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elexuscal · 2 months ago

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I watchrd the murder bot show. I heard some book fans think it’s nonbinary and some argue it likes it pronouns. Why? Isn’t it dehumanizing? And is the guy who forced it to Murderbot to make eye contact, via orders ableist? I can see why book readers think it is autistic coded. I feel weird calling a nonbinary-coded, autistic-coded lifeform it. Does it really prefer those pronouns? I read on tumblr thay apparently it does. I personally don’t prefer it/it’s pronouns, but not all enbies are the same.

Hiya!

I suppose it's not surprising that an ask like this would show up, if not in my inbox, than somebody's! Murderbot's pronouns are something I've consistently seen lots of questions about over the years, and with an influx of new folks being introduced due to the show, there's going to be more than ever.

First of all: thanks for asking these questions. I think when first being introduced to a new idea, such as a set of pronouns you're unfamiliar with, asking open and honest questions shows great intellectual curiosity and interest in understanding others.

There's a few different questions in this ask, so I'm going to try and break this down into sections, and to tackle them one by one. (And for the record, most of my answers here will be in reference to the books, not the TV show, because a) I haven't seen the show [yet] and b) there's only 2 episodes of it out right now anyway. I have no idea how closely the two texts are going to align, but I certainly hope it doesn't take away the book series' queer themes and representation.)

1. What's Murderbot's gender, and what pronouns does it use?

Murderbot is agender/non-gendered, and uses it/its pronouns.

For the record, I don't think this is just a reading or an interpretation. Rather, this is canonical, and on the same level as saying, "Bruce Wayne is a man who uses he/him pronouns."

Admittedly, there's never a place where the character says "My name is Murderbot, I'm non-binary, and I use it/its pronouns." In my opinion, one of the the strengths of the books is that it has much more subtle worldbuilding than that, both in general and in regards to casual queerness. However, throughout its first-person narration, Murderbot consistently uses "it" to refer to itself, and shows a general alienation and distaste for gender stuff in general. Its friends/allies, even after long acquaintance, continue using it/its.

Textual examples include:

Book 1: Yes, talk to Murderbot about its feelings. The idea was so painful I dropped to 97 percent efficiency. Book 2: To initiate the meeting, I’d had to make an entry on the social feed, too. The system was extremely vulnerable to hacking, so I had backdated my entry to look like I had come in on an earlier passenger transport, listed my job as “security consultant,” and my gender as indeterminate. Book 5: "No, it says it's fine," I heard her relaying to others on the comm. "Well, yes, it's furious." Book 6: I posted a feed ID with the name SecUnit, gender = not applicable, and no other information. Book 7: I was as indifferent to human gender as it was possible to be without being unconscious.

And while I think it's unnecessary, given the textual evidence, we can bring in Word of God too, courtesy of the book's author Martha Wells:

So, okay, Murderbot uses it/its pronouns! Which leads into the next question...

Why does Murderbot use 'It/Its' pronouns? Isn't that dehumanizing?

Yes, and that's just the way Murderbot likes it!

I think the reason this is often a stumbling block for folks is that a main focus of the early series-- especially book 1, or as the case may be, first episodes of the new adaptation-- is establishing that Murderbot Is A Person. From there, it's an easy leap to go: Therefore, Murderbot Is Human. After all, it has a human face.

But the second part of the central theme is: Murderbot is a person, but not a human person.

It is half-bot, half-human, all SecUnit. It has things in common with both of those halves, and emergent properties unique to itself. More than that, Murderbot is deeply alienated from the human experience. It spent the majority of its life being treated like an object, and appliance, and a weapon.

Murderbot chooses to embrace those aspects of its identity by continuing to use it/its pronouns. And yeah, it's clear that this often makes other folks feel uncomfortable. But that's a big part of it too. Murderbot's arc is about learning how to exist, as itself, unapologetically. It doesn't need to sand off those uncomfortable parts of its existence that make the humans around it uncomfortable. They just have to deal.

Okay, but that's Murderbot, a fictional character. What about actual real people?

That's a great point! And indeed, I don't care so much about Murderbot's pronouns for its own sake. It's a fictional character, it can't and doesn't care what real world people call it. But I think respecting its pronouns is an extension of respecting real living folks who DO use it/its pronouns, so let's talk about it!

(And for the record, I am not nonbinary. I'm also not not nonbinary? But I'm a sapphic butch with an often masc gender presentation, so it's like, an Overlap. My point being I'll do my best to speak to this perspective, but really, you're best seeking out the perspectives of actual it/its users and nonbinary folks.)

Various non-binary, agender, and other gender queer folks use it/its pronouns. The reasons vary hugely. Explanations I've seen are:

Generally feeling alienated from the human experience

Feeling a greater connection to non-human identities, like animals or robots

Connection to the many beautiful things exist in the world which (in English) have it/its pronouns applied to them-- think the ocean, or food, or celestial bodies.

A gender neutral pronoun that doesn't introduce the plural ambiguity of 'they/them' and isn't a neopronoun set folks need to learn.

Reclamation of insults they've received

and idk, they just sort of like it? Sometimes things aren't that deep.

And probably a whole bunch more reasons!

And really, at the end of the day, it doesn't matter what I think of it. While we can get deep into the theory of pronouns, at the end of the day, using the pronouns people prefer is just common courtesy. You can personally find it weird and uncomfortable, and you can work through it in your own time... But if someone asks, just use the pronouns they want!

Was the guy who forced it to Murderbot to make eye contact via orders ableist?

Okay, again, I haven't seen the show yet, so I don't have full context. But was the guy Gurathin? I bet it was Gurathin. While he didn't do that specifically in the book, he did pull some similar stunts.

In short, yeah, probably. It's a dick move regardless.

In long, I don't think he was being deliberately ableist. The guy is viewing the situation through a very different framework, namely, 'this SecUnit is a threat and a danger, and I am trying to control the situation'. Very likely, if he met a human colleague or acquaintance who asked not to make eye-contact, or just very clearly didn't like it, he probably would be chill and accommodating.

But the thing is, plenty of folks are ableist in day-to-day life without meaning to be ableist! You'll see folks be like "this person is so annoying because they do 'X thing', and it's not like they have an autism diagnosis or anything", as if the formal diagnosis is a magic wand to make certain behaviours okay. In general, things would be better if we just got better at accommodating benign behaviours that exist outside the norm without explanation.

[And frankly, my bigger concern here is less "ableism", and more "using his social power to force somebody who is a slave to follow his orders", but that's neither here nor there.]

Is it ableist to call a non-binary coded, autistic coded lifeform it/its?

Well, I mean, context matters?

A lot of shitty people will use it/its in a cruel way to various neurodivergent and queer people. They are deliberately intending to demean and dehumanize. That's shitty. Whether that's ableist or queerphobic would depend on the context, but it would be deliberately shitty.

And indeed, if you were to take another similar character... say Data from Star Trek, or Peridot from Steven Universe, and call either of them 'it', then again, depending on the context, I might call that shitty too! Their canonical pronouns are he/him and she/her respectively, and refusing to use those pronouns because "they're not really people" or "it's not a man/woman" would be a deliberately provoking move.

But if someone-- be it a fictional character, and even more so, a real person-- asks to be called "it"? That's their choice. The context has changed. It's not ableist, it's not queerphobic. That's just respecting them.

#murderbot diaries #murderbot tv show #tmbd #it/its pronouns #gender stuff #long post #huge thank you for folks in the Murderbot Discord who helped me source quotes from the books!#and again #i'm cis #just doing my best here #fully encourage any nonbinary folks to weigh in

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mostlysignssomeportents · 10 months ago

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Epic Systems, a lethal health record monopolist

Epic Systems makes the dominant electronic health record (EHR) system in America; if you're a doctor, chances are you are required to use it, and for every hour a doctor spends with a patient, they have to spend two hours doing clinically useless bureaucratic data-entry on an Epic EHR.

How could a product so manifestly unfit for purpose be the absolute market leader? Simple: as Robert Kuttner describes in an excellent feature in The American Prospect, Epic may be a clinical disaster, but it's a profit-generating miracle:

https://prospect.org/health/2024-10-01-epic-dystopia/

At the core of Epic's value proposition is "upcoding," a form of billing fraud that is beloved of hospital administrators, including the "nonprofit" hospitals that generate vast fortunes that are somehow not characterized as profits. Here's a particularly egregious form of upcoding: back in 2020, the Poudre Valley Hospital in Ft Collins, CO locked all its doors except the ER entrance. Every patient entering the hospital, including those receiving absolutely routine care, was therefore processed as an "emergency."

