#appendix b

[velvet4510]

Direct quote from Appendix B about the start of Sam’s final journey to the Grey Havens that makes me weep and squeal for the romance of it all:

“1482 On September 22 Master Samwise rides out from Bag End.”

Which means Sam left Bag End for the very last time and began his search for Frodo in the West on Frodo’s birthday.

[lifblogs]

Appendix B took me out. Have a nice day!

[samthepotterhead]

update: ok aragorn's mom had him at 24 and was married at 22. still huge age gap, but at least no child marriage.

now I finally know why he was called estel in a fanfic. I thought there was another reveal behind it, but aragorn was actually the revealed name. btw this is actually name no. 5 (!) that I know of. I was not kidding with the 15 names.

I think it's very responsible of tolkien to introduce arwen to aragorn only when he is 20 and has lived with her father for 18 years, which prevents it from being a grooming situation (even though she is still much older than him) and (socially) incestuous. and even elrond is like "no you are way too young". very nice. I have a feeling though, if this was gender flipped, he would've fewer qualms about this, especially considering aragorn's mother seems to have been super young (probably in her early teens) and his father 58 when they married… but I love that arwen and aragorn's relationship is now explained, even though I personally don't understand why this isn’t woven into the lotr story.

maybe I'm overinterpreting, aragorn and arwen sounds a lot like tolkien and his wife too, no? I know he mostly based beren and luthien on their relationship, but him being orphaned as a child, younger (and maybe a little naive), from different backgrounds (catholic vs protestant), them not being able to be together bc of their guardians, then getting engaged but parted by a war, and then finally ending up married sounds very parallel. but Idk maybe this all applies to beren and luthien as well.

I love that this series actually tells the whole story of most of the characters and through that forms a bridge between fantasy and the reality of life and death, but it's so sad to read somehow :( I'm assuming tolkien did this on purpose to end his life's work (and prepare for his own end). but it's also sad (if aragorn and arwen are indeed based on his own marriage) to think he thought he would die before his wife. but then he had to live without her for a couple of years and I'm sure felt not unlike arwen is described here, withering.

so yeah, as you can tell I have familiarized myself with tolkien’s biography as well in the last few weeks...

[biology-geology-beaches-india]

TSRNOSS. Page 184.

[prokopetz]

Eat God playtest draft 0.5.0 is now available

Version 0.5.0 of Eat God brings several major changes, foremost among them a full rewrite of the Forms and Rebellious Arts, in a more structured and (hopefully!) more readable format than the previous wall-of-text presentation. This update also includes print-and-play cards (and corresponding VTT resources) for all Forms, Arts, and playset NPCs and locations. A full list of updates is available here, or under the cut below:

Download package now includes print-and-play cards for all Forms, Rebellious Arts, and playset and NPC locations

Revised introduction to provide a link to the new Form, Art, and playset cards

Expanded discussion of the mechanical effect of Traits

Forms and Rebellious Arts are now numerically indexed in their descriptions as well as in their lookup tables

One additional Form (bringing the total up to a full 36 for the first time!), and a full rewrite of all existing Forms

Full rewrite of all existing Rebellious Arts

Added discussion of how to handle resisting Stress when multiple God-eaters are affected by the same threat simultaneously

Small clarifications to activation timing for Rebellious Arts and what it means to "activate an Art in conjunction with a test"

Greatly expanded discussion of how to adjudicate Limit Breaks

Reformatted examples of Limit Break effects and added a few more examples

Random inventory table slightly revised to make its implicit milieu more consistent, and moved from the Inventory section to a separate appendix in preparation for adding multiple random inventory tables for different milieux

"Effect modifiers" renamed "impact modifiers" to avoid ambiguity with other uses of the word "effect"; relevant terminology throughout document revised accordingly

Simplified rules for how Forms influence impact penalties (formerly effect penalties)

Added first-pass rules for imposing temporary Traits upon NPCs

Added discussion of how cooperative tests work in the context of multiple God-eaters ganging up on a single NPC

Reformatted playset location/NPC/calamity tables for better readability

Added "Appendix B: Additional Tables"; right now this just contains the relocated starting inventory table (see above)

[theprettynosferatu]

Cover: @snootieenoot as Mia West

Breast Size and Cognitive Ability: A Rebuttal

Prof. Mia West

Overview and Project Objectives

This work originates from the publication of Prof. Lawson’s paper Breast Size and Cognitive Ability last month (Lawson, Breast Size and Cognitive Ability, Northwestern Journal of Science, 2025) and the ensuing discourse it has elicited both in the scientific community and society at large. Not only do we find it socially and politically harmful, but either intellectually dishonest or frankly substandard in both reasoning and the basic principles of experimental science.

Prof. Lawson posits that breast size in females is negatively correlated with academic ability and general I.Q. As this work will show, not only is Lawson’s methodology ruefully unsound, but his conclusions are so implausible one can only assume that, by his own logic, Professor Lawson must himself possess an impressive set of mammaries to believe such scholarship deserves serious consideration.

It is the objective of this paper to, entertaining such ludicrous premises, empirically disprove Prof. Lawson’s thesis on its own terms and hopefully set the matter to rest permanently.

Methodology

A research team comprised of four highly accomplished female experts (see Appendix A: Team Background and Initial Cognitive Tests), including the author, will take it upon ourselves to test Dr. Lawson’s hypothesis in a controlled, verifiable and reproducible basis. Having established a baseline for cognitive ability, we must consider the second element of Dr. Lawson’s proposed correlation; as we’re sure he’ll lament (given his manifest interests) all members of the team possess what can commonly be referred to as a modest chest size (see Fig.1: Team’s Initial Measurements).

In order to modify this factor gradually, we will be using Dr. Joanna’s Marsh experimental Focused Hormone Enhancement System, or FHES, which has shown remarkable results, even in its early stages of development (see Marsh, FHES Preliminary Observations, Oberlin, 2024).

Weekly breast measurements, as well as tests on cognitive ability, will be performed to track any changes in the research team, or most likely, lack thereof (at least in the intellectual side of Lawson’s correlation). Additionally, this author will provide any observations and comments that might be relevant to the purview of this paper. 

Observations: One Week Under the Effects of FHES

Initial results show that the effectiveness of Dr. Marsh’s compound not only meets the expectations established in her paper but, in the present use case, surpasses them (see Fig.2: Team’s Measurements, Week 1). All four team members have been forced to acquire new brassieres to work comfortably. 

