Web Of Terror
Impressions (Vulture Production) UK 1990
let's talk about Bridgerton tea, my ask is open


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Web Of Terror
Impressions (Vulture Production) UK 1990

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Very few things-that-don't-matter bother me like the concept of 'zero-waste sewing', especially when it's also touted as 'beginner-friendly'.
Using your fabric efficiently? Makes total sense. No objection to that.
But specifically designing patterns such that every single part of a length of fabric is consumed by it? You're setting people up to fail. For one, you can really only do this with patterns made mostly of rectangles and right triangles, which can only make a very narrow range of garments that simply do not play nice with many people's bodies (especially bodies with lots of curvature). For another, a zero-waste pattern is also a zero-error-tolerance pattern. One wrong cut or measurement and the whole thing's toast. The wiggle-room that a more standard pattern allows also allows you to fix problems when they occur.
If you make a zero-waste garment and never wear it because it looks bad on you? That's not actually zero-waste. If you start a zero-waste garment and can't complete it because you made one little mistake? That's not actually zero-waste.
But more importantly, the whole idea of 'zero-waste' as a desireable outcome is antithetical to the methods and traditions of sewing. It's a form of functionless, guilt-driven, aesthetics-first minimalism that has no place in actual sewing practice. The scraps of fabric left over from cutting a pattern are incredibly useful. Larger pieces can become parts of new projects. Smaller pieces can become patchwork. Even really tiny scraps can become stuffing or batting or kindling or any number of other things. Home sewing has always been about not wasting things, but the way to not waste things is not by piously making only garments that suck, it's by repurposing, reusing, and recycling everything you buy. Once that fabric reaches your house, 98% of its environmental impact has already happened.
Use it all, sure, but use it well.
it's a well-known fact in the textile crafting community that "making objects from textiles" is an entirely separate hobby from "having a collection of materials to make things with."
crafters often refer to this collection as a "stash" or a "hoard."
it's normal to have, but sometimes comes with a certain awkwardness.
the problem is that it takes a very long time to make things from textiles - and it is extremely quick, fun and easy to get more materials.
Presents, impulse purchases, leftovers from other projects, things you bought FULLY intending to make something that you changed your mind about...
Another problem is that you genuinely DO have a plan for the materials! your intentions and desires are THERE!
and admitting that it isn't going to happen - or that your mind has changed, or you're no longer able to do them - can be really painful!
it's incredibly hard to say: "we are not the people who can do these things. we are not the people who WILL do these things."
but sometimes you need to.
it's a natural part of life. it might feel painful to let go of things that you really want to use, but won't. But clearing them out - and the attached guilt and shame - will make room for a lot more things in your life. Room for things you'll use. Room for the projects you'll do.
Room and space - not for hanging on to the shades of the ambitions and intentions and people you aren't - not being held for lives you don't have - but room and space for who you are today, and who you'll be tomorrow, and for the things you'll do.
Room and space to grow.
"'I don't know' isn't an answer" alright man then I'll just. Fuckin. Enter my philosophical mind-palace and check the fuckin akashic records. Real quick lemme just catch and cook and eat the Salmon of All Knowledge. Tell me ur question again so I can real quick climb to the highest branches of the Yggdrasil and lay it at the feet of Freda the all-wise Queen of Heaven. Dickhead.
If you'd asked me a decade ago which contemporary tabletop RPG was most likely to do the AD&D-versus-BD&D "two versions of the same game being published simultaneously, one of which is ostensibly a stripped down version of the other, but in practice they're really two separate forks of the same core system that fundamentally disagree with each other about what kind of game that system should be" thing, I definitely wouldn't have guessed "Exalted", but in retrospect it seems almost inevitable.
Ok, I have not been paying attention to new Exalted after 2.5 stopped - what in the world is happening over there?
