#project planning framework

[revoevokukil]

This emerged in the middle of writing up thoughts on Ciri and Avallac'h based on the books alone.

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The Witcher’s theme of choice and destiny is complicated by psychological barriers – one must be emotionally ready to accept the way the dice can fall.

Interestingly, Avallac’h’s rejection mirrors how Lara rejected the plans for her destiny. His rejection of Ciri's offer ironically puts him in the position of resisting destiny – the very 'crime' he condemned Lara for committing.

Elves had plans for Lara – to stay and have special children. She rejected this. Elven goals were upended.

For Ciri, Avallac’h has orchestrated a destiny, but when Ciri gets sick of the official programme not working out and offers herself to him directly – effectively suggesting getting the goal they want faster – she gets rebuked. She’s creating an unexpected path to achieving the elves’ goals; one where she shows agency in choosing the father.

In poetic justice, Avallac’h is mirroring Lara’s rejection of the elves’ plans: the man who spent centuries judging Lara for prioritizing personal choice over racial destiny ends up making essentially the same choice, but from the opposite side of the equation. In rejecting Ciri's offer at that point, he implicitly asserts that the manner in which destiny unfolds matters, not just the outcome.

Avallac’h, however, seems blind to this parallel between himself and Lara.

This suggests though, that perhaps Avallac'h's centuries of resentment toward Lara concealed a deeper, unacknowledged understanding of her choice – one that surfaces in his own moment of revelation. You cannot force it if you are not ready for it, but avoiding it will bring consequences. The sword of destiny is double-edged.

Sapkowski often structures his narrative so as to force characters to confront their own contradictions, often without them fully recognizing the pattern they’re repeating or inverting.

[belovedcarrion]

I have officially finished the outline for The Wolf and The Wyrm ( it covers S2 and is the first part of my teen wolf rewrite).

It came out as 33 chapter and an epilogue! The word count is at 48028 words and the final product will likely double it if not more

I plan to start actually drafting it and posting soon so keep an eye out for the first chapter

Thank you @ladyluscinia for working on this with me!

[alsaurus-loves-dean]

.

[netra-n8tra]

NAVIGATING PROJECT MANAGEMENT IN THE AEC INDUSTRY

Navigating Project Management in the AEC industry involves a series of interconnected tasks that require effective planning, execution, monitoring, and control. By following best practices and leveraging project management methodologies such as APM, SCRUM, KANBAN, or the Traditional WATERFALL Project Management Methodology, the AEC professionals can successfully deliver complex projects while meeting stakeholder expectations and achieving project objectives.

As an architectural manager with a Master of Architecture degree and an architectural engineering degree from reputable institutes, having experience in project and design management for large-scale commercial facilities, multi-story offices, and high-rise administration buildings, I can provide the necessary artifacts to enhance project success, improve team collaboration, and effectively handle project complexities in the architecture, engineering, and construction (AEC) sector.

1. Set Clear Goals and Objectives:

Define project scope, including deliverables and constraints.

Establish SMART (Specific, Measurable, Achievable, Relevant, Time-bound) goals.

Align goals with stakeholder expectations and project requirements.

Obtain buy-in from key stakeholders on project objectives.

2. Develop a Comprehensive Project Plan:

Create a detailed work breakdown structure (WBS) to organize project tasks.

Define project milestones and dependencies.

Develop a project schedule with timelines and resource allocation.

Identify risks and develop a risk management plan.

Establish a budget and financial plan for the project.

3. Foster Effective Communication:

Establish communication channels and protocols for project team members.

Hold regular project meetings to discuss progress, issues, and updates.

Use clear and concise language in all communications.

Encourage open and transparent communication among team members.

Address communication barriers and conflicts promptly.

4. Embrace Technology and Communication:

Utilize project management software for task tracking and collaboration.

Implement communication tools such as emails, instant messaging, and video conferencing.

Leverage cloud-based platforms for document sharing and version control.

Provide training and support for team members on project management tools.

Stay updated on new technologies and tools to improve project efficiency.

5. Manage Change Effectively:

Establish a change control process to evaluate and approve changes to project scope.

Communicate changes to stakeholders and assess their impact on project objectives.

Update project documentation and plans to reflect approved changes.

Monitor changes to prevent scope creep and ensure project alignment with goals.

Evaluate the risks and benefits of proposed changes before implementation.

6. Foster Collaboration and Teamwork:

Encourage team members to share ideas, feedback, and best practices.

Foster a collaborative work environment that values diversity and inclusivity.

Promote team building activities and recognize team achievements.

Facilitate cross-functional collaboration and knowledge sharing.

Resolve conflicts and promote a positive team culture.

7. Continuously Monitor and Evaluate Progress:

Track project performance against key performance indicators (KPIs).

Conduct regular project reviews to assess progress and identify areas for improvement.

Monitor project risks and issues and take corrective actions as needed.

Evaluate project outcomes against initial goals and objectives.

Use lessons learned to make informed decisions and optimize project performance.

