To be brief: St. Walpurga's Eve is the night before May Day, which was one of two big pagan spring festivals observed throughout Europe. According to German belief, this was the night that witches gathered on the Brocken, the highest peak in the north of the country, to hold their unearthly rites. Part of this belief was fuelled by the bizarre optical illusions that one may observe when climbing the Brocken—one of which served as the template for both Walpurgisnacht the being's and Madoka/Kriemhild Gretchen's witch forms.
"Walpurgisnacht" is also a satirical interlude in Goethe's epic version of Faust where in all manner of dreadful creatures based on literary figures from Goethe's time cavort and make asses of themselves. Hence the massive parade of familiars: Walpurgisnacht may not be one witch, but a number of merged witches, or a very powerful and very old one with a multitude of regrets.
So here I am, little me, sitting in grade school. Or slightly older me, sitting in high school.
It's the first week of classes. I don't know at least half (if not all) my classmates, nor do they know me. So we're getting to know each other.
Now, race being what it is, it's sort of unmistakeable. Not "what race you are", but "the fact that you look different", at the very least. I grew up here in the United States. South Florida, to be specific. So there's, not surprisingly, a lot of white people, and some black people. There's also Hispanics, but they actually have pretty diverse appearances and you can't tell them until you learn their names or hear them speaking Spanish. But point is, I look different.
So my classmates ask me, "Where ya from?" They mean my ethnicity, in case that wasn't clear. Still, I tell them that I'm Chinese, but I was born in the U.S.. Even if they haven't cut me off before I've said the second part, they start forming an impression of me after hearing just the first. Or else...why would they have so many questions, like... * "You eat fried rice every day?" * "You must be really good at math! Do my math homework for me." * "ching chong chung wang" * "Your parents own a restaurant?" * [kung fu noises] * "You know kung fu?" * "How come you don't bring chopsticks for your lunch?" * "Can you say [phrase] in Chinese?" (doubly so if [phrase] contains expletives.) * "You like sushi?" (Never mind that that's Japanese, but don't ever assume that white or black Americans can tell the difference.)
And so on. You get the idea.
And it wasn't just at school, or just with first impressions. Even after I'd known them for a while, there was this one family who'd always associate my family with "being Chinese" -- and thus the son in their family would always talk to me about learning about Chinese culture, and ask me if I knew various people in the piano performance world (as we were both piano students), where all the people he mentioned were Chinese. (Needless to say, I didn't know them. I also don't specifically seek friendships with Chinese people.)
Do you know what all this behavior from these people is?
It's offensive.
It's stereotyping. It's presumptively associating me with a bunch of traits based solely on my race/ethnicity. In some cases, it's defining me by my race/ethnicity. Even when it's well-meaning -- such as that guy who wanted to learn more about Chinese culture -- it still feels offensive.
To put it mildly, I don't like it. I don't like being seen as being my ethnicity. I don't like being stereotyped. I'd rather you see me as an individual. And not make me answer all these questions, like I'm some sort of foreign novelty freakshow.
And this is why I say, I am first and foremost a person.Not a culture. Not an ethnicity. Not a skin color. Not a religion. Not a nationality. A human being, and individual person.
And I try to do my best to treat others the same way. Race and culture and nationality and things like that may give me clues as to what they're like, but I should respect them by treating them first and foremost as fellow human beings -- not as their cultures or other traits.
Because honestly, I'm not that different from you. My skin and hair color and facial features do not magically make me not eat, sleep, pee, poop, bleed, shower, walk, run, feel emotions, speak your language, have to deal with homework, enjoy creative media, and much more. I'm just like you. Stop treating me as someone who's oh-so-different. Stop emphasizing our differences.
Oh, and stop attributing differences between us to our ethnicities, and start recognizing that people just vary wildly in their traits.
I don't like talking about my race/ethnicity. Because all it does is distract people from treating me as a individual person. It suggests stereotypes, which I then have to deal with dispelling. No, I prefer hiding it where possible, until I find a useful thing to do with it.
Does it mean that culture is irrelevant to me? No. Absolutely not. The way I was brought up influences who I am. And knowing cultural touchpoints does make it convenient to connect to certain people sometimes.
But does it solely or primarily define who I am? No, it doesn't. I am not merely my cultural background. My cultural background is not represented by me. I'm just myself.
So I don't like it when you think of me as my cultural background.
Correspondingly, I try my best to not think of you as your cultural background either. I try my best to think of you as a person.
Because, at the end of the day, we're all humans, and that's what counts.
(I could say similar things about gender, as well.)
It's a bit hypocritical to argue that a good aspect of something "did not make it as good as it is" while also believing in at-least-partially-additive utility value.
Deng is a game that is played like Uno, but with special rules. It is a variant of Mao. Here are the rules of Deng.
Basic play: 1. Each player is dealt five cards to start, and the deck is placed in the center as the draw pile. One card is turned over from the center deck and becomes the played pile. 2. Play begins with any player and continues to either direction. Play happens when a player puts a card onto the played pile. 3. Players must play a card that is the same suit or number as the card on top of the played pile, unless where such an action would contradict another rule. 4. If a player cannot or chooses not to play a card of the same suit or rank as the card on top of the played pile, that player must draw a card, and he/she passes her/his turn and play continues with the next player that would play after her/him. 5a. When a player has played all her/his cards, that player has won the round, and can create a new rule. 5b. The player who creates a new rule must announce the name of the rule (which may be arbitrary, but it is generally good form to choose a name that relates to how the rule works). 5c. However, the player who creates a new rule shall not announce how the rule works. 5d. The right to create a new rule may instead be used to remove or alter an existing rule, or may be forfeited, or even stored for future use if allowed by consensus. 5e. That winning player also draws five new cards, and all players with more than five cards randomly discard down to five cards. 5f. The player who created this new rule is responsible for enforcement of said rule, at least until other players figure out what it is and participate in its enforcement. A player who does not enforce their rule properly shall herself/himself be penalized. 6. Players must play within a reasonable amount of time, as decided by consensus of the other players. 7. Whenever a rule is broken, the player who broke the rule shall be penalized by having the rule announced and having a card added to their hand, as a penalty, unless as stated otherwise by a rule. 8. If the draw pile runs out, the played pile except its topmost card shall be shuffled and placed face down as the draw pile.
Common rules that shall be followed as the baseline set of rules: 1. Aces reverse the order of play. 2. Eights skip the next person whose turn it would normally be. 3. Threes require the player to play again. 4. Playing any spade requires that the player announce the number and suit of that card. 5. Playing any 7 requires that the player say "have a nice day". The next player must, instead of playing normally, say "thank you" and draw two cards, or play another 7 and say "have a very nice day". If the next player must then say "thank you very much" and draw four cards, or play another 7 and say "have a very very nice day". And so on. The exact formulas are:
let s = number of consecutive 7s that have not been thanked, which is a natural number value
sevenplayer = "have a very^(s-1) nice day"
if next player has a 7, next player can play that 7, increment s by 1, and recite the proper phrase as a sevenplayer. if next player does not have a 7, or chooses not to play her/his 7, then next player becomes a responder.
responder = "thank you" and draws 2 cards if s=1 "thank you very^(s-1) much" and draws 2s cards if s>1
and then s resets to 0. (If 7s have been "thanked", then they are considered dispelled, since s has been reset to 0.)
6. Jacks are "wild": a player playing a jack shall immediately name a suit upon playing said jack. If he/she does not, any other player may name a suit. The first suit so named shall become the active suit; no card not of that suit may be legally played next (unless this is changed by another rule). 7. Playing the exact same card (when using multiple decks or non-standard decks) requires saying the name of the original game, which is "Mao". 8. When one's hand changes in size (such as by playing a card in the normal course of play) such that one only has one card left in one's hand, one must announce that they have only one card left, such as by saying "last card". 9. When a player plays her/his final card and thus would win the game by doing so, he/she must say the name of the original game. If he/she fails to do this, two penalty cards are given (unlike the usual one penalty card) to her/him.
[16:05:57] <GMH> i've always beenw ondering how Super Mario RPG's Bundt's HP worked [16:06:00] <GMH> it doesn'tw ork like normal [16:06:11] <GMH> it gains some recovery every so often that re-lights a candle [16:06:19] <GMH> and your job is to blow out all the candles [16:06:41] <GMH> i think each [some amount of damage] deals one candle's worth of damage to it [16:07:02] <GMH> i wonder if it may be implemented in some unusual way not too unlike how Son of Sun did it in Chrono Trigger [16:07:48] <GMH> <-- this hack makes it even more confusing [16:07:49] <Omnipresence> URL: [www.youtube.com] Super Mario RPG Armageddon #20 - The Wedding Ceremony - YouTube [16:07:55] <GMH> it seems that there's 9999 HP of pre-candle HP [16:08:09] <GMH> and then there's no set amount of HP damage per candle, but instead [16:08:20] <GMH> there's probably a set amoutn of HP that has to be dealt with BEFORE candles can be unlit [16:08:26] <GMH> say something like [16:08:28] <GMH> it has 1000 HP [16:08:40] <GMH> if HP goes to zero, then don't remove that unit [16:08:53] <GMH> but instead, every subsequent hit unlights one candle [16:09:12] <GMH> but NOT every subsequent increment of X amount of damage, just every subsequent hit [16:09:44] <GMH> but then every time it takes a turn, re-light 2 candles and restore 1000 HP (not shown explicitly) [16:09:51] <GMH> so then that 1000 HP shield gets regenerated [16:09:54] <GMH> that's interesting. [16:10:01] <GMH> that reminds me of the shields in mega man battle network [16:10:33] <GMH> also, this hack apparently skips the whole Raspberry part of the fight [16:10:42] <GMH> i guess it was deemed to be kinda boring in comparison [16:10:44] <GMH> heh
[02:18:09] <GMH> so i was recently arguing with people about the notion that there's "shovelware" clogging up Steam's store.i think i'm encountering a similar problem with both anime and gaming. [02:18:38] <GMH> a lot of people play a lot of games, or watch a loto f anime. [02:19:40] <GMH> they play/watch something, and then move on quickly to something else, then move on quickly to yet more something else, etc. [02:20:17] <GMH> so as a result [02:20:29] <GMH> there's (1) a lot of comparing games to other games, or anime to other anime [02:20:55] <GMH> and (2) not being particularly attached to any particular game, or series [02:21:00] <GMH> on the other hand [02:21:07] <GMH> i play games and watch anime slowly, compared to these people [02:22:07] <GMH> so (0) i always have other interesting experiences to look forward to, in contrast to those people who've played a lot of stuff and thus feel tired of things like cliched trends in concepts [02:22:53] <GMH> (1) i focus a lot more on what it is i am watching or playing at the moment, by itself, rather than thinking about it in the context of other shows -- and besides, i also enjoy immersion [02:23:42] <GMH> and (2) i do enjoy being particularly attached to a story, and i tend to be of the opinion that i should treat each story as its own special thing, unless otherwise directed [02:24:07] <GMH> maybe less so for games, but in the case of games, i'm also not very willing to jump to conclusions and such [02:24:42] <GMH> so as a result, you might get something like, say, people complaining that there's a lot of 2d indie platformer shovelware on steam [02:24:44] <GMH> but my perspective is [02:24:47] <GMH> if i haven't played the game [02:24:53] <GMH> i won't know if it turns out to be a hidden gem [02:25:31] <GMH> for example, is it at all possible to determine, from looking at screenshots, trailers, and store description, that the game Mutant Mudds has a very, very well-designed difficulty curve? [02:25:35] <GMH> no, it's not possible [02:25:57] <GMH> but so basically [02:26:32] <GMH> one shouldn't declare something to be shovelware or otherwise dismiss something unless one has an adequately-high standard of proof of it [02:27:35] <[name redacted]> does Shovel Knight count as shovelware? [02:27:53] <GMH> also, the idea of sayng how good a show is,... [02:28:19] <GMH> honestly, i don't get it when people say that something can be good without one liking it, or something can be bad but one can still like it. [02:28:22] <GMH> i mean, i get that notion [02:28:33] <GMH> but that presumes that there's an objective standard of good and bad [02:28:42] <GMH> no, what's actulaly happening is that there are different modes of enjoyment [02:28:56] <GMH> some of them feel more guilty or socially inacceptable than others [02:29:01] <GMH> that's all [02:29:58] <GMH> and among those, people haev different amounts of desire for these different modes. like how i pretty much never enjoy anime for its outlandishness [02:30:21] <GMH> [name redacted]: no, for either of two reasons: [02:30:46] <GMH> 1. it is a well-designed game [02:30:50] <GMH> or [02:31:05] <GMH> 2. despite being a 2D indie game, it achieved critical and consensus social acclaim [02:31:16] <[name redacted]> yes, well, I was just making a feeble joke. [02:31:22] <GMH> i know [02:31:34] <GMH> but i just wanted to point out the two schools of thought on this [02:32:09] <GMH> i'm of the first -- a game can be well-designed and shouldn't be dismissed for being 2D or indie or whatever other labels one dislikes. [02:32:43] <GMH> the other, on the other hand, presumes that stuff is hipster indie shit or other derogatory terms applicable to whatever it is they're talking about, until proven otherwise [02:33:15] <GMH> it's okay to be not interested in a certain type or style of game [02:33:41] <GMH> it is not okay to dismissively criticize it just because you don't like it [02:34:14] <GMH> so the proper perspective is to acknowledge that, those things that one does not enjoy, are simply things that one does not understand how others enjoy [02:34:36] <GMH> understand, on a level deeper than merely thinking about it, but on a level like emotionally "feeling" it. [02:34:51] <GMH> now it's okay if you don't have this understanding. another word for this is "taste". [02:35:19] <GMH> but you are no worse nor better than anyone else for having a different set of emotional understandings. [02:36:15] <GMH> is there a lot of shovelware on steam? maybe. i am in no position to judge it. [02:36:44] <GMH> anyone who claims to be, without having played or read up in detail about the games they're talking about, is a windbag. [02:41:49] <GMH> but yeah. i'm not sure i can agree with statements like "even if someone enjoys it it can still be shovelware" or "a good show can be something you don't enjoy". [02:42:14] <GMH> BUT my disagreement is not not because of any specific relationship between quality and enjoyment [02:42:32] <GMH> rather, it is because i don't really see a way to define quality outside of enjoyment [02:43:30] <GMH> okay i'm done
also if you're gonna say "well you just don't know anything because you don't play/watch enough games/anime so you don't know when stuff sucks"
but if i'm supposed to consider each work by itself, then how does watching more stuff influence my judgement of it, other than introducing unwanted bias anyway?