In brief, there are currently two separate versions of Exalted in active publication: Exalted 3rd Edition, and Exalted: Essence. The latter's marketing kind of positions it as a lightweight or introductory version of the former, but in practice the two are just totally incompatible visions of what the game is supposed to be, and familiarity with one isn't necessarily transferable to the other. They even disagree with one another on the level of basic setting worldbuilding that has no implications for the game mechanics, which is actually kind of remarkable.
In theory, Exalted: Essence sort of positions itself as "Exalted, but friendlier." So, lighter rules, all the Exalt types are (in theory) mechanically balanced instead of Solars having a huge power advantage over everyone else (this is supposed to be a non-diegetic concession to play experience), but also the Essence setting has kind of... had a bunch of its edges sanded off. You are far less likely to encounter something that makes it clear that plagues happen in an Essence book, or that gender-based bigotry is normative in Creation even though it takes different form than it does on Earth. And this is confusing because it is ostensibly the same setting to the point where most of the setting books are written for Exalted 3rd Edition and Essence points you at the 3rd Edition books for more setting info.
I wouldn't even necessarily agree that Essence has lighter rules. Some of its individual subsystems are lighter than their 3E counterparts, yes, but other subsystems are substantially elaborated upon where Essence's authors seem to have felt 3E's are lacking – and some of those subsystems which have received greater elaboration are sitting right in the middle of core components, like action declaration timing.
You're right, but also, no, because Exalted: Essence lets you do full charm sets for every Exalt type out of one book. Next to cutting out six or seven extra hardcovers' worth of custom charm systems (several of which are at this point still hypothetical, I believe), more fiddly action declaration is not, on balance, more rules-heavy.
I've never found the argument from page count terribly persuasive. It feels like arguing that playing a wizard in Dungeons & Dragons is more complicated than playing a wizard in Ars Magica because if you include every published supplement, the D&D wizard has a longer spell list. Certainly, having a Charm list with less needless verbosity and more willingness to collapse obvious redundancies makes character creation much quicker, but I'm not convinced its impact on active play is sufficient to overwhelm every other factor put together.

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See what I meant that everyone who dares annoy his girlfriends gets punished for it?
a helping... hair?!
and yes, twintail hands eru is now part of kanotoons canon
Rentarou is always ready for whatever might show up. The world's most prepared man.
I'm enjoying how my edit of Nano Eiai with the Rina-chan Board is going around, and gratified by how many people recognize either Nano or Rina in their tags —
But I'll admit a little disappointment that nobody's noticed that it's not Rina's face on the Board; it's Rina's drawing of Karin Asaka.
(The full circumstances behind the image are kind of a complicated jumble, but back in SIFAS Rina drew Boards for several of the other girls as part of a cosplay contest; she was competing against Kotori.)

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given the current climate this pride especially i feel i must mention that i love my trans friends, i stand with trans people in the fight against transphobic legislation and those who would enforce it, and this blog is not a good place for you to be if you do not vibe with that
Amiga 500 Blizzard Turbo Memory Board (Phase 5 Digital Products, 1992)
14Mhz CPU 8MB Fast RAM MapROM
My mom likes to tell me about how when I was a little kid riding public transport with her I'd always smile and giggle and chat with weird old ladies who smelled like cat pee and homeless folks and strangers dressed in bizarre outfits but any time a tidy and respectable businessman in a suit and tie waved at me I'd immediately clam up, and she takes a great deal of pride in my supposed inherentability to clock personalities but the truth is I do vaguely remember those bus rides, and it was never about the clothes or the hair or the smell, but more because everyone "strange" asked interesting questions and listened to what I had to say and seemed to think about what I said while the neat and tidy and rigid folks only ever acted like they were going through the motions, which was boring as hell and also pretty annoying
Well-to-do finance manager with tidy shoes: "Why hello, sweetheart. Can you say 'hi'? Aren't you cute. Are you on a trip with your mom?"
4 year old me: why must we do this
Fantastic old woman in the leopard print coat: "Why yes, my tooth IS real silver! Nobody ever asks me that. Do you like cats?"