By focusing on these subtasks within each point, project managers can enhance project success, improve team collaboration, and effectively manage project complexities in the Architecture, Engineering, and Construction (AEC) industry.

Sonetra KETH (កេត សុនេត្រា) •Architectural Manager, Project Manager, BIM Director •建築師經理, 專案經理, BIM總監 •Giám đốc kiến ​​trúc, Giám đốc dựán, Giám đốc BIM •RMIT University Vietnam + Institute of Technology of Cambodia

[peaceeandcoolestvibes]

Criminal pero al menos hay viento 🌬️

[mirnaheadlines]

Government Policies for a Green Economy: Incentives and Regulations

Green Economy A successful transition to a green economy requires a combination of public and private sector efforts, Green Economy with governments playing a crucial role in setting the framework for this transformation. Policies often target sectors such as energy, transportation, agriculture, waste management, and construction, which are significant contributors to environmental impacts. In this context, incentives and regulations serve as two sides of the policy coin, ensuring both the encouragement of sustainable practices and the enforcement of environmental protection.

One of the main goals of government policies for a green economy is to shift economic activity toward more sustainable practices. This involves reducing greenhouse gas emissions, promoting renewable energy, and ensuring that economic growth is decoupled from environmental degradation. To achieve these goals, governments employ a wide range of tools, including tax breaks, subsidies, grants, carbon pricing mechanisms, and strict environmental regulations.

A green economy also emphasizes social inclusiveness, Green Economy ensuring that the transition to sustainability benefits all members of society, particularly vulnerable groups who are most affected by environmental degradation. Green Economy Government policies often include provisions for job creation in green industries, education and training for new skills, and social protection measures to ensure that no one is left behind in the transition.

This section will delve into six key areas of government policies for a green economy: renewable energy incentives, carbon pricing mechanisms, green transportation policies, sustainable agriculture support, waste management and recycling regulations, and financial incentives for green innovation.

Renewable Energy Incentives Green Economy

One of the cornerstones of any green economy policy framework is the promotion of renewable energy sources. Governments have introduced a range of incentives to encourage the production and consumption of renewable energy, such as wind, solar, and hydropower. These incentives are critical for reducing reliance on fossil fuels, which are the primary source of greenhouse gas emissions.

Renewable energy incentives often take the form of subsidies and tax breaks. For instance, many governments offer production tax credits (PTCs) and investment tax credits (ITCs) to companies that generate renewable energy or invest in renewable energy infrastructure. These financial incentives lower the cost of renewable energy projects, making them more competitive with traditional fossil fuel-based energy sources.

Feed-in tariffs (FITs) are another common incentive mechanism. Green Economy Under a FIT program, renewable energy producers are guaranteed a fixed price for the electricity they generate, often over a long-term contract. This provides a stable revenue stream and reduces the financial risk associated with renewable energy investments. Net metering programs, which allow individuals and businesses to sell excess renewable energy back to the grid, are another way governments encourage the adoption of renewable technologies.

Governments also support renewable energy through research and development (R&D) funding. Green Economy By investing in the development of new technologies, governments can help bring down the cost of renewable energy and make it more accessible. Many governments also provide grants and low-interest loans for renewable energy projects, particularly for smaller-scale projects such as rooftop solar installations.

In addition to financial incentives, governments often mandate the use of renewable energy through renewable portfolio standards (RPS). An RPS requires utilities to obtain a certain percentage of their electricity from renewable sources, creating a guaranteed market for renewable energy. This not only supports the growth of the renewable energy industry but also helps reduce the overall carbon footprint of the energy sector.

Green Economy The combination of financial incentives and regulatory mandates has been instrumental in driving the rapid growth of renewable energy in many parts of the world. Countries such as Germany, Denmark, and China have become global leaders in renewable energy production, thanks in large part to strong government policies that promote green energy development.

Carbon Pricing Mechanisms

Carbon pricing is a critical tool in the fight against climate change and a key component of government policies for a green economy. By putting a price on carbon emissions, governments create an economic incentive for businesses and individuals to reduce their carbon footprint. There are two main types of carbon pricing mechanisms: carbon taxes and cap-and-trade systems.

A carbon tax directly sets a price on carbon by levying a tax on the carbon content of fossil fuels. This encourages businesses and consumers to reduce their use of carbon-intensive energy sources and shift toward cleaner alternatives. The revenue generated from carbon taxes is often used to fund green initiatives, such as renewable energy projects or energy efficiency programs, or to provide rebates to low-income households to offset higher energy costs.

Cap-and-trade systems, also known as emissions trading schemes (ETS), work by setting a limit (or cap) on the total amount of greenhouse gas emissions that can be emitted by covered entities, such as power plants or industrial facilities. Companies are issued emission allowances, which they can trade with one another. Companies that can reduce their emissions at a lower cost can sell their excess allowances to companies that face higher costs for reducing emissions. This creates a market for carbon allowances and incentivizes businesses to invest in cleaner technologies.

