Maquila Maquila!

9am

Arrive at the office, get a cup of coffee. Check emails for any news that is relevant to me. Reply to a few regarding the thing I’m working on, or point out a potential side effect to a proposed solution. Make sure to update my local build with the latest goodness from the depot. 

10am

Go to standup meeting(s) for the design group(s) I am part of. I tell all of the other developers in the group what I’m working on today, and what I got done yesterday. One by one, everyone else does the same. I make a mental note to talk to relevant designers if they are working on something I know about, or if I need assistance with something that they have expertise in. I go back to my desk and resume work on what I hadn’t finished from yesterday. This usually entails placing spawners, placing trigger volumes, creating events and encounters, adding abilities to monsters, writing scripts to govern enemy behavior, editing the attributes of specific abilities, or testing the content I just put together. Sometimes I use the tools to adjust ability values or numbers in a big spreadsheet to rebalance some player abilities to be more in line with what the leads asked for.

11am

Go to a meeting about a specific feature that I’m designing for. Listen to the engineers working on the tech side of the feature talk about the issues that have come up. They say that they can’t do X because of technical limitations, but can do Y. I point out that Y won’t work in these cases, and can they please do Z in addition to Y? The engineers talk about how Z might work, but they will need to do some research on it. We talk out a solution that is technically feasible, and still meets the intended design goals within the scheduled time.

Noon

Lunch. Possible gaming (video, board, or card) with coworkers.

1pm

Carla the engineer sends me an IM, asking me a question about a quest I checked in recently - she’s been assigned a bug for this quest, and she’s looking into it. I open the quest up in my local editor and look it over. We talk about the particulars of the quest for a bit, she then explains that the script I wrote to complete the quest doesn’t actually do what I want it to do in this situation. Instead, I need to do this other thing. I make the change to the quest. Carla assigns the bug to me; I mark it as fixed after checking in.

2pm

Todd from QA comes by. He says that they just found a new crash bug in an encounter I checked in yesterday. I load up the level and Todd tries to reproduce it on my development machine. He is unable to do so. I shoot Carla a message to ask if she can get it to happen on her development environment. She is able to do so. She comes to my desk, we spend some time figuring out why it isn’t broken on my machine. I have a specific file nobody else has on my drive and forgot to check it in. Whoops. I check it in and everyone is able to play the encounter without crashing. Crash bug is marked fixed.

3pm

I’m back to working on the thing I started doing at 10am after the round of standup meetings. I make some progress, creating the framework for a new encounter and scripting some placeholder bad guys who will be replaced when the animators finish with the new monster animations. I also continue work on a document about a feature I am working on and write down some details about the ideas and implementation.

4pm

Kelso the producer sends me an IM, asking me to come to a meeting room. I enter, finding the meeting room full of other people - mostly artists and designers, but also all of the discipline leads (including my boss) and the executive producer. Kelso is concerned about how long it will take for the animations to come down the pipeline, since we have that big E3 demo we need to put together and the animations are critical to showing off feature X. I say that we can do it without the in-progress animations, but we’d have to do this other encounter with the other monsters that are already rigged and have their animations in place. I join the meeting.

5pm

I return to my desk to pick up where I left off. Todd from QA is back, this time with a new issue - something weird happens in this branch of the Slagathor quest. We talk it out, then he shows me how it happens. It happens on my machine this time, just like his. I check the related assets for anything out of the ordinary, but everything seems kosher on my end. I send Carla an IM asking her to come over. She comes to my desk, and Todd and I show her the issue. She asks to see the assets too, so I show them to her. She looks confused for a moment, and says she’ll take a look at it on her machine. She leaves. Todd and I talk a little bit more, and then I get an IM from Carla. She says there’s a bug in the code, and that Todd should assign the bug to her after adding the asset information I brought up. 

6pm

I go by my boss’s desk and mention to him that I thought of some new concerns about the E3 demo that I didn’t think of at the 4pm meeting. I explain two possible options that I could do for the demo. My boss thinks about it, and suggests a third option - similar to the second option I offered, but with a different take on the execution. Boss asks me for my guess on how long it will take. I give the boss an estimate, the boss agrees with it. I ask what the priority is on this task. It takes precedence over my current task, but not any high priority issues like crash bugs. I head back to my desk and begin work on this new thing.