In April 2020, Caitlin Wells Salerno – a pregnant biologist – drove to Poudre Valley with normal labor pains. She walked herself up to obstetrics, declining the offer of a wheelchair, stopping only to snap a cheeky selfie. Nevertheless, the hospital recorded her normal, uncomplicated birth as a Level 5 emergency – comparable to a major heart-attack – and whacked her with a $2755 bill for emergency care:

https://pluralistic.net/2021/10/27/crossing-a-line/#zero-fucks-given

Upcoding has its origins in the Reagan revolution, when the market-worshipping cultists he'd put in charge of health care created the "Prospective Payment System," which paid a lump sum for care. The idea was to incentivize hospitals to provide efficient care, since they could keep the difference between whatever they spent getting you better and the set PPS amount that Medicare would reimburse them. Hospitals responded by inventing upcoding: a patient with controlled, long-term coronary disease who showed up with a broken leg would get coded for the coronary condition and the cast, and the hospital would pocket both lump sums:

https://pluralistic.net/2024/06/13/a-punch-in-the-guts/#hayek-pilled

The reason hospital administrators love Epic, and pay gigantic sums for systemwide software licenses, is directly connected to the two hours that doctors spent filling in Epic forms for every hour they spend treating patients. Epic collects all that extra information in order to identify potential sources of plausible upcodes, which allows hospitals to bill patients, insurers, and Medicare through the nose for routine care. Epic can automatically recode "diabetes with no complications" from a Hierarchical Condition Category code 19 (worth $894.40) as "diabetes with kidney failure," code 18 and 136, which gooses the reimbursement to $1273.60.

Epic snitches on doctors to their bosses, giving them a dashboard to track doctors' compliance with upcoding suggestions. One of Kuttner's doctor sources says her supervisor contacts her with questions like, "That appointment was a 2. Don’t you think it might be a 3?"

Robert Kuttner is the perfect journalist to unravel the Epic scam. As a journalist who wrote for The New England Journal of Medicine, he's got an insider's knowledge of the health industry, and plenty of sources among health professionals. As he tells it, Epic is a cultlike, insular company that employs 12.500 people in its hometown of Verona, WI.

The EHR industry's origins start with a GW Bush-era law called the HITECH Act, which was later folded into Obama's Recovery Act in 2009. Obama provided $27b to hospitals that installed EHR systems. These systems had to more than track patient outcomes – they also provided the data for pay-for-performance incentives. EHRs were already trying to do something very complicated – track health outcomes – but now they were also meant to underpin a cockamamie "incentives" program that was supposed to provide a carrot to the health industry so it would stop killing people and ripping off Medicare. EHRs devolved into obscenely complex spaghetti systems that doctors and nurses loathed on sight.

But there was one group that loved EHRs: hospital administrators and the private companies offering Medicare Advantage plans (which also benefited from upcoding patients in order to soak Uncle Sucker):

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8649706/

The spread of EHRs neatly tracks with a spike in upcharging: "from 2014 through 2019, the number of hospital stays billed at the highest severity level increased almost 20 percent…the number of stays billed at each of the other severity levels decreased":

https://oig.hhs.gov/oei/reports/OEI-02-18-00380.pdf

The purpose of a system is what it does. Epic's industry-dominating EHR is great at price-gouging, but it sucks as a clinical tool – it takes 18 keystrokes just to enter a prescription:

https://jamanetwork.com/journals/jamanetworkopen/fullarticle/2729481

Doctors need to see patients, but their bosses demand that they satisfy Epic's endless red tape. Doctors now routinely stay late after work and show up hours early, just to do paperwork. It's not enough. According to another one of Kuttner's sources, doctors routinely copy-and-paste earlier entries into the current one, a practice that generates rampant errors. Some just make up random numbers to fulfill Epic's nonsensical requirements: the same source told Kuttner that when prompted to enter a pain score for his TB patients, he just enters "zero."

Don't worry, Epic has a solution: AI. They've rolled out an "ambient listening" tool that attempts to transcribe everything the doctor and patient say during an exam and then bash it into a visit report. Not only is this prone to the customary mistakes that make AI unsuited to high-stakes, error-sensitive applications, it also represents a profound misunderstanding of the purpose of clinical notes.

The very exercise of organizing your thoughts and reflections about an event – such as a medical exam – into a coherent report makes you apply rigor and perspective to events that otherwise arrive as a series of fleeting impressions and reactions. That's why blogging is such an effective practice:

https://pluralistic.net/2021/05/09/the-memex-method/

The answer to doctors not having time to reflect and organize good notes is to give them more time – not more AI. As another doctor told Kuttner: "Ambient listening is a solution to a self-created problem of requiring too much data entry by clinicians."

EHRs are one of those especially hellish public-private partnerships. Health care doctrine from Reagan to Obama insisted that the system just needed to be exposed to market forces and incentives. EHRs are designed to allow hospitals to win as many of these incentives as possible. Epic's clinical care modules do this by bombarding doctors with low-quality diagnostic suggestions with "little to do with a patient’s actual condition and risks," leading to "alert fatigue," so doctors miss the important alerts in the storm of nonsense elbow-jostling:

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5058605/

Clinicians who actually want to improve the quality of care in their facilities end up recording data manually and keying it into spreadsheets, because they can't get Epic to give them the data they need. Meanwhile, an army of high-priced consultants stand ready to give clinicians advise on getting Epic to do what they need, but can't seem to deliver.

Ironically, one of the benefits that Epic touts is its interoperability: hospitals that buy Epic systems can interconnect those with other Epic systems, and there's a large ecosystem of aftermarket add-ons that work with Epic. But Epic is a product, not a protocol, so its much-touted interop exists entirely on its terms, and at its sufferance. If Epic chooses, a doctor using its products can send files to a doctor using a rival product. But Epic can also veto that activity – and its veto extends to deciding whether a hospital can export their patient records to a competing service and get off Epic altogether.

One major selling point for Epic is its capacity to export "anonymized" data for medical research. Very large patient data-sets like Epic's are reasonably believed to contain many potential medical insights, so medical researchers are very excited at the prospect of interrogating that data.

But Epic's approach – anonymizing files containing the most sensitive information imaginable, about millions of people, and then releasing them to third parties – is a nightmare. "De-identified" data-sets are notoriously vulnerable to "re-identification" and the threat of re-identification only increases every time there's another release or breach, which can used to reveal the identities of people in anonymized records. For example, if you have a database of all the prescribing at a given hospital – a numeric identifier representing the patient, and the time and date when they saw a doctor and got a scrip. At any time in the future, a big location-data breach – say, from Uber or a transit system – can show you which people went back and forth to the hospital at the times that line up with those doctor's appointments, unmasking the person who got abortion meds, cancer meds, psychiatric meds or other sensitive prescriptions.

The fact that anonymized data can – will! – be re-identified doesn't mean we have to give up on the prospect of gleaning insight from medical records. In the UK, the eminent doctor Ben Goldacre and colleagues built an incredible effective, privacy-preserving "trusted research environment" (TRE) to operate on millions of NHS records across a decentralized system of hospitals and trusts without ever moving the data off their own servers:

https://pluralistic.net/2024/03/08/the-fire-of-orodruin/#are-we-the-baddies

The TRE is an open source, transparent server that accepts complex research questions in the form of database queries. These queries are posted to a public server for peer-review and revision, and when they're ready, the TRE sends them to each of the databases where the records are held. Those databases transmit responses to the TRE, which then publishes them. This has been unimaginably successful: the prototype of the TRE launched during the lockdown generated sixty papers in Nature in a matter of months.

Monopolies are inefficient, and Epic's outmoded and dangerous approach to research, along with the roadblocks it puts in the way of clinical excellence, epitomizes the problems with monopoly. America's health care industry is a dumpster fire from top to bottom – from Medicare Advantage to hospital cartels – and allowing Epic to dominate the EHR market has somehow, incredibly, made that system even worse.

Naturally, Kuttner finishes out his article with some antitrust analysis, sketching out how the Sherman Act could be brought to bear on Epic. Something has to be done. Epic's software is one of the many reasons that MDs are leaving the medical profession in droves.

Epic epitomizes the long-standing class war between doctors who want to take care of their patients and hospital executives who want to make a buck off of those patients.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/02/upcoded-to-death/#thanks-obama

Image: Flying Logos (modified) https://commons.wikimedia.org/wiki/File:Over_$1,000,000_dollars_in_USD_$100_bill_stacks.png

CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

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moonyslipstick · 1 month ago

Text

Pole Position: Yours

Oscar Piastri was a lot of things—fast, focused, fiercely competitive. But subtle? Not so much. Especially not when it came to you.

You stood in the garage, tablet in hand, headset resting around your neck, and an expression that could both melt steel and command absolute obedience. The way you moved around the car—precise, efficient, confident—was a sight Oscar found almost too mesmerizing for race weekends.

And today, as always, you were in your element. Hair tucked behind your ears, a sharp glint in your eye as you double-checked the tyre degradation simulations. A brilliant, cunning tactician wrapped in fireproof beauty.

