#ep057

[dailykasumi]

EP057 The Breeding Center Secret

[desperatepleasures]

ep057 / ep076

[vorest-ag]

EP057 – Die neue Energieeffizienzrichtlinie

Im September 2023 wurde mit der RL (EU) 2023/1791 die EU Energieeffizienzrichtlinie neu gefasst. Wie schon ihre Vorgängerin, die RL 2012/27/EU, auf die zum Beispiel die im Energiedienstleistungsgesetz verankerte Pflicht zur Durchführung von Energieaudits zurückgeht, wird auch die neugefasste Richtlinie die Energiepolitik in Deutschland beeinflussen. Dazu muss sie in nationales Recht umgesetzt werden.

Werfen wir in dieser Podcast-Episode schon einmal einen Blick in die Richtlinie, insbesondere auf die Punkte, die – direkt oder indirekt – auch für Unternehmen bedeutsam werden können: https://podcast.vorest-ag.com/energieeffizienzrichtlinie/

[g04distributors]

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[musashi]

the twerps: [screaming abt being locked up]

2/3rds of team rocket: damn this cell is like top 5. comfy as shit. y’all do room service?

[ravensslumber]

“Now I get advantage because I practiced one time” Laura I love you

[otdderamin]

Transcript: Nott and Caleb remove their bandages – CR C2 Ep58 2:43:15

We're seeing Caleb buy new clothes and clean up. He had them buy the razor, but it's not until he sees Nott in a dress and free from her bandages that he commits to shaving. Part of why he removed his bandages may have been that she removed hers.

Nott's felt like she had to hide her body to survive, but she's not feeling that here. People don't treat her like a monster in Xhorhas. Seeing that may be helping Caleb also feel he doesn't have to hide. He's not afraid of being identified as a monster by his scars.

C2 Ep057 was all the hard conversations they needed after two absolutely crazy days. After talking with Dairon, after fighting demons and each other, after gambling with the Bright Queen and winning, after freeing Yeza, they talked and reestablished a new center.

Nott saw a day come she didn't dare dream about. Not only getting her husband back but getting his love and support. It freed her to see how she was actually being treated by the folks around her and let her start loving herself again.

Dairon told them forces within the Empire know the Cerberus Assembly needs to go. Caleb faced his worst fear of his friends turning on him and overcame it with renewed support. He gained the favor of powerful allies in Xhorhas who may also aid his vendetta.

"A week ago, killing that man seemed impossible to me, and now it does not." (CR C2 Ep057 3:39:39) For the first time in years he's not afraid. He doesn't feel he'll be captured or killed if recognized. He has some recourse if they come for him. "For the first time in a very long time, I feel… hopeful." (CR C2 Ep057 0:54:42)

Scene runs:  2:43:15 to 2:47:23

2:43:15 Liam: "Do we also- Are we jumping past- clothes was bought already? Like, we're saying that already happened?"

Sam: "We bought clothes. Do we need to- do you have some specific clothes?"

Liam: "No."

Taliesin: "Well, we'll figure that out later."

Laura: "What? You don't want to describe your clothes?"

2:43:28 Liam: "I just bought a cloak."

Laura: "You just bought a cloak?"

Liam: "A cloak to cover the clothes I already have.

2:43:32 Laura: "I bought a fucking dress."

2:43:34 Sam: "As did I."

Laura, shocked: "Nott's wearing a dress!?"

2:43:37 Sam, miming undoing bandages: "Took off all that shit. I don't need that shit around here."

Laura: "What about your mask?"

Sam: "No, I don't need that here."

Laura, inhaling with excitement: "Oh my god!"

2:43:46 Sam: "Around these parts I'm fucking beautiful."

2:43:50 Liam: "Oh, well, we've got to do this, then."

[Caleb gets a greatsword shave from Yasha, and it goes poorly. One inch cut under his ear and a point of damage.]

2:46:45 Caleb: "Okay. I'm feeling a little faint. I'll be right back."

2:46:47 Liam: "And I stumble off towards the water closet. And I do my best to stop the bleeding. 10 minutes goes by before you see me again. Before I come back, I take out the straight razor, and it hurts, but slowly shave away the entire beard clean."

Matt: "Okay, yeah. You take the time for it. You manage to do so."

Liam: "Okay."