7pm

If I’m not crunching, I go home. There I play some other games, or possibly watch a movie or some shows and spend time with family. I occasionally play games with friends - tabletop, card games, board games, or games online as well. If I am crunching, I get something to eat from the overtime buffet and continue to work. Typically crunch schedules will have me leaving at 9 or 10pm.

And it honestly looks like Aragorn is not only comfortable with this kind of physical affection, he’s used to it. 

Which makes me think that instead of looking at young Aragorn, and asking him to be more like an elf to fit in with those around them. Elrond looked at this kid and and thought to himself “how can I be more like what this child needs to thrive” 

Aragorn has been raised by Elves since he was only 2 years old. So if we’re going by Piaget’s theories of child development, that puts Aragorn, (who would have been called Estel at the time) in the pre-operational stage. Or somewhere thereabouts. So Elrond is raising this kid when he’s learning to talk. When he’s constantly asking “why?” about everything. 

Young Estel would have grown up surrounded by elves and elf children and just by virtue of not being an elf, he probably would have had to deal with feeling less capable than those around him. He wouldn’t have been able to do things like run across snow, and didn’t have the ability to see as far as they did with their “elf eyes” and I am imagining all manner of bruises and skinned knees as he tries to keep up anyway. 

And it would take some getting used to his new surrounding, but  I can’t stop picturing the first time tiny little Estel runs full tilt across the room and hugs Elrond’s leg. 

And instead of scolding him or asking him to be more like an elf to fit in, Elrond consciously sets aside his own discomfort in the face of what this child needs to thrive. And if what Estel needs is hugs, then hugs he shall have. 

Elrond picking up itty bitty Aragorn in a great big hug, and being just as uncomfortable about it, but hiding it well because this child was entrusted to his care and he will not let the boy grow up feeling unwanted or unloved.

And so Aragorn grew up surrounded by elves, but he grew up to be someone who naturally and unselfconsciously displays affection. 

I think that speaks volumes about Elrond. 

He raised this kid from age 2 to age 20 (so the majority of his formative years and well through his teens) and it was around then that Elrond’s own daughter gets back form visiting her grandmother Galadriel and meets this boy for the first time.

So I have NO IDEA what the various stages of child development would be for an elf, but I doubt their exactly the same.

!!!IMPORTANT FOR BLACK US VOTERS!!!

I saw this on Facebook and went to check my registration status, sure it was fine because I voted recently, but I put in the info and it said I’m not registered

So many famous faces in a movie that's saying something so important!!

Toxic in the background?

Emerald Fennell writing and directing??

TDS, February 11, 2015

One of the most important aspects of the Puritan/Protestant revolution (in the 1590’s in particular) was the foregrounding of marriage as the most appropriate way of life. It often comes as a surprise when people learn this, but Puritans took an absolutely positive view of sexuality within the context of marriage. Clergy were encouraged to lead by example and marry and have children, as opposed to Catholic clergy who prized virginity above all else. Through his comedies, Shakespeare was promoting this new way of life which had never been promoted before. The dogma, thanks to the church, had always been “durr hburr women are evil sex is bad celibacy is your ticket to salvation.” All that changed in Shakespeare’s time, and thanks to him we get a view of the world where marriage, women, and sexuality are in fact the key to salvation. 

The difference between the structure of a comedy and a tragedy is that the former is cyclical, and the latter a downward curve. Comedies weren’t stupid fun about the lighter side of life. The definition of a comedy was not a funny play. They were plays that began in turmoil and ended in reconciliation and renewal. They showed the audience the path to salvation, with the comic ending of a happy marriage leaving the promise of societal regeneration intact. Meanwhile, in the tragedies, there is no such promise of regeneration or salvation. The characters destroy themselves. The world in which they live is not sustainable. It leads to a dead end, with no promise of new life.

And so, in comedies, the women are the movers and shakers. They get things done. They move the machinery of the plot along. In tragedies, though women have an important part to play, they are often morally bankrupt as compared to the women of comedies, or if they are morally sound, they are disenfranchised and ignored, and refused the chance to contribute to the society in which they live. Let’s look at some examples.