so it shouldn't even be relevant
in most cases, an enjoyable narrative should be enjoyable no matter whether i'm seeing something like it for the first time or for the nth time
i can understand that something can require context to enjoy -- for example, excel saga
or in the case of games, games that require knowledge of genre conventions in order to get used to the playstyle quickly
so there's a possibility that enjoyment can be INCREASED by prior experience, based on the needs of the work in question itself by its own design
but is there any reason that something should -- and NOT by its own design -- have its enjoyment potential DECREASED by prior experience?
no
that's just "i don't feel like it"
which is perfectly fair
"i'm never in the mood for this anyway" is perfectly fair too
but "i don't feel like it" and "i'm never in the mood for this anyway" do not equate to "this is bad"
enjoyment of a creative work is not correlated with quality
but NOT because quality is its own thing
rather, because quality is just a shorthand for enjoyability under certain modes of enjoyment, subjectively chosen, and doesn't exist in objective form on its own
The purchase and consumption of entertainment-related items are generally regarded as superfluous to human survival and economic advancement. However, scholars have noted an uptick in spending on entertainment-related goods and services in times of economic distress [CITATION NEEDED], hypothesizing a potential link between their consumption and psychological mechanisms for coping with stress, and challenging the assumption of their "superfluousness" and any associated assumptions about their being a normal good (i.e. demand rises when price rises).
In my experience as a student two different U.S. universities, one which is regularly regarded as a top-ranked institution and another which is not, I have anecdotally observed that the prominent display of paraphernalia related to entertainment franchises -- such as wearing t-shirts or backpacks conspicuously related to videogames and TV shows -- is more common among the student body of the latter institution. I had previously expected that the reverse might be true, because students at the former institution are probably more likely to come from wealthier families, and also because this particular institution has a reputation for "geekiness", implying some degree of overrepresentation of niche interests as compared to the overall U.S. average. In contrast, the latter institution is a public university with itself a larger student body. (The notion that private institutions have students from wealthier backgrounds may not be true -- it was contradicted by an interviewee apparently familiar with the world of postsecondary education and its funding, on today's Diane Rehm show.)
Focus
This proposal aims to take some basic steps in examinin the much larger picture of socioeconomic background and consumption of entertainment media, by looking at the correlation between an institution's rank in the U.S. News and World Report rankings of colleges and universities and the prevalence of entertainment paraphernalia on their campuses.
Methods
The prevalence of entertainment paraphernalia on campuses of postsecondary institutions will be sampled in two ways: 1. incidence of spotting paraphernalia. A knowledgeable team of observers will be deployed to each campus and instructed to observe and record sightings (and hearings, if relevant) of paraphernalia, over a four-hour period, during the afternoon, on a day with clear weather. 2. incidence of ownership of paraphernalia. Students will be randomly chosen from the student body and the interviewed individually, to determine how many pieces of displayable paraphernalia they own.
For analysis, observations will also be divided into subsamples based on the following factors: * season of observation (relevant to way #1), which is roughly correlated with temperature and thus fashion choices. * undergraduate or graduate student interviewed (relevant to way #2).
This proposed study does NOT mean to validate the U.S. News and World Report ranking system, and makes no judgement as to whether it is useful, correct, accurate, or meaningful. It is used solely as a convenient proxy for [I'M NOT ACTUALLY SURE WHAT].
pertaining to a star-centered monarchy (17) item worn by royalty (9) money rightfully gain (homonym) (9) toothed and round (8)
how to solve:
all the clues refer to things that have something related to sinning in their title. in the cases of the example clues: (sins) OF A SOLAR EMPIRE (guilty) CROWN CASSHERN (sins) (guilty) GEAR
take the nth letter of the phrase INCLUDING the extra word. note that the nth letter cannot be taken out of the clued phrase without the extra word. this last bit may or may not be a good idea. maybe it could be done for some clues but not others.
in this example, the solution is thus sins of a solar empiRe guilty crOwn casshern Sins guilty gEar
[quote=Zetikla;620712999988791125][quote=Quint the Coffin Princess;620712999988292571]And you know what, this is why it's better to not play these item-trading games, and ignore the community features, and heck, just buy DRM-free altogether. [/quote] If somebody wants to buy drm-frer games they can go to gog.com
Personally Im quite happy with what we have on steam [/quote] I have bought games from Steam, GOG, Desura, GamersGate, Humble Store, Humble Bundle, Indie Gala, Gala Store, Indie Royale, Groupees, Bundle-in-a-Box, Green Light Bundle, and Playism-Games.
Of these, the following offer DRM-free games: * Steam (sometimes, but it doesn't say) * GOG (always) * Desura (mostly) * GamersGate (sometimes, but it'll tell me) * Humble Store (usually + Steam key) * Humble Bundle (usually + Steam key) * Indie Gala (sometimes) * Indie Royale (mostly + Steam key) * Groupees (mostly + Steam key) * Bundle-in-a-Box (now operated by Groupees) * Green Light Bundle (rare) * Playism-Games (mostly + Steam key)
I am happy with this diversity. Allows me to get awesome discounts AND frequently DRM-free stuff.
The only stuff I usually compromise about DRM on are big-name IPs that I don't have much choice about. And even then, still, I'd prefer to get them on GOG, just to support DRM-free releases.
Huge, huge props go to Nihon Falcom for letting XSEED release their games on Steam (Steam CEG DRM), Humble Store (DRM-free + Steam key), and GOG (DRM-free).
The areas labeled "?" and "T" are entire areas too.
"T" stands for Tower. "odd 30s", "even 30s", and "60s" are placeholder names. So is everything else, really.
In addition to the areas indicated here, there will be a Subterranean Waterway connecting to multiple areas, complete with ferrymen who will serve whoever pays them. The subterranean waterway will be replaced by a Sky Walkway in one of the castles, complete with moving walkways like those in a modern-day airport, but instead of connecting areas from below, it will connect areas from above. In yet another castle, there will be an underground train system replacing the waterway, having stations at multiple buildings, and of course, having haunted trains. (You may have to stop one of them with some brute force.)
Also, the dots refer to a relatively linear subterranean area known as "Hell", which cannot be traversed without protection from fire. In one castle, this will be "Frozen Hell", which cannot be traversed without protection from cold.
So in total there will be 19 areas in each castle.
Over four castles, that will be a total of 76 areas.
Additionally: * in the third castle, the Haunted Carnival (in the Power Plant location) lies above the Catacombs, which means that there are two areas there. Though the Catacombs might be short, let's count that as a separate area. * in the third castle, the Arena of Illusions is actually two parallel-universe areas that alternate the player between each other every time a room transition is crossed. Thus, in terms of workload, this means a whole 'nother area. * in the fourth castle, the Mine of Judgement is the surprise final dungeon that lies below the Stairway / Throne Room area. Even though the latter may be short, let's count this as a separate area.
there are five degrees of hints, three of which are meaningful.
0. completely abstruse - impossible to get in any reasonable fashion. for example, the exact colors of a large series of pixels at different times on a screen. these hints are useless and thus rarely considered hints. more like search criteria, at best. 1. something that only someone actively thinking about it would get. for example, a relatively obscure (and rarely focused on) but meaningful detail in a TV show, which someone who is actually thinking of the show would likely recognize but someone who knows but isn't thinking of the show wouldn't. kinda like taking the hint and running it against a rolodex of possible answers in one's head. admittedly a sort of irritating sort of hint, when by itself, since it still feels like a degree 0 hint if you are given no other hints and/or your mental RNG doesn't suggest the target. 2. something that someone who knows it could get, but someone who doesn't know it is unlikely to get. for example, an important detail that is known to be important by people who've seen a show, but holds no meaning to those who haven't seen it. 3. something that someone who doesn't know it might still get. generally, hinting at outward appearances, such that people who aren't intimately familiar with something but have run across it before would get. for example, hinting at the name of a TV show. 4. simply outright saying what it is. like degree 0, this is another degenerate category.
The camera pans out and now views the entire auditorium as a tactical battle map.
Your main playable character, of course, is the boy who sang very well. Your first ally, of course, is the teacher, though she's off the stage and can't reach you immediately. Your antagonist, of course, is the girl who wants to be Dorothy and threatens the teacher.
The other students present side with either you or that girl. On higher difficulties, more of them side with that girl.
That girl obviously wants to to go tell her mom about this incident. You obviously want to stop her. However, she obviously doesn't want to be stopped. So her AI tactic will be to move toward the door, but also put up a fight. The way she does is that every turn she will lay a mine on the square she stops at, and/or use ranged/melee attacks to try to rebuff you. On higher difficulties, she has an ability to push opponents away, and may even counterattack with this counterattacks with an ability that pushes opponents away.
You are a wimpy kid, so you don't have any ranged attacks. But because you're a wimpy kid, you also can run fast. You can catch up to her and deal some damage.
The teacher, who is a Nu Mou, should be able to deal more damage. Thing is, though, once the girl reaches the door, she opens it and calls for her mom, and within three turns, her mom shows up. Her mom's character class is PETA Member, which has abilities that are particularly effective against Teacher units. Also, if her mom shows up, you'll have to defeat both her AND her mom.
(In case you're wondering, this track plays for even more dramatic battles, such as you and your friends against a gang of bullies, on a street corner.)
* fuck regret/danger: fuck intensifier: fucking direct insult: fuck you vocative insult: fucker, fuck (uncommon, usually with other words) dismissal: fuck off, go fuck yourself surprise/confusion/bewilderment: (what) the fuck, holy fuck(ing shit) (by extension of/analogy to "holy shit", rare in shorter form) strict meaning: verb: to have sex (not most common usage) special: fuck up (cause undesired results), fucked (subjected to very unfavorable circumstances, or expected to be such) minced as: screw (sometimes), fudge (rare)
* ass regret/danger: (none, but may be combined with other foul words) intensifier: (none) direct insult: (none, but may be combined with other foul words) vocative insult: ass (uncommon), pain in the ass dismissal: (none) surprise/confusion/bewilderment: (none) strict meaning: bottom/behind (body part) (most common usage) minced as: butt, behind, arse (equivalent in UK)
* asshole regret/danger: (none) intensifier: (none) direct insult: (none) vocative insult: asshole (most common usage) dismissal: (none) surprise/confusion/bewilderment: (none) strict meaning: anus special: assholery (actions that an asshole might do, collective noun, uncommon) minced as: butthole (rare)
* damn regret/danger: damn, dammit/damnit/damn it, goddamn it/goddammit intensifier: damn/damned, goddamn/goddamned direct insult: damn you (and variants) vocative insult: (none, unless combined with other words) dismissal: (none) surprise/confusion/bewilderment: (none) strict meaning: condemn/condenmed (verb or adjective) (especially in a religious/spiritual sense) (only used poetically) minced as: dang, dangit, dagnabbit, etc.