A common reported side effect among the team is a degree of difficulty maintaining focus on complex tasks for even moderate periods of time- what is referred to as “brain fog” in common parlance. While not debilitating, this phenomenon has increased the difficulty inherent in writing a clear, concise overview. It does not, however, seem to be accompanied by physical exhaustion- activities which require movement have not been reported by the team as feeling more taxing.

We attribute this “brain fog” to the adaptation to the new hormonal load, and we expect it to subside soon. This also explains the slight decrease in the result of the team’s cognitive tests (see Appendix B: Cognitive Tests, Week 1).

Of additional note is that the team has experienced a slight but constant emission of clear, vaginal fluid. Testing shows it to be harmless and indeed to be the kind of fluid generated for lubrication normally during intercourse or arousal in general. We believe this to also be merely a temporary hormonal adjustment, but will keep monitoring it in the following weeks.

   Observations: Two Weeks Under the Effects of FHES

The effectiveness of FHES continues to astho asst surprise the team. Our tits breasts have expanded massively (See Fig 2: Team Measurements, Week 2), to the point that our standard lab uniforms no longer fit our curvy bodies and feel too tight and not in a cute way. To remedy this, the team was forced to go out and purchase new, more fitting and fashionable clothes (See Fig 3: Team Dressing Room Selfies). Obviously, new make-up was also necessary to match the vibe of the new fits, especially the goth-style gram garnm clothes chosen by April which just called out for some striking black eyeliner and a lighter shade of base. We collectively observed that the combination of her new clothes and make-up work really, really well on her: it’s giving bratty sub, as can be confirmed (See Fig. 4: April’s Selfies and Cute Pics Taken By Mia).

The Brain Fog is still there, probably because of the hormones and all other stuff, but the team reports it to be a pleasant sensation. While it makes writing these reports hard, it’s not really bad- more like floating in a pink, fluffy cloud. Prof. Lawson’s idea that tit size makes women dumber is still unproven, as the Pink (that’s what we have taken to calling the Brain Fog) is for sure the result of the treatment, not an effect of increased chest size. There are plenty of smart women with big boobs, after all, and I know for a fact Dr. Lawson has watched their videos on several adult sites. These women’s success in such a competitive industry is surely proof of their intelligence.

The constant most moiz wetness appears to have caused a few incidents among the team, since it now also involves an increased sensitivity and level of arousal. The distraction of feeling one’s pussy so needy all the time explains the lower test results this week (See Appendix C: Cognitive Tests, Week 2), as well as some notable events that took place this week.

It would be unprofessional to omit those events in this observation, so I’ll recount them as accurately as I possibly can. On Tuesday, before we went shopping, I walked into the Substance Storage Unit and encountered April and Sophia looking at a tablet. While I couldn’t see the screen, the video playing was at full volume, and I could make out the sound of a slut woman gurgling and choking on what, I can only assume, was a truly large cock penis. My teammates had both removed their (ugly) uniform pants, and unbuttoned their shirts (as mentioned, they had by this point become very uncomfortable, so that’s understandable). They were engaging in mutual masd mutul mmmmm fingering each other, drooling and moaning like stupid cunts in a way that showed their excitement. They shouted encouragement at the performer on the screen, which I feel demonstrates a high capacity to focus on engaging tasks; their choice of phrases (“take it deep you stupid bitch”, “fucking choke in it you dumb cow”, “use her fucking throat as a fleshlight!”) also proves their creativity. Witnessing this event produced a very strong effect on myself, but I managed to sneak into the bathroom before shoving my fingers inside my soaked pussy thus obtaining temporary relief.

Fuck. Okay, rubbing break over. Time to go back to writing.

A second incident took place on Friday. By then we had acquired new wardrobes, and the act of dancing, strutting and showing each other our new looks might have affected some team members in an unexpected manner. While we all identify as heterosexual, seeing our colleagues’ tight fucking bodies and huge, firm funbags aesthetic choices proved to be a stimulating experience. My recollection of events remains fuzzy, but I’m pretty sure I made out with April and at some point Hannah poured beer over April’s tits and I lapped it up and then sucked on her nipples while I rubbed myself silly and Sophia was filming on her phone so we both put on a show and I’m pretty sure she sent the video so someone but i don’t care encounters of an erotic nature may have taken place.

As each team member has clearly settled on a particular preference regarding their appearance, we have ordered more clothes and toys for the experiment.

We are confident that once our amazing bodies have adapted to the hormone treatment, such incidents will not reoccur. 

NOTE TO SELF: MIA, REMEMBER TO ERASE THE STRICKEN PARTS BEFORE UPLOADING UPDATE!!!

 Observations: Two Weeks Three Weeeks Under the Effects of FHES

So I have to write this to keep you updated because it’s my job and I’m a professional and stuff so ehre it goes. We had like massive tits before but now they are so huge and sensitibe and spectacular and they feel kind of like giant clits so I guess the copm compoud the thing we take to make them grow is also making them feel super good! We tried to take measurements but the tape rubbing against out funbags feels too good and we get distracted and we have to take care of that so we figured we’d just send you some nudes so you can see how much our stupid bimbo tits have expanded (see sexy pics attached) because we are not dumb and pics are better than illustrated numbers anyway. We got a bit carried away with the pics but I hope you’ll enjoy them! In like, a scientific way. Duh.

Reading back I guess I was keeping track of the Pink? I think? It’s hard to understand what I wrote before. So like, the Pink. It’s kinda hard to explain but it feels so fucking good, like we’re all so happy and floating and horny all the time and nothing feels super important anymore except doing whatever feels good at the moment, with whoever or whatever is around. We stopped storing the toys because having them all over the lab is super useful to play with one another or to just bounce on a big dildo looking at the tasty porn on the screens.

Oh shit I forgot to explain the porn thing! So like, we noticed that we can focus on porn a lot better than on boring lab stuff and we’re trying to demn demos prove big boobs don’t make sluts dumb so having porn blasting in every screen means we have something to keep us concentrated and so we’re not dumb because we can keep our attention on stuff. And we can like, really really watch porn. It’s like… we’re not just watching it with our eyes, we’re taking it in with our entire bodies and the Pink makes it so much better because it’s like the porn gets inside us and makes us better and we feel so, so good!