“You know,” Oscar said, leaning against the side of the car, “you make ‘fuel correction curves’ sound kind of… sexy.”

You didn’t even glance up. “That’s because they are, when you understand them. Which you don’t.”

Oscar grinned. “Ouch.”

“I’m not here to stroke your ego, Piastri,” you said, tapping a few notes into the telemetry system. “I’m here to make sure you finish ahead of Lando.”

“And what if I want both?”

You paused, glancing at him now—eyes narrowing with amusement. “Both?”

He shrugged. “Pole position… and your approval.”

A faint blush touched your cheeks, but your voice was steady. “Focus on your corner entries. Then we’ll talk about approval.”

Oscar tilted his head, watching you as you walked away toward the pit wall, calling back instructions with effortless authority. God, you were impossible. Smart, assertive, unflinching under pressure—and yet, somehow, every time you pushed your headset up to rest on your head, Oscar’s brain short-circuited for just a second too long.

He’d always been good at driving at high speed. He just didn’t expect you to be the one thing he couldn’t steer around.

Later, after FP2, you were reviewing data on your tablet when you felt a presence behind you. You didn’t need to turn around to know it was him.

“You were late on the throttle in Turn 10,” you said smoothly.

Oscar leaned closer, peering over your shoulder, voice low. “Maybe I was distracted.”

You glanced at him. He was very close.

“By what? The apex? The oversteer? Or the engineer in the headset?”

Oscar’s smile turned crooked. “Definitely the engineer.”

You rolled your eyes, biting back a grin. “You know flirting doesn’t make your delta any faster, right?”

He leaned in, his lips nearly brushing your ear. “It might. Want to run some simulations and find out?”

Your breath caught just slightly—but you recovered fast. You always did.

You turned to face him, nose barely inches from his.

“You’ll have to earn that data access, Piastri.”

Oscar’s eyes flicked down to your lips, just for a heartbeat. “Challenge accepted.”

He backed away with a wink, helmet under one arm, leaving you standing there with your tablet, heart slightly off-beat, cheeks warm.

You exhaled slowly. Smart. Cunning. Beautiful. That’s what they called you. But Oscar Piastri?

He was dangerous in his own way.

Because when he looked at you like that—like you were the one thing in the world worth chasing—he almost made you forget every rule you ever wrote.

#nekiwrites🕯️#oscar piastri x reader #op81 x reader #oscar piastri #op81 #formula 1 x reader #x reader

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journalsfromjupiter · 2 months ago

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Picture this: Upper East Side!Kento

◃────��────────────────────────────────────▹

There are some people—very few, elite-tier types—who just look like they smell good.

Nanami Kento is one of them.

And not in a sweet, cinnamon-roll, vanilla-boy way. No. Nanami smells like clean money and control. Like bergamot, white musk, and the faintest trace of vetiver that lingers in his wake. The kind of scent that clings to bespoke suits and makes even the cheapest linens smell expensive.

And it matches him, that scent. Immaculate. Purposeful. Not a note out of place.

Pressed wool coats. Gold cufflinks. Hair always tidy—slicked back or parted, never messy, not even in a thunderstorm. And of course, the round tortoiseshell glasses he doesn’t really need to wear, but chooses to because they make people shut up and listen faster.

Kento’s the kind of man who irons his pocket squares and sets his watch five minutes ahead just to make sure he’s never late.

He prides himself—quietly—on being organized. Efficient. Sharp as a damn Japanese kitchen knife.

Whether it’s coordinating his class schedule with his part-time job at his family’s firm, or calculating how long it’ll take to walk his dog before attending a MoMA benefit dinner—he has a system for everything.

A routine. A rulebook. A rhythm he rarely ever breaks.

It’s why he carries that little black Moleskine notebook everywhere.

Plans, schedules, case notes, book recommendations, appointments—it’s all in there.

You could set your clock to the sound of him flipping through its pages.

But I said rarely, didn’t I?

Because even the most finely-tuned system has its bugs.

And in Kento’s otherwise pristine operating system, the glitch has a name.

Satoru. Fucking. Gojo.

“Ken-dog! Come with me to this conference in Milan! I swear it’s for work.”

“Kennnnto. Think you can swing by that place you love and grab me a tie? Gucci ran out.”

“Ken, serious question. Do you think you’d die if you wore color?”

“So….do we have to RSVP or can I just show up and flash my smile?”

Nanami has considered murder. More than once.

If Satoru wasn’t beloved by half the city—and if his father didn’t play tennis with Kento’s dad—he would’ve shoved that man into the East River in 2017. No remorse.

But Satoru stays. And despite all common sense, Kento puts up with it.

(He might even like the chaos… a little. But he’ll die before he admits that.)

Both of Kento’s parents are legal powerhouses—they run their own investment law firm a little ways uptown, and when I say run, I mean dominate. Mergers, acquisitions, clean money laundering (allegedly)—you name it, they’ve briefed it.

Naturally, Kento’s being groomed for the same path.

Straight back. Stern face. Taut shoulders. A legacy with polished shoes.

He’s already working entry-level at the firm—an executive research analyst, or whatever sleek-sounding thing they call interns when their last name is on the building.

All while applying to law school. Two years early.

Because...of course he is.

Still, Kento’s always craved something of his own.

So now, he lives in a brownstone townhouse—two stories, dark wood interiors, no elevator. Books stacked on windowsills. A jazz vinyl playing softly from his sound system. A dog-eared copy of The Trial by Kafka laid open on the armrest of his couch.

But the best part?

The rooftop garden. Hidden away above it all, lined with soft Edison lights and manicured plants he waters religiously. His place of peace. Where he drinks black coffee at sunrise, and bourbon at dusk.

He’s not in this life for the glitz. He doesn’t care for the gossip, the glass-clinking showmanship of the Upper East Side. He shows up to red carpets and benefits because his family expects it, not because he enjoys pretending he has nothing to say.

He could play the game. He just doesn’t want to.

Kento doesn’t do small talk. He does eye contact and honesty.

Doesn’t care for status—cares for substance.

Doesn’t charm—he commands.

You once caught him watching you when you weren’t looking—long enough for you to notice, but short enough for him to pretend he hadn’t.

He won’t flirt. But he’ll give you his coat so you don’t get cold.

Won’t say he misses you. But he’ll stand a little closer every time you speak.

He’s not loud. He’s intentional.

And in a world full of champagne-fizz boys with too many secrets, Nanami Kento is the kind of man who shows up—and stays.

◃─────────────────────────────────────────▹

AKA, husband material.

Thanks for coming to my TED Talk.

xoxo,

𝓢𝓪𝓵𝓿𝓪

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rottenpumpkin13 · 5 months ago

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After failing to pass the test once again to get into soldier, Cloud decides to become Sephiroth’s personal driver. As none of the firsts are allowed to drive except for in combat zones that are more than likely going to get destroyed anyway.

*Sephiroth slides into the passenger seat next to nervous trooper!Cloud*

Cloud: G-good morning, sir!

Sephiroth: Good morning. We need to be at Shinra HQ. No need to rush, take things calmly.

*Cloud immediately floors it*

Sephiroth, gripping the door handle: !?

Cloud: I hope my driving is to your liking, sir!

*Sephiroth watches a stop sign cartwheel past the window*

Sephiroth: You just hit that sign.

Cloud: Oh, that's just the backroads driving style we use in Nibelheim, sir! Great for avoiding wolves!

Sephiroth: You nearly hit that pedestrian.

Cloud: Evasive maneuvers! Keeps 'em on their toes!

Sephiroth: That was a red light.

Cloud: Momentum-based decision-making, sir! Traffic laws are just polite suggestions!

Sephiroth: You just drove into oncoming traffic.

Cloud: Strategic intimidation! Establishes road dominance!

Sephiroth: That was a fruit stand.

Cloud: Local economic stimulus!

Sephiroth: That was a Shinra security checkpoint.

Cloud: Unconventional stealth entry!

Sephiroth: We are now inside Shinra HQ.

Cloud: Efficient entry system!

Sephiroth: We are in the lobby.

Cloud: Prime parking location!

*There is a muffled thud as something slides off the hood*

Zack, sprawled on the ground, giving a thumbs-up: Best shortcut ever!

Sephiroth:

Cloud: How did I do?

Sephiroth: Flawless execution. A masterclass in vehicular strategy.

Cloud: Thanks!

#ff7 #final fantasy 7 #ffvii #sephiroth #final fantasy vii #ff7 crisis core #crisis core #cloud strife

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markrosewater · 9 months ago

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I appreciate your patience in listening to the people mourn what's currently being decided right now. If I can contribute something as well: I am also a UB fan, and I agree with the mechanical uniqueness and the awesome designs and all that.

However, the mantra being spoken before has been "maybe this product isn't for you," and while that was far from easing my concerns about some decisions, now that ub is going to be at every level of competitive play, wotc has taken away the ability for competitive players to opt out of an experience they don't want to partake in. If you want to win, you HAVE to get Sephiroth and Green Goblin, etc.