* bitch regret/danger: (none) intensifier: (none) direct insult: (none) vocative insult: bitch, son of a bitch dismissal: (none) surprise/confusion/bewilderment: (none) strict meaning: female dog (rarely used, except for wordplay) special: bitch (complain, especially in a disagreeable way, verb), bitching/bitchin' (impressive/desirable, adjective) note: often gender-specific or gender-implying minced as: (none)
* shit regret/danger: shit (possibly repeated), aww shit, oh shit intensifier: (none, except in "chickenshit") direct insult: bullshit, horseshit (regarding objects and ideas, but not people) vocative insult: shit (uncommon), [quantity noun] of shit (regarding objects and ideas, but not people), shithole (regarding a place) dismissal: (none) surprise/confusion/bewilderment: (what) the shit (is this?), holy shit strict meaning: defecate (verb), feces (noun) special: shit (stuff/things, collective noun, sometimes derogatory, sometimes self-deprecating), shit (lie to/exaggerate/kid, verb, usually in present participle (shitting)), shit on (speak ill of/rag on, verb, in analogy to strict meaning), shitty (of poor quality, adjective, in analogy to strict meaning), the shit (something desirable in a positive way, collective noun, sometimes minced as "the shiznit") note: frequently combined with other words minced as: crap, shiz (rare)
* hell regret/danger: (none) intensifier: (none) direct insult: (none) vocative insult: hell (regarding a place or situation, especially but not necessarily one that is literally hot, by analogy with strict meaning) dismissal: (none) surprise/confusion/bewilderment: (what) the hell strict meaning: a condition or location of the afterlife that is believed to be unpleasant and/or the punishment or gathering of evil entities such as demons, often depicted as fiery note: often considered acceptable (especially when used in literary or religious/spiritual contexts), used in adjective form "hellish" minced as: heck, "H E double hockey sticks" (juvenile/uncommon)
* dick regret/danger: (none) intensifier: (none) direct insult: (none) vocative insult: dick dismissal: (none) surprise/confusion/bewilderment: (none) strict meaning: penis special: dick around (mess around), dickish (adjective form) note: sometimes gender-specific/gender-implying, common abbreviation of the name "Richard", archaic slang for "detective" minced as: Dickens (uncommon)
* cunt regret/danger: (none) intensifier: (none) direct insult: (none) vocative insult: cunt dismissal: (none) surprise/confusion/bewilderment (none) strict meaning: vagina note: often gender-specific/gender-implying
Gamers with high Action scores are aggressive and like to jump in the fray and be surrounded by dramatic visuals and effects. Gamers with low Action scores prefer slower-paced games with calmer settings.
Destruction 8% Excitement 32%
Destruction (8%): Gamers who score high on this component are agents of chaos and destruction. They love having many tools at their disposal to blow things up and cause relentless mayhem. They enjoy games with lots of guns and explosives. They gravitate towards titles like Call of Duty and Battlefield. And if they accidentally find themselves in games like The Sims, they are the ones who figure out innovative ways to get their Sims killed.
Excitement (32%): Gamers who score high on this component enjoy games that are fast-paced, intense, and provide a constant adrenaline rush. They want to be surprised. They want gameplay that is full of action and thrills, and rewards them for rapid reaction times. While this style of gameplay can be found in first-person shooters like Halo, it can also be found in games like Street Fighter and Injustice, as well as energetic platformers like BIT.TRIP RUNNER.
The Mastery Components (10%)
Gamers with high Mastery scores like challenging gaming experiences with strategic depth and complexity. Gamers with low Mastery scores enjoy being spontaneous in games and prefer games that are accessible and forgiving when mistakes are made.
Challenge 1% Challenge Strategy 50%
Challenge (1%): Gamers who score high on Challenge enjoy playing games that rely heavily on skill and ability. They are persistent and take the time to practice and hone their gameplay so they can take on the most difficult missions and bosses that the game can offer. These gamers play at the highest difficulty settings and don’t mind failing missions repeatedly in games like Dark Souls because they know it’s the only way they’ll master the game. They want gameplay that constantly challenges them.
Strategy (50%): Gamers who score high on this component enjoy games that require careful decision-making and planning. They like to think through their options and likely outcomes. These may be decisions related to balancing resources and competing goals, managing foreign diplomacy, or finding optimal long-term strategies. They tend to enjoy both the tactical combat in games like XCOM or Fire Emblem, as well as seeing their carefully-devised plans come to fruition in games like Civilization, Cities: Skylines, or Europa Universalis.
The Achievement Components (2%)
Gamers with high Achievement scores are driven to accrue power, rare items, and collectibles, even if this means grinding for a while. Gamers with low Achievement scores have a relaxed attitude towards in-game achievements and don’t worry too much about their scores or progress in the game.
Completion 58% Power 0%
Completion (58%): Gamers with high Completion scores want to finish everything the game has to offer. They try to complete every mission, find every collectible, and discover every hidden location. For some players, this may mean completing every listed achievement or unlocking every possible character/move in a game. For gamers who score high on Customization, this may mean collecting costumes and mounts in games like World of Warcraft.
Power (0%): Gamers who score high on this component strive for power in the context of the game world. They want to become as powerful as possible, seeking out the tools and equipment needed to make this happen. In RPGs and action games, this may mean maxing stats or acquiring the most powerful weapons or artifacts. Power and Completion often go hand in hand, but some players enjoy collecting cosmetic items without caring about power, and some players prefer attaining power through strategic optimization rather than grinding.
The Social Components (47%)
Gamers with high Social scores enjoy interacting with other players, often regardless of whether they are collaborating or competing with them. Gamers with low Social scores prefer solo gaming experiences where they can be independent.
Competition 17% Community 82%
Competition (17%): Gamers who score high on this component enjoy competing with other players, often in duels, matches, or team-vs-team scenarios. Competitive gameplay can be found in titles like Starcraft, League of Legends, or the PvP Battlegrounds in World of Warcraft. But competition isn’t always overtly combative; competitive players may care about being acknowledged as the best healer in a guild, or having a high ranking/level on a Facebook farming game relative to their friends.
Community (82%): Gamers who score high on Community enjoy socializing and collaborating with other people while gaming. They like chatting and grouping up with other players. This might be playing Portal 2 with a friend, playing Mario Kart at a party, or being part of a large guild/clan in an online game. They enjoy being part of a team working towards a common goal. For them, games are an integral part of maintaining their social network.
The Immersion Components (85%)
Gamers with high Immersion scores want games with interesting narratives, characters, and settings so they can be deeply immersed in the alternate worlds created by games. Gamers with low Immersion scores are more grounded in the gameplay mechanics and care less about the narrative experiences that games offer.
Fantasy 86% Story 77%
Fantasy (86%): Gamers who score high on Fantasy want their gaming experiences to allow them to become someone else, somewhere else. They enjoy the sense of being immersed in an alter ego in a believable alternate world, and enjoy exploring a game world just for the sake of exploring it. These gamers enjoy games like Skyrim, Fallout, and Mass Effect for their fully imagined alternate settings.
Story (77%): Gamers who score high on Story want games with elaborate campaign storylines and a cast of multidimensional characters with interesting back-stories and personalities. They take the time to delve into the back-stories of characters in games like Dragon Age and Mass Effect, and enjoy the elaborate and thoughtful narratives in games like The Last of Us and BioShock. Gamers who score low on Story tend to find dialogue and quest descriptions to be distracting and skip through them if possible.
The Creativity Components (9%)
Gamers with high Creativity scores are constantly experimenting with their game worlds and tailoring them with their own designs and customizations. Gamers with low Creativity scores are more practical in their gaming style and accept their game worlds as they are.
Discovery 25% Design 6%
Discovery (25%): Gamers who score high on Discovery are constantly asking “What if?” For them, game worlds are fascinating contraptions to open up and tinker with. In an MMO, they might swim out to the edge of the ocean to see what happens. In MineCraft, they might experiment with whether crafting outcomes differ by the time of day or proximity to zombies. They “play” games in the broadest sense of the word, often in ways not intended or imagined by the game’s developers.
Design (6%): Gamers who score high on this component want to actively express their individuality in the game worlds they find themselves in. In games like Mass Effect, they put a lot of time and effort in the character creation process. In city-building games or space strategy games, they take the time to design and customize exactly how their city or spaceships look. To this end, they prefer games that provide the tools and assets necessary to make this possible and easy to do.
Overall, yes, this is fairly consistent with how I answered the questions.
hmm, high immersion (story and fantasy), community, and mid-range completion
incidentally...a difference between completion by accomplishment vs. completion by exploration/experience. i am less into the former and more into the latter, apparently.
that SMRPG vid actually doesn't quite work like taht
i just watched it again
it's more like, each candle represents some large quantity of HP, such as 1000, and each turn the cake recovers something like 400 HP and relights two candles, but each re-lit candle is only worth 200.
some weird complicated scripting, regardless. i'm really curious about it.
It's quite satisfying when plots have very good pacing of escalating drama.
Arpeggio is one example.
Neon Genesis Evangelion is another.
Madoka Magica is not an example.
--
Does the story hold together and make sense even when you don't completely understand what happened?
In the case of Evangelion, you can feel the intensity rising, especially in the latter half of the show. It almost doesn't matter where the Angels come from, or what Gendo is up to. You don't need to think about these things in order to feel that intensity.
In Madoka Magica, you can't, and it's just more like going through a log of the events. There is a lot to think about, but it is not motivated by feeling and emotion.
That is a failing of Madoka Magica.
--
Contrast Final Fantasy: the Spirits Within. Even though it doesn't completely flesh out its setting details, the storytelling and pacing allows the feel of drama to flow skillfully through the course of the story.
That is why it is a better story than Madoka Magica.
--
To be fair, part of that feel may very well be due to the music. Kajiura's soundtrack for Madoka Magica is certainly not bad, but it felt somewhat compartmentalized -- though perhaps this may also be a fault of the storytelling method. On the other hand, Arpeggio and N.G. Evangelion both have soundtracks that suggest a strong sense of grandeur, one that immerses the audience in something clearly of greater magnitude than themselves.
The music isn't necessarily all of it, though, since FF:TSW had a mostly ambient soundtrack. That said, to be fair, it also did contribute to a sense of grandeur.
Madoka Magica, on the other hand, had about as much grandeur as a stiffly-written academic treatise on the themes of Shakespeare's plays. It is intellectually interesting, but fails to be emotionally engaging for much of it, excepting some particularly noteworthy revelations that are moving and emotionally engaging in and of themselves.
--
Yes, I did just argue that FF:TSW has better storytelling than Madoka Magica.
suck it, Urobuchi fans
--
Still don't quite get why people dislike FF:TSW that much.
The only reason I can come up with, after thinking about it a few times, is that the setting details aren't that fleshed out, and the movie begins in medias res.
--
But the fact that the setting details are not needed for something to be emotionally engaging means that -- assuming the quality of a story has a direct (rather than inverse) relationship with its emotional engagement, all other things being equal -- means that fleshing out the setting automatically make it a better story.
In fact, there are many, many examples of narratives that don't provide all the details and leave various details unexplained, and are better for it. They thrive off of the mystery of those unexplained elements.
There is definitely an emotional satisfaction derived from a story challenging the audience's sense of "control" of their understanding of the world as presented to them.
--
Mysticism and the sense of wonder seems to be an element in religious belief, incidentally.
For example, a Catholic priest recently explained to me that part of a proper relationship with God is appreciating the wonder the wondrous mysteries that God is associated with -- that we will never understand God fully but that sense of wonder is a part of the faith.
--
I think that some of my favorite stories cultivate and direct that sense of wonder very well. The feeling of being in the presence of some greater force, whether sympathetic or antagonistic, and the dynamics of ability and/or inability to deal with it.
In some cases, that greater force is a mysterious enemy. In some cases, that greater force is a close ally. In a few cases, that greater force turns out to be oneself.
Or maybe I'm just bullshitting. I dunno.
--
If you had the force to change the world, what would you do?
If you had the force to right wrongs, to fight back, to even the playing field, to investigate wrongdoing, to correct injustices, ...what would you do?
--
There are lots of details that Kiddy Grade does not tell us.
However, those details that it does tell us are not disconnected -- they have what is much like a poetic meaning.
For example, you don't need to be told exactly why Éclair was in prison at some point in time to understand why she was imprisoned and to make sense of what she says.
