnoli, & Wheeler Yuta—are set to square off once again against Hangman Adam Page and The Young Bucks. Can they replicate their previous success, or will The Hung Bucks turn the tables?

Women’s Title Match: Toni Storm (c) vs Skye Blue

In the first defense of her second reign, Toni Storm is up against Skye Blue, the current #1 contender after winning the 4 way last week. Will Skye Blue bring another upset and put an early end to Storm's first "non-interim" reign or will The Outcasts interfere as usual?

TNT Title Match: Wardlow (c) vs Jake Hager

Even as his feud with Christian Cage and Luchasaurus continues, Wardlow has issued an open challenge for his TNT Championship this week on Dynamite. Jake Hager has stepped up to the plate. Can he prove to be more than a practice match for Wardlow or will Wardlow get his win back from their MMA rules match a few years back?

8-man Tag Team Match: Mogul Embassy vs Sting, Darby Allin, Keith Lee, and Orange Cassidy

The Mogul Embassy, led by Swerve Strickland, is set to confront their rivals in a massive 8-man tag team match. Can they overcome the combined forces of Sting, Allin, Lee, and 'Freshly Squeezed' Orange Cassidy?

Additional Information

• Venue: Capital One Arena, Washington D.C.
• Airing Live On: TBS at 8pm Eastern Time

Having finished out the Amazon Prime series "The Expanse" I'm now working my way through the novels and I keep coming up against a problem with with railguns. Specifically, the way that railguns are used in The Expanse doesn't mesh well with the way they're portrayed.

First, some background. Ships in The Expanse are generally unarmored. There are a bunch of reasons for this but the short version is "most things that can hit you in space will kill you anyway" and armor adds mass which makes every manuver more expensive in terms of reaction mass. So no one has armor. This is important because it means that ships in the Expanse can get ripped up by something as mundane as a stray bullet from a Point Defense Cannon (PDC). PDCs are... well, they're guns. Regular guns which are flinging around much less mass and at much lower velocities than railguns.

Thus, ships in the Expanse are equipped to handle impacts but nothing much bigger than a sand-grain moving at a few km/s.

When we're introduced to rail-guns in the series we're given to understand that they use magnetic acceleration to chuck a 5kg chunk of tungsten and/or uranium at a target at an "appreciable percentage of C." That's much faster than a bullet or any micrometeors ships are likely to encounter. Even 1% of C is ~3,000 km/s.

5 kg of Tungsten is less than you think. Some back of the envelope math suggests that's about cube about 2.6 inches on a side... which is not big. That works out to an incredible energy density which would make a lot of sense if railguns were routinely being fired at planets or asteroids but, since they seem to mainly target ships, the vast, vast majority of the energy that goes into flinging that slug at its target is going to carry through to the other side of the ship.

All total we're talking about 488.5 million Newtons of force for 1% of the speed of light. Helpfully, this scales roughly lineraly so long as we don't get too close to C and induce relativistic mass issues, so 10% of C is 4.8 billion Newtons and so on. So, that railgun slug is carrying a lot of energy. At 1% of C it represents 22.5 trillion joules of kinetic energy. Written out long-ways so we can appreciate all those zeros it's 22,500,000,000,000 J. At 10%, we're talking 2.25 quadrillion joules. To give some sense of scale, that means that, at 1% of C, three rail-gun slugs are delivering about as much energy as the bomb that destroyed Hiroshima in 1945. At 10% of C one round carries about 537 kilotons, or about the yield of a modern, city-busting hydrogen bomb.

Those are absolutely titanic amounts of energy but, realistically, they'll never deliver that much power to a target. After all, a railgun round can only push on its target as hard as the target can push back on it. If the round just punches through the entire ship like it's made of paper, most of the energy stays in the railgun slug as it exits the other side of the ship and you get a neat hole rather than a gigantic flash as trillions of joules of kinetic energy turn into heat.

And obviously, if we're trying to kill things, we want the latter. The solution to this problem is fairly obvious: you need fragmentation. While it's great to have a tungsten cube all tightly packed together as you accelerate it, if you're shooting at a ship, you want a fairly diffuse impact, especially if we're talking about a 10% of C railgun slug. There aren't a lot of things out there in the solar system which can take 500 kilotons of hate and come out the other side in one piece. Moreover, at the distances at which a rail-gun fight happens, that spread would help ensure that you hit your target. Like a shotgun loaded with birdshot, a fragmenting railgun round would provide a cone of impact rather than a line, making dodges less effective.

And, as I mentioned earlier, you don't need a ton of mass to make this work. If a PDC round can go straight through a military craft then we can safely assume that a chunk of tungsten with the same kinetic energy will do the same thing. PDCs look rather a lot like the close in weapons systems in use on many naval ships today so we'll use those as a guide. The 20mm cannon on a Phallanx CWIS tosses out rounds at about 1,035 m/s. Those rounds weigh about 100 g (0.1 kg) which gives them a kinetic energy at the muzzle of 53,422 J.

So, if we could predictably shatter our 1% C railgun round into 421,136 pieces, each would have about the same kinetic energy as a PDC round and be able to hole the ship. At 10% C we could go even smaller and do the same thing with upwards of 40 million shards. 1% is plenty though. Each hull-penetrating piece of our original 5 kg bullet needs only weigh about 1/100th of a gram, which works out to being about 1/100th of the size of a grain of sand.