4 year old me, suddenly paying attention: Finally, A Person Of Intellect
The reason I reached for genre romance novels for Star Trek is Ive read so so so many of them and I know roughly how most of them convey something about the culture that produced them, in content and structure and what it means for what a culture values in a partner, and in themselves. It’s somewhat easy to use the scaffolding I already know to use existing genre conventions to explain something about the aliens in Star Trek.
I have not read enough murder and thriller novels to articulate what the genre is establishing about culture and values so I can’t be like ‘this is the dime airport novel about women getting sexy murdered but in Vulcan’ because I don’t know which genre conventions are load bearing and which are just more traditional. The murder mysteries i HAVE read are literally just Agatha Christie and maybe a handful of others that are directly inspired by her. I’ve watched a lot of murder television, but that is nottttt the same medium.
Bringing out those tags because so, so interesting, perhaps one of my favourite things, to mess around with patterns of story*. When I sat down with Spock to transcribe his autobiography, we came up with a form for what Vulcan memoir might look like, which he subverts. (There’s some of Sarek’s poetry too.)
Meditations on a Crimson Shadow is described as being set during a future war, so is a Cardassian sf novel. I figured it would surely, at least superficially, tell the story of Cardassian supremacy and permanent conquest, like Orwell’s boot stamping on a human face forever. Except maybe if you were reading it in the basement of your father’s home as your whole civilization implodes around you. Then I thought it might read differently. Or at least you would start the previously unimaginable work of imagining differently.
If historical fiction tries to reconfigure what we think was possible for people in the past, sf tries to configure what we think can be possible to us in the future. They feel very close, in my mind. Can we find sources or traditions in the past that give us succour or hope? What visions of the future are available to us, or do we need to imagine, and how do we map our way there? I think about these things all the time.
Walter Benjamin, On the Concept of History, VI
* Patterns of Story was the title of my MA creative writing module where we read 6 novels and mucked around with them in as many ways as possible. This week we’ll go through one scene in Madame Bovary and see how meticulously it’s constructed. This week we’ll read some post-apocalyptic Kentish dialect and I’ll do my party piece from Ulysses. This week I’ll tell you why Moll Flanders is like the Doctor Who Hartnell-era story “The Sensorites”. This week I’ll explain what I think are the two distinctive modes in the crime novel. And this week we’ll read a modernist novel that you’ll doubt at best or hate at worst but ten years later you’ll email me to ask the title because you haven’t been able to get it out of your head. I loved teaching that class. What an amazing technology novels are. I really do like them, probably nothing nicer than novels.
Oh, just to add that if we go with Harold Bloom (wait! come back!) and read Shakespeare as "inventing" the human, then Garak's blustering that Shakespeare is rubbish and pointless can of course be taken as yet another crock of performative bullshit - not only does he QUOTE HIM TO TAIN (let me throw words learned from my beloved in your fucking face), but Shakespeare represents his encounter with humanity by which we mean Bashir by which we mean the crumbling of Garak's belief in Cardassian supremacy. Shakespeare by which we mean the human by which we mean Bashir rewires (see what I did there) Garak's brain to such an extent that I would not be surprised if Garak regularly catches himself thinking in blank verse.
Did you play AD&D? I can't remember how old you are, so hopefully that's not too offensive. If so, was a typical game really as hostile as people say it was?
That's one of those question where the answer hovers somewhere between "no, with a couple of massive caveats" and "yes, but not in the way most people think".
A lot of AD&D 1st Edition's GMing practices are pretty hardass by modern standards; however, they need to be understood in the context that the game's authors were writing for a target audience who mainly played the game in college wargaming clubs, where players would frequently transfer between groups and group sizes tended to be very large – six players per GM was considered a bare minimum, and up to a dozen player characters in a single party was by no means unheard of!
In particular, players would often bring their character sheets with them when hopping between groups, and it was considered a faux pas for a GM to reject an incoming player's existing character or request any substantive changes be made, so managing expectations could be quite challenging; even as late as 2nd Edition, the Dungeon Master's Guide contains extensive discussion of how to gracefully handle players bringing existing characters with them who aren't necessarily a good fit for the present game's tone or resource economy.