Matt: "But you got half of it. I mean, that's good."

Ashley: "Yeah, I got a good amount."

2:47:15 Liam: "I also unwrap my arms and take those and throw them on the ground and rejoin the group."

2:47:23

If you like this transcript, consider becoming a patron (patreon.com/otdderamin). You can get access to my conversation timestamp files, my works in progress and notes, and can even make requests for transcripts and analysis. Benefits start at just $1.

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[ncfan-1]

ncfan listens to The Magnus Archives: S2 EP057, ‘Personal Space’

- We have space horror and the intimation of an alliance between three different powers (Or, at least, an alliance between a single faction from each power). And there’s no shouting or paranoid ranting or accusations in the supplemental, so I feel much better this time.

No spoilers, please!

- Even my admittedly limited knowledge of the effects of isolation on the human psyche is enough that I would have refused the assignment Chilcott got outright. And he himself says he had a good idea of just how bad it was going to be, so I have to wonder: how long had he been waiting for someone to accept his application?

- I’d say Chilcott’s experience has damaged his ability to be optimistic about the possibility of life on other planets. But then, I feel like if I said it to his face, he’d just punch me.

- So, the Daedalus space station is a space station sponsored by the Fairchilds, the Lukas family, and Optic Solutions operating out of Ny-Ålesund, which given the location is almost certainly connected with, or a front for, the Church of the Divine Host. So the family associated with vertigo and the vast emptiness, the family associated with extreme isolation, and a cult associated with darkness teamed up to make this space station.

It doesn’t surprise me that they teamed up. Isolation is an intrinsic part of vast emptiness, vast emptiness can definitely foster a damaging sense of isolation, and extreme darkness can disorient and isolate you. Potential personality conflicts aside, these three groups’ basic M.O.s aren’t intrinsically incompatible with each other. But it does beg a certain question: if Chilcott was picked by the Lukas family to be the lab rat of their little eldritch isolation experiment, what the hell was going on with the other two people stuck on that space station?

- Also, the idea of what a joint project by three different powers could potentially do is, umm, worrying.

- Also also, is it just me, or does being a family and/or a cult associated with eldritch forces pay really well?

- Possible sign of personality conflict between these three factions: Conrad Lukas’s expression of disgust when he told Chilcott he wasn’t going to be up on the station completely by himself, even if the part of the station he was on was sealed off from the rest of the station. Is it possible that the Lukas family, as fabulously wealthy as they might seem, didn’t quite have the capital required to send up a space satellite all by themselves? I suppose the Fairchilds and the Church of the Divine Host might have stepped in and helped finance it to help keep supernatural shenanigans under wraps, in exchange for having the use of the space station themselves to run similar ‘experiments.’ It seems like having the supernatural exposed to the world at large benefits nobody.

- Yeah, Chilcott, that camera… Well, it’s not clear how the Lukases collected their “data”, if that was even the point of the experiment—it’s possible that their only goal was to break Chilcott to the will of… Alone, I guess, and make him something more like them. Or perhaps they were trying to gauge just how much pressure they have to apply to make someone into a servant of Alone. Or perhaps it was something else.

- Provided Chilcott wasn’t hallucinating it, I’d say the blackout experienced on Daedalus was probably connected to Darkness.

- The thing about the empty space suit is interesting. I’m assuming here that Chilcott wasn’t hallucinating all of what he saw. How much can Alone influence your perceptions to make you think you’re more isolated than you actually are? Was there actually someone in that suit, and Chilcott just couldn’t see them, because they were “filtered out?”

- The earth, the sun, and the moon were definitely “filtered out,” though. That, or Chilcott and the space station were temporarily transported to some kind of pocket dimension.

- I’m trying to imagine the origin of the “No one is coming” message on the passcode screen. Was Alone making Chilcott see that, or was someone seriously so assholish as to program that response into the system? (I bet it was the latter. Seems like the kind of assholery the Lukases are capable of.)

- Chilcott’s dreams about floating through ancient graveyards and the empty sea does seem another connection to the Lukases and Alone. Apparently these are ideal stomping grounds for the latter.

- Yeah, Chilcott, the fact that Conrad Lukas paid you in full despite the fact that the experiment had to be cut short really ought to have you questioning a few things. Like whether or not they got exactly what they wanted from you after all.