In Romeo and Juliet, the play ends in tragedy because no-one listens to Juliet. Her father and Paris both insist they know what’s right for her, and they refuse to listen to her pleas for clemency. Juliet begs them – screams, cries, manipulates, tells them outright I cannot marry, just wait a week before you make me marry Paris, just a week, please and they ignore her, and force her into increasingly desperate straits, until at last the two young lovers kill themselves. The message? This violent, hate-filled patriarchal world is unsustainable. The promise of regeneration is cut down with the deaths of these children. Compare to Othello. This is the most horrifying and intimate tragedy of all, with the climax taking place in a bedroom as a husband smothers his young wife. The tragedy here could easily have been averted if Othello had listened to Desdemona and Emilia instead of Iago. The message? This society, built on racism and misogyny and martial, masculine honour, is unsustainable, and cannot regenerate itself. The very horror of it lies in the murder of two wives. 

How about Hamlet? Ophelia is a disempowered character, but if Hamlet had listened to her, and not mistreated her, and if her father hadn’t controlled every aspect of her life, then perhaps she wouldn’t have committed suicide. The final scene of carnage is prompted by Laertes and Hamlet furiously grappling over her corpse. When Ophelia dies, any chance of reconciliation dies with her. The world collapses in on itself. This society is unsustainable. King Lear – we all know that this is prompted by Cordelia’s silence, her unwillingness to bend the knee and flatter in the face of tyranny. It is Lear’s disproportionate response to this that sets off the tragedy, and we get a play that is about entropy, aging and the destruction of the social order.  

There are exceptions to the rule. I’m sure a lot of you are crying out “but Lady Macbeth!” and it’s a good point. However, in terms of raw power, neither Lady Macbeth nor the witches are as powerful as they appear. The only power they possess is the ability to influence Macbeth; but ultimately it is Macbeth’s own ambition that prompts him to murder Duncan, and it is he who escalates the situation while Lady Macbeth suffers a breakdown. In this case you have women who are allowed to influence the play, but do so for the worse; they fail to be the good moral compasses needed. Goneril, Regan and Gertrude are similarly comparable; they possess a measure of power, but do not use it for good, and again society cannot renew itself.

Now we come to the comedies, where women do have the most control over the plot. The most powerful example is Rosalind in As You Like It. She pulls the strings in every avenue of the plot, and it is thanks to her control that reconciliation is achieved at the end, and all end up happily married. Much Ado About Nothing pivots around a woman’s anger over the abuse of her innocent cousin. If the men were left in charge in this play, no-one would be married at the end, and it would certainly end in tragedy. But Beatrice stands up and rails against men for their cruel conduct towards women and says that famous, spine-tingling line - oh God, that I were a man! I would eat his heart in the marketplace. And Benedick, her suitor, listens to her. He realises that his misogynistic view of the world is wrong and he takes steps to change it. He challenges his male friends for their conduct, parts company with the prince, and by doing this he wins his lady’s hand. The entire happy ending is dependent on the men realising that they must trust, love and respect women. Now it is a society that is worthy of being perpetuated. Regeneration and salvation lies in equality between the sexes and the love husbands and wives cherish for each other. The Merry Wives of Windsor - here we have men learning to trust and respect their wives, Flastaff learning his lesson for trying to seduce married women, and a daughter tricking everyone so she can marry the man she truly loves. A Midsummer Night’s Dream? The turmoil begins because three men are trying to force Hermia to marry someone she does not love, and Helena has been cruelly mistreated. At the end, happiness and harmony comes when the women are allowed to marry the men of their choosing, and it is these marriages that are blessed by the fairies.

What of the romances? In The Tempest, Prospero holds the power, but it is Miranda who is the key to salvation and a happy ending. Without his daughter, it is likely Prospero would have turned into a murderous revenger. The Winter’s Tale sees Leontes destroy himself through his own jealousy. The king becomes a vicious tyrant because he is cruel to his own wife and children, and this breach of faith in suspecting his wife of adultery almost brings ruin to his entire kingdom. Only by obeying the sensible Emilia does Leontes have a chance of achieving redemption, and the pure trust and love that exists between Perdita and Florizel redeems the mistakes of the old generation and leads to a happy ending. Cymbeline? Imogen is wronged, and it is through her love and forgiveness that redemption is achieved at the end. In all of these plays, without the influence of the women there is no happy ending.

The message is clear. Without a woman’s consent and co-operation in living together and bringing up a family, there is turmoil. Equality between the sexes and trust between husbands and wives alone will bring happiness and harmony, not only to the family unit, but to society as a whole. The Taming of the Shrew rears its ugly head as a counter-example, for here a happy ending is dependent on a woman’s absolute subservience and obedience even in the face of abuse. But this is one of Shakespeare’s early plays (and a rip-off of an older comedy called The Taming of a Shrew) and it is interesting to look at how the reception of this play changed as values evolved in this society. 