Both carbon taxes and cap-and-trade systems are designed to internalize the environmental cost of carbon emissions, making it more expensive to pollute and more profitable to invest in sustainable practices. These mechanisms can drive innovation, as businesses seek out new technologies and processes to reduce their carbon liabilities.

Several countries and regions have implemented carbon pricing policies with varying degrees of success. The European Union’s Emissions Trading System (EU ETS) is one of the largest and most established cap-and-trade programs in the world. Canada has implemented a nationwide carbon tax, with revenue returned to households through rebates. In the United States, some states, such as California, have implemented their own cap-and-trade programs in the absence of a national carbon pricing policy.

However, carbon pricing mechanisms face challenges, including political opposition and concerns about economic competitiveness. In some cases, businesses argue that carbon pricing increases costs and puts them at a disadvantage compared to competitors in countries without similar policies. To address these concerns, governments often include provisions to protect industries that are vulnerable to international competition, such as offering rebates or exemptions for certain sectors.

Green Transportation Policies

Transportation is a major source of greenhouse gas emissions, particularly in urban areas. To promote a green economy, governments are implementing a range of policies aimed at reducing emissions from the transportation sector. These policies focus on promoting the use of public transportation, encouraging the adoption of electric vehicles (EVs), and improving fuel efficiency standards.

One of the most effective ways to reduce transportation emissions is to encourage the use of public transportation. Governments invest in expanding and improving public transit systems, such as buses, trains, and subways, to make them more accessible and attractive to commuters. By providing reliable and affordable public transportation options, governments can reduce the number of cars on the road and lower overall emissions.

In addition to improving public transportation, governments are offering incentives for the purchase of electric vehicles (EVs). These incentives often take the form of tax credits or rebates for EV buyers, which help offset the higher upfront cost of electric vehicles compared to traditional gasoline-powered cars. Some governments also offer additional perks for EV owners, such as access to carpool lanes or free parking in city centers.

Governments are also investing in the infrastructure needed to support electric vehicles, such as building charging stations. A lack of charging infrastructure is often cited as a barrier to EV adoption, so governments play a critical role in addressing this challenge. By providing grants or partnering with private companies, governments can help build a network of charging stations that makes EVs a more convenient option for drivers.

Another important component of green transportation policies is improving fuel efficiency standards for cars and trucks. Governments set regulations that require automakers to produce vehicles that meet certain fuel efficiency targets, which helps reduce the amount of fuel consumed and the emissions produced by the transportation sector. Some governments also implement vehicle emissions standards, which limit the amount of pollutants that cars and trucks can emit.

In addition to these policies, governments are encouraging the use of alternative modes of transportation, such as biking and walking. Investments in bike lanes, pedestrian infrastructure, and bike-sharing programs make it easier for people to choose low-emission forms of transportation. These efforts not only reduce emissions but also improve public health by promoting physical activity.

Sustainable Agriculture Support

Agriculture is both a contributor to and a victim of environmental degradation. It is responsible for significant greenhouse gas emissions, deforestation, water use, and pollution from fertilizers and pesticides. At the same time, agriculture is highly vulnerable to the impacts of climate change, including more frequent droughts, floods, and changing weather patterns. As a result, governments are increasingly focusing on promoting sustainable agricultural practices as part of their green economy policies.

One of the key ways governments support sustainable agriculture is through financial incentives for farmers who adopt environmentally friendly practices. These incentives can take the form of subsidies, grants, or low-interest loans for practices such as organic farming, agroforestry, and conservation tillage. By providing financial support, governments encourage farmers to invest in sustainable practices that might otherwise be cost-prohibitive.

Governments also provide technical assistance and education to help farmers transition to more sustainable practices. This can include training programs on topics such as water conservation, soil health, and pest management, as well as access to research and technology that supports sustainable farming. Extension services, which provide hands-on assistance to farmers, are another important tool for promoting sustainable agriculture.

In addition to financial and technical support, governments implement regulations to reduce the environmental impact of agriculture. These regulations can include restrictions on the use of certain pesticides and fertilizers, requirements for buffer zones to protect water sources from agricultural runoff, and mandates for the reduction of greenhouse gas emissions from livestock and manure management.

Governments are also working to promote more sustainable food systems by encouraging the consumption of locally produced and organic foods. Public procurement policies, which require government institutions such as schools and hospitals to purchase a certain percentage of their food from sustainable sources, are one way governments support the development of local, sustainable food systems.

Another important aspect of sustainable agriculture policies is protecting biodiversity and promoting ecosystem services. Governments often provide incentives for farmers to preserve natural habitats on their land, such as wetlands, forests, and grasslands, which provide important ecosystem services such as carbon sequestration, water filtration, and pollination. By promoting biodiversity and ecosystem health, governments help ensure that agricultural systems are more resilient to environmental changes.