- Supplemental: Three things. One, Not-Sasha doesn’t want Jon recording their conversations, which makes me think that the faint whine in the background of the recording whenever she speaks is not a coincidence, and she doesn’t want Jon to notice it as well. Two, there’s torn-up paper in her desk? Is her handwriting different from Sasha’s, then? Three, yeah, Jon, I can think of a pretty good reason why all of “Sasha’s” photos of her and her new boyfriend together look like stock photos. You wouldn’t like it.

[technobabblellc]

Question & Answer with AJay - ep057 | Friday Edition

[dailykasumi]

EP057 The Breeding Center Secret

[hardcore-gaming-101]

Top 47,858 Games of All Time

Episode 57: Mischief Makers, Sin & Punishment: Star Successor

Join the HG101 dorkmobile pit crew as they talk about two oft-overlooked gems of Treasure's game-trove. Patreon bonus for this episode is part one of a special dispatch on retrogaming in Japan today.

[kehlaniteam]

Ep057 - Buju Bye Bye/Big Bullies

[kpop-app]

(經由 韓劇《我男人的秘密》第057集 The Secret of My Love EP057 Preview 主演：宋昶儀、姜世貞、金多炫、朴貞雅)

[musashi]

one of my fave jokes in pokeani is still in ep057 when james is too excited and making a lot of noise during a break in and meowth just whacks him and says ‘keep it quiet, james bond’

[ravensslumber]

Holy shit Jester has the best entrances lmao

[otdderamin]

Transcript: The story Matt wants to tell – TM 2019-04-09 for CR C2 Ep057

A major theme of this Talks episode was the narratives Matt does and doesn't want to tell. He talked about why he doesn't want to kill the pets, doesn't want Nott to be rejected, doesn't want to end the campaign from poor choices, and wants light in the darkness to inspire. Sam said Matt is "a good man, and a good friend, and a great scene partner…" Matt's voice acting and detailed world building aren't what make him a good DM. They're wonderful, but they're decoration on his true talents: empathy and reciprocity.

This is a set of lessons any DM can take home and use.

"I think, to a certain extent, I'm forgiving because it's a game you play for fun. And it's not necessarily fun if part of being caught up in the story and the adventure is having to worry about every single moment…" (0:12:20)

Being harsh isn't always fun. If it's fun for the player, then sure. But if being harsh will ruin a player's fun, avoid it until it makes for interesting choices and narrative. Make is a special event, not relentless cruelty.

Being a good person, good friend, and a good scene partner means enabling players to be narratively rewarded with happiness.

"It's not fun for you to just tell players, 'Well, you made a poor choice; now you're all dead.' Like, you want the story to keep rolling." (0:23:57)

Think about the story you want to tell, and the story you don't want to tell. You don't have to tell stories where everything is awful for it to be dramatic. "There's enough darkness and tragedy and difficulty in the world and in the stories you guys are playing through, you know, you need to pick moments of light. You need to pick things to fight for. You need to introduce elements that give each character a glimmer to carry them through those difficult points." (0:33:59)

The plays as well and the GM tell the story. Your job as the DM if to facilitate them telling their own story and creating opportunities for their growth.

"As a dungeon master, you want to make sure you facilitate the story that gives the opportunity for them to grow together and to make choices that kind of align their goals to the point that they become a solid group and a family, eventually. That's kind of the basis of a good adventuring party." (0:55:50)

"The challenge is finding ways where you can present them with common ground or give them opportunities to care enough for each other to be invested in each other's stories, and look for places where naturally some stories can be parallel, or at least, you know, you can achieve goals alongside each other so they don't feel like they're constantly at odds with each other's direction." (0:56:11)

Think of how to set the difficulty of choices. A game where good and evil are more obvious has more obvious choices. It's more challenging to create a campaign where good and evil exist but determining who is what takes more investigation.