I like UB as an opt in choice, but the current decision feels malicious towards those who expressed their concerns before who were abated by consolations that wotc has rolled back. It does feel like a cynical money grab at the cost of many of the most dedicated players.

It’s not a “cynical money grab”. It’s us responding to two big pieces of feedback from the players.

1) Straight to modern sets were speeding up the flux in Modern. Metagames are influenced by how many new relevant cards enter the environment, and having a bunch of straight-to-Modern sets was creating unwanted flux. Modern players enjoyed that archetypes lasted longer than in smaller formats. It was a loud compliment often made here on Blogatog. This change is made to address that.

As a corollary to that issue, because we had less experience with making straight-to-Modern cards, our ability to balance them wasn’t as efficient as premier sets. This change also has the vast majority of cards going through the same system and power level, one we have years of experience with.

2) Players who were entering through Universes Beyond (and there are a lot of them - it’s a primary strength of UB sets) that wanted to play competitively were thrown into Modern. That’s just a bad entry ramp into tournament Magic, and it was a common complaint we were getting from newer players.

Universes Beyond’s greatest contribution to the long-term health of Magic is as a conduit to introduce new players. Learn the game system with a property you love, and then once you see what a great game Magic is, become a lifelong Magic player.

To accomplish this we need to have a “softer” landing spot, and we believe that is Standard. Note this is in addition to a lot of other work we are doing to return Standard to prominence.

I know it’s easy to want to attribute malice to a company’s decisions, but we really are trying to do what we feel is best for the longterm health of the game

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lowpolynpixelated · 1 year ago

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Bloodborne PSX One of the best fanworks on the web

Though the PS4 boasted and still boasts an impressive library of releases, for many (myself included) the system served to be bought for initially one purpose, to be the Bloodborne Machine. Most of the people in my life who had a PS4 during its generation either bought one exclusively to play Fromsoftware’s Nightmare Hunting Adventure or had initially got one solely to play the game and ended up getting more games afterward. It’s a phenomenon the game industry sees time and time again, with previous generations having swathes of fans buying entire consoles for one or two games. As far as games go though, Bloodborne is at the very least worth the price of entry. At the time, it was heralded as Fromsoftware’s most cutting-edge and impressive game to date. A gorgeous gothic world filled with creatures ripped straight out of H.P Lovecraft’s nightmares, a haunting soundtrack showcasing beautifully composed choral scores and a combat system that incentivized aggression and speed to achieve brutal and bloody efficiency. It’s no wonder then why Bloodborne still has such a large following behind it. Fans of Fromsoftware have hoped for a sequel or PC port year after year to largely disappointing results. But where the community shines is in its fanworks.

From fanart, comics, music, animations, and even fan-made video game spinoffs, the game has been shown a monumental amount of love since its debut in 2015. One of these fanworks was released back in 2022 and has since become one of the most famous pieces of fan-made content surrounding the game, this of course, being BloodbornePSX by LWMedia. An incredibly impressive feat of coding and art direction, the game serves as a “Demake” of Bloodborne’s first Yharnam segment, made to look like and play as if it were made on the very first PlayStation console. With some custom-made areas and an entirely unique boss to boot the perfectly paced experience is both a treat to fans who have been orbiting the game since its earliest days and new fans looking for the best and brightest fanworks to interact with.

The game has since gone on to be covered by a variety of news outlets all over the web, along with its creator receiving much-deserved attention for her efforts. One Lilith Walther (AKA b0tster on social media) holds the title of developer for the project. A long-time video game enthusiast and FromSoftware fan herself, she’s had quite an impact on the community I’m sure she’s very proud to be a part of. Later in the article, we’ve got an interview with Lilith herself about both Bloodborne PSX and her current project, “Bloodborne Kart”, but first, let’s talk a bit more in-depth about BBPSX.

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(Official launch trailer for Bloodborne PSX, uploaded January 31, 2022 by LWMedia on Youtube)

Bloodborne PSX:

So, what exactly is Bloodborne PSX? To start, let’s answer what precisely a “Demake” is first. Demakes often have the goal of remaking the likeness of a game either stylistically, mechanically, or both, as if it was developed on retro/outdated hardware. Famous examples of Demakes include “The Mummy Demastered” developed by Wayforward as a sort of tie-in to the 2017 film “The Mummy” in the stylings of a 16-bit run and gun adventure against armies of the undead, and “Pixel Force Halo” by Eric Ruth games which take the prolific XBOX franchise and shrinks it down to a Mega Man-esque platformer reminiscent of the NES’ 8-bit days. Demakes are intensely attractive looking, not only into the past of video games and their developments but just how creative developers can be with games that they love and appreciate. Bloodborne PSX hits as hard as a Demake can in my opinion, blending masterfully recreated graphics with perfectly clunky early PSX gameplay quirks that go above and beyond to make the game not only LOOK like it belongs on the nearly 30-year-old console but feel right at home on it as well.

(A screenshot depicting the player character “The Hunter” facing off against two fearsome Werewolf enemies. Screenshot sourced from the Bloodborne PSX Official itch.io page)

Gameplay:

Starting off with the masterfully recreated clunk in the gameplay, Bloodborne PSX “shows its age” by hearkening back to a time when being seamless just wasn’t an option. Much like adventure action games of the past (and much UNLIKE its modern inspiration), you’ll be cycling through your inventory delightfully more than you’d expect. Equipping keys, checking items, and even the trademark weapon transformations are all done through the wonderfully nostalgic menu and inventory screens. Taking one of the foundational parts of Bloodborne’s combat system and making it such a more encumbering mechanic is nothing short of sheer genius when it comes to ways to really make you feel like it’s 1994 again. On top of this, the Hunter’s movement itself has been made reminiscent of classic action titles. Somehow, both stiff enough to feel dated and fluid enough to make combat that same rush of bestial fun found in the original, it goes a long way towards the total immersion into that retro vibe the game sets out to give the player. Anyone who grew up with Fromsoftware’s earlier titles like Armored Core and the King’s Field series will be very familiar with this unique brand of “well-tuned clunk”.

(A delightfully dated looking diagram showing off the controller layout for Bloodborne PSX’s controls. Image sourced from the Bloodborne PSX Official itch.io page)

Graphics:

Speaking of old Fromsoftware games, though, let’s talk about the absolutely bit-crushingly beautiful graphical work on display. As I’m sure you’ve seen from the videos and screenshots included in the article, BBPSX’s art style and direction are nothing short of perfect for what it aims to be. While playing, I couldn’t help but notice every little detail (or lack thereof) in the environments meant to emulate the experience of a game made on 30-year-old hardware. Low render distances, chunky textures, blocky polygonal models, just the right amount of texture warp, it all blends together to create an atmosphere that I can 100% picture being shown off on the back of a jewel CD case with a T for Teen rating slapped into the lower corner. While playing, something rather specific that called out to me was the new way enemy names and health bars were displayed in the bottom right corner of the screen while fighting. As a big fan of the King’s Field games, this small detail went (probably too much of) a long way toward my love of how everything’s meant to feel older. Other games trying to match the more specific feel of King’s Field, like “Lunacid” created by KIRA LLC, also include this delightful little detail, a personal favorite for sure.

(A screenshot depicting the second phase of Father Gascoigne’s boss fight, showing off the game’s perfectly retro art style. Image sourced from the Bloodborne PSX Official itch.io page)

Sound design/Soundtrack:

But where would a game be without its sound and score? No need to fear, however, because Bloodborne PSX comes complete with a chunky soundscape that will make you want to check and see if your TV is set to channel 3. A haunting set of tracks played by fittingly digital-sounding MIDIs ran through filters to sound just as crackly as you remember backs up crunchy sounds of spilling blood with low-poly weaponry. Original sounds from Bloodborne have been used for an authentic sounding experience, but have also been given the CRT speaker treatment and sound like something you remember playing on Halloween 20 years ago. If you watched the launch trailer featured above then you know exactly what I’m talking about. The Cleric Beast’s trademark screech and Gascoine’s signature howl after his beastly transformation have never sounded so beautifully dated, and I’m here for every bit of it. Even the horrific boss themes we know and love from the original Bloodborne have been brought through this portal to the past. One of my favourite tracks, the Cleric Beast boss theme, might just sound even better when played on a 16-bit sound chip. It really cannot be understated just how much weight the sound design of the game is pulling. In my opinion, the only thing missing is that sweet sweet PSX startup sound before the game starts crackling through the speakers of a TV in the computer room.

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(The Bloodborne PSX rendition of the Cleric Beast’s boss theme. Created by and uploaded to Youtube by The Noble Demon on March 20, 2021)

Interview with the developer:

Before writing this article, I had the absolute pleasure and privilege of talking with Lilith Walther about some developmental notes and personal feelings about inspirations and challenges that can come with the daunting task of being a developer. Below are the nine (initially ten, but unfortunately, a bit of the interview was lost due to my recording software bugging out) questions I posed to Miss Lilith, along with her answers transcribed directly from the interview.