Waste Management and Recycling Regulations

Effective waste management is a critical component of a green economy. Governments play a key role in regulating waste disposal, promoting recycling, and encouraging the reduction of waste generation. These efforts are aimed at reducing the environmental impact of waste, including greenhouse gas emissions from landfills, pollution from improper disposal, and the depletion of natural resources through excessive consumption.

One of the main ways governments regulate waste is by setting standards for waste disposal. This includes regulating landfills, incinerators, and hazardous waste facilities to ensure that they operate in an environmentally responsible manner. Governments also implement bans or restrictions on certain types of waste, such as single-use plastics, to reduce the amount of waste that ends up in landfills or the environment.

In addition to regulating waste disposal, governments are increasingly focusing on promoting recycling and waste reduction. Many governments have implemented extended producer responsibility (EPR) programs, which require manufacturers to take responsibility for the disposal of the products they produce. This can include requirements for companies to fund recycling programs or take back products at the end of their life cycle.

Governments also implement policies to encourage households and businesses to recycle more. This can include providing curbside recycling services, setting recycling targets, and offering incentives for recycling, such as deposit return schemes for beverage containers. Public awareness campaigns and education programs are also important tools for promoting recycling and waste reduction.

In some cases, governments use economic instruments to promote waste reduction, such as charging fees for waste disposal or providing financial incentives for businesses that reduce waste. Pay-as-you-throw programs, which charge households based on the amount of waste they generate, are one example of how governments use pricing mechanisms to encourage waste reduction.

Another important component of waste management policies is promoting the circular economy, which focuses on keeping materials in use for as long as possible through recycling, reusing, and remanufacturing. Governments support the circular economy by providing incentives for businesses that adopt circular practices, such as designing products for durability and recyclability, and by setting targets for reducing waste and increasing recycling rates.

Source :

Government Policies for a Green Economy: Incentives and Regulations

[ellipsus-writes]

The words they're afraid of.

(Read on our blog.)

The recently appointed Department of Defense head Pete Hegseth (formerly Fox News pundit, perpetually soused creepy uncle, and current group chat leaker of classified intel) banned images of the Enola Gay from the Pentagon’s website for the offense of “DEI” language. In keeping with the far right’s stated war on anything vaguely resembling diversity, equity and inclusion, even historical photos are up for cancellation. When a literal weapon of mass destruction is censored for being a bit fruity under the Trump administration’s war against inconvenient truths, what exactly is left untouched?

This is clown show stuff, but the stakes are far from funny. While some might be hesitant to compare the current administration to the very worst history has to offer, we can at least all agree that they are dyed-in-the-wool grammar Nazis. Policing language has been the objective of the MAGA culture war long before Project 2025’s debut—the wave of book bans orchestrated by astroturf movements like Moms for Liberty, and Florida’s 2022 Don’t Say Gay bill have already had a profound effect in the arena of free speech and freedom of expression (despite the far right’s long tradition of doublespeak performative free-speech martyrdom to the contrary). Don’t Say Gay ostensibly targeted K-3 education, but LGBT+ content at all levels of education (and beyond) was either quietly censored or entirely preempted in practice. The results were not just a war on so-called ideology, or words alone—but on reality and essential freedoms.

Now, words as innocuous and important as racism, climate change, hate speech, prejudice, mental health, and inequality are targeted as subversive. Entire concepts are being vanished from government institutions, scrubbed not only from descriptions but from metadata, search indexes, and archival frameworks.

If you don’t name a thing, does it exist?

These words are as numerous as they are generic: women, race, Black, immigrants, multicultural, gender, injustice. But what is painfully unserious is also particularly dangerous in its real-world consequences. The process of controlling words is a well-worn authoritarian tendency. Fifty-two universities are now under investigation as part of the President's effort to curb “woke” research and thought crimes. Institutions are being coerced to comply with a nebulous set of ideological demands, or face budgetary annihilation. That means cutting funding for entire departments, slashing financial aid, defunding scientific grants, and pressuring faculty to self-censor.

The possibilities for censorship extend far and wide—interfering, by extension, in everything from reproductive healthcare programs, to libraries and museums. The Trump administration’s proposed budget slashing all federal funding for libraries, including the Institute of Museum and Library Services, will effectively gut an infrastructure that supports over 100,000 libraries and museums across the country—community centers, educational lifelines, internet access points, and archives of marginalized histories (starting with the Smithsonian Institution).

When you erase access, you erase participation. And when you erase participation, you erase people, and the means by which future generations might even learn they existed. A culture that cannot remember is a culture that cannot resist.

The erasure is, yet again, unsurprisingly targeted at minorities and LGBT+ people. The National Parks Service quietly revised the Stonewall Monument’s website to remove references to transgender people—a fundamental part of the original protests. Not an oversight, not a mistake, but a deliberate excision—one point in a wider plan of erasure depicted in stark detail in Project 2025, a blueprint to dismantle civil rights, defund LGBT+-related healthcare, and rewrite history from the ground up.

Dehumanization by deletion—welcome to the reactionary resurgence of doubleplusungood governance. In Trumpland, words are weapons—but not in the way they intend. Their fear of language betrays its power; that’s why they’re trying so hard to police it.