"But I guess there is no right path for this campaign, and the right path is sort of whatever we decide it is as a group, or whatever is the most meaningful for us as an individual character in that moment. Which is really more like real life, obviously. And so far, possibly more rewarding, in a way, 'cause we're not just following along the path of the game to the end of the game, like, we're making our own path through a world and the game is that journey. It's not to get from point A to B, it's the direction that we take it." (0:57:11)

Scenes runs:

1. Not gonna kill pets easily:  0:12:20 to 0:14:15

2. A good scene partner: 0:15:53 to 0:16:15

3. It's not fun to kill players for poor choices: 0:23:57 to 0:24:07

4. There's enough darkness and tragedy in the world: 0:33:33 to 0:34:30

5. It's fun for players to surprise you: 0:51:37 to 0:53:11

6. DM to facilitate the story 0:55:50 to 0:59:32

1. Not gonna kill pets easily

0:12:20 Matt: "I think, to a certain extent, I'm forgiving because it's a game you play for fun. And it's not necessarily fun if part of being caught up in the story and the adventure is having to worry about every single moment they do something cool going to kill their pet. But there is a level of negligence that will come into play."

Sam, huffily: "I don't agree. I just disagree fundamentally.

Matt: "Do you?"

Sam, passionately: "If you can't keep- This is what I was told as a child: okay, you can have a dog, but you're going to have to take care of it. If Laura Bailey can't take care of her dog, her imaginary dog, with her imagination she should not be able to have that dog."

Brain: "I mean, I kind of understand."

Matt, flatly: "Okay, cool, then kill it."

Sam, immediately crestfallen: "Oh, I can't do that to Laura or the dog."

Matt, yelling: "NOW YOU THINK WHY I CAN'T! SO MUCH EASIER FOR ME! Like, no, okay?"

Laughter.

Sam: "Okay, I see your point. I see your point."

Matt: "If it's a scenario where because of her choices she puts a pet in danger intentionally, or it's a scenario where it would come into play and there's a failure to maintain its safety, then yes. But more often than not, it if it's- It comes down to saying, is it more fun if this happens, and if it's more fun for the player for me to create that challenge constantly, then yes. But with Laura, unless she's really doing some moves that consciously would put her pets in danger, and it makes an interesting choice that is fun all around, then I'll do it. Otherwise I don't want to be too much of a stickler and sit on her good time."

Dani: "I feel like most situations being faced with the potential of you accidentally killing your dog isn't fun."

Matt: "Right, so I'm going to savor those for when it's right for the narrative so it's a special event should it occur."

Sam: "Alright."

0:14:15

2. A good scene partner

0:15:53 Sam: "But Matt, being a good man, and a good friend, and a great scene partner, he made Yeza an accepting sort, and I'm thrilled, and now I get to explore what the next step is for her and her husband now that they're at least temporarily together."

0:16:15

3. It's not fun to kill players for poor choices

0:23:57 Matt: "Like, I didn't want it to be like, 'Well, either this happens or campaign's over.' It's not fun for you to just tell players, 'Well, you made a poor choice; now you're all dead.' Like, you want the story to keep rolling."

0:24:07

4. There's enough darkness and tragedy in the world

0:33:33 Matt: "I would hate to think that they would sacrifice so much, and her've been through so much, and then to come and go across what is perceived by them as one of the most dangerous places in the world for him to be just an asshole at the end of it."

Sam: "That would have been funny though."

Matt: "That would have been funny? It would have been awful!"

Sam: "It would have been awful."

Matt: "And I don't want to tell THAT story."

Brain: "What's better, though, funny or awful?"

Sam: "You know which side of the coin I fall on. No, no, it was perfect. What you did was perfect."

Brian: "Yeah, it was."

0:33:59 Matt: "Well, yeah. And there's enough darkness and tragedy and difficulty in the world and in the stories you guys are playing through, you know, you need to pick moments of light. You need to pick things to fight for. You need to introduce elements that give each character a glimmer to carry them through those difficult points. And for Nott, really honestly, with everything she's been through, that one glimmer is her family, and I just wanted to play true to that."

Sam: "You did good."

Matt: "Cool."

Brain: "You did very good."

0:34:30

5. It's fun for players to surprise you

0:51:37 Matt: "One of my favorite things about being a dungeon master is when your players surprise you. Not just from their actions, but their growth. And seeing where you all started, seeing kind of the journey of the Mighty Nein from these people that wanted least of all to be involved in grander schemes. That really seem to pay no mind or take any stock in the way the world at large seems to be moving and grinding forward, to step up and begin to take real interest into the care of good people and the future ahead of them. It was amazing.