--
I bet that for some higher-ups she's seen as an opinionated, passion-driven, impulsive git.
La-Mulana has that strong narrative progression, despite not being a story-centric game. (It is very setting-centric though.)
Mega Man ZX may have had a lot of "fodder" in the middle part of the game, but it is the fodder that made the beginning and end so very meaningful. Again, meaningful narrative progression.
Similarly, almost every boss is a challenge for Yunica, and progressively more and more so. The last two bosses before the final boss are probably the most dramatic and climactic examples. It's not even necessarily to completely sort out the story -- all that is really needed is to really feel first-hand the intense suffering of her struggling against these antagonistic forces.
In fact, it may be said that that having a struggle just makes victory that much more satisfying.
--
La-Mulana also has that sense of wonder.
(It literally has a track called "Wonder of the Wonder", lol.)
Ys Origin does too.
So does CvSotN, despite CvSotN lacking as good of a narrative experience progression (in part thanks to the relatively freeform -- and possibly unfinished -- second half).
MMZX on the other hand doesn't have a sense of wonder as much as it has some other emotions.
--
Seriously, just thinking about how MMZX's final area theme reprises -- but with a different mood -- a very early-game event theme, brings me almost to tears. It strongly evokes those emotions -- such as the feeling of having since learned the truth and now having the conviction of what one is fighting for, as well as the feeling of doing what one can to make it so that those who have died have not died in vain.
--
I'm sorry, but wacky slapstick absurdist anime comedy just...doesn't do these things.
It doesn't generate emotions like this. It generates amusement, I guess.
But it generates no realizations. It generates no desires, no feelings of vengeance or anger, no feelings of sympathy or comfort, no feelings of triumph or bliss, no feelings of loss or defeat.
Well okay it's occasionally used to generate feelings of comfort. I guess. Kinda. But that's about it.
--
Of course, these feelings cannot be shoved onto the audience in short order. They have to be generated by the audience themselves, in reaction to the events portrayed. Asking someone to cry only makes them cry crocodile tears at best.
Thus a lot of time some amount of "fodder" is needed, so to speak. The term's implication that said "fodder" is unimportant and inconsequential is actually an incorrect implication -- it is precisely this "fodder" that allows one to familiarize oneself with the premises of the setting and the personalities and lives of the characters. In order for emotional dynamics to occur, change has to happen, or be suggested and denied. In order for change to be measurable, an initial state must first be determined.
There is no rule stating that fodder must only be so much or so long. As long as that fodder contributes to a good narrative experience, it has served its purpose.
Remember that we as humans don't understand the value of something until we have lost it (or contemplate losing it).
--
> Wacky slapstick is gdlk. And totally better. :p
Wacky slapstick does not build a personal relationship with me.
--
Some people speak of having a "personal relationship" with God or with Jesus.
In light of this, it is really not much of surprise that I find religious-like spiritual inspiration from my favorite stories.
I mean, people often find passages of religious texts "deeply moving".
Well, they're stories, that -- when taken seriously -- can touch people's hearts.
Same thing.
--
I have little taste for over-the-top-ness but I'm very much into the emotional stuff.
I've hypothesized that it's because I tend to appreciate stories more for how they relate to me and the world around me rather than for the distance I can put between me and others who are unlike me.
Beyond that, I don't really know why. Maybe it's because I didn't watch that many "craaaazy" kids' cartoons as a child, and/or I learned music / played games / watched TV / etc. with more direct/straightforward and often dramatic narratives. Or somehow I learned to enjoy frankness and directness more than sarcasm or exaggeration. Or for whatever reason I'm more of an idealist than the internet is on average.
Or maybe even not watching much TV / not playing that many games in general. Which basically meant that my appreciation of them came from thinking (and feeling) deeper and deeper about the same works, gaining a more personal relationship with them through how they related to my own life. As opposed to watching a lot of TV / playing a lot of games which might have led to a more diffuse interest and shallower relationship in each as well as a greater frequency of comparing things to each other.
--
To some people, Nanoha is "just" a character. She may even be a main character, or a notable character. But she has little significance beyond the stories she appears in.
To some people, Nanoha is an object of fantasy and desires. She is seen as a source of fanservice in one way or another -- as a female with an appealing body, and/or a lesbian lover, and/or a source of social touchpoints (such as memes).
To me, she is neither of the above. To me, she is an inspiration -- she is hard-working and demanding while also being caring and patient, passionate yet careful; she is a brilliant strategist as well as a master of diplomacy and negotiation. She fights hard for what she cares about, but she also talks firmly but sympathetically and makes genuine efforts to come to understandings with those on the other side of a conflict, and often wins hearts by skillfully making use of both carrot and stick simultaneously. She is a role-model.
This is a game of Deng. Deng is a game played like Uno but with one or more standard decks of playing cards. The objective is to shed all of one's cards by playing them onto a face-up played pile, and a legal play in a turn generally consists of playing a single card of the same suit or rank as the top card on the played pile. The game begins by all the players drawing or being dealt five cards from the face-down draw pile, and then the players playing their cards onto the played pile, which is started with one face-up card if it is empty. Turn order shall be decided by consensus of the players; each player takes one turn until all the players have taken a turn each, and then play resumes in the order in which the players have played. Players who cannot make or choose not to make a legal play onto the pile when it is their turn shall draw a card from the draw pile; they may immediately play the card thus drawn if playing that card is a legal play.
Light conversation is allowed during play, and so are requests to check the recent history of played cards.
However, Deng has some additional rules. Some of these duplicate mechanics of Uno, but some are unique to Deng and its predecessors. The most important of these rules is thus: 0. When a player has legally shedded all their cards, they have the right to create a new rule. The new rule must fairly apply to all players. Rules that simply burden the flow of play are generally less well-regarded than rules that introduce novel, amusing, or otherwise interesting gameplay. This player announces a name for the rule, which should ideally contain a hint to its mechanic. This player may instead use this right to remove or change any existing rule. Following this rules changes, this player draws five cards and play resumes as if it had not been interrupted by a player shedding all their cards. The player who created this rule is responsible for enforcing the rule (though others may aid them), as well as ruling on interactions of the new rule with other rules. Other rules that are standard to a game of Deng are as follows: 1. When an ace is played, turn order is reversed. 2. When a three is played, the player who played the three must take another turn. 3. When a seven is played, that player opens an unresolved seven, and it is considered unresolved until it is resolved. A series of unresolved sevens may be played in a row by successive players. For N unresolved sevens, a player who plays a seven must say "Have a [very * (N-1)] nice day" immediately after playing that seven. The next player must either play another seven, incrementing by one the number of unresolved sevens and saying a corresponding phrase for N+1 unresolved sevens, or resolve all sevens by saying "Thank you [very * (N-1)] [much {if N>1}]" and drawing 2N cards (and playing none of them). 4. When an eight is played, the next player who would normally take a turn is skipped, and play proceeds with the player who would have played after the original next player. 5. When a jack is played, any player (or any other source determined by consensus by the players) may call a suit. The first suit thus called goes into force, and the next legal play must be of that suit, and may be any rank. 6. When any spade is played, the player who played that card must say the rank and suit of that card. 7. When a player plays a card of the same rank and suit as the card atop the played pile, that player must say the original name of this game. 8. When a player reaches the end of their turn with only one card left in their hand, they must say "last card". 9. When a player legally sheds all their cards to win the game, that player must say the original name of this game. 10. Attempting to win the game by making an illegal play and/or while violating other rules counts separately as an additional prohibition. 11. Players are expected to play within a reasonable amount of time as determined by consensus. 12. Saying the original name of this game at any time other than times prescribed in these rules is prohibited. 13. The penalty for attempting an illegal play or violating any other rules is one card given to the player who attempted the illegal play or violated a rule. Note that attempting to win improperly is a separate offense.
The original name of this game is the surname of the 1st Chairman of the Central Committee of the Communist Party of China, as pronounced in Mandarin Chinese.
Like many places, Altago is rich with minerals and other forms of resources and a wide array of landscapes such as mountains, deserts and forests. But unlike other places, Altago is unique by that a form of energy known as Dragon Energy permeates through every living and non-living beings such as plants, animals and weapons. These energy are believed to come directly from the Five Dragons themselves whose role is to sustain Altago. However, there exists some sort of balance between each of the Five Dragon's forces. When the balance is upset, there exists a catastrophic effect for every living being in Altago.
Let's make this more interesting.
Like many places, Tunisia is rich with minerals and other forms of resources and a wide array of landscapes such as mountains, deserts and forests. But unlike other places, Tunisia is unique by that a form of energy known as Dragon Energy permeates through every living and non-living beings such as plants, animals and weapons. These energy are believed to come directly from the Five Dragons themselves whose role is to sustain Tunisia. However, there exists some sort of balance between each of the Five Dragon's forces. When the balance is upset, there exists a catastrophic effect for every living being in Tunisia.
Now that's a prime tourist destination.
(Note: "Altago" is a fictional place in the universe of the Ys game series; it is roughly located where Carthage was in the real world, which is where Tunisia is today.)
"Some experiences pass us by without notice. Some experience are dear to us but nothing to others. But some experiences persist beyond our mere selves."
Kiddy Grade: 2 F, 0 M Lagrange: 3 F, 0 M Druaga, 0 F, 1 M; or 5 F (Ahmey, Coopa, Fatina, Henaro, Kaaya), 5 M (Jil, Kally, Melt, Neeba Utu) Stratos 4: 4 F, 0 M Element Hunters: 1 F, 2 M; or 3 F, 4 M Nanoha StrikerS: 6 F, 1 M House of Small Cubes: 0 F, 1 M Rain Town: I forgot M. of Haruhi Suzumiya: 3 F, 2 M Atelier Escha & Logy: 1 F, 1 M Neon Genesis Evangelion: 2 F, 1 M Fractale: 1 or 2 F, 1 M Str.A.In.: 1 F, 0 M (debatable) Girl who Leapt Through Time: 1 F, 0 M (debatable) Nausicaa of the Valley of the Wind: 1 F, 0 M, 1 non-human (lol) Magic Knight Rayearth: 3 F, 0 M The iDOLM@STER: 12 or 13 F, 1 M Guilty Crown: 1 F, 1 M Noir: 2 or 3 F, 1 M Eureka Seven: 1 F, 1 M Stellvia: debatable, but to keep it simple let's say 1 F, 0 M Uta~Kata: 2 F, 0 M Umi Monogatari: 3 F, 0 M Rocket Girls: 3 F, 0 M Kowarekake no Orgel: 1 F (if a robot counts), 1 M Time of Eve: 0 F (kinda), 2 M Allison & Lillia: 1 F, 1 M in each half Coppelion: 3 F, 0 M Arpeggio of Blue Steel: 1 F, 1 M
See, I'll talk anime. I'll just do it...whenever I feel like it, I guess. And very slowly.
Beyond the Boundary
GlennMagusHarvey watched episode 7. 2 days ago [...] GlennMagusHarvey is currently watching. 22 days ago GlennMagusHarvey watched episode 1. 22 days ago GlennMagusHarvey plans to watch. a month ago
Gyrozetter
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Angel Beats!
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Guilty Crown
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RWBY III
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Solty Rei
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Atelier Escha & Logy
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Steins;Gate
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That's what...roughly three series every five months or so?
my idea of aesthetic desirability comes from classical music, 16-bit console gaming, and...i dunno, anime series with moments that make me angry or sad for the characters?
well at least that last one isn't CRRRRAAAAAAZY CARTOONS! i guess or multiplayer FPSes filled with trash talkers
Comments
Rayne Lindwurm, eXceed series
(Ria File, eXceed series)
Marie Poppo, 100% Orange Juice
(Tomomo, 100% Orange Juice)
Louie, Recettear
(Charme, Recettear)
Arche Plumfield, Fortune Summoners
(Stella Mayberk, Fortune Summoners)
Cheepy, Unholy Heights
(Eggeye, Unholy Heights)
Quote, Cave Story
(Curly Brace, Cave Story)
Lemeza Kosugi, La-Mulana
(Xelpud, La-Mulana)
Eryi, Eryi's Action
(Farta, Eryi's Action)
Luca Earlgrey, Ether Vapor
(Sana Bergamot, Ether Vapor)
Dosey, One Way Heroics
(Zenura Hero, One Way Heroics)
Suguri, Suguri series
(Sora, Suguri series)
Hanabusa, 99 Spirits
(Soujun, 99 Spirits)
Bunny, Bunny Must Die!
(Chelsea, Bunny Must Die!)