Words hurt them.

Hurt them back.

- the Ellipsus Team

[technicalfika]

Who is a Scrum Master and what they do? #agile #scrummaster #scrum

In the fast-paced realm of agile project management, the Scrum Master wields considerable influence over a team’s success. Far more than a mere facilitator, they are a guiding force, driving collaboration and efficiency. In this blog, we will explore ten real-life examples of how a Scrum Master fulfills their roles and responsibilities, showcasing the practical significance of their contributions…

[glowettee]

✧ if it doesn't align with the dream life, it's a distraction ✧

hey lovelies!! 🦢

omg, so, i was literally journaling last night & this phrase just hit me like… so hard. "if it doesn't align with the dream life, it's a distraction." i had to stop writing and just sit with that for a min.

because honestly? i've been feeling so scattered lately. like my energy is going in a million directions but none of them are taking me where i actually want to go. and i realized that's exactly what happens when we don't have clarity on our it-girl blueprint.

so what even is an it-girl blueprint? it's not just aesthetic or vibes (tho those matter too!!) but it's this deep knowing of who you're meant to become. it's that version of you who wakes up excited, who feels aligned, who's living in her dream apartment with her dream career and her dream people. she exists!! she's waiting for you to become her!!

this post is a bit different from my most recents, i wanted to take a little tinyyy break from my pop culture series', like the pll x glowettee and vampire diaries x glowettee series' and just focus more on self-improvement again. i also wanted to take a break from the overwhelming aesthetics i've been using in my posts, and justtttt write~~ (no small text, no crazy colors, just my thoughts) and i realized that distractions have been very prominent in my life lately... so i wanted to address it in this post, and some possible solutions <3

✧ what's actually distracting you? ✧

okay so grab your journal rn and let's get super real about what's pulling you away from your dream life, feel free to use these prompts:

that situationship that makes you feel anxious every time they text (you know the one)

the hours of scrolling that leave you feeling empty inside

saying yes to plans when your body is literally begging you to rest

the "friend" who always has drama and makes everything about them

that project you started because you thought you "should" but you actually hate

staying in that job/class/situation because you're scared to disappoint someone

comparing your chapter 1 to someone else's chapter 20 (guilty!!)

i've been doing this work myself and it's kinda scary how many things i was pouring energy into that weren't actually taking me anywhere i wanted to go??

✧ getting clear on your actual dream life ✧

before we can align with our dream life, we need to know what it actually looks like! not what instagram or your mom or society thinks it should look like, but what YOU want.

some journal prompts that helped me:

when do i feel most like myself?

what activities make me lose track of time?

who makes me feel seen, safe, and supported?

what would my perfect morning routine look like if i had zero obligations?

what kind of spaces make me feel calm and inspired?

what would i do with my time if money wasn't an issue?

what parts of my current life would i keep even if i could change everything?

i did this exercise last weekend and realized that so many things i was chasing weren't even in my dream life blueprint?? like i was stressing about getting into this super competitive program but when i really thought about it, it wasn't even aligned with what i actually want. wild.

✧ how to actually make decisions that align ✧

okay, so here's my little framework for making choices that actually build your dream life:

the body check: before saying yes to anything, check in with your body. does it feel expansive and light, or contracted and heavy? your body literally knows before your brain does!!

the future self question: what would the version of you who's already living your dream life do? she knows!! trust her!!

the energy audit: does this person/activity/commitment give you energy or drain it? only say yes to energy-givers (this one changed my life omg)

the alignment test: ask yourself "does this move me closer to or further from my dream life?" be brutally honest!!

the joy metric: if it doesn't bring you joy or lead to joy, why are you doing it?? (unless it's like… taxes or something lol)

✧ how to let go of the distractions ✧

this is the hardest part tbh. because we get attached to things even when they're not serving us! here's what's helping me:

remember that saying no to something is saying yes to your dream life

start with the easiest distractions first (for me it was unfollowing accounts that made me feel bad)

create little rituals around letting go (i write things down and then burn the paper)

remind yourself that outgrowing things is part of becoming

be gentle with yourself when you slip back into old patterns (we all do it!!)

i had to let go of a friendship a few months that was taking so much energy, and it was really hard but also?? i suddenly had all this space to focus on things that actually matter to me.

✧ your dream life alignment practice ✧

here's a little daily practice i've been doing:

morning: set an intention to notice what aligns and what distracts

throughout the day: when making choices, ask "dream life or distraction?"

evening: celebrate the aligned choices you made + gently note the distractions

it's not being perfect!! it's becoming more conscious of our choices. because every tiny decision is either building your dream life or… not.

i've been doing this for about three weeks now and i already feel so much clearer and more focused. like i'm finally moving in one direction instead of being pulled in a million different ones.

remember: you deserve your dream life. and it starts with choosing it, over and over, in all the tiny moments.

question from mindy:

what's one distraction you're ready to let go of? and one aligned action you're ready to take? (feel free to send me a message in my inbox, or just reblog answering this question.)

xoxo, mindy 🤍

[honeytonedhottie]

how im preparing for 2025⋆.ೃ࿔*:･🍬💕

MY MANIFESTING LIST ;

every year i always make a list of the things that i wanna manifest in 2025, i dont always complete it in the first sitting bcuz i add onto it as the year progresses but i like to have a basic framework of everything that im manifesting in that year.

also along with my manifest list for 2025, i also create a 2025 vision board because it motivates me and reminds me of all the amazing things that im going to experience in 2025.