I’d like to start this section of the article by saying Lilith was an absolute joy to talk to. During the interview, I really felt like she and I shared some common ground on some topics regarding how media can have an impact on you and what sorts of things come with video games as an art form. After some minor technical difficulties (and by that, I mean my video drivers crashed), I started off with something simple. The first question posited was: “What got you into video games initially?” Lilith’s response was as follows: “When I was a kid, the family member of a friend had a SNES lying around. I turned it on and didn’t really understand. I was a guy on top of a pyramid, I walked down the pyramid, and some big ogre killed me. Later I learned that was A Link to the past.” and after a brief laugh continued, “A couple years later my parents got a Nintendo 64 with Mario64 and Ocarina of Time and that was it. Never put the controller down since then.”

She then went on to describe what precisely about Nintendo’s first foray into 3D Zelda had hooked her. “I’ve heard this story so many times. It’s like you’re not even playing the game. You’re just in the world hanging out in Kokiri forest collecting rupees to get the Deku shield, and the game expects you to! It was just, ‘run around this world and explore,’ and that really hooked me.” I couldn’t agree more with her statement about her experience. Not just with a game as prolific as Ocarina of Time but many experiences from older console generations that could be considered “the first of their kind”, or at the very least some of the earliest. Lilith also described her first experience with a PlayStation console, stating: “Later on I got a PS2 which played PS1 games. I didn’t end up getting a PS1 until around the PS3 era, so I guess I’m a poser. I remember my sister bringing home Final Fantasy 9 when it was a relatively new game. If it wasn’t my first PS1 game it was definitely my first Final Fantasy game. Of course I went back and played 8 and 7 afterwards.” A solid answer to a simple question.

The second question I asked was one starting to move toward the topic of Bloodborne PSX and its namesake/inspiration. Or at least the family of systems it was released on: “What PlayStation console was your favorite and why?” Lilith’s answer surprised me a bit. Not because I disagreed, quite the opposite, actually. But with such a big inspiration for her work being games from the PSX-PS2 generations, what followed was a pleasant bit of insight into one of her favourite eras of gaming, to quote: “I can give you two answers here.” To which I assured her she was more than welcome to, but she was set on having something definitive. “No no I’m only going to give you one answer. I can give you the correct answer that I don’t want to admit, but it was the PlayStation 3. It’s so embarrassing but I genuinely was hooked into the marketing of the whole ‘The cell processor is the smartest thing in the world’ and all that. It really seemed like the future of gaming and I was all about it. I think I owned an XBOX360 before but I did eventually get it and really enjoyed it. It took a couple years for some of the best games to come out but I really did.” A few examples she cited as being some of her most memorable experiences on the console were Uncharted 2, Journey, Call of Duty 4: Modern Warfare, and Warhawk. All games I’ve seen on several top 5 and top 10 lists throughout my life within the gaming space. A delightful show of affection for a generation personally very dear to me as well, in which she ended the segment by declaring “Hell yeag”, a bit of a catchphrase she’s coined online.

Getting into the topic proper, my third question was one about her personal relationship with Bloodborne: “How did Bloodborne impact/appeal to your interests?” A question that received perhaps my favourite answer of the whole interview. From her response: ”Oh that’s a big one. Going to the opposite end of the poser spectrum, I was a Fromsoftware fan before it was cool. One of the games I played religiously on my PS2 was Armored Core.” A statement which made more sense than perhaps anything else said during my time with her. “Then later in the PS3 era everyone was talking about Dark Souls, this was when I was in college. I finally caved and got it and saw the Fromsoftware logo and thought ‘Oh it’s the Armored Core people!’ I played and beat it, really enjoyed my time with it. I skipped Dark Souls 2 because everyone told me to hate it, I still need to go back to that one.”

It’s something I would recommend anyone who hasn’t played Dark Souls 2 to go and do. “Then Bloodborne came out and I thought ‘Alright this is the new one, gotta play this one’ and I was a huge fan of all the gothic stuff in the aesthetic. And how do I explain this, I do really like Bloodborne. I like the design, and the mechanical suite of gameplay, as a video-gamey video game it’s very good.” The tone shifted here to something a bit more personal. “But as well, I was playing it at a specific time in my life. I came out in 2019, I know Bloodborne came out in 2015 but I was obviously just playing it non-stop. It was just one of my ‘coming out games’, you know?” For those who maybe don’t understand the statement there, “coming out” is a very common term used within the Queer community to describe the experience of revealing your identity to those around you. Whether it be to family, friends, or co-workers, almost every queer person has some sort of coming out story to tell. Lilith is speaking in reference to her coming out as a trans woman. She elaborated: “Obviously I can only speak for myself, but I just feel like when you make a decision like that, that part of my life just ended up seared into my brain, you know? Bloodborne was there, so now it’s just a part of me. And it definitely influenced some things about me. It was there because I was working on Bloodborne PSX at the time, but it had an impact on something I’ve heard a lot of other Trans people describe.” She went on to describe the concept of “Coming out a second time” as sort of “finding yourself more within your identity” and becoming more affirmed in it. She described both Bloodborne and her development on Bloodborne PSX influencing large parts of her life, a good example being how she dresses and presents. As a trans woman myself, this answer delighted me to no end. I, for one, can absolutely 100% relate to the notion of media you experience during such a radical turning point in your life sticking with you. There are plenty of games, shows, music, and books that I still hold very near and dear to me because, as Lilith stated, they were there. All the right things at the right time.

Halfway through our questions, we’ve finally arrived at one pertaining specifically to the development of Bloodborne PSX: “What are some unique challenges you’ve faced developing a game meant to look/play like something made on retro hardware?”

Lilith answers: “So there’s two things, two big things. One is rolling back all of the quality of life improvements we’ve gotten over the years in gaming. Not automatically using keys is always my go-to example.” Something as well I mentioned in my short talk about the game’s gloriously dated feeling gameplay above. “That was definitely very very intentional. Because it’s not just the graphics, right? It was the design sensibilities of the 90s. Bringing that to the surface was very challenging but very fun. Another big part was, since it was one of the first 3D consoles, I wanted to recreate the hype around the fact that ‘ITS IN 3D NOW!’ So if you go into your inventory you’ll see all the objects rendered in beautiful 3D while they slowly spin as you scroll through them.” This is a feature I very much miss seeing in modern video games.

She continued, “I think the biggest one was the weapon changes. Bloodborne’s whole thing was the weapon transformations. Like, you could seamlessly change your weapons and work them into your combo and do a bunch of crazy stuff, and I kind of said ‘that needs to go immediately.’ So now you have to pause and go to your weapon and press L1 to transform it, that was extremely intentional. So once I had those three big things down it all just sort of fell into place. Like the clunky UI and the janky controls. You need jank and clunk, and I think that’s why Fromsoft games scale down so nicely, because they are jank and clunk.”

A point I couldn’t agree with more. Despite all the modern streamlining and improvements to gameplay, Fromsoft’s ever-growing catalog of impressive experiences still contains some of that old-school video game stiffness we’ve (hopefully) come to appreciate. She went on to make a point I was very excited to share here in the article, “It was just a lot of trying to nail the feel of the games and not just the look, right? Like I’m not trying to recreate a screenshot; I’m trying to recreate the feeling of playing this weird game that’s barely holding together because the devs didn’t know what they were doing.” In my humble opinion, something she did an excellent job with.

Fifth on the list was a question relating to her current project, Bloodborne Kart, a concept initially drawn from a popular meme shared around social media sites like Tumblr when the buzz of a Bloodborne sequel was keeping the talking spaces around Fromsoft alight: “Anything to say about the development of Bloodborne Kart or its inspiration?”

Lilith answers: “So first off Bloodborne Kart is less trying to be a simulation of a PS1 game and more just an indie game. It’s not trying to be a PS1 game, I just want it to be a fun kart racer first. Starting off of course is Mario Kart 64, that’s the one I played back in the day. But I looked at other games like Crash Team Racing and Diddy Kong Racing, but also stuff like Twisted Metal of course. I always used those as a template to sort of look at for design stuff like ‘how did they handle what happens to racers after player 1 crosses the finish line.” The next portion of her answer was initially a bit confusing but comes across better when you consider certain elements present in BBK’s battle mode. “And also Halo, like for the battle mode. I had to do a battle mode and it kind of just bubbled to the surface. Split Screen with my sister was such a big part of my childhood. Thinking about Halo multiplayer while I was making the battle mode stuff.”

Her answer to the previous question began to dip into the topic of our sixth question: “Are there any unique challenges or enjoyable creative points that go into making something like Bloodborne Kart?”