And another thing that proves we may be stupid cunts but we’re not dumb is that we learn really, really fast. We just left the pron running and the site kept showing us video after video after video and we all learned different things and we could put it in practice instantly! Like, April has gotten really into her new goth mommy thing and we saw a video and a girl in it was spanking another girl with a leather paddle and it was super hot but we didn’t have paddles (we ordered them, they should arrive today! Yay!) so April took a clipboard and made Sophia put her hands on the wall and April went to town on her cute bubble butt and it got so red and the rest of us watched and rubbed and drooled and Sophia came from being spanked! She’s becoming such a good slut. She really likes putting her hair in pigtails and wearing like, a sort of schoolgirl uniform with a microskirt and chewing gum and acting like a dumb whore around the lab and it kinda makes all of us want to do bad things to her. We saw a few videos where the cunt was sort of taken by force and Sophia loved them so now she keeps calling herself “good rapebait” and teasing us so we’ll be mean to her and fuck her with a toy or a strap. She cums so fast and screams what a rapedoll she is and begs to be used and abused forever! It’s super hot, so we are almost constantly shoving toys and fingers in her like, really hard.

Also, we have amazing stamina now! I can’t remember when I last slept. My desperate pussy needs me to take care of it all the time.

We’re using the computer labs to show off online, because the porn showed us that all good girls expose their slutty bodies. We’re sad that the webcams don’t look as good as the porn but we’ve ordered new cameras and like, some lights to make every inch of us look amazing. And the people we talk to on random sites are so helpful! They have ideas we never could imagine, and it’s so much easier to just do what they tell us to do and we learn so much doing it! Last night me and Emily spent like an hour just drooling and making out and rubbing each other’s tits in front of the camera because a nice Man told us to and it felt amazing to know he was jerking off his fat cock to us! We didn’t know just obeying Men made cunts feel useful but some Men told us and we did it and they were right! I think it was when April and I were going ass to ass with a double dildo because a Man told us to that I realized how amazing it is not having to choose and just drift in the Pink and be good sluts.

Sometimes they tell us to do hard things, like writing on each other’s bodies. Because our tits are so huge we have a lot of room to put tasty words in, but figuring out the spelling while we rub and lick each other is very, very hard! I can still spell kinda good, but Sophia couldn’t even spell “cumslave” right, so I had to write on Emily even though Sophia was supposed to and I got too excited and fuzzy and maybe some of the videos put thoughts in my head because I ended writing stuff like “mindless fuckdoll” and “brains are for boys” and “bitch in heat” on her instead of just “cumslave”, but the Men online liked that and told me to make myself cum as a reward and I didn’t know Men could just tell girls to cum but when they told me to cum I barely had to rub my cunt before I had like, the best orgasm. Maybe getting permission to cum always feels better? We should do a study on that after this one is done.

It’s funny how much Emily loves to have filthy words written on her body. She always was super shy and she’s so slutty now but she sstill gets all red and flustered and some men like that because it’s clear she likes to be a silly cunt but also she tries not to show it and so having someone writing on her lets her pretend she’s not thinking all those words even though like, we all totally know she’s thinking them and also when she wears a cute little mask she is shameless and so fucking desperate it’s like the mask lets her be her true self. That’s another thign we could study!

Speaking of studies, we kinda didn’t have time to take the test this week but I’m sure we would have aced it for sure. I have to send something in that section of this stupid form so I’m attaching a video of all of us training our throats with dildos, because it shows we can still do tasks so we aren’t dumb. 

Ugh, writing is so boring and I can hear Sophia being fucked behind me and I really want to make her eat me out while another girl makes her ass gape. 

We ordered more clothes and toys because Men deserve choices and we want to be able to be any kind of slut a Man could want. I guess I’ll write more next week.

   

obdertations weak for

i have to write i dont want to write this is so boring my head is to fuzzy and fuuuuck april is licking my pussy under the desk but i dont want to cum because good girls dont cum without permission and no Man told me i could cum but i want to cum so badly but also i dont want to cum because being edged makes me better makes me wetter makes me obey i want to obey i want to be a stupid cumrag forever and ever and get tasty cummies and my tits need to be covered so i can be super pretty

My stupid cow udders are so huge now one load cant cover them i need to be surrounded by cocks and make all of them cum just so i can feel that warm jizz all over them and i know because we tried it we gave the nice Men online the address to the lab and they came hihihi came and came came all over us and inside us and even three cocks cumming on my boobs isnt enough and also sometimes they aim to high and it lands on my face and that feels so amazing and tastes so fucking good but i like it on my sensitive bimbo tits better because theyre like my pussy and they always need more and more and more and there are never enough cocks around to share and we try to be good girls and serve together but we get greedy and end up fighting for the honor of wrosph worp woshi whoreshiping cocks but the Men help us and tell us what to do and whos turn it is and they even gave us a fun way to fight for cock and we have rubbing competitions where we dance and rub and tease and say so many filthy things anf the one that proves shes the more depraved slut gets the cum and i wish i was better because i want to win every time but sometimes another fucking cunt wins and i have to wait

pffff last night sophia did her hole pretending to be innocent thing and called the men daddy and said she would be the bestest girl for them and smiled and flirted and made it seem like she didnt know her skirt was riding up and she had no panties and they used her so much i only got like three loads on my tits and i had to get more Men to come into the lab because its sooo not fair that she got used in all her holes by like, ten guys and i only got three cocks in my tight asshole but in the end more Men came and i really slutted it up and called myself a piece of worthless fuckmeat and a mindless obedient set of holes with huge tits and explained to the Men why girls need to obey and be happy and how fenminism is boring and maybe us girls would be better off without rights and they liked that and they really liked it when they found out i have a PHD an stuff so in the end i got used lots so I was useful and it was a good night

Clothes are all over the floor and the desks but we need more because there are so many ways to be a cute slut and we want to please everyone and become anything they want us to be and do anything they want us to do and i tried ordering more clothes but i got confused but a Man ordered for us so they should be arriving soon and fuck we cant stop rubbing and licking each other imagining all the sexy stuff we’ll get to wear and also the new camera is so good and we look just like the girls in porn and i guess we are pron now because we keep filming or letting Men film us and they upload everything and people like it lots and i think about everyone jerking off to us and its the best feeling in the world knowing i dont have to be there to make a cock cum, i can be useful forever because the videos will always be around fuuuuuck i almost came April got sooo good at eating pussy but i don’t want to cum i really want to cum i 

