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Messages - President Television

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Requiem's Illusion spells.  I might also use the Apocalypse Spell Package, though some of them are fairly cheesy (Hidden Cobra followed by Vanish = enemy with 1 HP)., it depends.  I can edit some of that stuff down, and Frostfall, for example, does actually have you do things to mitigate against the cold (collect wood, build fires, pitch tents etc).  Hunterborn makes foraging, skinning and gathering ingredients more in depth without being too tedious (there are neat animations and stuff to go along with the skinning etc).  Eating and sleeping is boring, but it's also fairly easy.  Plus it's that element of danger and survivalism.  Do I take the extra potions, or wood in case of a snowstorm?  Do I kill these bandits and take their fire, or make camp somewhere safer?  Fast travel is disabled by standard in Requiem, so I'll be out in the wild a lot anyway...

Actually, you know what? I've changed my mind. It sounds fine.

So, my testing for recording seems all good.  OBS is definitely the way to go, it records with almost no impact and with half the file size of the other methods, and because it doesn't use a variable framerate or weird encoding system it doesn't spazz out.

So, that means, before I start recording Skyrim gameplay again, I have questions; I will be using the Requiem overhaul, for more interesting gameplay.

Do you want to see survivalism gameplay?  Namely, hypothermia, realistic needs and hunting?  There are mods for this, but I'm waiting for the patches to be updated for the latest version, as the new Frostfall mod has significant performance improvements over the currently patched version.  This will mean the possibility of freezing to death, starving to death etc.

Secondly, what kind of character would you be interested in.  I have a couple of ideas, and I'm pretty open to any of them, as all should be end-game viable.  Basically, your choices are nightblade (stealth and magic), paladin (shiny armor and good magic) or spellblade (fire magic and conjuration and swords). I'll come up with backstories and motivations later.

Spellblade looks most fun to watch, though nightblade could also be fun if your mods add interesting Illusion spells. I dunno about the survivalism, though. While I imagine it adds depth to gameplay, it's probably tedious to a passive viewer. Unless you can really fill time with your commentary, I think I'd advise against it.

The Paris attacks and ensuing flood of racism all over the Internet isn't really helping with my state of mind.

It's definitely been an upsetting couple of days on social media.

I'm starting to fear that I'm echo-chambered on Facebook. I haven't seen anyone actually expressing anti-Syrian sentiments, but I know they must be out there judging by all the reactions I'm seeing. Well, that and the way Western politics generally get about this sort of thing.

Aneristic Illusions / Re: Wealth Inequality -- a red herring?
« on: November 14, 2015, 05:08:39 am »
Compensation has closely tracked productivity:

Workers do not tend to be paid (in total compensation, aka wages+benefits) less than 50% of their productivity.

To quote the NBER paper: "In 1970 compensation was 74 percent of the value added of the nonfinancial corporate sector. In the year 2006, it was 73 percent."

I don't know, it's possible CEOs are an exception, being paid way more than they "should" be? But compensation of workers in the entire economy has tracked productivity. It's certainly true that workers in a company, taken as a whole, contribute more to a company than a CEO. But each individual worker, compared to the CEO, is a different story. Although the main point I was making wasn't necessarily about CEOs in particular, but about productivity in general. The value added to hiring a worker with more skills tends to be more than a worker with less skills.

I'm entirely open to being shown that CEOs are paid way above the value they bring to a company. This would be quite an interesting exception to the rule.

Their value isn't to the company, it's to the board of directors. A good scapegoat's worth a lot of money, apparently.

White privilege is kinda bullshit imo.

Most points about it that people make are illogical.

It's a oppressive term tbh. I can't think critically because I'm white? I can't feel marginalized because I'm white? I can't have empathy because I'm white?

But none of those claims are actually part of the definition of "white privilege." Like, I'm white, but I'm also mentally ill, poor, and bi, and all those things do indeed create problems for me that wouldn't exist if I were sane, rich, and straight. At the same time, I'd be worse off if I also weren't white. I'm not exactly proud of this, but I don't feel guilty about it either. You're attacking a strawman, possibly based on distortions of the concept bred on tumblr and deliberate misrepresentations on /pol/ feeding into each other and twisting it into something stupid.

White people is a racist term tbh.

There's so many different kinds of white, and a jew has about as much similarity to a slav as a black has to a mexican. So why is one grouped together and the other isn't?

It kinda reminds me of something a black friend of mine once said, about how they were uncomfortable with the widespread use of the term PoC because it lumps all non-white people together, implying that they're all one big happy family when clearly they're not. Specifically, they cited a friend whose Chinese grandparents, upon hearing she was moving to Toronto, warned her to "watch out for all the n***ers."

White people do benefit from the social structures in most places in ways other people don't, but the entire designation of "white" vs. "non-white" is still kinda nonsensical, as you said, when you cut it away from its context. I think historically, "whiteness" has simply been an imperialist way of designating who counts as a member of the dominant in-group; I recall someone on this very site describing the way the Irish were considered "non-white" when they were still widely discriminated against, in spite of the pastiness of their usual complexion. Hell, I've read of 19th-century racialist theories that tried to claim the Irish were descended from Africans, based on phrenology. Similarly, I wouldn't be surprised if Cold-War-era anti-Soviet propaganda played up the Asian component of Russia's racial makeup, though I haven't looked into it much.

As someone primarily of German and Irish ancestry, I find "white" to be the most convenient way of describing my racial background, since I benefit from all the privileges the category of "whiteness" entails and find experiences of "whiteness" to be relatable and consistent with my own; I know I'd be laughed at at best if I described myself as "mixed-race." I take no issue with this in an immediate sense, since I have no business pretending to face the challenges mixed-race people of non-white descent do, but I have to agree that the circumstances leading to all these designations are pretty fucked up to begin with.