Lucrezia Visconti, Croixleur
(Francesca Storaro, Croixleur)
Heshiko, Human Tanks series
(Liselotte Satou, Human Tanks series)
re: culture
Let me tell you a little story.
So here I am, little me, sitting in grade school. Or slightly older me, sitting in high school.
It's the first week of classes. I don't know at least half (if not all) my classmates, nor do they know me. So we're getting to know each other.
Now, race being what it is, it's sort of unmistakeable. Not "what race you are", but "the fact that you look different", at the very least. I grew up here in the United States. South Florida, to be specific. So there's, not surprisingly, a lot of white people, and some black people. There's also Hispanics, but they actually have pretty diverse appearances and you can't tell them until you learn their names or hear them speaking Spanish. But point is, I look different.
So my classmates ask me, "Where ya from?" They mean my ethnicity, in case that wasn't clear. Still, I tell them that I'm Chinese, but I was born in the U.S.. Even if they haven't cut me off before I've said the second part, they start forming an impression of me after hearing just the first. Or else...why would they have so many questions, like...
* "You eat fried rice every day?"
* "You must be really good at math! Do my math homework for me."
* "ching chong chung wang"
* "Your parents own a restaurant?"
* [kung fu noises]
* "You know kung fu?"
* "How come you don't bring chopsticks for your lunch?"
* "Can you say [phrase] in Chinese?" (doubly so if [phrase] contains expletives.)
* "You like sushi?" (Never mind that that's Japanese, but don't ever assume that white or black Americans can tell the difference.)
And so on. You get the idea.
And it wasn't just at school, or just with first impressions. Even after I'd known them for a while, there was this one family who'd always associate my family with "being Chinese" -- and thus the son in their family would always talk to me about learning about Chinese culture, and ask me if I knew various people in the piano performance world (as we were both piano students), where all the people he mentioned were Chinese. (Needless to say, I didn't know them. I also don't specifically seek friendships with Chinese people.)
Do you know what all this behavior from these people is?
It's offensive.
It's stereotyping. It's presumptively associating me with a bunch of traits based solely on my race/ethnicity. In some cases, it's defining me by my race/ethnicity. Even when it's well-meaning -- such as that guy who wanted to learn more about Chinese culture -- it still feels offensive.
To put it mildly, I don't like it. I don't like being seen as being my ethnicity. I don't like being stereotyped. I'd rather you see me as an individual. And not make me answer all these questions, like I'm some sort of foreign novelty freakshow.
And this is why I say, I am first and foremost a person. Not a culture. Not an ethnicity. Not a skin color. Not a religion. Not a nationality. A human being, and individual person.
And I try to do my best to treat others the same way. Race and culture and nationality and things like that may give me clues as to what they're like, but I should respect them by treating them first and foremost as fellow human beings -- not as their cultures or other traits.
Because honestly, I'm not that different from you. My skin and hair color and facial features do not magically make me not eat, sleep, pee, poop, bleed, shower, walk, run, feel emotions, speak your language, have to deal with homework, enjoy creative media, and much more. I'm just like you. Stop treating me as someone who's oh-so-different. Stop emphasizing our differences.
Oh, and stop attributing differences between us to our ethnicities, and start recognizing that people just vary wildly in their traits.
I don't like talking about my race/ethnicity. Because all it does is distract people from treating me as a individual person. It suggests stereotypes, which I then have to deal with dispelling. No, I prefer hiding it where possible, until I find a useful thing to do with it.
Does it mean that culture is irrelevant to me? No. Absolutely not. The way I was brought up influences who I am. And knowing cultural touchpoints does make it convenient to connect to certain people sometimes.
But does it solely or primarily define who I am? No, it doesn't. I am not merely my cultural background. My cultural background is not represented by me. I'm just myself.
So I don't like it when you think of me as my cultural background.
Correspondingly, I try my best to not think of you as your cultural background either. I try my best to think of you as a person.
Because, at the end of the day, we're all humans, and that's what counts.
(I could say similar things about gender, as well.)
Deng is a game that is played like Uno, but with special rules. It is a variant of Mao. Here are the rules of Deng.
Basic play:
1. Each player is dealt five cards to start, and the deck is placed in the center as the draw pile. One card is turned over from the center deck and becomes the played pile.
2. Play begins with any player and continues to either direction. Play happens when a player puts a card onto the played pile.
3. Players must play a card that is the same suit or number as the card on top of the played pile, unless where such an action would contradict another rule.
4. If a player cannot or chooses not to play a card of the same suit or rank as the card on top of the played pile, that player must draw a card, and he/she passes her/his turn and play continues with the next player that would play after her/him.
5a. When a player has played all her/his cards, that player has won the round, and can create a new rule.
5b. The player who creates a new rule must announce the name of the rule (which may be arbitrary, but it is generally good form to choose a name that relates to how the rule works).
5c. However, the player who creates a new rule shall not announce how the rule works.
5d. The right to create a new rule may instead be used to remove or alter an existing rule, or may be forfeited, or even stored for future use if allowed by consensus.
5e. That winning player also draws five new cards, and all players with more than five cards randomly discard down to five cards.
5f. The player who created this new rule is responsible for enforcement of said rule, at least until other players figure out what it is and participate in its enforcement. A player who does not enforce their rule properly shall herself/himself be penalized.
6. Players must play within a reasonable amount of time, as decided by consensus of the other players.
7. Whenever a rule is broken, the player who broke the rule shall be penalized by having the rule announced and having a card added to their hand, as a penalty, unless as stated otherwise by a rule.
8. If the draw pile runs out, the played pile except its topmost card shall be shuffled and placed face down as the draw pile.
Common rules that shall be followed as the baseline set of rules:
1. Aces reverse the order of play.
2. Eights skip the next person whose turn it would normally be.
3. Threes require the player to play again.
4. Playing any spade requires that the player announce the number and suit of that card.
5. Playing any 7 requires that the player say "have a nice day". The next player must, instead of playing normally, say "thank you" and draw two cards, or play another 7 and say "have a very nice day". If the next player must then say "thank you very much" and draw four cards, or play another 7 and say "have a very very nice day". And so on. The exact formulas are:
let s = number of consecutive 7s that have not been thanked, which is a natural number value
sevenplayer = "have a very^(s-1) nice day"
if next player has a 7, next player can play that 7, increment s by 1, and recite the proper phrase as a sevenplayer. if next player does not have a 7, or chooses not to play her/his 7, then next player becomes a responder.
responder =
"thank you" and draws 2 cards if s=1
"thank you very^(s-1) much" and draws 2s cards if s>1
and then s resets to 0. (If 7s have been "thanked", then they are considered dispelled, since s has been reset to 0.)
6. Jacks are "wild": a player playing a jack shall immediately name a suit upon playing said jack. If he/she does not, any other player may name a suit. The first suit so named shall become the active suit; no card not of that suit may be legally played next (unless this is changed by another rule).
7. Playing the exact same card (when using multiple decks or non-standard decks) requires saying the name of the original game, which is "Mao".
8. When one's hand changes in size (such as by playing a card in the normal course of play) such that one only has one card left in one's hand, one must announce that they have only one card left, such as by saying "last card".
9. When a player plays her/his final card and thus would win the game by doing so, he/she must say the name of the original game. If he/she fails to do this, two penalty cards are given (unlike the usual one penalty card) to her/him.
*takes two penalty cards*
[16:06:00] <GMH> it doesn'tw ork like normal
[16:06:11] <GMH> it gains some recovery every so often that re-lights a candle
[16:06:19] <GMH> and your job is to blow out all the candles
[16:06:41] <GMH> i think each [some amount of damage] deals one candle's worth of damage to it
[16:07:02] <GMH> i wonder if it may be implemented in some unusual way not too unlike how Son of Sun did it in Chrono Trigger
[16:07:48] <GMH>
[16:07:49] <Omnipresence> URL: [www.youtube.com] Super Mario RPG Armageddon #20 - The Wedding Ceremony - YouTube
[16:07:55] <GMH> it seems that there's 9999 HP of pre-candle HP
[16:08:09] <GMH> and then there's no set amount of HP damage per candle, but instead
[16:08:20] <GMH> there's probably a set amoutn of HP that has to be dealt with BEFORE candles can be unlit
[16:08:26] <GMH> say something like
[16:08:28] <GMH> it has 1000 HP
[16:08:40] <GMH> if HP goes to zero, then don't remove that unit
[16:08:53] <GMH> but instead, every subsequent hit unlights one candle
[16:09:12] <GMH> but NOT every subsequent increment of X amount of damage, just every subsequent hit
[16:09:44] <GMH> but then every time it takes a turn, re-light 2 candles and restore 1000 HP (not shown explicitly)
[16:09:51] <GMH> so then that 1000 HP shield gets regenerated
[16:09:54] <GMH> that's interesting.
[16:10:01] <GMH> that reminds me of the shields in mega man battle network
[16:10:33] <GMH> also, this hack apparently skips the whole Raspberry part of the fight
[16:10:42] <GMH> i guess it was deemed to be kinda boring in comparison
[16:10:44] <GMH> heh
[02:18:09] <GMH> so i was recently arguing with people about the notion that there's "shovelware" clogging up Steam's store.i think i'm encountering a similar problem with both anime and gaming.
[02:18:38] <GMH> a lot of people play a lot of games, or watch a loto f anime.
[02:19:40] <GMH> they play/watch something, and then move on quickly to something else, then move on quickly to yet more something else, etc.
[02:20:17] <GMH> so as a result
[02:20:29] <GMH> there's (1) a lot of comparing games to other games, or anime to other anime
[02:20:55] <GMH> and (2) not being particularly attached to any particular game, or series
[02:21:00] <GMH> on the other hand
[02:21:07] <GMH> i play games and watch anime slowly, compared to these people
[02:22:07] <GMH> so (0) i always have other interesting experiences to look forward to, in contrast to those people who've played a lot of stuff and thus feel tired of things like cliched trends in concepts
[02:22:53] <GMH> (1) i focus a lot more on what it is i am watching or playing at the moment, by itself, rather than thinking about it in the context of other shows -- and besides, i also enjoy immersion
[02:23:42] <GMH> and (2) i do enjoy being particularly attached to a story, and i tend to be of the opinion that i should treat each story as its own special thing, unless otherwise directed
[02:24:07] <GMH> maybe less so for games, but in the case of games, i'm also not very willing to jump to conclusions and such
[02:24:42] <GMH> so as a result, you might get something like, say, people complaining that there's a lot of 2d indie platformer shovelware on steam
[02:24:44] <GMH> but my perspective is
[02:24:47] <GMH> if i haven't played the game
[02:24:53] <GMH> i won't know if it turns out to be a hidden gem
[02:25:31] <GMH> for example, is it at all possible to determine, from looking at screenshots, trailers, and store description, that the game Mutant Mudds has a very, very well-designed difficulty curve?
[02:25:35] <GMH> no, it's not possible
[02:25:57] <GMH> but so basically
[02:26:32] <GMH> one shouldn't declare something to be shovelware or otherwise dismiss something unless one has an adequately-high standard of proof of it
[02:27:35] <[name redacted]> does Shovel Knight count as shovelware?
[02:27:53] <GMH> also, the idea of sayng how good a show is,...
[02:28:19] <GMH> honestly, i don't get it when people say that something can be good without one liking it, or something can be bad but one can still like it.
[02:28:22] <GMH> i mean, i get that notion
[02:28:33] <GMH> but that presumes that there's an objective standard of good and bad
[02:28:42] <GMH> no, what's actulaly happening is that there are different modes of enjoyment
[02:28:56] <GMH> some of them feel more guilty or socially inacceptable than others
[02:29:01] <GMH> that's all
[02:29:58] <GMH> and among those, people haev different amounts of desire for these different modes. like how i pretty much never enjoy anime for its outlandishness
[02:30:21] <GMH> [name redacted]: no, for either of two reasons:
[02:30:46] <GMH> 1. it is a well-designed game
[02:30:50] <GMH> or
[02:31:05] <GMH> 2. despite being a 2D indie game, it achieved critical and consensus social acclaim
[02:31:16] <[name redacted]> yes, well, I was just making a feeble joke.
[02:31:22] <GMH> i know
[02:31:34] <GMH> but i just wanted to point out the two schools of thought on this
[02:32:09] <GMH> i'm of the first -- a game can be well-designed and shouldn't be dismissed for being 2D or indie or whatever other labels one dislikes.