The upshot is that the culture of play these iterations of Dungeons & Dragons are targeting inherently obliges the GM to take a much firmer hand to keep things on track than a pickup game that draws players exclusively from within the GM's established friend group might – and to be sure, some GMs abused these expectations to act like petty tyrants, but some contemporary GMs do that, too.
A big part of the modern perception that 1E and 2E were extraordinarily player hostile, meanwhile, has nothing to do with the previously discussed GMing practices; rather, it emerges from the transition away from that culture of play in a slightly unexpected way.
In brief, back when D&D was mainly played by wargaming clubs, it was fashionable to run pre-written adventure modules competitively at conventions; the competition wasn't between players, but between parties, with multiple groups running the same adventure in parallel to contend for prizes. Tournament play sometimes chose its winners based on the fastest real-time completion of the module in question, or set specific objectives within the module which would award points when completed, a bit like speed-running or achievement-hunting in a video game (though neither practice existed yet at the time).
It was the survival module, however, that quickly emerged as the most popular tournament format. In a survival tournament, each player would provide or was furnished with a binder containing a fixed number of pre-generated character sheets, switching to the next character sheet in the set as each preceding character died; the winning group was the one whose last surviving character's corpse hit the dirt furthest from the dungeon entrance.
Many of 1E's most popular adventure modules, including the infamous Tomb of Horrors, were originally written as survival modules to be run at tournaments in conventions. As such, they were designed to kill off player characters both quickly and efficiently, so as to reduce the likelihood that the tournament would run overtime and get kicked out of the convention venue. When they were later cleanup and repackaged as commercial adventure modules, their text rarely bothered to explain any of this – who doesn't recognise a survival module when they see one?
The answer to that question, of course, is kids who didn't come up through the mentorship system of the college wargaming clubs, but taught themselves how to play D&D from first principles using books they bought at their local hobby stores – and when D&D's popularity unexpectedly exploded in the early 1980s, there were suddenly rather a lot of them!
These kids purchased the repackaged survival modules along with all their other D&D books; having no frame of reference, they assumed that these represented what a "standard" D&D adventure was supposed to look like – and since they weren't experienced players with whole binders full of pre-generated backup characters at their fingertips, the result was a lot of seemingly unfair total party kills, and a lot of kids concluding that the previous generation's GMs must have been objectively insane.
There is an additional amusing point of order here, which is the answer to the following two questions. I once had a discussion with someone in Gary Gygax's gaming group, who was involved in early TSR work a bit. Allow me to paraphrase my questions and his answers.
Why publish survival modules as your primary format of published adventure?
"Because that's what we had -- they were already laid out for publication. Why not publish them and make some money off it?"
Did it ever occur to you at the time that publishing adventures like these would shape the larger D&D culture's expectations of what play was supposed to look like?
"No, why would it?"
One of my favorite anecdotes about early D&D, from Blog of Holding:
"It’s hard to get that context just from reading the original Dungeons and Dragons books. If nine groups learned D&D from the books, they’d end up playing nine different games.
"Mornard told us about an early D&D tournament game – possibly in the first Gen Con in Parkside in 1978? Gary Gygax was DMing nine tournament teams successively through the same module, and whoever got the furthest in the dungeon would win. You’d expect this to take all day, and so Mike was surprised to see Gary, looking shaken, wandering through the hallways at about 2 PM. Mike bought Gary a beer and asked him what had happened – wasn’t he supposed to be DMing right now?
“It’s over!” replied a stunned Gary Gygax.
"Gary described how the first group had fared. Walking down the first staircase into the dungeon, the first rank of fighters suddenly disappeared through a black wall. There was a quiet whoosh, and a quiet thud. The players conferred, and then they sent the second rank forward, who disappeared too. The rest of the players followed.