Put another way, if the fragmentation of a rail round could be precisely controlled, a target ship would experience hundreds of thousands of individual hull breaches with the mean distance between them determined only by the geometry of the ship and the angle of the attack. The result of this would be either the delivery of a titanic amount of energy to the ship itself as the armor attempts to absorb the impact or, if no armor is present (as seems to be the case in the Expanse) the rapid conversion of the interior of the ship to a thin soup.

This, however, seems never to happen in the series and what leaves me scratching my head. As a book and TV series, The Expanse does an otherwise bang-up job with hard science fiction. Most things in universe make sense. This, however, does not. We have take as a given that the materials science technology exists to allow the mounting and firing of a railgun on a ship -- there are a lot of challenges there -- but the straight-line-of-fire use of them is a rare problem with the world-building.

Any fans have any suggestions to help me square this circle?

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

• Best Play: “Leopoldstadt”

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

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

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

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

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

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

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

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

• Best Musical: “Kimberly Akimbo”

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

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

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

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

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

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

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

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

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

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

• Best Revival of a Musical: "Parade"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Isabelle Stevenson Award: Jerry Mitchell

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

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

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

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

• Regional Theater Tony Award: Pasadena Playhouse

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

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

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

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

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

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

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

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

Broadway will have an unusually busy summer

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

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

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

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

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

And, so, here we go.

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

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

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

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

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

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

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

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

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

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

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

Be well.

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

For those of you who are new I usually post awards predictions from time to time. Some people seem to like it, at least when it was just a handful of active users.

Anyways these are predictions I currently have for “the guilds” meaning industry awards that are not the Oscar’s. Segmented by different unions. They usually are more populist than the Academy, due to many members being from the TV and commercial world. Whenever there’s an artsy contender that they avoid, the Academy nominates it anyway (Drive My Car, Triangle of Sadness, Phantom Thread being some recent examples that come to mind).

Producers Guild of America Awards (PGA):

1. The Holdovers
2. Killers of the Flower Moon
3. Oppenheimer
4. Dune: Part Two
5. Barbie
6. Past Lives
7. The Zone of Interest
8. The Killer
9. Saltburn
10. Mission Impossible: Dead Reckoning - Part 1

Directors Guild of America Awards (DGA):

1. Martin Scorsese - Killers of the Flower Moon
2. Christopher Nolan - Oppenheimer
3. Alexander Payne - The Holdovers
4. Denis Villenueve - Dune: Part Two
5. Greta Gerwig - Barbie

Writers Guild of America Awards (WGA):

Original:

1. The Holdovers
2. Past Lives
3. Saltburn
4. May/December
5. Air

Adapted:

1. Barbie
2. Killers of the Flower Moon
3. Oppenheimer
4. Dune: Part Two
5. The Killer

Screen Actor’s Guild Awards (SAG):

Ensemble:

1. The Holdovers
2. Barbie
3. Killers of the Flower Moon
4. Oppenheimer
5. The Color Purple

Lead Actor:

1. Paul Giamatti - The Holdovers
2. Cillian Murphy - Oppenheimer
3. Leonardo DiCaprio - Killers of the Flower Moon
4. Colman Domingo - Rustin
5. Barry Keoghan - Saltburn

Lead Actress:

1. Margot Robbie - Barbie
2. Greta Lee - Past Lives
3. Natalie Portman - May/December
4. Zendaya - Challengers
5. Fantasia Barrino - The Color Purple

Supporting Actor:

1. Robert Downey Jr. - Oppenheimer
2. Ryan Gosling - Barbie
3. Robert DeNiro - Killers of the Flower Moon
4. John Magaro - Past Lives
5. Dominic Sessa - The Holdovers

Supporting Actress:

1. D’avine Joy Randolph - The Holdovers
2. Lilly Gladstone - Killers of the Flower Moon
3. Emily Blunt - Oppenheimer
4. Julianne Moore - May/December
5. Taraji P. Henson - The Color Purple

American Cinema Editors Awards (ACE):

Comedic Editing:

1. Barbie
2. The Holdovers
3. Next Goal Wins
4. Poor Things
5. No Hard Feelings

Dramatic Editing:

1. Dune: Part Two
2. Killers of the Flower Moon
3. Oppenheimer
4. Past Lives
5. The Killer

Hello Tildes geocachers! Found any good caches lately? Going in any good trips? Going to the Greater Bay Area Mega at the end of the month? I would love to know, and meet you online! I’d love to learn more about any interesting caches you’ve found lately and maybe we can discuss puzzles and challenges here.

Many of us listen to whatever music strikes our mood, but there are some out there who, in addition to mood, listen to and appreciate music in focused listening projects. It could be a discography of an artist you want to finish, or it could be listening to all the top 10 albums from each year. There's really no end to the listening projects we get ourselves involved in. I'd like to open a discussion about this.

I've been involved in a number of listening/appreciation projects over the years. For example, even though half the year hasn't elapsed, I've already finished my 2023 Listening Challenge, in which I listened to 50 albums on a variety of criteria.

Right now I'm discog diving some of my favorite artists, and the experience has really opened my ears to the lesser-known avenues of exploration. I've completed so many already, satisfying my urge to always be doing something goal-oriented. Right now, for example, I'm listening to The Musings of Miles as part of my Miles Davis discog dive.

So what are you into project-wise? Please share your experiences!