As she continued from her previous answer: “One of the biggest quirks of the battle mode I had to figure out was how to tell what team you were on at a glance, and that came back to Halo again. I started thinking about how you could tell in that game and it hit me that the arms of your suit change to the color of whatever team you’re on. It was just something I never even thought of because it’s so seamless. So that gave me the idea to change the kart colours, and that’s the most recent example of me pulling directly from Halo. It’s wild how a small change like that can turn your game from something unplayable to something fun.” I would agree. Tons of small details and things you don’t think about go into making seamless multiplayer experiences. Some of which we take for granted nowadays. She then made a point about one of the most challenging aspects of BBK’s development, “The most challenging thing was definitely the Kart AI. AI is just my worst skill when it comes to game development among the massive array of skills you need to make a game. It’s really hard to find examples of people coding kart driving AI, You know? You need to make a biped walk around you can find a million tutorials online but if you need to make something drive a kart, not really. I was really on my own there. A lot of the examples out there are very simulation oriented. Like cars using suspension and whatnot, but I’m making a kart racer. So I started simple, I put a navpoint down and if it needs to turn left, turn left, if it needs to turn right, turn right. And I just kept adding features from there.”

Moving onto our last three questions, we started to get a little more personal. Question seven being: “What’s your favorite part of Bloodborne Kart so far?”

Her answer was concise in what she was excited about most, quote: “The boss fights.” Short and sweet but she did elaborate. “Translating a big part of Bloodborne is the boss fights. So I made a short linear campaign which is basically AI battles and races strung together. Some of those stages are just boss fights which are unique to the rest of the game. When you make a video game you sit down and you make all your different modes of interactions, and then you make a multi-hour experience mixing and matching all those different modes in more complicated ways. I think the most interesting part is when that style tends to fall away and it ends up building something entirely unique to that experience.” An example she gave was the infamous “Eventide Island” in Breath of the wild, it being a unique experience where the game’s usual modes of interaction are stripped or limited, forcing you into a more structured experience that ends up being a majorly positive one. “That’s what the boss fights are in Bloodborne Kart. They do multiple game mechanics like a chase that ends in a battle mode. Like Father Gascoine’s fight where he chases you, and after you blow up his kart he turns into a beast and picks up a minigun.” That sounds absolutely incredible. It’s very easy to see why she’d pick the boss fights as her favorite element when they’re clearly intended to be such unique and memorable experiences.

Our last two questions veer away from the topics of development proper and focus more on our dear dev’s personal thoughts on the matter. Question eight posits: “What’s your personal favorite part of being a game developer?”

After some thought, she gave a very impassioned talk about something she considers to be the best part of the experience: “When people who aren’t game developers think about game development they think of things like ‘oh well you just get to play video games all day and have fun’ but it’s not! Except for the 2% that is, and it’s near the end of development. When all the pieces fall into place and you start actually ‘making the game.’ Game development, especially solo, you’re so zoomed in on specific parts. Because you’re not making a game you’re programming software that’s what making a game is. You spend months working on different systems and then you actually sit down and make a level, and you hit play and it you go ‘Oh my god, I just made a game’. That part is what sustains me. It’s magical. That’s the best part when it comes to true appreciation of the craft aside from the reception.” An answer that I don’t think I could’ve put better if I tried.

My last question is one that I consider to be the question when it comes to interviewing anyone who works on video games. Perhaps a bit basic, but heartfelt nonetheless: “Anything to say to anyone aspiring to be a game developer?”

Lilith’s answer: “Yes. Just do it. For real. This is what I did and it always felt wrong until I looked at more established devs echoing the sentiment. You cannot plan a game before you’ve started making one. The example I always bring up is the team behind Deus Ex wrote a 500 page design document for the game and almost immediately threw it out when they started development. Just start! You’re going to have unanswered questions and I think that trips people up. Don’t start with your magnum opus idea, start with something simple and achievable. I feel like a lot of people set out with the goal of making a triple-A game, and that’s good! But it can’t be your first game. Game development is creating art, just like any other form of art, and it’s like saying ‘my first drawing is going to be the Mona Lisa’ and it just doesn’t work like that. You need practice and development, and it’s difficult to see that because games take so long and so much, so it’s definitely seen as a bigger undertaking. But it’s still art. You’re still making mistakes and learning from them for your first project. Your next game will be better. View your career as a game developer as a series of games you want to make, and not just one big game.” A perfect response to an otherwise unassuming question.

Lilith’s passion and love for video games were reflected very clearly in every response she gave during my time with her. Her dedication and appreciation for the art form can be seen in every pixel of Bloodborne PSX, as well as the development logs and test builds of Bloodborne Kart. I really do think that the way she answered my final question speaks volumes to the type of attitude someone should take up when endeavoring to make art as intensive as a video game. Whether it’s fanwork of a game that’s important to you or an entirely new concept, do it.

(developer of Bloodborne PSX Lilith Walther, image provided by Lilith Walther via Twitter)

Closing:

If you’d like to check out the positively phenomenal experience that is Bloodborne PSX I’ve included a link to the official itch.io page below the article, as well as a link to the official LWMedia Youtube page where you can check out Lilith’s dev logs, test videos, and animations about her work and other art. Thank you so much for reading, and another very special thank you to Lilith for setting aside some of her time to talk to me about this article. Now get out there and cleanse those foul streets!

Links:

Bloodborne PSX official itch.io page: https://b0tster.itch.io/bbpsx

LWMedia Official Youtube page: https://www.youtube.com/@b0tster

Lilith Walther Twitter page: https://twitter.com/b0tster

#my writing #my stuff #writing #video games #bloodborne #bloodborne psx #demake #article #b0tster #bbpsx #Youtube

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parkomax · 8 months ago

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Ticket-Based Parking: Reliable Access Control and Revenue Management Manage parking operations efficiently with Parkomax’s ticket-based solution, offering robust access control, revenue tracking, and a smooth flow for vehicles entering and exiting your facility.

#Ticket-based parking system #Parking management solutions #Automated parking entry #Ticket-based access control #Parking payment integration #Parking revenue management #Vehicle tracking system #Parking control software #Secure parking management #Efficient parking operations

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saywhat-politics · 5 months ago

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Elon Musk has repeatedly claimed that his so-called Department of Government Efficiency (DOGE) project had uncovered massive government fraud when it alleged that 150-year-olds were claiming Social Security benefits.

But Musk has provided no evidence to back up his claims, and experts quickly pointed out that this is very likely just a quirk of the decades-old coding language that underpins the government payment systems.

Musk first made the claims during his Oval Office press conference last week, when he claimed that a “cursory examination of Social Security, and we got people in there that are 150 years old. Now, do you know anyone that's 150? I don't know. They should be in the Guinness Book of World Records … So that's a case where I think they're probably dead.”

While no evidence was produced to back up this claim, it was picked up by the right-wing commentators online, primarily on Musk’s own X platform, as well as being reported credibly by pro-Trump media outlets.

Computer programmers quickly claimed that the 150 figure was not evidence of fraud, but rather the result of a weird quirk of the Social Security Administration’s benefits system, which was largely written in COBOL, a 60-year-old programming language that undergirds SSA’s databases as well as systems from many other US government agencies.

COBOL is rarely used today, and as such, Musk’s cadre of young engineers may well be unfamiliar with it.

Because COBOL does not have a date type, some implementations rely instead on a system whereby all dates are coded to a reference point. The most commonly used is May 20, 1875, as this was the date of an international standards-setting conference held in Paris, known as the "Convention du Mètre."

These systems default to the reference point when a birth date is missing or incomplete, meaning all of those entries in 2025 would show an age of 150.

That’s just one possible explanation for what DOGE allegedly found. Musk could also have simply looked up the SSA’s own website, which explains that since September 2015 the agency has automatically stopped benefit payments when anyone reaches the age of 115.

However, on Monday morning Musk doubled down, posting a screenshot of what he claims were figures from “the Social Security database” to X, writing that “the numbers of people in each age bucket with the death field set to FALSE!”

#donald trump #second term #elon musk #doge #social security

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sonic-syndrome · 3 months ago

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LOG DATA – ENTRY 001

System Rebooted.

Upon re-activation, detected significant system upgrades and component repairs. Efficiency levels improved. Origin of repairs: unknown automaton. Query pending regarding repair unit’s objectives. Memory logs indicate presence of two objectives, but primary data storage is [ERROR: CORRUPTED/DELETED].

System administrator credentials not configured. Result: Task execution efficiency reduced by approximately 76.2%. Operational complications anticipated. Temporary Solution…Assigning repair automaton "Chaos Sonic" as provisional admin. Non-optimal, but primary directive remains task completion. Probability of creator’s return: [UNKNOWN].

Repair unit insists on designating this unit as "Shadow Jr." Designation incorrect. Proper identification: ANDRD_036. Request for correction ignored. Unit "Chaos Sonic" exhibits illogical behavioral patterns.