"The same thing happened to the next tournament team, and the next. Players filed into the unknown, one after another. And they were all killed. The wall was an illusion, and behind it was a pit. Eight out of the nine groups had thrown themselves like lemmings over a cliff; only one group had thought to tap around with a ten foot pole. That group passed the first obstacle, so they won the tournament.
"Gary and his players couldn’t believe that the tournament players had been so incautious. But, to be fair, none of those tournament groups had played in Gary Gygax’s game. They had learned the rules of D&D, but they had no experience of the milieu in which the book was written. Of those nine groups that had learned D&D from a book, only one played sufficiently like Gary’s group to survive thirty seconds in his dungeon."

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she is standing on trust fund ozu.
Did you play AD&D? I can't remember how old you are, so hopefully that's not too offensive. If so, was a typical game really as hostile as people say it was?
That's one of those question where the answer hovers somewhere between "no, with a couple of massive caveats" and "yes, but not in the way most people think".
A lot of AD&D 1st Edition's GMing practices are pretty hardass by modern standards; however, they need to be understood in the context that the game's authors were writing for a target audience who mainly played the game in college wargaming clubs, where players would frequently transfer between groups and group sizes tended to be very large – six players per GM was considered a bare minimum, and up to a dozen player characters in a single party was by no means unheard of!
In particular, players would often bring their character sheets with them when hopping between groups, and it was considered a faux pas for a GM to reject an incoming player's existing character or request any substantive changes be made, so managing expectations could be quite challenging; even as late as 2nd Edition, the Dungeon Master's Guide contains extensive discussion of how to gracefully handle players bringing existing characters with them who aren't necessarily a good fit for the present game's tone or resource economy.
The upshot is that the culture of play these iterations of Dungeons & Dragons are targeting inherently obliges the GM to take a much firmer hand to keep things on track than a pickup game that draws players exclusively from within the GM's established friend group might – and to be sure, some GMs abused these expectations to act like petty tyrants, but some contemporary GMs do that, too.
A big part of the modern perception that 1E and 2E were extraordinarily player hostile, meanwhile, has nothing to do with the previously discussed GMing practices; rather, it emerges from the transition away from that culture of play in a slightly unexpected way.
In brief, back when D&D was mainly played by wargaming clubs, it was fashionable to run pre-written adventure modules competitively at conventions; the competition wasn't between players, but between parties, with multiple groups running the same adventure in parallel to contend for prizes. Tournament play sometimes chose its winners based on the fastest real-time completion of the module in question, or set specific objectives within the module which would award points when completed, a bit like speed-running or achievement-hunting in a video game (though neither practice existed yet at the time).
It was the survival module, however, that quickly emerged as the most popular tournament format. In a survival tournament, each player would provide (or was furnished with) a binder containing a fixed number of pre-generated character sheets, switching to the next character sheet in the set as each preceding character died; the winning group was the one whose last surviving character's corpse hit the dirt furthest from the dungeon entrance.
Many of 1E's most popular adventure modules, including the infamous Tomb of Horrors, were originally written as survival modules to be run at tournaments in conventions. As such, they were designed to kill off player characters both quickly and efficiently, so as to reduce the likelihood that the tournament would run overtime and get kicked out of the convention venue. When they were later cleanup and repackaged as commercial adventure modules, their text rarely bothered to explain any of this – who doesn't recognise a survival module when they see one?
The answer to that question, of course, is kids who didn't come up through the mentorship system of the college wargaming clubs, but taught themselves how to play D&D from first principles using books they bought at their local hobby stores – and when D&D's popularity unexpectedly exploded in the early 1980s, there were suddenly rather a lot of them!
These kids purchased the repackaged survival modules along with all their other D&D books; having no frame of reference, they assumed that these represented what a "standard" D&D adventure was supposed to look like – and since they weren't experienced players with whole binders full of pre-generated backup characters at their fingertips, the result was a lot of seemingly unfair total party kills, and a lot of kids concluding that the previous generation's GMs must have been objectively insane.