I dont remeber how to ttach stuff but ill get a Man to put the best videos on the file so yall can see what good girls we are now and maybe you can cum to us please cum to us please rub your pussies and play with your cocks looking at us we want to make you happy and horny like we are i wish everyone could feel the Pink its so good and fuzzy and warm and makes people giggle and fuck nd be so happy maybe everyone should take what we take and grow big boobs and sink into the Pink I wonder if men get huge cocks from it that woud be amazing like giant cocks that cum buckets fuccccccc i dont wanna{p´.k

Fuck i came so hard but im still so fucking horny it’s never enough i need more i need to please i exist to please obeying makes me feel so good an cum makes me so pretty and i dont remember how i lived before because this feels like its who ive always been like its just right and natural and good but i started writin for a reason and i can’t figure out what it was i have to tell April to stop eating me out and find out what im supposed to rite 

Oh, duh! A Man said big boobs make girls dumb. And that’s a dumb thing to believe. But I have massive tits and I’m dumb so I guess I believe him because dumb feels good so I’ll believe any dumb thing a Man tells me!

EDITOR’S NOTE: This document is being published without edits or corrections at the request of Prof. Lawson. Given that the express intent of this “paper” is to disprove his theories, we felt it fair to show the resulting work unaltered.

Prof. Mia West has retired from Academia. She and her team seem determined to continue in the adult industry. The Northwestern Journal of Science has reached out to Prof. West, who requested readers to “log into the sites and cum yourselves silly to our stupid bimbo bodies”.

As far as we can ascertain, every one of the mentioned videos is available for free. It is unknown who obtains the ad revenue or funds the team; however, given the noticeable increase in production value in newer installments, as well as the establishment of what has been christened the “Slut House” to film, we must assume someone is managing the team’s career.

On an unrelated note, we’re delighted to announce Prof. Lawson’s new seminar, “Video Production, Marketing and Monetization in the Digital Age”, to take place this Fall.  

Did you enjoy this story? You can support my work at patreon.com/prettynosferatu

[race-week]

Appendix B of the ISC is the part concerning penalties for swearing and for things that could ‘cause moral injury to the FIA’

[voyaging-too]

It is part of the framing device of LOTR that Tolkien isn’t the author, that he’s merely translating an ancient manuscript into modern English. The real author of The Hobbit is Bilbo, the real author of LOTR is Frodo and to a lesser extent, Sam. However, Tolkien isn’t actually very interested in the literary conceit that the narrators of his third-person narratives are characters within those narratives. He’s using the appendix “on translation” as a pretext to explain his clever use of Old English and Norse in place names, he’s using an unreliable narrator exactly once, to explain the difference between two editions of the Hobbit, and he’s fascinated by the idea of characters comparing their lives to stories or trying to understand their lives as stories, but very little of that actually goes into the narration.

In a Doylist sense, I’m willing to say that the novels are not at all written from the subjective POV of the characters that have supposedly written them. I’ve recently read the Book of the New Sun and also Thomas Mann’s Doctor Faustus, very different books that both engaged deeply with the narrator being present in the story, with the massive gap between the narrator writing in the “present day” and the past self that he narrates. LOTR doesn’t do that, this isn’t meant to be a criticism, just a statement: it is a books that books can sometimes do, and LOTR is not doing it, it cares about other things.

But in a Watsonian sense, a lot of interesting questions come up when you take the conceit seriously and accept these characters as the author of their own story. Bilbo might be the easiest: The Hobbit is a children’s story because he’s chosen to tell it as a children’s story, probably for young Frodo himself. The story he’s telling is mostly light-hearted, and he’s poking fun at himself all the time, and he’s also poking fun at the dwarves a lot. The Hobbit addresses the reader in a way later LOTR rarely does, saying “you can imagine how poor Bilbo felt when X happened” or “you can probably already see the flaw in Y plan.” Some of these might be responses to interjections, to questions and criticisms little Frodo voiced when first hearing the stories.

Frodo’s narrative voice is different, much more serious, since he’s writing for grown-ups from the beginning. I don’t mind that he’d described many events where he wasn’t personally present: I can imagine that he had long conversations with the other members of the fellowship, especially Merry and Pippin, and then turning his notes of their account into a narrative that’s filtered through his own sense of narrative, humour and aesthetics. Frodo basically just ghostwrote those chapters, based on lengthy interviews. The really weird thing comes in with the account of events that Frodo personally experienced. Fellowship starts with Bilbo, then shifts to a point-of-view focused fairly narrowly on Frodo, with some brief detours into the perspectives of the other hobbits. In Towers, we’re already firmly in Sam’s perspective, we see most of Frodo’s actions through Sam’s eyes, and we mostly stay in that perspective until the end of the trilogy. If Frodo wrote this book: why? Why not write of his own experiences, as he did in the previous chapters? (Of course there’s the Doylist answer, Tolkien decided that Sam’s POV was more compelling and that Frodo’s struggle with the ring was more interesting shown from an outside perspective and probably impossible to write from an inside one. But what’s the Watsonian answer?)

One possible answer is that Frodo chose to write it that way, write it focused on Sam and not himself, either because to focus on himself would have hurt too much, or because he wanted to highlight Sam’s importance, to show him as the real hero. (Note to self: Gertrude Stein wrote Alice B. Toklas’s autobiography, I probably need to check that out.) There’s also the possibility that Sam wrote those chapters. Frodo tells him it’s his job to finish the book, and the usual reading is that Sam merely wrote the end of the Grey Havens chapter, but we can argue that the book was quite unfinished, and Sam had a larger part in more of it. It’s possible that Sam read Frodo’s chapters on the ring quest and figured that he had to rewrite them from scratch. It’s possible that Frodo found it so painful to write about that it’s just dry, brief outlines. “Crossed the tunnel. Big spider got me. etc.”, the whole thing is like five pages. Maybe memories formed under the influence of the ring are no longer wholly accessible: having lost the ring, they are distant, spectral, like they happened to someone else. Or maybe the ring actually warped Frodo’s memories and thoughts of those events to the point that what he wrote is just fifteen chapters of Book of Revelations level hallucinatory horror, wholly incomprehensible to anyone else. And of course there’s the possibility that during those chapters, Frodo has acted in a way, or at least thought and felt in a way, that Sam doesn’t want to share with the world. Sam is covering up that the journey was even harder, and that Frodo was corrupted by the ring in worse and sadder ways, and so he’s rewriting Frodo’s chapters to protect his memory.