[02:32:43] <GMH> the other, on the other hand, presumes that stuff is hipster indie shit or other derogatory terms applicable to whatever it is they're talking about, until proven otherwise
[02:33:15] <GMH> it's okay to be not interested in a certain type or style of game
[02:33:41] <GMH> it is not okay to dismissively criticize it just because you don't like it
[02:34:14] <GMH> so the proper perspective is to acknowledge that, those things that one does not enjoy, are simply things that one does not understand how others enjoy
[02:34:36] <GMH> understand, on a level deeper than merely thinking about it, but on a level like emotionally "feeling" it.
[02:34:51] <GMH> now it's okay if you don't have this understanding. another word for this is "taste".
[02:35:19] <GMH> but you are no worse nor better than anyone else for having a different set of emotional understandings.
[02:36:15] <GMH> is there a lot of shovelware on steam? maybe. i am in no position to judge it.
[02:36:44] <GMH> anyone who claims to be, without having played or read up in detail about the games they're talking about, is a windbag.
[02:41:49] <GMH> but yeah. i'm not sure i can agree with statements like "even if someone enjoys it it can still be shovelware" or "a good show can be something you don't enjoy".
[02:42:14] <GMH> BUT my disagreement is not not because of any specific relationship between quality and enjoyment
[02:42:32] <GMH> rather, it is because i don't really see a way to define quality outside of enjoyment
[02:43:30] <GMH> okay i'm done
but if i'm supposed to consider each work by itself, then how does watching more stuff influence my judgement of it, other than introducing unwanted bias anyway?
so it shouldn't even be relevant
in most cases, an enjoyable narrative should be enjoyable no matter whether i'm seeing something like it for the first time or for the nth time
i can understand that something can require context to enjoy -- for example, excel saga
or in the case of games, games that require knowledge of genre conventions in order to get used to the playstyle quickly
so there's a possibility that enjoyment can be INCREASED by prior experience, based on the needs of the work in question itself by its own design
but is there any reason that something should -- and NOT by its own design -- have its enjoyment potential DECREASED by prior experience?
no
that's just "i don't feel like it"
which is perfectly fair
"i'm never in the mood for this anyway" is perfectly fair too
but "i don't feel like it" and "i'm never in the mood for this anyway" do not equate to "this is bad"
enjoyment of a creative work is not correlated with quality
but NOT because quality is its own thing
rather, because quality is just a shorthand for enjoyability under certain modes of enjoyment, subjectively chosen, and doesn't exist in objective form on its own
introduction
The purchase and consumption of entertainment-related items are generally regarded as superfluous to human survival and economic advancement. However, scholars have noted an uptick in spending on entertainment-related goods and services in times of economic distress [CITATION NEEDED], hypothesizing a potential link between their consumption and psychological mechanisms for coping with stress, and challenging the assumption of their "superfluousness" and any associated assumptions about their being a normal good (i.e. demand rises when price rises).
In my experience as a student two different U.S. universities, one which is regularly regarded as a top-ranked institution and another which is not, I have anecdotally observed that the prominent display of paraphernalia related to entertainment franchises -- such as wearing t-shirts or backpacks conspicuously related to videogames and TV shows -- is more common among the student body of the latter institution. I had previously expected that the reverse might be true, because students at the former institution are probably more likely to come from wealthier families, and also because this particular institution has a reputation for "geekiness", implying some degree of overrepresentation of niche interests as compared to the overall U.S. average. In contrast, the latter institution is a public university with itself a larger student body. (The notion that private institutions have students from wealthier backgrounds may not be true -- it was contradicted by an interviewee apparently familiar with the world of postsecondary education and its funding, on today's Diane Rehm show.)
Focus
This proposal aims to take some basic steps in examinin the much larger picture of socioeconomic background and consumption of entertainment media, by looking at the correlation between an institution's rank in the U.S. News and World Report rankings of colleges and universities and the prevalence of entertainment paraphernalia on their campuses.
Methods
The prevalence of entertainment paraphernalia on campuses of postsecondary institutions will be sampled in two ways:
1. incidence of spotting paraphernalia. A knowledgeable team of observers will be deployed to each campus and instructed to observe and record sightings (and hearings, if relevant) of paraphernalia, over a four-hour period, during the afternoon, on a day with clear weather.
2. incidence of ownership of paraphernalia. Students will be randomly chosen from the student body and the interviewed individually, to determine how many pieces of displayable paraphernalia they own.
For analysis, observations will also be divided into subsamples based on the following factors:
* season of observation (relevant to way #1), which is roughly correlated with temperature and thus fashion choices.
* undergraduate or graduate student interviewed (relevant to way #2).
This proposed study does NOT mean to validate the U.S. News and World Report ranking system, and makes no judgement as to whether it is useful, correct, accurate, or meaningful. It is used solely as a convenient proxy for [I'M NOT ACTUALLY SURE WHAT].
Expected results
[this section left blank for now]
clue style:
pertaining to a star-centered monarchy (17)
item worn by royalty (9)
money rightfully gain (homonym) (9)
toothed and round (8)
how to solve:
all the clues refer to things that have something related to sinning in their title. in the cases of the example clues:
(sins) OF A SOLAR EMPIRE
(guilty) CROWN
CASSHERN (sins)
(guilty) GEAR
take the nth letter of the phrase INCLUDING the extra word. note that the nth letter cannot be taken out of the clued phrase without the extra word. this last bit may or may not be a good idea. maybe it could be done for some clues but not others.
in this example, the solution is thus
sins of a solar empiRe
guilty crOwn
casshern Sins
guilty gEar
and so the answer is ROSE
(evil) GENIUS
(bad) RATS
RESIDENT (evil)
BEYOND GOOD AND (evil)
If somebody wants to buy drm-frer games they can go to gog.com
Personally Im quite happy with what we have on steam [/quote]
I have bought games from Steam, GOG, Desura, GamersGate, Humble Store, Humble Bundle, Indie Gala, Gala Store, Indie Royale, Groupees, Bundle-in-a-Box, Green Light Bundle, and Playism-Games.
Of these, the following offer DRM-free games:
* Steam (sometimes, but it doesn't say)
* GOG (always)
* Desura (mostly)
* GamersGate (sometimes, but it'll tell me)
* Humble Store (usually + Steam key)
* Humble Bundle (usually + Steam key)
* Indie Gala (sometimes)
* Indie Royale (mostly + Steam key)
* Groupees (mostly + Steam key)
* Bundle-in-a-Box (now operated by Groupees)
* Green Light Bundle (rare)
* Playism-Games (mostly + Steam key)
I am happy with this diversity. Allows me to get awesome discounts AND frequently DRM-free stuff.
The only stuff I usually compromise about DRM on are big-name IPs that I don't have much choice about. And even then, still, I'd prefer to get them on GOG, just to support DRM-free releases.
Huge, huge props go to Nihon Falcom for letting XSEED release their games on Steam (Steam CEG DRM), Humble Store (DRM-free + Steam key), and GOG (DRM-free).
Here's going to be the rough overall layout of the castle's main parts:
|-------|
| power |
| plant |
|-.-----|
|--------|--------||---------| |---|
| odd 30s|.even30s-- arena | | |
|--------|.-------|| --- |
|fli-|mec|. | |---------| | |
|ght |han|. |villa | |60s|
| |icl|. | |----|-------| |
|---------.--------|2nd corridor| |
|main corridor |------------|--|
|------------------| || |
| | |chape| |- -| |-|
| | |l--- | |lab |-|T|
| civ| ct.- | |?| | |-|----| |-|
| | yard | --- | |lib'ry| /
|----|-------|-----|=|------|/
The areas labeled "?" and "T" are entire areas too.
"T" stands for Tower.
"odd 30s", "even 30s", and "60s" are placeholder names. So is everything else, really.
In addition to the areas indicated here, there will be a Subterranean Waterway connecting to multiple areas, complete with ferrymen who will serve whoever pays them. The subterranean waterway will be replaced by a Sky Walkway in one of the castles, complete with moving walkways like those in a modern-day airport, but instead of connecting areas from below, it will connect areas from above. In yet another castle, there will be an underground train system replacing the waterway, having stations at multiple buildings, and of course, having haunted trains. (You may have to stop one of them with some brute force.)
Also, the dots refer to a relatively linear subterranean area known as "Hell", which cannot be traversed without protection from fire. In one castle, this will be "Frozen Hell", which cannot be traversed without protection from cold.
So in total there will be 19 areas in each castle.
Over four castles, that will be a total of 76 areas.
Additionally:
* in the third castle, the Haunted Carnival (in the Power Plant location) lies above the Catacombs, which means that there are two areas there. Though the Catacombs might be short, let's count that as a separate area.
* in the third castle, the Arena of Illusions is actually two parallel-universe areas that alternate the player between each other every time a room transition is crossed. Thus, in terms of workload, this means a whole 'nother area.
* in the fourth castle, the Mine of Judgement is the surprise final dungeon that lies below the Stairway / Throne Room area. Even though the latter may be short, let's count this as a separate area.
Thus, there are a total of 79 areas.
A30A
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E551
8967
0F3F
F25A
A69B
C911
9108
E88E
0FAF
D4F4
F742
2559
4451
85D5
B288
325B
B428
B424
E8C5
7E1D
C844
2CC4
68FC
FE2B
E899
931A
ED00
7453
1566
8746
4268
93ED
85BF
CD9E
0. completely abstruse - impossible to get in any reasonable fashion. for example, the exact colors of a large series of pixels at different times on a screen. these hints are useless and thus rarely considered hints. more like search criteria, at best.
1. something that only someone actively thinking about it would get. for example, a relatively obscure (and rarely focused on) but meaningful detail in a TV show, which someone who is actually thinking of the show would likely recognize but someone who knows but isn't thinking of the show wouldn't. kinda like taking the hint and running it against a rolodex of possible answers in one's head. admittedly a sort of irritating sort of hint, when by itself, since it still feels like a degree 0 hint if you are given no other hints and/or your mental RNG doesn't suggest the target.
2. something that someone who knows it could get, but someone who doesn't know it is unlikely to get. for example, an important detail that is known to be important by people who've seen a show, but holds no meaning to those who haven't seen it.
3. something that someone who doesn't know it might still get. generally, hinting at outward appearances, such that people who aren't intimately familiar with something but have run across it before would get. for example, hinting at the name of a TV show.
4. simply outright saying what it is. like degree 0, this is another degenerate category.
PAUSE THIS VIDEO at 2:03
now
Start playing this battle theme:
The camera pans out and now views the entire auditorium as a tactical battle map.
Your main playable character, of course, is the boy who sang very well. Your first ally, of course, is the teacher, though she's off the stage and can't reach you immediately. Your antagonist, of course, is the girl who wants to be Dorothy and threatens the teacher.
The other students present side with either you or that girl. On higher difficulties, more of them side with that girl.
That girl obviously wants to to go tell her mom about this incident. You obviously want to stop her. However, she obviously doesn't want to be stopped. So her AI tactic will be to move toward the door, but also put up a fight. The way she does is that every turn she will lay a mine on the square she stops at, and/or use ranged/melee attacks to try to rebuff you. On higher difficulties, she has an ability to push opponents away, and may even counterattack with this counterattacks with an ability that pushes opponents away.
You are a wimpy kid, so you don't have any ranged attacks. But because you're a wimpy kid, you also can run fast. You can catch up to her and deal some damage.
The teacher, who is a Nu Mou, should be able to deal more damage. Thing is, though, once the girl reaches the door, she opens it and calls for her mom, and within three turns, her mom shows up. Her mom's character class is PETA Member, which has abilities that are particularly effective against Teacher units. Also, if her mom shows up, you'll have to defeat both her AND her mom.
(In case you're wondering, this track plays for even more dramatic battles, such as you and your friends against a gang of bullies, on a street corner.)
* fuck
regret/danger: fuck
intensifier: fucking
direct insult: fuck you
vocative insult: fucker, fuck (uncommon, usually with other words)
dismissal: fuck off, go fuck yourself
surprise/confusion/bewilderment: (what) the fuck, holy fuck(ing shit) (by extension of/analogy to "holy shit", rare in shorter form)
strict meaning: verb: to have sex (not most common usage)
special: fuck up (cause undesired results), fucked (subjected to very unfavorable circumstances, or expected to be such)
minced as: screw (sometimes), fudge (rare)
* ass
regret/danger: (none, but may be combined with other foul words)
intensifier: (none)
direct insult: (none, but may be combined with other foul words)
vocative insult: ass (uncommon), pain in the ass
dismissal: (none)
surprise/confusion/bewilderment: (none)
strict meaning: bottom/behind (body part) (most common usage)
minced as: butt, behind, arse (equivalent in UK)
* asshole
regret/danger: (none)
intensifier: (none)
direct insult: (none)
vocative insult: asshole (most common usage)
dismissal: (none)
surprise/confusion/bewilderment: (none)
strict meaning: anus
special: assholery (actions that an asshole might do, collective noun, uncommon)
minced as: butthole (rare)
* damn
regret/danger: damn, dammit/damnit/damn it, goddamn it/goddammit
intensifier: damn/damned, goddamn/goddamned
direct insult: damn you (and variants)
vocative insult: (none, unless combined with other words)
dismissal: (none)
surprise/confusion/bewilderment: (none)
strict meaning: condemn/condenmed (verb or adjective) (especially in a religious/spiritual sense) (only used poetically)
minced as: dang, dangit, dagnabbit, etc.