REFLECTING ON THIS YEAR ;

so in my notion i have a section called the 'monthly digest' where every single month i break down the 4 weeks of the month and everything that i did in them in relation to my goals. after every month i write a little summary.

so with that being said i have a LOT to go back to and reflect on so that i can see what i accomplished this year and what i can do better in the next year. this reflection system that i have is so helpful so i'll set one up for 2025 so that i can also have that at my disposal.

BREAKING UP THE NEXT YEAR ;

i break up my year into 4 quarters (each lasting 3 months) that way i can see my year broken up and i have a clear plan and i can be organized. quarter one (january - march) quarter two (april - june) so on and so forth. and after every quarter i do a little analysis.

something else that i wanna try for next year is giving myself quarterly themes. like for each quarter of the year i'll focus on a different aspect of myself, i think that could be fun…💬🎀

PREPARATIONS ;

im wrapping up some things like my projects, assignments and things of that nature so that i can go into the next year on a clean slate. furthermore im making plans for new years eve, and january and making sure that i've already set some things in motion.

all in all, with everything in motion and everything set in place im going into the new year INCREDIBLY confident 💕📔

[mariacallous]

The first thing to say about the hate and scorn currently directed at the mainstream US media is that they worked hard to earn it. They’ve done so by failing, repeatedly, determinedly, spectacularly to do their job, which is to maintain their independence, inform the electorate, and speak truth to power. While the left has long had reasons to dismiss centrist media, and the right has loathed it most when it did do its job well, the moderates who are furious at it now seem to be something new – and a host of former editors, media experts and independent journalists have been going after them hard this summer.

Longtime journalist James Fallows declares that three institutions – the Republican party, the supreme court, and the mainstream political press – “have catastrophically failed to ‘meet the moment’ under pressure of [the] Trump era”. Centrist political reformer and columnist Norm Ornstein states that these news institutions “have had no reflection, no willingness to think through how irresponsible and reckless so much of our mainstream press and so many of our journalists have been and continue to be”.

Most voters, he says, “have no clue what a second Trump term would actually be like. Instead, we get the same insipid focus on the horse race and the polls, while normalizing abnormal behavior and treating this like a typical presidential election, not one that is an existential threat to democracy.”

Lamenting the state of the media recently on X, Jeff Jarvis, another former editor and newspaper columnist, said: “What ‘press’? The broken and vindictive Times? The newly Murdochian Post? Hedge-fund newspaper husks? Rudderless CNN or NPR? Murdoch’s fascist media?”

These critics are responding to how the behemoths of the industry seem intent on bending the facts to fit their frameworks and agendas. In pursuit of clickbait content centered on conflicts and personalities, they follow each other into informational stampedes and confirmation bubbles.

They pursue the appearance of fairness and balance by treating the true and the false, the normal and the outrageous, as equally valid and by normalizing Republicans, especially Donald Trump, whose gibberish gets translated into English and whose past crimes and present-day lies and threats get glossed over. They neglect, again and again, important stories with real consequences. This is not entirely new – in a scathing analysis of 2016 election coverage, the Columbia Journalism Review noted that “in just six days, The New York Times ran as many cover stories about Hillary Clinton’s emails as they did about all policy issues combined in the 69 days leading up to the election” – but it’s gotten worse, and a lot of insiders have gotten sick of it.

In July, ordinary people on social media decided to share information about the rightwing Project 2025 and did a superb job of raising public awareness about it, while the press obsessed about Joe Biden’s age and health. NBC did report on this grassroots education effort, but did so using the “both sides are equally valid” framework often deployed by mainstream media, saying the agenda is “championed by some creators as a guide to less government oversight and slammed by others as a road map to an authoritarian takeover of America”. There is no valid case it brings less government oversight.

In an even more outrageous case, the New York Times ran a story comparing the Democratic and Republican plans to increase the housing supply – which treated Trump’s plans for mass deportation of undocumented immigrants as just another housing-supply strategy that might work or might not. (That it would create massive human rights violations and likely lead to huge civil disturbances was one overlooked factor, though the fact that some of these immigrants are key to the building trades was mentioned.)

Other stories of pressing concern are either picked up and dropped or just neglected overall, as with Trump’s threats to dismantle a huge portion of the climate legislation that is both the Biden administration’s signal achievement and crucial for the fate of the planet. The Washington Post editorial board did offer this risibly feeble critique on 17 August: “It would no doubt be better for the climate if the US president acknowledged the reality of global warming – rather than calling it a scam, as Mr Trump has.”