[velvet4510]

Is it just me, or do y’all also sorta wish that Jackson had filmed Appendix B as the actual ending of ROTK? Clearly, as you’ll see, I have relatively normal feelings about this.

I understand and appreciate the movie having the same ending as the actual book. But the STORY itself doesn’t end with the last chapter; it ends with Appendix B.

Imagine a 2-minute montage, fading in after Sam comes home from the Grey Havens:

An unfamiliar female voice narrates over these images:

Sam & Rosie raising their children at Bag End; Sam reading the Red Book aloud to the children.

Sam making a speech as Mayor.

Sam sitting in Bag End’s study, reading a letter signed ‘Frodo,’ which Frodo clearly left for him.

Pippin & Diamond’s wedding.

Merry & Estella’s wedding.

Aragorn & Arwen with their children in Minas Tirith.

Aragorn dedicating and unveiling a tall statue of Frodo & Sam in Minas Tirith.

Legolas restoring the destroyed forests.

Gimli bringing the dwarves to Helm’s Deep.

Faramir & Éowyn with their children in Ithilien.

Teenage Elanor reading the Red Book by herself and reading a letter or poem that Frodo wrote for her before he sailed away (because, come on, he was a 2nd dad to her. he literally named her. he adored her, so of course he left something for her since she was too young to actually remember him).

Aragorn & Arwen visiting Sam, Merry, Pippin and their wives & children at the Brandywine Bridge.

The Gardner, Took & Brandybuck families all celebrating Yule together.

Time passing … the Travellers aging … the children growing up.

Teenage Elanor introducing Fastred to her parents.

Faramir Took and Goldilocks Gardner dancing at a party, transitioning to a dance at their wedding.

Sam and his son Frodo teaching Frodo’s own young son how to work in the garden.

The seasons in the Shire changing as more years go by…

Elderly Sam and his now-adult children gathered around elderly Rosie’s deathbed.

Elderly Sam sitting alone in Bag End’s beautiful, flourishing garden with a faraway look on his face, pulling Frodo’s now-wrinkled letter out of his pocket and reading it again.

Elderly Sam, Merry & Pippin sharing one last drink at the Green Dragon, followed by a tearful group embrace.

(I know the following messes up the book’s timeline, but for dramatic effect, I think this order of events would work better as a close for the film):

Elderly Merry & elderly Pippin hugging their adult sons goodbye and riding out of the Shire together.

Merry & Pippin shaking hands with elderly Éomer in Rohan.

Merry & Pippin’s gravestones in Gondor, with a statue of them standing above their tomb.

Aragorn’s tomb now beside theirs, years later.

Arwen hugging Eldarion goodbye in his throne room, with Eldarion now wearing the king’s crown.

Arwen entering Lothlórien alone.

Legolas hopping into a small sailboat and helping an aged Gimli onboard before they drift off into the sunset.

Sam placing the Red Book in adult Elanor’s hands and embracing her tightly.

A ship pulling away from the Grey Havens.

Elanor standing on the quayside and tearfully waving as the ship disappears into the horizon. She composes herself and her narration says “And that day, my dear Sam-dad passed over the Sea … the last of the Ring-bearers.”

Her words lead into the very last shot, fading from her face into a flash of white, and then fade-in to a distant view of an island, with greenery on one side and a sparkling beach on the other. Two hobbits, their backs to us, are strolling along the coastline, hand-in-hand.

THE END.

[charles-leclerc-official]

What Changes Were Made in the FIA Sporting Code regarding Driver Conduct penalties?

I want to clarify a few things regarding the new regulations the FIA published with regard to penalties for driver conduct.

None of the written rules were changed. All of the listed points were in the rules starting 2024(some prior, these have been an ongoing encroachment on conduct within the sport)

What has changed is 2 things.

The actual name and nature of Appendix B

The penalty system outlined for breaching these guidelines

Formerly Appendix B was the "Code of Good Conduct". Now it's the "Steward's Penalty Guidelines"

Here is what the former code of good conduct looked like (It has been removed from the FIA website and replaced with the current new document)

Now you can find all of these rules for driver conduct and the FIA stating that these are punishable actions under the article 12 of International Sporting Code of the FIA. None of these rules are new.

What is new are the specified penalties to be handed out for infractions of these rules of conduct. The new appendix outlines specific scales of punishment that should accompany these specific infractions. The outlining of fines as well as further punitive measures required if a driver is found to be in violation of the regulation by the stewards is what is new.

Specifically the amount of fines, as well as the requirement for an apology, points deductions and race bans are all new.

In addition to the stipulation for a 2 year time period on these accruing penalty levels.

You can find all of this at the FIA regulations page. However the old version of Appendix B is unavailable and is hard to find online since it's been replaced.

Article 12 in the ISC deals with the scale of penalties.

Appendix B is the Steward's Penalty Guidelines

Appendix L chapter 4 is driver conduct guidelines

Hopefully this clears some things up about what has changed and what it means for driver conduct and how drivers may be penalized this year.

Note: I am against these changes and this penalty structure.

[literaryvein-reblogs]

Some Editorial Vocabulary

definitions of terms during the writing, editing and publishing process

Acknowledgements: Text in which the author thanks those who’ve supported them.

Action beat: Short description that comes before, between or just after dialogue.

Adjective: A word that describes a noun.

Adverb: A word that describes a verb.

Adverbial phrase: A group of words that describe a verb.

Afterword: A concluding section, often reflecting on the book’s creation or providing additional context.

Anaphora: The deliberate repetition of words or phrases at the beginning of successive clauses for artistic effect.

Antagonist: An adversary. The character who creates obstacles and challenges for the protagonist, or behaves in a hostile fashion towards the protagonist.

Anti-protagonist: A protagonist whose own actions create opposition and conflict, often within themselves or against their own goals.

Apostrophe: A punctuation mark used to indicate possession, omission and, occasionally, a plural.

Appendix: Space in a book for material that doesn’t fit comfortably in the main text.

Asyndeton: Literary device through which a sentence’s structure follows the following pattern: A, B, C.

B-C

Back matter: Also end matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Beta reader: Test-reader who provides feedback on book.

Bibliography: List of all works cited in book, and any other work of interest to the reader.

Chapter drop: The space above and below the chapter title.

Character arc: Narrative that shows how a character changes and develops.