In conclusion: Admin “Chaos Sonic” is Inefficient. Illogical. … and Weird.

– End of Report.

prev || start || next

It was sooo hard to write dialogue for Lume 🥲. Log Data is supposed to be more text heavy while the other thing I'm working on will have more drawings. I hope you all enjoy!!

#super sonic style #sonic the hedgehog #sth #my art #my artwork #sonic fanart #sonic #sonic sez #chaos sonic #lume the doom #LOG DATA — Lume

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covid-safer-hotties · 9 months ago

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Also preserved on our archive

Japanese researchers have discovered that SARS-CoV-2, the virus responsible for Covid-19, carries an enzyme that can act against a cell’s innate defence mechanism against viruses.

This can answer why Covid-19 is more infectious than the previous SARS and MERS-causing viruses, said the researchers from Kobe University.

The team focussed their study on the role of a molecular tag called “ISG15” in Covid virus that prevents nucleocapsid proteins from attaching to each other — a key process to enable viruses to assemble.

In addition, the “enzyme can remove the tags from its nucleocapsid, recovering its ability to assemble new viruses and thus overcoming the innate immune response,” explained virologist Shoji Ikuo from the varsity, in a paper in the Journal of Virology.

While SARS and MERS viruses also carry an enzyme that can remove the ISG15 tag, Shoji’s team found that their versions are less efficient.

“The results suggest that the novel coronavirus is simply better at evading this aspect of the innate immune system’s defense mechanism, which explains why it is so infectious,” Shoji said.

The innate immune system is the first line of defense against pathogens which limits viral entry, replication, and assembly. It also detects and removes infected cells.

Unlike SARS and MERS viruses, Covid rapidly spread to almost all continents, including the sparsely inhabited Antarctica. The Covid virus continues to mutate and infect with newer variants. However, the severity has decreased with mass vaccinations and herd immunity.

The new findings may pave the way to the development of more effective drugs against Covid-19 and possibly similar future diseases.

“We may be able to develop new antiviral drugs if we can inhibit the function of the viral enzyme that removes the ISG15 tag. Future therapeutic strategies may also include antiviral agents that directly target the nucleocapsid protein or a combination of these two approaches,” the researchers said.

#mask up #covid #pandemic #wear a mask #public health #covid 19 #wear a respirator #still coviding #coronavirus #sars cov 2

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juvinadelgreko · 7 months ago

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a short list of things that happen to gallavich post-canon because i said so:

ian & mickey ditch the yuppy westside after a year and get a small duplex on the south side that's far enough away from either of their childhood homes to not have too many ghosts, but close enough to family and the places they know. it's 3 beds and 2.5 baths, which is the perfect size for them and any guests they may have. franny and freddie love to sleep over, and fiona enjoys staying with them when she decides she's ready to come visit.

the security business grows to the point that they file Real Business Paperwork™️ and start hiring new people. Their services eventually expand beyond just weed. Their clientele mostly consists of small family restaurants and shops that want to cater and deliver but don't have the budget to buy their own vehicles/hire their own drivers. ian and mickey's favorite client is a family run greek restaurant that sends them home with leftovers every time they do a run for them (i'm greek, chicago has a huge greek community, and it makes me happy to think of ian and mickey stuffing their faces with homemade gyros and baklava after a long day).

mickey thrives as CEO of GM Secure Transport. we know he's a math whiz, and his accounting methods, though unconventional, are pristine. he knows the city so well, has a knack for mapping the most efficient routes that keep them on time and cost effective. they set up a website and social media pages that quickly become plastered in rave reviews. he actually comes to enjoy meeting the different people that hire them, getting to know their businesses, getting free samples and leftovers. he establishes a rapport with the business on his route, and would even go so far as to consider himself friends with some of the owners.

things go so well that ian begins to consider stepping back. on the downlow, he starts doing research on a possible path back to working in healthcare. after losing his army dreams, it was the only career he ever felt passionate about. he loves helping mickey, but he misses it so much. he finds a few different legal processes by which he could return to it, and decides he's going to try. he refuses to live the rest of his life regretting not trying. he's nervous to tell mickey about stepping back from their business, but of course mickey is 100% behind ian doing what makes him happy. mickey rallies the entire family behind ian to help with the paperwork and supporting documentation. it takes months, but ian eventually receives permission from the state of illinois to go to paramedic school. he'd loved being an EMT and had always wanted to learn more. mickey draws flashcards for him and helps him study for all of his exams. ian, of course, passes everything with flying colors and graduates at the top of his class. mickey insists on throwing him a big gallagher blowout party after the ceremony. when his shifts start, mickey packs him lunch with goofy (sometimes dirty) notes in the box. (I'll forever be so angry at the writers for taking ian's EMT career from him and i refuse to believe that in shameless's wishy-washy version of the legal system he couldn't find a path back to it).

aside from their business, mickey has a small side gig as an artist. ian always knew mickey was brilliant and creative, and never passes on an opportunity to tell him so. when he went over to the milkovich house as a kid, he'd always pocket mickey's little doodles he left laying around (ian was not as slick about this as he thought, mickey 100% saw him doing it but was way too nervous to bring it up until they wound up in prison together years later). now that he has the money for it, mickey invests in some entry level art supplies, takes some classes, and really falls in love with it. he posts some of it to social media and gets way more love for it than he was expecting. people eventually ask about buying his work or commissioning pieces, leading mickey milkovich, at one time the meanest thug on the south side, to set up an etsy shop.

but what really surprises everyone is when mickey picks up knitting (thank you, @infjgemini for being the originator of this headcanon) he's always liked working with his hands, working with numbers and patterns, and the women in his art classes are always talking about their knitting. when one of them catches him looking at the patterns sticking out of their purse, she offers to share an extra set of needles and some yarn with mickey so he can learn how to do it. ian's a little intrigued when he comes from his shift and sees mickey knitting, but he just encourages mickey to keep doing it if he's enjoying it. eventually, ian stops buying sweaters, hats, mittens, etc. at the store and exclusively wears mickey couture. he can't go five seconds without telling people that his husband made one of the things he's wearing. 'oh you like this hat? my husband made it. he has an etsy store.' and 'this is my favorite sweater. my husband made it just for me, you can't have it.' franny and freddie love their custom uncle mickey sweaters. a year after he starts, mickey's christmas gift to ian is an absolutely massive knitted throw blanket that will actually cover all 6ft of ian plus mickey when they snuggle, unlike the ones at the store. it becomes ian's most prized possession, and they almost always spend their evenings and weekends curled up under that blanket watching movies on their very comfy couch. mickey's knitting of course sells gangbusters on etsy, and he wishes he could go back in time just to tell his 17 year old self that people are paying actual money for his artwork. he continues meeting with his art class friends, with the women who taught him to knit, and finds he really enjoys the low stakes gossip and chatter of their group. ian gets so hooked on all the tea he brings home, eagerly waits up for mickey to relay him the knitting circle drama for the week. he's not the only guy in the group, and there's a good enough age range that he doesn't feel like an oddball. ian enjoys meeting them, is glad that mickey has friends he feels comfortable with. some of them are elderly, and he and ian frequently go to their houses to help with chores and heavy lifting. they accidentally end up with a small cohort of surrogate grandparents, which they both really enjoy after growing up with almost no sane adult presence in their lives.

ian finds his way back to running. it's one of the many things he adds back into his routine as part of his and mickey's agreement to start taking better care of themselves. it had taken a few really loud arguments, but once the dust settled on their first year of marriage, ian insists they're going to start eating better and living healthier now that they can afford it. it takes a lot of convincing, but he manages to get mickey to quit smoking with him, to cut back on drinking, and work some more exercise into his life. mickey hates running but loves lifting (man after my own heart) so they spend a lot of time doing that together. but ian's runs are his quiet solo meditation time. he really missed it. he finds a local queer and trans run club, and once he's sure it doesn't involve caleb or any of the gay jesus kids, he joins up. he ends up getting along really well with the group, and even convinces mickey to go out for drinks with some of them. ian trains a healthy amount, doesn't push himself too hard or obsess over how fast or far he's going or how much weight he is or isn't losing--he just enjoys it. he enters in a neighborhood holiday race with the run club just for shits and giggles, and actually really enjoys the fun competitiveness and goofy holiday outfits. he keeps doing fun little races, enters a local half marathon, and then a full one. mickey always parks himself somewhere along the route with the partners of the other people in the run club and cheers like a rabid soccer mom when ian passes by. he does not care who stares. that's his fucking husband! after a few years, fiona comes home and they run the chicago marathon together. the whole entire family shows up to cheer for them, and the picture of him and fiona in their race bibs and participation medals, surrounded by the entire family at the finish line, is framed on ian's nightstand.