While the press blamed Biden for failing to communicate his achievements, which is part of his job, it’s their whole job to do so. The Climate Jobs National Resource Center reports that the Inflation Reduction Act has created “a combined potential of over $2tn in investment, 1,091,966 megawatts of clean power, and approximately 3,947,670 jobs”, but few Americans have any sense of what the bill has achieved or even that the economy is by many measures strong.

Last winter, the New York Times columnist Paul Krugman, who has a Nobel prize in economics, told Greg Sargent on the latter’s Daily Blast podcast that when he writes positive pieces about the Biden economy, his editor asks “don’t you want to qualify” it; “aren’t people upset by X, Y and Z and shouldn’t you be acknowledging that?”

Meanwhile in an accusatory piece about Kamala Harris headlined When your opponent calls you ‘communist,’ maybe don’t propose price controls?, a Washington Post columnist declares in another case of bothsiderism: “Voters want to blame someone for high grocery bills, and the presidential candidates have apparently decided the choices are either the Biden administration or corporate greed. Harris has chosen the latter.” The evidence that corporations have jacked up prices and are reaping huge profits is easy to find, but facts don’t matter much in this kind of opining.

It’s hard to gloat over the decline of these dinosaurs of American media, when a free press and a well-informed electorate are both crucial to democracy. The alternatives to the major news outlets simply don’t reach enough readers and listeners, though the non-profit investigative outfit ProPublica and progressive magazines such as the New Republic and Mother Jones, are doing a lot of the best reporting and commentary.

Earlier this year, when Alabama senator Katie Britt gave her loopy rebuttal to Biden’s State of the Union address, it was an independent journalist, Jonathan Katz, who broke the story on TikTok that her claims about a victim of sex trafficking contained significant falsehoods. The big news outlets picked up the scoop from him, making me wonder what their staffs of hundreds were doing that night.

A host of brilliant journalists young and old, have started independent newsletters, covering tech, the state of the media, politics, climate, reproductive rights and virtually everything else, but their reach is too modest to make them a replacement for the big newspapers and networks. The great exception might be historian Heather Cox Richardson, whose newsletter and Facebook followers give her a readership not much smaller than that of the Washington Post. The tremendous success of her sober, historically grounded (and footnoted!) news summaries and reflections bespeaks a hunger for real news.

[prokopetz]

For lack of a better place: The current version of Gone to Hell *still* says there's only three Slayer archetypes included with the core game under the Branching Paths alternate rules, even though there's been five since version 0.5.

Gone to Hell hasn't been updated in nearly five years. I've gone about as far as I can with the current framework, and any further progress is going to require a fairly substantial reworking, which is something I don't have the bandwidth for right now, what with three other long-form projects on the go and a fourth in the active planning stages – all of which is to say don't hold your breath on minor typographic fixes.

[netra-n8tra]

NBIMS-US™ Standard: Information Delivery Manual (IDM)

The IDM acts as a comprehensive guide detailing the data exchanges, information deliverables, and workflows needed to facilitate successful BIM implementation and collaboration throughout the project lifecycle. It is a crucial part of the NBIMS-US™ standard, specifying the information requirements for various phases of a building project. The IDM outlines the necessary data exchanges, deliverables, and information workflows to support BIM implementation and collaboration, playing a vital role in defining information requirements, data exchange protocols, roles, responsibilities, and processes for effective BIM implementation in construction projects.

•Sonetra KETH (កេត សុនេត្រា) •Architectural Manager/Project Manager/BIM Director •RMIT University Vietnam + Institute of Technology of Cambodia

[kenomacreature]

A META-HISTORY OF ELYSIUM CORONA MUNDI

Chronicling (almost) everything we know about the development of Robert Kurvitz's quasi-sacral object complex

This post represents an attempt to gather (almost) all the reliable public info we have about the broader worldbuilding of Elysium Corona Mundi (the series to which Disco Elysium and Sacred and Terrible Air belong) and how it developed over time into one place, presented more or less chronologically and in a way accessible to fans unacquainted with the, shall we say, more arcane lore of Elysium. In the original incarnation of this post, basically every sentence was scrupulously referenced; however, referencing is a major pain in the ass on tumblr, so instead I just have a broad list of sources at the bottom and if you want to inquire any further into a specific claim you can just message me.

I'll also warn readers that the sections discussing the Torson & McLaine campaign and the (currently cancelled) sequel to Disco Elysium contain potential (albeit relatively minor) spoilers for the planned plot of that game. The creators still hope to make that game one day, so if you want to go in totally blind, you know what to avoid.