0:52:22 Matt: "And for me it's a really thrilling and really prideful moment because it, to me as a story teller, it excites me to think that the players are creating their story as much as I'm creating the world around it. And um, you know, people say, like, 'Matt, you're a decent dungeon master.' I'm like, I'm decent, but it's the magic that everyone brings to the table together that makes a good story, and that goes for any table out there.

0:52:47 Matt: "And this is a perfect example of moments that are a prime, shining example of what the players bring that makes the story so dynamic and so interesting and beautiful, and I can't do any of that. I'm just, I'm in awe of what you guys do every week and hope to try and keep up and, you know, do my best to make it worth what you all do, too."

Sam: "You're getting there."

Matt: "I know. I'm working on it."

0:53:11

6. DM to facilitate the story

0:55:50 Matt: "As a dungeon master, you want to make sure you facilitate the story that gives the opportunity for them to grow together and to make choices that kind of align their goals to the point that they become a solid group and a family, eventually. That's kind of the basis of a good adventuring party."

Brain: "But how aligned do you feel everyone's goals are? Since you know their all back- Since you know everyone's backstories, I understand what you're saying, but, like, how aligned are they, do you think?"

0:56:11 Matt: "Not terribly, so the challenge is finding ways where you can present them with common ground or give them opportunities to care enough for each other to be invested in each other's stories, and look for places where naturally some stories can be parallel, or at least, you know, you can achieve goals alongside each other so they don't feel like they're constantly at odds with each other's direction. You know.? It's part of the interesting narrative balance you take as a story teller and as a GM is trying to take them on adventures, but also take them on adventures they're invested in and willing to go along with. And that's a bit of a buy-in for the players as well, but…"

0:56:51 Sam: "Yeah, this campaign you've given us choices that are much more grey, grey choices, I feel. In the first campaign we were all essentially on the same path on the same team."

Matt: "It was very, good and evil was clearly defined for the most part."

Sam: "But this is so, so interesting and so much more rewarding."

Brain: "Is it more challenging for you as a player?"

0:57:11 Sam: "It's much more challenging 'cause, you know, we're looking for- I'm looking for those, not clues, but just something I can sink my teeth into to be like, 'Okay, I think we're on the right path.' But I guess there is no right path for this campaign, and the right path is sort of whatever we decide it is as a group, or whatever is the most meaningful for us as an individual character in that moment. Which is really more like real life, obviously. And so far, possibly more rewarding, in a way, 'cause we're not just following along the path of the game to the end of the game, like, we're making our own path through a world and the game is that journey. It's not to get from point A to B, it's the direction that we take it."

0:58:09 Brain: "It's what's between A and B that's important, right?"

Sam: "Those are the friends we made along the way."

Brian: "Jesus Christ. You could have just- Ugh."

0:58:16 Sam: "But no, it's interesting, and certainly more frustrating, and challenging, but I think, I hope, ultimately more rewarding. Unless we choose wrong! And maybe we're wrong about this the whole time and there is a right and wrong answer and we're just getting it wrong."

0:58:30 Matt: "Well, I mean, the whole world isn't grey. There is good and there is evil, and there are things in between, and really what it comes down to is being inquisitive enough and following the right threads to uncover those shades of light and dark amongst the grey. And you guys have done a good job of that in some places, and you guys are beginning to unravel certain threads of that in the world on different faction sides and stuff, and so you're just now getting to a path. Like, more so previously there it was, you know, personal stories and exploration and kind of things. You're just now starting to ask more of the right questions and starting to piece together your own interpretations of what's happening on a macro scale. And for me it's awesome to see it come together and be like, 'Oh, they're onto something. Oh, they're on the wrong path. Oh, that was an interesting idea. Oh, they're getting there.' You know? And like, me knowing kind of what's going on, I dunno. It's fun. It's really fun for me."

Sam: "It's fun for me, too."

0:59:32

If you like this transcript, consider becoming a patron (patreon.com/otdderamin). You can get access to my conversation timestamp files, my works in progress and notes, and can even make requests for transcripts and analysis. Benefits start at just $1.

You can also support me by buying me a coffee (ko-fi.com/otdderamin) or buying a patch from my shop (etsy.com/shop/MajesticMess). I'm severely disabled and can't work. Your donation helps me survive the capitalist dystopia a little longer.