* bitch
regret/danger: (none)
intensifier: (none)
direct insult: (none)
vocative insult: bitch, son of a bitch
dismissal: (none)
surprise/confusion/bewilderment: (none)
strict meaning: female dog (rarely used, except for wordplay)
special: bitch (complain, especially in a disagreeable way, verb), bitching/bitchin' (impressive/desirable, adjective)
note: often gender-specific or gender-implying
minced as: (none)
* shit
regret/danger: shit (possibly repeated), aww shit, oh shit
intensifier: (none, except in "chickenshit")
direct insult: bullshit, horseshit (regarding objects and ideas, but not people)
vocative insult: shit (uncommon), [quantity noun] of shit (regarding objects and ideas, but not people), shithole (regarding a place)
dismissal: (none)
surprise/confusion/bewilderment: (what) the shit (is this?), holy shit
strict meaning: defecate (verb), feces (noun)
special: shit (stuff/things, collective noun, sometimes derogatory, sometimes self-deprecating), shit (lie to/exaggerate/kid, verb, usually in present participle (shitting)), shit on (speak ill of/rag on, verb, in analogy to strict meaning), shitty (of poor quality, adjective, in analogy to strict meaning), the shit (something desirable in a positive way, collective noun, sometimes minced as "the shiznit")
note: frequently combined with other words
minced as: crap, shiz (rare)
* hell
regret/danger: (none)
intensifier: (none)
direct insult: (none)
vocative insult: hell (regarding a place or situation, especially but not necessarily one that is literally hot, by analogy with strict meaning)
dismissal: (none)
surprise/confusion/bewilderment: (what) the hell
strict meaning: a condition or location of the afterlife that is believed to be unpleasant and/or the punishment or gathering of evil entities such as demons, often depicted as fiery
note: often considered acceptable (especially when used in literary or religious/spiritual contexts), used in adjective form "hellish"
minced as: heck, "H E double hockey sticks" (juvenile/uncommon)
* dick
regret/danger: (none)
intensifier: (none)
direct insult: (none)
vocative insult: dick
dismissal: (none)
surprise/confusion/bewilderment: (none)
strict meaning: penis
special: dick around (mess around), dickish (adjective form)
note: sometimes gender-specific/gender-implying, common abbreviation of the name "Richard", archaic slang for "detective"
minced as: Dickens (uncommon)
* cunt
regret/danger: (none)
intensifier: (none)
direct insult: (none)
vocative insult: cunt
dismissal: (none)
surprise/confusion/bewilderment (none)
strict meaning: vagina
note: often gender-specific/gender-implying
* Destruction 8%ile
* Excitement 32%ile
Mastery 0%ile
* Challenge 1%ile
* Strategy 50%ile
Achievement 2%ile
* Completion 58%ile
* Power 0%ile
Social 47%ile
* Competition 17%ile
* Community 82%ile
Immersion 85%ile
* Fantasy 86%ile
* Story 77%ile
Creativity 9%ile
* Discovery 25%ile
* Design 6%ile
"Calm, Spontaneous, Relaxed, Gregarious, Deeply Immersed, and Practical"
Gamers with high Action scores are aggressive and like to jump in the fray and be surrounded by dramatic visuals and effects. Gamers with low Action scores prefer slower-paced games with calmer settings.
Destruction 8%
Excitement 32%
Destruction (8%): Gamers who score high on this component are agents of chaos and destruction. They love having many tools at their disposal to blow things up and cause relentless mayhem. They enjoy games with lots of guns and explosives. They gravitate towards titles like Call of Duty and Battlefield. And if they accidentally find themselves in games like The Sims, they are the ones who figure out innovative ways to get their Sims killed.
Excitement (32%): Gamers who score high on this component enjoy games that are fast-paced, intense, and provide a constant adrenaline rush. They want to be surprised. They want gameplay that is full of action and thrills, and rewards them for rapid reaction times. While this style of gameplay can be found in first-person shooters like Halo, it can also be found in games like Street Fighter and Injustice, as well as energetic platformers like BIT.TRIP RUNNER.
The Mastery Components (10%)
Gamers with high Mastery scores like challenging gaming experiences with strategic depth and complexity. Gamers with low Mastery scores enjoy being spontaneous in games and prefer games that are accessible and forgiving when mistakes are made.
Challenge 1% Challenge
Strategy 50%
Challenge (1%): Gamers who score high on Challenge enjoy playing games that rely heavily on skill and ability. They are persistent and take the time to practice and hone their gameplay so they can take on the most difficult missions and bosses that the game can offer. These gamers play at the highest difficulty settings and don’t mind failing missions repeatedly in games like Dark Souls because they know it’s the only way they’ll master the game. They want gameplay that constantly challenges them.
Strategy (50%): Gamers who score high on this component enjoy games that require careful decision-making and planning. They like to think through their options and likely outcomes. These may be decisions related to balancing resources and competing goals, managing foreign diplomacy, or finding optimal long-term strategies. They tend to enjoy both the tactical combat in games like XCOM or Fire Emblem, as well as seeing their carefully-devised plans come to fruition in games like Civilization, Cities: Skylines, or Europa Universalis.
The Achievement Components (2%)
Gamers with high Achievement scores are driven to accrue power, rare items, and collectibles, even if this means grinding for a while. Gamers with low Achievement scores have a relaxed attitude towards in-game achievements and don’t worry too much about their scores or progress in the game.
Completion 58%
Power 0%
Completion (58%): Gamers with high Completion scores want to finish everything the game has to offer. They try to complete every mission, find every collectible, and discover every hidden location. For some players, this may mean completing every listed achievement or unlocking every possible character/move in a game. For gamers who score high on Customization, this may mean collecting costumes and mounts in games like World of Warcraft.
Power (0%): Gamers who score high on this component strive for power in the context of the game world. They want to become as powerful as possible, seeking out the tools and equipment needed to make this happen. In RPGs and action games, this may mean maxing stats or acquiring the most powerful weapons or artifacts. Power and Completion often go hand in hand, but some players enjoy collecting cosmetic items without caring about power, and some players prefer attaining power through strategic optimization rather than grinding.
The Social Components (47%)
Gamers with high Social scores enjoy interacting with other players, often regardless of whether they are collaborating or competing with them. Gamers with low Social scores prefer solo gaming experiences where they can be independent.
Competition 17%
Community 82%
Competition (17%): Gamers who score high on this component enjoy competing with other players, often in duels, matches, or team-vs-team scenarios. Competitive gameplay can be found in titles like Starcraft, League of Legends, or the PvP Battlegrounds in World of Warcraft. But competition isn’t always overtly combative; competitive players may care about being acknowledged as the best healer in a guild, or having a high ranking/level on a Facebook farming game relative to their friends.
Community (82%): Gamers who score high on Community enjoy socializing and collaborating with other people while gaming. They like chatting and grouping up with other players. This might be playing Portal 2 with a friend, playing Mario Kart at a party, or being part of a large guild/clan in an online game. They enjoy being part of a team working towards a common goal. For them, games are an integral part of maintaining their social network.
The Immersion Components (85%)
Gamers with high Immersion scores want games with interesting narratives, characters, and settings so they can be deeply immersed in the alternate worlds created by games. Gamers with low Immersion scores are more grounded in the gameplay mechanics and care less about the narrative experiences that games offer.
Fantasy 86%
Story 77%
Fantasy (86%): Gamers who score high on Fantasy want their gaming experiences to allow them to become someone else, somewhere else. They enjoy the sense of being immersed in an alter ego in a believable alternate world, and enjoy exploring a game world just for the sake of exploring it. These gamers enjoy games like Skyrim, Fallout, and Mass Effect for their fully imagined alternate settings.
Story (77%): Gamers who score high on Story want games with elaborate campaign storylines and a cast of multidimensional characters with interesting back-stories and personalities. They take the time to delve into the back-stories of characters in games like Dragon Age and Mass Effect, and enjoy the elaborate and thoughtful narratives in games like The Last of Us and BioShock. Gamers who score low on Story tend to find dialogue and quest descriptions to be distracting and skip through them if possible.
The Creativity Components (9%)
Gamers with high Creativity scores are constantly experimenting with their game worlds and tailoring them with their own designs and customizations. Gamers with low Creativity scores are more practical in their gaming style and accept their game worlds as they are.
Discovery 25%
Design 6%
Discovery (25%): Gamers who score high on Discovery are constantly asking “What if?” For them, game worlds are fascinating contraptions to open up and tinker with. In an MMO, they might swim out to the edge of the ocean to see what happens. In MineCraft, they might experiment with whether crafting outcomes differ by the time of day or proximity to zombies. They “play” games in the broadest sense of the word, often in ways not intended or imagined by the game’s developers.
Design (6%): Gamers who score high on this component want to actively express their individuality in the game worlds they find themselves in. In games like Mass Effect, they put a lot of time and effort in the character creation process. In city-building games or space strategy games, they take the time to design and customize exactly how their city or spaceships look. To this end, they prefer games that provide the tools and assets necessary to make this possible and easy to do.
Overall, yes, this is fairly consistent with how I answered the questions.
incidentally...a difference between completion by accomplishment vs. completion by exploration/experience. i am less into the former and more into the latter, apparently.
i just watched it again
it's more like, each candle represents some large quantity of HP, such as 1000, and each turn the cake recovers something like 400 HP and relights two candles, but each re-lit candle is only worth 200.
some weird complicated scripting, regardless. i'm really curious about it.
--
It's quite satisfying when plots have very good pacing of escalating drama.
Arpeggio is one example.
Neon Genesis Evangelion is another.
Madoka Magica is not an example.
--
Does the story hold together and make sense even when you don't completely understand what happened?
In the case of Evangelion, you can feel the intensity rising, especially in the latter half of the show. It almost doesn't matter where the Angels come from, or what Gendo is up to. You don't need to think about these things in order to feel that intensity.
In Madoka Magica, you can't, and it's just more like going through a log of the events. There is a lot to think about, but it is not motivated by feeling and emotion.
That is a failing of Madoka Magica.
--
Contrast Final Fantasy: the Spirits Within. Even though it doesn't completely flesh out its setting details, the storytelling and pacing allows the feel of drama to flow skillfully through the course of the story.
That is why it is a better story than Madoka Magica.
--
To be fair, part of that feel may very well be due to the music. Kajiura's soundtrack for Madoka Magica is certainly not bad, but it felt somewhat compartmentalized -- though perhaps this may also be a fault of the storytelling method. On the other hand, Arpeggio and N.G. Evangelion both have soundtracks that suggest a strong sense of grandeur, one that immerses the audience in something clearly of greater magnitude than themselves.
The music isn't necessarily all of it, though, since FF:TSW had a mostly ambient soundtrack. That said, to be fair, it also did contribute to a sense of grandeur.
Madoka Magica, on the other hand, had about as much grandeur as a stiffly-written academic treatise on the themes of Shakespeare's plays. It is intellectually interesting, but fails to be emotionally engaging for much of it, excepting some particularly noteworthy revelations that are moving and emotionally engaging in and of themselves.
--
Yes, I did just argue that FF:TSW has better storytelling than Madoka Magica.
suck it, Urobuchi fans
--
Still don't quite get why people dislike FF:TSW that much.
The only reason I can come up with, after thinking about it a few times, is that the setting details aren't that fleshed out, and the movie begins in medias res.
--
But the fact that the setting details are not needed for something to be emotionally engaging means that -- assuming the quality of a story has a direct (rather than inverse) relationship with its emotional engagement, all other things being equal -- means that fleshing out the setting automatically make it a better story.
In fact, there are many, many examples of narratives that don't provide all the details and leave various details unexplained, and are better for it. They thrive off of the mystery of those unexplained elements.
There is definitely an emotional satisfaction derived from a story challenging the audience's sense of "control" of their understanding of the world as presented to them.