Characterization: The process of revealing a character's personality, traits and motives through actions and dialogue.

Colon: Punctuation mark that introduces additional/qualifying information about the clause it follows.

Comma splice: Two independent clauses joined by a comma rather than a conjunction or an alternative punctuation mark.

Conjunction: A word that connects clauses or sentences (e.g. ‘and’, ‘but’, ‘if’, ‘then’)

Copyediting: A review of grammar, punctuation, and spelling, ensuring consistency and accuracy in the manuscript's language.

Critique: Also manuscript evaluation. Report analysing a book’s strengths and weaknesses.

D

Denouement: The final part of the book in which all the plot strands are brought together and resolved.

Deuteragonist: A sidekick or confidante character who has the most influence on the protagonist, often helping them solve problems and overcome obstacles. Can be critical to driving the plot.

Developmental editing: Also structural editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Dialogue tag: Also speech tag. Words that indicate which character is speaking (e.g. John said).

Dialogue: The lines characters speak in a book.

Diversity reader: Also sensitivity reader. Test-reader who checks for misrepresentation in books.

Double-page spread: Also DPS. The view of a printed book or PDF when opened so that the left- and right-hand pages are both visible.

Drama: The conflicts, emotional intensity, and impactful events that drive the plot and engage readers emotionally. The focus is on character relationships, motivations, and the consequences of their actions.

Dropped capital: Decorative first letter of the first word on the first line in a chapter. Larger than the rest of the text and drops down two lines or more.

E-F

Ellipsis: Punctuation mark that indicates a trailing-off or a pause.

End matter: Also back matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Endnote: Additional useful information at the end of a chapter or book.

Filter word: Verb that tells rather than shows (e.g. ‘noticed’, ‘seemed’, ‘spotted’, ‘saw’).

Folio: Somewhat old-fashioned term for page number. Also used to refer to a page.

Footnote: Additional useful information at the bottom of a page.

Foreword: A recommendation of the work written by someone other than the author.

Fourth wall: In books, the conceptual space between the characters and the readers.

Free indirect speech: Also free indirect style and free indirect discourse. Third-person narrative that holds the essence of first person thought or dialogue.

Front matter: Also prelims. Includes part title and title pages, foreword, preface and acknowledgements.

Full point: Period or full stop.

Full stop: Period or full point.

G-L

Glossary: Alphabetical list of important terms with explanations or definitions.

Habitual past tense: Uses ‘would’ or ‘used to’ with a verb to indicate events that happened routinely in a time past.

Half-title page: The first page of a book with any text on it; in a printed book, always a right-hand page. Contains only the main title of the book.

Head-hopping: Jumping from one character’s thoughts and internal experiences to another’s. Indicates viewpoint has been dropped.

Imprint: Publisher’s name.

Independent clause: A group of words that contains a subject and a predicate.

Index: Alphabetical list of all topics, themes, key terms and cited author names covered in the book, and the corresponding page numbers.

Information dump: Also word dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Line editing: Also stylistic editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

M-O

Maid-and-butler dialogue: Dialogue in which one character tells another something they already know so the reader can access backstory.

Manuscript evaluation: Also critique. Report analysing a book’s strengths and weaknesses.

Narrative arc: Also story arc. The structure and shape of a story.

Narrative authenticity: The believability and truthfulness of a story so that the characters and events feel real within the framework of the novel’s world.

Narrative distance: Also psychic distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Narrative: Story. The part of the book that’s narrated, excluding the dialogue.

Narrative style: The author's unique manner of storytelling, encompassing language, tone, viewpoint and other structural choices.

Narrative voice: The style, tone, and personality through which a narrator or character tells a story to readers.

Numerals, Arabic: 1, 2, 3 etc.

Numerals, Roman: i, ii, iii etc.

Omniscient: All-knowing. Refers to a viewpoint style in fiction writing.

Overwriting: Using too many words on the page. Often characterized by repetition and redundancy.

P

Page proofs: A file that’s reached a stage in the publishing process where the text and images of a manuscript have been laid out in their final format.

Pantser: A writer who doesn’t outline or plan story structure, but flies by the seat of their pants.

Period: Full stop or full point.

Perspective character: Also viewpoint character. The character through whose eyes the story is primarily told. The narrative lens through which readers experience events, thoughts, and emotions within the story.

Plot: The sequence of events in a novel.

Point of view: Also viewpoint and POV. Describes whose head we’re in when we read a book, or whose perspective we experience the story from.

Polysyndeton: Literary device through which a sentence’s structure follows the following pattern: A and B and C.

Predicate: The part of a sentence that contains a verb and that tells us something about what the subject’s doing or what they are.

Preface: An explanation of the purpose, scope and content of a book, and written by the author.

Prelims: Also front matter. Includes part title and title pages, foreword, preface and acknowledgements.

Pronoun: A word that replaces a noun (e.g. I, you, he, she, we, me, it, this, that, them those, myself, who, whom). Pronouns can act and be acted upon like any noun.

Proofreading: The final pre-publication quality-control stage of editing where any final literal errors and layout problems are flagged up. Comes after developmental editing, stylistic line editing and copyediting.

Proper noun: A named person, place or organization. Always takes an initial capital letter.

Protagonist: The leading character in a novel, often facing central conflicts and driving action.

Psychic distance: Also narrative distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Purple prose: Overblown, poorly structured writing with strings of extraneous and often multisyllabic adjectives and adverbs.

Q-R

Quotation mark: Also speech mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Recto: The right-hand page of a book.

References: List of all the works cited in your book.

Roman typeface: Not italic.

Running head: Text that runs across the top of a page (e.g. title of the book, chapter title, author’s name).

S

Scene: a distinct segment or building block where specific actions and events unfold in a setting.

Scene technique: The use of dialogue, action, setting, and tension to craft compelling moments in the story.

Semi-colon: A punctuation mark that indicates a stronger pause than a comma between two main clauses.

Sensitivity reader: Also diversity reader. Test-reader who checks for misrepresentation in books.

Speech mark: Also quotation mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Speech tag: Also dialogue tag. Words that indicate which character is speaking (e.g. John said).

Story arc: Also narrative arc. The structure and shape of a story.

Structural editing: Also developmental editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Style sheet: In which an author or editor records stylistic and language preferences, and tracks who’s who, what’s where, and when X, Y and Z happens.