As early as 1611 The Shrew was adapted by the writer John Fletcher in a play called The Woman’s Prize, or The Tamer Tamed. It is both a sequel and an imitation, and it chronicles Petruchio’s search for a second wife after his disastrous marriage with Katherine (whose taming had been temporary) ended with her death. In Fletcher’s version, the men are outfoxed by the women and Petruchio is ‘tamed’ by his new wife. It ends with a rather uplifting epilogue that claims the play aimed:

To teach both sexes due equality

And as they stand bound, to love mutually.

The Taming of the Shrew and The Tamer Tamed were staged back to back in 1633, and it was recorded that although Shakespeare’s Shrew was “liked”, Fletcher’s Tamer Tamed was “very well liked.” You heard it here folks; as early as 1633 audiences found Shakespeare’s message of total female submission uncomfortable, and they preferred John Fletcher’s interpretation and his message of equality between the sexes.

Fucking.

it’s facial reconstructions of prehistoric humans!!

like, look at this part-homo sapiens, part-neandertal man from well over 30,000 years ago:

doesn’t he just look like a dude you’d wanna hang out with? like he probably washes dishes in the kitchen with you, and has excellent weed

what a charming fellow. what stories he probably has to tell. i’d definitely go shoot the shit with him on Contemplation Rock after i’d finished my day’s work carving a bone flute for the autumn hunting ceremony, or whatever

people have been people ever since people first became people, i tell you what

they all had lives and histories and families and friends and dumb gossip and games they played and total bullshit in which they believed wholeheartedly

they all argued about the nature of the world, and of themselves

they all sang songs

they all drew pictures

they all buried their dead in graves, and they buried their dead in graves well before they did a lot of that other stuff. they buried their dead with flowers, with panther claws, with the bones of animals they’d killed, with the bones of family members who had died at the same time or earlier. they buried their dead with their arms folded across their chests

they fell in love

they took care of their old and their sick and their disabled, even when it cost them

I love the kid in the last picture a lot- they look like a kid, just a little kid who’s done some mischief and is trying not to laugh about it.

I also adore their Lucy- they’ve struck a wonderful balance between the falling angel and the rising ape.

And their Turkana boy- there’s something precious and wistful in those eyes. 

But my favorite has got to be their reconstruction of H. floresiensis.

Then they try to back-track and say things like “Well you already speak perfect English so it’s fine” and I’m like “My grandma didn’t speak very good English when my grandparents settled in the UK from Finland, what are you trying to say?” 

And they’re like “Well I’m sure you’re grandparents had useful jobs and weren’t just sponging off the system.” like… nah, my grandma mended clothes and my grandad sold garden sheds, they weren’t exactly brain surgeons 

“But they…” just admit it, it’s not white immigrants that bother you, I doubt Americans go on marches protesting the Canadian undergrad students who overstay their visas or all the germans and scandinavians who just rocked up in the Midwest one day and decided to call it their own.

Thomas Hofeller was the mastermind behind REDMAP, the took used by Republican dirty-tricksters to redraw state electoral maps after the 2010 census in order to deliver state and federal legislative seats to Republicans even when the majority of people voted Democrats.

Hofeller was a secretive sociopath and had long been estranged from his daughter, Stephanie, a self-described anarchist who only discovered her father had died in 2018 when she read the obit pages of the New York Times. When Stephanie recovered her father’s possessions from his home, she came into possession of files detailing the REDMAP plans, files of the sort that he had long exhorted his co-conspirators not to create or retain.

Stephanie turned some of her father’s files over to the government watchdog Common Cause for use in a lawsuit over North Carolina’s redistricting; thanks to the frank admission of racially motivated voter suppression in Thomas’s files, the court found that NC’s redistricting was illegal.

Now, Stephanie has licensed all her father’s files under an unspecified Creative Commons license and dumped them on Google Drive for anyone to use, exhorting others to “download and distribute this material, at will. It’s yours (be nice).”

To which I nodded solemnly, both out of agreement, surprise and also a healthy amount of awkward fear. He nodded and went, “You get it.”

I thought that would be the end of it.

Except ten minutes later he came back and told me he found out (she’s bi) and that both of us have a shot. I said “You more than me.” because he’s attractive and popular. 

My math teacher was trying to fix the rolling whiteboard and he just offhand said “This would be easier with a wrench”