--
Mysticism and the sense of wonder seems to be an element in religious belief, incidentally.
For example, a Catholic priest recently explained to me that part of a proper relationship with God is appreciating the wonder the wondrous mysteries that God is associated with -- that we will never understand God fully but that sense of wonder is a part of the faith.
--
I think that some of my favorite stories cultivate and direct that sense of wonder very well. The feeling of being in the presence of some greater force, whether sympathetic or antagonistic, and the dynamics of ability and/or inability to deal with it.
In some cases, that greater force is a mysterious enemy. In some cases, that greater force is a close ally. In a few cases, that greater force turns out to be oneself.
Or maybe I'm just bullshitting. I dunno.
--
If you had the force to change the world, what would you do?
If you had the force to right wrongs, to fight back, to even the playing field, to investigate wrongdoing, to correct injustices, ...what would you do?
--
There are lots of details that Kiddy Grade does not tell us.
However, those details that it does tell us are not disconnected -- they have what is much like a poetic meaning.
For example, you don't need to be told exactly why Éclair was in prison at some point in time to understand why she was imprisoned and to make sense of what she says.
--
I bet that for some higher-ups she's seen as an opinionated, passion-driven, impulsive git.
La-Mulana has that strong narrative progression, despite not being a story-centric game. (It is very setting-centric though.)
Mega Man ZX may have had a lot of "fodder" in the middle part of the game, but it is the fodder that made the beginning and end so very meaningful. Again, meaningful narrative progression.
Similarly, almost every boss is a challenge for Yunica, and progressively more and more so. The last two bosses before the final boss are probably the most dramatic and climactic examples. It's not even necessarily to completely sort out the story -- all that is really needed is to really feel first-hand the intense suffering of her struggling against these antagonistic forces.
In fact, it may be said that that having a struggle just makes victory that much more satisfying.
--
La-Mulana also has that sense of wonder.
(It literally has a track called "Wonder of the Wonder", lol.)
Ys Origin does too.
So does CvSotN, despite CvSotN lacking as good of a narrative experience progression (in part thanks to the relatively freeform -- and possibly unfinished -- second half).
MMZX on the other hand doesn't have a sense of wonder as much as it has some other emotions.
--
Seriously, just thinking about how MMZX's final area theme reprises -- but with a different mood -- a very early-game event theme, brings me almost to tears. It strongly evokes those emotions -- such as the feeling of having since learned the truth and now having the conviction of what one is fighting for, as well as the feeling of doing what one can to make it so that those who have died have not died in vain.
--
I'm sorry, but wacky slapstick absurdist anime comedy just...doesn't do these things.
It doesn't generate emotions like this. It generates amusement, I guess.
But it generates no realizations. It generates no desires, no feelings of vengeance or anger, no feelings of sympathy or comfort, no feelings of triumph or bliss, no feelings of loss or defeat.
Well okay it's occasionally used to generate feelings of comfort. I guess. Kinda. But that's about it.
--
Of course, these feelings cannot be shoved onto the audience in short order. They have to be generated by the audience themselves, in reaction to the events portrayed. Asking someone to cry only makes them cry crocodile tears at best.
Thus a lot of time some amount of "fodder" is needed, so to speak. The term's implication that said "fodder" is unimportant and inconsequential is actually an incorrect implication -- it is precisely this "fodder" that allows one to familiarize oneself with the premises of the setting and the personalities and lives of the characters. In order for emotional dynamics to occur, change has to happen, or be suggested and denied. In order for change to be measurable, an initial state must first be determined.
There is no rule stating that fodder must only be so much or so long. As long as that fodder contributes to a good narrative experience, it has served its purpose.
Remember that we as humans don't understand the value of something until we have lost it (or contemplate losing it).
--
> Wacky slapstick is gdlk. And totally better. :p
Wacky slapstick does not build a personal relationship with me.
--
Some people speak of having a "personal relationship" with God or with Jesus.
In light of this, it is really not much of surprise that I find religious-like spiritual inspiration from my favorite stories.
I mean, people often find passages of religious texts "deeply moving".
Well, they're stories, that -- when taken seriously -- can touch people's hearts.
Same thing.
--
I have little taste for over-the-top-ness but I'm very much into the emotional stuff.
I've hypothesized that it's because I tend to appreciate stories more for how they relate to me and the world around me rather than for the distance I can put between me and others who are unlike me.
Beyond that, I don't really know why. Maybe it's because I didn't watch that many "craaaazy" kids' cartoons as a child, and/or I learned music / played games / watched TV / etc. with more direct/straightforward and often dramatic narratives. Or somehow I learned to enjoy frankness and directness more than sarcasm or exaggeration. Or for whatever reason I'm more of an idealist than the internet is on average.
Or maybe even not watching much TV / not playing that many games in general. Which basically meant that my appreciation of them came from thinking (and feeling) deeper and deeper about the same works, gaining a more personal relationship with them through how they related to my own life. As opposed to watching a lot of TV / playing a lot of games which might have led to a more diffuse interest and shallower relationship in each as well as a greater frequency of comparing things to each other.
--
To some people, Nanoha is "just" a character. She may even be a main character, or a notable character. But she has little significance beyond the stories she appears in.
To some people, Nanoha is an object of fantasy and desires. She is seen as a source of fanservice in one way or another -- as a female with an appealing body, and/or a lesbian lover, and/or a source of social touchpoints (such as memes).
To me, she is neither of the above. To me, she is an inspiration -- she is hard-working and demanding while also being caring and patient, passionate yet careful; she is a brilliant strategist as well as a master of diplomacy and negotiation. She fights hard for what she cares about, but she also talks firmly but sympathetically and makes genuine efforts to come to understandings with those on the other side of a conflict, and often wins hearts by skillfully making use of both carrot and stick simultaneously. She is a role-model.
though I've changed "shining" to "troubled"
Light conversation is allowed during play, and so are requests to check the recent history of played cards.
However, Deng has some additional rules. Some of these duplicate mechanics of Uno, but some are unique to Deng and its predecessors. The most important of these rules is thus:
0. When a player has legally shedded all their cards, they have the right to create a new rule. The new rule must fairly apply to all players. Rules that simply burden the flow of play are generally less well-regarded than rules that introduce novel, amusing, or otherwise interesting gameplay. This player announces a name for the rule, which should ideally contain a hint to its mechanic. This player may instead use this right to remove or change any existing rule. Following this rules changes, this player draws five cards and play resumes as if it had not been interrupted by a player shedding all their cards. The player who created this rule is responsible for enforcing the rule (though others may aid them), as well as ruling on interactions of the new rule with other rules.
Other rules that are standard to a game of Deng are as follows:
1. When an ace is played, turn order is reversed.
2. When a three is played, the player who played the three must take another turn.
3. When a seven is played, that player opens an unresolved seven, and it is considered unresolved until it is resolved. A series of unresolved sevens may be played in a row by successive players. For N unresolved sevens, a player who plays a seven must say "Have a [very * (N-1)] nice day" immediately after playing that seven. The next player must either play another seven, incrementing by one the number of unresolved sevens and saying a corresponding phrase for N+1 unresolved sevens, or resolve all sevens by saying "Thank you [very * (N-1)] [much {if N>1}]" and drawing 2N cards (and playing none of them).
4. When an eight is played, the next player who would normally take a turn is skipped, and play proceeds with the player who would have played after the original next player.
5. When a jack is played, any player (or any other source determined by consensus by the players) may call a suit. The first suit thus called goes into force, and the next legal play must be of that suit, and may be any rank.
6. When any spade is played, the player who played that card must say the rank and suit of that card.
7. When a player plays a card of the same rank and suit as the card atop the played pile, that player must say the original name of this game.
8. When a player reaches the end of their turn with only one card left in their hand, they must say "last card".
9. When a player legally sheds all their cards to win the game, that player must say the original name of this game.
10. Attempting to win the game by making an illegal play and/or while violating other rules counts separately as an additional prohibition.
11. Players are expected to play within a reasonable amount of time as determined by consensus.
12. Saying the original name of this game at any time other than times prescribed in these rules is prohibited.
13. The penalty for attempting an illegal play or violating any other rules is one card given to the player who attempted the illegal play or violated a rule. Note that attempting to win improperly is a separate offense.
The original name of this game is the surname of the 1st Chairman of the Central Committee of the Communist Party of China, as pronounced in Mandarin Chinese.
resources and a wide array of landscapes such as mountains, deserts and
forests. But unlike other places, Altago is unique by that a form of
energy known as Dragon Energy
permeates through every living and non-living beings such as plants,
animals and weapons. These energy are believed to come directly from the
Five Dragons themselves whose role is to sustain Altago. However, there
exists some sort of balance between each of the Five Dragon's forces.
When the balance is upset, there exists a catastrophic effect for every
living being in Altago.
Let's make this more interesting.
resources and a wide array of landscapes such as mountains, deserts and
forests. But unlike other places, Tunisia is unique by that a form of
energy known as Dragon Energy
permeates through every living and non-living beings such as plants,
animals and weapons. These energy are believed to come directly from the
Five Dragons themselves whose role is to sustain Tunisia. However, there
exists some sort of balance between each of the Five Dragon's forces.
When the balance is upset, there exists a catastrophic effect for every
living being in Tunisia.
Now that's a prime tourist destination.
(Note: "Altago" is a fictional place in the universe of the Ys game series; it is roughly located where Carthage was in the real world, which is where Tunisia is today.)
Castlevania: True-Found Paradise
Castlevania: To Forever Pay
hmm, something doesn't match the tone right.
...I got it!
Castlevania: This Forever Place
Some experience are dear to us but nothing to others.
But some experiences persist beyond our mere selves."
what would they do with it?
how would they interact with each other?
Team Fortress 2
100% Orange Juice
U.S. congressional politics
http://safebooru.org/index.php?page=post&s=view&id=1678870
another pretty picture of Chihaya Kisaragi
http://safebooru.org/index.php?page=post&s=view&id=1433475
Kiddy Grade: 2 F, 0 M
Lagrange: 3 F, 0 M
Druaga, 0 F, 1 M; or 5 F (Ahmey, Coopa, Fatina, Henaro, Kaaya), 5 M (Jil, Kally, Melt, Neeba Utu)
Stratos 4: 4 F, 0 M
Element Hunters: 1 F, 2 M; or 3 F, 4 M
Nanoha StrikerS: 6 F, 1 M
House of Small Cubes: 0 F, 1 M
Rain Town: I forgot
M. of Haruhi Suzumiya: 3 F, 2 M
Atelier Escha & Logy: 1 F, 1 M
Neon Genesis Evangelion: 2 F, 1 M
Fractale: 1 or 2 F, 1 M
Str.A.In.: 1 F, 0 M (debatable)
Girl who Leapt Through Time: 1 F, 0 M (debatable)
Nausicaa of the Valley of the Wind: 1 F, 0 M, 1 non-human (lol)
Magic Knight Rayearth: 3 F, 0 M
The iDOLM@STER: 12 or 13 F, 1 M
Guilty Crown: 1 F, 1 M
Noir: 2 or 3 F, 1 M
Eureka Seven: 1 F, 1 M
Stellvia: debatable, but to keep it simple let's say 1 F, 0 M
Uta~Kata: 2 F, 0 M
Umi Monogatari: 3 F, 0 M
Rocket Girls: 3 F, 0 M
Kowarekake no Orgel: 1 F (if a robot counts), 1 M
Time of Eve: 0 F (kinda), 2 M
Allison & Lillia: 1 F, 1 M in each half
Coppelion: 3 F, 0 M
Arpeggio of Blue Steel: 1 F, 1 M
It shouldn't be weird and unusual. It should be normal and expected of people.
Wastefulness should not be considered a "default". It should be considered a vice.
So I thought the lecturer was talking about the "Little Ploss" transform. He was speaking rather quickly, rendering it as "Li'l Ploss".
I wondered when he'd talk about the Big Ploss transform.
GlennMagusHarvey watched episode 7.
2 days ago
[...]
GlennMagusHarvey is currently watching.
22 days ago
GlennMagusHarvey watched episode 1.
22 days ago
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a month ago
Gyrozetter
GlennMagusHarvey watched episode 3.
4 days ago
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3 months ago
Angel Beats!
GlennMagusHarvey has completed.
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7 months ago
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Guilty Crown
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RWBY III
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4 months ago
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Solty Rei
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5 months ago
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a year ago
Atelier Escha & Logy
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GlennMagusHarvey watched episode 12.
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Steins;Gate
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well at least that last one isn't CRRRRAAAAAAZY CARTOONS! i guess
or multiplayer FPSes filled with trash talkers