Stylistic editing: Also line editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

Subject: The thing in a sentence that’s doing or being something.

Subplot: A secondary storyline that supports and enhances the main plot of a narrative.

Suspense: The tension, uncertainty and anticipation created by withholding information, raising stakes or placing characters in imminent danger. Readers are kept guessing or forced to ask questions.

Syndeton: Literary device through which a sentence’s structure follows the following pattern: A, B and C (or A, B, and C).

T

Talking-heads syndrome: Dialogue that isn’t grounded in the environment or the characters’ responses to that environment.

Tense: The form a verb takes to indicate when an action happened in relation to the telling of it.

Tension: The emotional strain or suspense created by unresolved conflicts, stakes or uncertainties that keep readers engaged.

Tertiary character: A functional character who gives the story realism and depth, but doesn’t significantly impact on or influence the plot or the development of the other characters.

Theme: The novel’s central idea or message about life, society, or human nature.

Title page: Includes full title (and subtitle if there is one), author’s name, publisher’s name, logo, volume number, and edition.

Transgressor: A character who commits morally, socially, or legally questionable acts.

Tritagonist: Third most important character, who often provide regular emotional or physical support, but don’t determine how the story develops.

U-W

Unreliable dialogue: Dialogue that doesn’t match a character’s true voice, mood or intent.

Unreliable narrator: A character whose telling of the story cannot be taken at face value. They may be naïve, confused, or deliberately manipulative.

Verb, intransitive: A verb that doesn’t have a direct object (e.g. ‘I giggled’).

Verb, transitive: A verb that has a direct object (e.g. ‘wrote’ in ‘I wrote a book’).

Verb: A word that describes doing. Can refer to a physical action (e.g. to dig), a mental action (e.g. to wonder) or a state of being (e.g. to be).

Verso: The left-hand page of a book.

Viewpoint: Also point of view or POV. Describes whose head we’re in when we read a book.

Viewpoint character: Also perspective character. The character through whose eyes the story is primarily told, and the narrative lens through which readers experience events, thoughts, and emotions within the story.

Vocative: The form of address for a character directly referred to in dialogue.

Word dump: Also information dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Source More: On Editing ⚜ Word Lists

[conundrumoftime]

All right TROP people, before we are cast into the fires of another 12-18 months of doomposting about how Galadriel should/shouldn't retire to Lothlórien, I just need to say this: Lothlórien is not, canon-wise, the kind of place you retire to. Lothlórien is armed to its teeth.

In Unfinished Tales there are multiple different versions of how Galadriel and Celeborn end up in Lothlórien, but a common thread is that they go there because it's a strategically important location in the war against Sauron.

One version:

At that time Elrond went westward and established the refuge of Imladris; but Celeborn went at first to Lórien and fortified it against any further attempts of Sauron to cross the Anduin. When however Sauron withdrew to Mordor, and was (as reported) wholly concerned with conquests in the East, Celeborn rejoined Galadriel in Lindon.

Another:

In her wisdom Galadriel saw that Lórien would be a stronghold and point of power to prevent the Shadow from crossing the Anduin in the war that must inevitably come before it was again defeated (if that were possible)

And there's also a fun suggestion that the realm was once much bigger:

This may imply that Galadriel's power at one time extended into the southern parts of Greenwood the Great; and support for this may be found in 'Concerning Galadriel and Celeborn', p. 236, where the realm of Lórinand (Lórien) is said to have 'extended into the forests on both sides of the Great River, including the region where afterwards was Dol Guldur'.

This would explain why Oropher is described in one version as withdrawing northwards not only because of the growing power of Sauron, but also specifically because of Celeborn and Galadriel. (A moment of silence please for Celeborn getting kicked out of the Doriath Exiles groupchat.)

Lothlórien gets attacked several times towards the end of LOTR, and this isn't unexpected; they know this is going to happen. A couple of months earlier when the Fellowship are in Lothlórien, Celeborn tells them they all have a choice about whether to go on southward with the Ring-bearer or stay in Lothlórien, but it's too dangerous to go back to the Shire and so any hobbits who stay might end up being summoned 'to the last need of Lórien'.

When the Fellowship first enter Lothlórien in LOTR the elves watch them, silently. The first that even Legolas is aware of them is that a voice from the trees commands them to halt; and then says, via Legolas, "that you breathe so loud that they could shoot you in the dark." A little later Haldir tells Legolas that 'We live now upon an island amid many perils, and our hands are more often upon the bowstring than upon the harp'; and when Gimli refuses to wear a blindfold all the way to Caras Galadhon, it's really clear from Haldir how seriously Lothlorien takes its defences:

'You cannot go back', said Haldir sternly. 'Now you have come thus far, you must be brought before the Lord and the Lady. They shall judge you, to hold you or to give you leave, as they will. You cannot cross the rivers again, and behind you there are now secret sentinels that you cannot pass. You would be slain before you saw them.'

Finally, Sauron sends his forces against Lothlórien three times in the couple of weeks that Sam and Frodo are in Mordor (this is from LOTR Appendix B):

Though grievous harm was done to the fair woods on the borders, the assaults were driven back; and when the Shadow passed, Celeborn came forth and led the host of Lórien over Anduin in many boats. They took Dol Guldur, and Galadriel threw down its walls and laid bare its pits, and the forest was cleansed.

Galadriel did not go there for a quiet peaceful life where she wouldn't have to deal with the war any more, is what I'm saying.

[lassieposting]

So anyway I think it would be funny if Garrus kept getting a bit distracted during his extensive research into human biology

Like obviously he reads the pamphlets (helpfully provided by Mordin) and watches the porn (gleefully provided by Joker) but he also does a bunch of his own extranet deep-diving because he's Like That, he's got Detective Brain, and he doesn't half-ass anything

But he knows the Normandy extranet hub is not private: Cerberus is probably spying on all of them, EDI has unrestricted systems access and a tendency to share anything she finds interesting with Joker, Legion can hack into anything, Tali likes to gossip. So, to a) avoid putting Shepard in an awkward position with the Illusive Man and b) keep his sex life private, he uses vague search terms. Human biology. Human organs. Evolution of humanity. Human reproductive cycle. Interesting facts about humans. Interspecies workplace communication.

And then he gets sidetracked. 50 Weird Facts About Humans leads him to 10 Reasons Humans Are Scary which leads him to an article about humans as persistence predators. An Overview Of Human Body Parts leads him to 5 Body Parts Humans Don't Actually Need which leads him to articles on wisdom teeth and tonsils and the appendix, which can apparently explode at random. He gets clickbaited.