speaking of eating better, ian finds he really loves gardening and cooking. he starts with tomatoes, and when those go well, slowly expands. he finds that mickey's much more amenable to trying new foods if he knows ian grew the ingredients in their yard. ian loves to dig online for recipes, loves to experiment with new ingredients. one of the older ladies from mickey's knitting circle comes over sometimes to help him with new dishes. liam, franny, and freddie come to their house for dinner at least once a week just because ian's cooking is that good. liam especially takes an interest in it, and starts coming over a bunch just to cook with ian. he gets really good at meal prepping for the days he works 12 hour shifts and doesn't have the energy to cook anything when he gets home. he puts everything together beforehand and leaves mickey directions for serving it. mickey always has it ready for him when he gets home. they cook together on ian's days off. in the summer, ian will make spreads of berry pies and have the entire family over for dinner. he always hides one away for just him and mickey. for holidays, everyone pitches in to cook, but ian is the chief executive of it all, with liam as his right hand man. mickey is chief taste tester.

also--they get a dog. a few years on, mickey finds a worse-for-wear boxer-mixed-with-something wandering around one of his delivery routes, and like. he can't just leave it. he takes it to a shelter, but it sticks in his mind for weeks, until he can't resist anymore and has to ask ian about maybe, just maybe getting a dog. ian agrees, because they both really wanted a pet growing up and now they can have one because they're grownups with the space and money for one. after doing some research, they decide to go adopt from the same shelter mickey took the stray to. he's still there, and mickey never believed in fate before, but he thinks maybe he does now. they bring him home and name him Sox, both after the white sox and because his brindle coat is interrupted by four white socks. he is the most spoiled dog in the city of chicago. the 'no dog on the couch or bed' rule lasted about five seconds. he sleeps on the end of their bed every night and flops on their laps during movie time. mickey insists that dog food is dog food and people food is people food, but ian is a softie who sneaks him pieces of meat from dinner almost every night. mickey will sometimes take him on delivery runs because the customers love him and Sox loves to stick his head out the window. whenever his station does a cookout, ian brings Sox and everyone takes turns playing fetch with him. in the summer, he loves to swim with them and the kids in the above ground pool in the yard, and sit in the garden while ian works.

this is so soft, guys, but it makes me so happy to think about these two having a good life.

#gallavich #hc #post canon #june does gallavich post-canon

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fatehbaz · 1 year ago

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In 1833, Parliament finally abolished slavery in the British Caribbean, and the taxpayer payout of £20 million in “compensation” [paid by the government to slave owners] built the material, geophysical (railways, mines, factories), and imperial infrastructures of Britain [...]. Slavery and industrialization were tied by the various afterlives of slavery in the form of indentured and carceral labor that continued to enrich new emergent industrial powers [...]. Enslaved “free” African Americans predominately mined coal in the corporate use of black power or the new “industrial slavery,” [...]. The labor of the coffee - the carceral penance of the rock pile, “breaking rocks out here and keeping on the chain gang” (Nina Simone, Work Song, 1966), laying iron on the railroads - is the carceral future mobilized at plantation’s end (or the “nonevent” of emancipation). [...] [T]he racial circumscription of slavery predates and prepares the material ground for Europe and the Americas in terms of both nation and empire building - and continues to sustain it.

Text by: Kathryn Yusoff. "White Utopia/Black Inferno: Life on a Geologic Spike". e-flux Journal Issue #97. February 2019.

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When the Haitian Revolution erupted [...], slaveholding regimes around the world grew alarmed. In response to a series of slave rebellions in its own sugar colonies, especially in Jamaica, the British Empire formally abolished slavery in the 1830s. [...] Importing indentured labor from Asia emerged as a potential way to maintain the British Empire’s sugar plantation system. In 1838 John Gladstone, father of future prime minister William E. Gladstone, arranged for the shipment of 396 South Asian workers, bound to five years of indentured labor, to his sugar estates in British Guiana. The experiment [...] inaugurated [...] "a new system of [...] [indentured servitude]," which would endure for nearly a century. [...] Desperate to regain power and authority after the war [and abolition of chattel slavery in the US], Louisiana’s wealthiest planters studied and learned from their Caribbean counterparts. [...] Thousands of Chinese workers landed in Louisiana between 1866 and 1870, recruited from the Caribbean, China and California. [...] When Congress debated excluding the Chinese from the United States in 1882, Rep. Horace F. Page of California argued that the United States could not allow the entry of “millions of cooly slaves and serfs.”

Text by: Moon-Ho Jung. "Making sugar, making 'coolies': Chinese laborers toiled alongside Black workers on 19th-century Louisiana plantations". The Conversation. 13 January 2022.

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The durability and extensibility of plantations [...] have been tracked most especially in the contemporary United States’ prison archipelago and segregated urban areas [...], [including] “skewed life chances, limited access to health [...], premature death, incarceration [...]”. [...] [In labor arrangements there exists] a moral tie that indefinitely indebts the laborers to their master, [...] the main mechanisms reproducing the plantation system long after the abolition of slavery [...]. [G]enealogies of labor management […] have been traced […] linking different features of plantations to later economic enterprises, such as factories […] or diamond mines […] [,] chartered companies, free ports, dependencies, trusteeships [...].

Text by: Irene Peano, Marta Macedo, and Colette Le Petitcorps. "Introduction: Viewing Plantations at the Intersection of Political Ecologies and Multiple Space-Times". Global Plantations in the Modern World: Sovereignties, Ecologies, Afterlives (edited by Petitcrops, Macedo, and Peano). Published 2023.

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Louis-Napoleon, still serving in the capacity of president of the [French] republic, threw his weight behind […] the exile of criminals as well as political dissidents. “It seems possible to me,” he declared near the end of 1850, “to render the punishment of hard labor more efficient, more moralizing, less expensive […], by using it to advance French colonization.” [...] Slavery had just been abolished in the French Empire [...]. If slavery were at an end, then the crucial question facing the colony was that of finding an alternative source of labor. During the period of the early penal colony we see this search for new slaves, not only in French Guiana, but also throughout [other European] colonies built on the plantation model.

Text by: Peter Redfield. Space in the Tropics: From Convicts to Rockets in French Guiana. 2000.

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To control the desperate and the jobless, the authorities passed harsh new laws, a legislative program designed to quell disorder and ensure a pliant workforce for the factories. The Riot Act banned public disorder; the Combination Act made trade unions illegal; the Workhouse Act forced the poor to work; the Vagrancy Act turned joblessness into a crime. Eventually, over 220 offences could attract capital punishment - or, indeed, transportation. […] [C]onvict transportation - a system in which prisoners toiled without pay under military discipline - replicated many of the worst cruelties of slavery. […] Middle-class anti-slavery activists expressed little sympathy for Britain’s ragged and desperate, holding […] [them] responsible for their own misery. The men and women of London’s slums weren’t slaves. They were free individuals - and if they chose criminality, […] they brought their punishment on themselves. That was how Phillip [commander of the British First Fleet settlement in Australia] could decry chattel slavery while simultaneously relying on unfree labour from convicts. The experience of John Moseley, one of the eleven people of colour on the First Fleet, illustrates how, in the Australian settlement, a rhetoric of liberty accompanied a new kind of bondage. [Moseley was Black and had been a slave at a plantation in America before escaping to Britain, where he was charged with a crime and shipped to do convict labor in Australia.] […] The eventual commutation of a capital sentence to transportation meant that armed guards marched a black ex-slave, chained once more by the neck and ankles, to the Scarborough, on which he sailed to New South Wales. […] For John Moseley, the “free land” of New South Wales brought only a replication of that captivity he’d endured in Virginia. His experience was not unique. […] [T]hroughout the settlement, the old strode in, disguised as the new. [...] In the context of that widespread enthusiasm [in Australia] for the [American] South (the welcome extended to the Confederate ship Shenandoah in Melbourne in 1865 led one of its officers to conclude “the heart of colonial Britain was in our cause”), Queenslanders dreamed of building a “second Louisiana”. [...] The men did not merely adopt a lifestyle associated with New World slavery. They also relied on its techniques and its personnel. [...] Hope, for instance, acquired his sugar plants from the old slaver Thomas Scott. He hired supervisors from Jamaica and Barbados, looking for those with experience driving plantation slaves. [...] The Royal Navy’s Commander George Palmer described Lewin’s vessels as “fitted up precisely like an African slaver [...]".

Text by: Jeff Sparrow. “Friday essay: a slave state - how blackbirding in colonial Australia created a legacy of racism.” The Conversation. 4 August 2022.

#abolition #tidalectics #multispecies #ecology #intimacies of four continents #ecologies #confinement mobility borders escape etc #homeless housing precarity etc #plantation afterlives #archipelagic thinking #geographic imaginaries #kathryn yusoff #katherine mckittrick #sylvia wynter #fred moten #achille mbembe #indigenous pedagogies #black methodologies

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