So, I've just been given a green light to bully my co-workers.

Cain! What is best in life?

You profile picture has too much mustard, Nigel.

It had even more when Alty got done with it.

I like mayonnaise on my hotdogs

Just because we have social lifes doesn't mean they're functional.

If having a social life gives me a hangover the next morning this much, I'm about ready to quit.

Just a hang over?
heh, and you call that a social life.

what am I supposed to have? scabies?

Scabies are easy mode. If you're not shitting blood and pulp it's not a party.

Pulp, you say?

Now, I will warn you: The art starts out kinda shit. Early JoJo art is honestly hard to look at at times. But then, part of the fun of JoJo is watching Hirohiko Araki grow as an artist and a writer. Like Western comics, JoJo eventually has an attempt at a mature, gritty reboot... But unlike in the West, this one succeeds, because Araki doesn't do it to prove to anyone that his work isn't for kids. He does it because he himself is tired of the continuity pileup that's started to occur, despite his best efforts to the contrary, and because he feels like tackling challenging subject matter. JoJo doesn't deny its immaturity, it grows up. One thing I'll always respect about Hirohiko Araki is that he doesn't reject his own initial silliness; instead, he retains the elements he likes and takes them in a different direction.

If the early art's too ugly, there is an anime adaptation of the first 3 parts, and it's actually pretty good-looking. It's very faithful to the source material, and while I know Roger doesn't like anime as a medium, this clip should be a pretty good indication of whether you'll like it or not:

Interesting.  I will have to give it a try, once the trauma of SW3 wears off.

Mind you, it is goofy as fuck. Don't go in expecting high literature. I mean, if you want an idea of the general vibe, just watch the Part 2 intro from the anime adaptation:

Basically, it's Big Gay Cowboys: the manga.

I've found solutions to many of these problems in the structure of a long-running shonen manga, JoJo's Bizarre Adventure. Western superhero comics have their problems(continuity, the shackles of canon, constant writer changes, death never sticking, popularity power, inconsistency, fantasy kitchen sink settings, etc.) and Japanese shonen manga tend to have problems of their own(power creep, gimmick pileup, cyclical in-story powerups, serial escalation, interminable training sequences, tournament arcs, boring invincible heroes, popularity power, inconsistency, fantasy kitchen sink settings, etc.)
JoJo's Bizarre Adventure has a format that solves both sets of problems simultaneously. Mind you, it is still a big dumb adventure series, but I really admire its structure, and it seems to have come together accidentally, oddly enough.

JJBA is broken up into discrete Parts, each with its own major story arc and self-contained plot. Between each Part, there's a timeskip, and they're all set in differing locations, with a different protagonist. All JJBA protagonists have only three things in common: a star-shaped birthmark, a bloodline, and a name that can somehow be abbreviated as "JoJo." Everything's name is a music reference, but that's neither here nor there. Anyway, each Part has its own tone and takes a foray into a different setting and genre from the rest. All of them have some aspect of shonen fighting manga, in the vein of older works like Fist of the North Star, but they spice it up with a combination of mystery, horror, and copious helpings of ham and high camp. The fights can also get really clever, and they run on the author's own insane brand of logic. Villains rarely come back. Death is final, and targets protagonists and antagonists indiscriminately(though protagonists do tend to be better at surviving). The result of this structure is that it's really, really, really hard for things to get stale.

The series starts out with vampires and a special breathing technique called the Ripple as its main gimmicks, but it exhausts their potential by the end of Part 2 and moves on to another kind of power: Something called a Stand. Now, I'm not gonna bore you with the specifics of how Stands work, but they define the rest of the series and they all adhere to a few basic assumptions and exist within a set of parameters on which they're graded from E to A, similarly to RPG stats: Power, Speed, Range, Durability, Precision and Learning. I think this system was originally in place to emphasize how strong the third JoJo's Stand was, since Stands generally had some kind of ability and his Stand, Star Platinum, had none beyond crazy good stats, but it ended up being a really good system for keeping power creep in check, since every parameter was finite and had already been shown at its limit in the third part. Also, due to the nature of Stands, nobody in JoJo is actually invincible, keeping a tactical element in fights.

 In general, JJBA is basically about fabulous musclemen violently posing at each other for the fate of the world, as written by the Timecube guy. The parts are as follows:

Part 1: Phantom Blood(set in 1880s/1890s England, Gothic Horror)
Part 2: Battle Tendency(set in 1938, Pulp Adventure)
Part 3: Stardust Crusaders(set in 1987, Pulp Adventure, Travelogue)
Part 4: Diamond Is Unbreakable(set in 1999 small-town Japan, Murder Mystery)
Part 5: Vento Aureo(set in 2001 Italy, Mafia)
Part 6: Stone Ocean(set in 2011 Florida, because of course, Prison Break)
Part 7: Steel Ball Run(set in parallel-universe 1890s America, Western)
Part 8: Jojolion(set in 2011 parallel-universe small-town Japan, Ontological Mystery)

Of course, at the end of the day, it is still dumb entertainment. It is, as you said, "people in tights punching each other while bellowing their inner feelings."  But at least it's competently-executed dumb entertainment. It's refreshing to see it actually function as a mode of storytelling.

Cover art for Hell to Pay (Life During Wartime, book 2).  Artist:  Patience Gonzales.

"You're pretty good."

Free reading material and license to be a dick about it? I'm down for that. I'll PM you my email address.

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