And now he has all this new knowledge he finds fascinating and wants to share! So he starts doing things like telling Kelly how many bones she has, or explaining Why Humans Evolved Eyelashes at the dinner table and then asking Jack why she evolved eye hairs, but not head hairs. Or asking Jacob how tall he is, and then thoughtfully musing about how that's short for his species.

And, in Shepard's cabin, when he nervously mentions having done some research, she slinks over to get all up in his personal space in her bathtowel and asks him what he learned. At which point he panics, all the sexy one liners about sensitive spots evacuate his brain immediately, and he blurts out that according to the extranet, the anus is the first part of an infant human to develop in the womb, so, you know, when Saren said humans were a bunch of assholes he was not technically wrong

(Shepard looks at him for a minute. Like, a really long minute. Just blinking. He's fairly sure he's about to be booted into the elevator and she'll keep the wine, to get over this disastrous encounter. And then she explodes with laughter, tells him he's ridiculous, and shuts him up by kissing him, because at least someone here has her head in the game)

[cosmerelists]

The "Four Bases" in the Cosmere

By which I mean, like, the pop culture / romantic meaning of the four bases. You know, like first base is kissing, second base is touching above the waist, third base is touching below the waist, and home base is sex. But how would various cultures in the Cosmere define such things if they used baseball metaphors for some unknown reason?

[This post includes specific spoilers for Mistborn Era 1, Mistborn Era 2, Yumi & the Nightmare Painter, and Sunlit Man!]

1. Roshar: Vorin Culture

First Base: Holding hands (safe hand covered) Second Base: Kissing Third Base: Holding hands (safe hand uncovered) Home Base: Lawful marriage

2. Nalthis: Among the Returned

First Base: Sex Second Base: Having a conversation Third Base: Having an honest conversation Home Base: Making space for vulnerability & intimacy (and more sex)

3. Canticle (Rebeke edition) [Sunlit Man spoilers!]

First Base: Going on a rescue mission Second Base: Sharing Warmth Third Base: Propositioning him Home Base: Never knowing what happened to him and wondering forever

4. Komashi (Painter & Yumi edition) [Yumi & the Nightmare Painter spoilers!]

First Base: Trade bodies Second Base: Get naked & bathe together (ritually) Third Base: Honesty Home Base: Noodle shop

5. Scadrial (Vin & Elend edition) [Mistborn Era 1 spoilers!]

First Base: Dancing Second Base: Killing his fiancée Third Base: Marriage and sex Home Base: Dying together <3

6. Roshar: Azish culture

First Base: Declaration of Romantic Interest Form (Submitted by Party A) Second Base: Declaration of Reciprocation of Romantic Interest Form (Signed by Party B) Third Base: Declaration of Intent to Form Romantic, Pre-Marital Bond (Signed by Parties A & B; if more parties involved, please see Appendix) Home Base: Sex

7. Scadrial (Steris edition) [Spoilers for Mistborn Era 2!]

First Base: Signed Contract Second Base: Marriage Falling in love?? Third Base: Sex Getting married to a man you love??? Home Base: Producing legitimate heirs Having sex and children with the man you love?????

8. The Cosmere Generally (Brandon Sanderson edition)

First Base: Arranged marriage Second Base: Coming to like each other, actually Third Base: Marriage Home Base: [redacted]

[frodo-in-a-fez]

tolkien was literally so insane motherfucker wrote the most tragic, heart-wrenching ending for a frodo ever that was such a novel way of showing how trauma changes you in irreparable ways only to hide the silly goofy lil detail that like 70 years after this happened his gayass husband gets to go hang out with him in elf land forever and ever in the middle of fucking appendix b and its still such a uniquely melancholy way of ending things. god bles

[prokopetz]

Eat God playtest draft 0.5.1 is now available

This is a minor update incorporating first-pass reader and playtester feedback for draft 0.5. A full changelog is available here, or under the cut below; all page numbers refer to the PDF version.

Removed an erroneous reference to a currently unreleased subsection of Appendix B from the Table of Contents (p. 2)

Reorganised "What You'll Need" for clarity (p. 6)

Reworded definition of "tagging" under "Trait Effects" (p. 10)

Clarified that "Flowing Form" does not allow changing colour or texture (at least not by itself) (p. 17)

Updated "Fulsome Fluids" to remove an inappropriate assumption that the player character has hands (p. 18)

Reorganised "Hearty Humours" to better distinguish descriptive flavour from narrative permissions (p. 18)

Clarified that "Mobile Members" is limited by one's native capacity to multitask rather than a strict "one member at a time" policy (permitting, e.g., interactions with "Polycephalous"); additionally, elaborated on what coordinating multiple members entails (p. 20)

Slight wording update to "Modal Morphology" to clarify that the character has two shapes in total (p. 21)

Clarified timing of effortful application of "Peculiar Poise" (p. 21)

Clarified that the relative-scale-adjusting effortful application of "Striking Stature" is sustained (p. 23)

Clarified that the secondary effect of the Art of Abundance can be activated multiple times (p. 36)

Rolled back changes to deactivation criteria for the Art of Alteration (this was a copy-and-paste error from a larger potential reworking of this Art which was not included in draft 0.5) (p. 36)

Reorganised bullet points under the Art of Exposition for better text flow (p. 37)

Clarified that a test re-rolled via the Art of Iteration can claim an extra die for being made in conjunction with an Art if it hasn't done so already (p. 38)

Reorganised bullet points under the Art of Making for better text flow (p. 39)

Clarified that the Art of Realisation applies to any artistic depiction, not just drawings (p. 40)

Reorganised "Gathering Dice" to make it more explicit exactly when the five-dice cap for tests is applied, and what happens if you go over it (p. 48)

Dialed back some over-wordiness in the preamble to "Forms and Impact" (p. 81)

Discussion of print-and-play NPC cards now refers readers back to "What You'll Need" rather than repeatedly explaining how to obtian them (pp. 88, 100)

Clarified that starting Gizmos in "The Clockwork City" can be taken even if non-Gizmo starting inventory is chosen rather than rolled (p. 102)

Fixed a bug in the Online Character Generator which was causing the names of randomly selected inventory items to appear as "undefined"

Various typographic and formatting fixes