Evermier

The first serious worldbuilding project that Robert Kurvitz embarked on dates back to at least the year 1997. It was developed with his childhood friends in Estonia, including later Elysium worldbuilders Martin Luiga, Argo Tuulik and Kaspar Kalvet, and went by the name Evermier. This was a medieval fantasy setting formed around a tabletop roleplaying system that Robert Kurvitz and Martin Luiga have referred to as “bootleg Finnish Dungeons and Dragons,” but which Argo Tuulik suspects was actually a Powered by the Apocalypse framework. The vast majority of the boys’ time with Evermier was not spent actually playing any campaigns, but rather formulating the setting and mechanics (both Argo and Luiga ended up never participating in a roleplaying session of Evermier). Argo splits the time spent conceiving Evermier into two broad periods – one he dubs “Evermier 1.0,” which stuck close to traditional Dungeons and Dragons – and one dubbed “Evermier 2.0,” where no tabletop campaigns were ever actually played and all the time was spent system-building. Argo estimates this latter period lasted some 2-3 years.

Scope creep quickly hit the project, with character sheets evolving into whole character books. Luiga alleges that that “the wizard book” was supposed to have 350 spells altogether, each with at least a half-page story about the spell, in prose, and that “about a healthy third of the book got done in the end.” Argo gives a different number, stating that early estimates for it had more like 900 spells, but agrees that two-thirds of each page would’ve been reserved for “juicy literary stuff” about the spell in question while the rest of the page was dedicated to stats, and says that Luiga and Kaspar wrote a lot of excellent stuff for these spells.

Argo says there were about twenty different schools of technology (such as “metallurgy” and “optics”), at least twelve classes of mages, and “so many” subclasses of elves. There was also a subclass of dwarf that, instead of being stocky, chubby and bearded like traditional dwarves, were veiny and more like “Russian miners.” When implementing necromancers, Robert “zoned in on this soul aspect,” which later became the basis for Elysium’s pale. Argo describes these necromancers as “hobbits, but with these little lanterns that guide spirits or souls from this massive fog.” Luiga places the invention of this “fog of death with whom some could communicate” as happening late in Evermier’s development and likewise considers it a primitive precursor to what would become the pale.

The worldbuilders spent a lot of time gearing up for an ultimate roleplaying session that never ended up materializing, but their artist friend Jüri Saks drew illustrations in anticipation of it, including character portraits. Luiga’s character was a “sickle-elf” whose class was called “saint.” This saint character was a handsome elf with small pointy ears and a neat little beard, who wielded two “light swords” (possibly katanas), and a crossbow called Crucifix on his back. The character was from a “grim northern land” and was a “religious lunatic type” who believed in a “grim, monotheistic God.” Argo alleges that Luiga related to this character so much that it almost became a part of his persona; he “developed this mode that sometimes when we were drinking he happened to slip in, where he would start judging people. I would like to say that it still remained within the boundaries of normalcy, but uh, unfortunately it didn’t.”

Kaspar Kalvet at some point played an archer character named Minor Mortifer (“Small Death-bringer”), and there was also a dwarf king named Fuirum Thundergate.

According to Luiga, the name “Elysium” was suggested by someone on the dragon.ee forums, but it took half a year for Robert to start seriously considering it. This was back when the setting was still a medieval fantasy world. Luiga and Argo both agree that the historicized Elysium as we know it now was born around the time when Robert decided to get rid of fantasy races, because – as Argo puts it – “they were kind of stupid.” With this decision, Evermier underwent a modernization process of sorts, an attempt to bring the setting closer to real life, where many other fantasy elements were stripped away in favor of more realistic representations of cultures, mostly in the form of nations. Argo says that many of the fantasy races transformed over the course of this process into the nations of Elysium – the dwarves became the nations of Graad, the elves became the great desert isola of Iilmaraa (formerly Armaghast, a nod to Dan Simmons’ Hyperion, still referenced to this day with Iilmaraa’s Erg desert), the night-elves or star-elves eventually became Seol, and the snow-elves became Katla (which apparently has not changed too much since the Evermier days, and whose namesake is the dragon in Astrid Lindgren’s novel The Brothers Lionheart). Among the first innovations of the new modernized setting was the concept of floating magnet trains, later described in Sacred and Terrible Air.

After the Evermier setting had been discarded, many of its ideas ended up being repurposed into historical periods within the new historicized Elysium setting.

The Elysium tabletop campaigns

Between the years 2003 – 2007, three tabletop campaigns were played in the then newly formed Elysium setting. These all took place in Revachol during the Current Century and featured Robert as dungeon master. The first campaign seems to have been called Soul Milton’s World Autumn, the second one Riget and the final one known simply as Torson & McLaine, or alternatively the RCM campaign. The first two were played at Robert’s old apartment in the concrete block project at Mustamäe, while the third one was played in the house of Luiga's dad, which the three later lived together in following his death.

Soul Milton’s World Autumn

Of the three campaigns, Soul Milton’s is arguably the one most shrouded in mystery as it stands. It took place in Revachol and Martin Luiga played the titular character Soul Milton. The character has been described as “one of the cornerstones of the Elysium mythos” and an “aspiring world-historical person.” By the time of the campaign, Milton seems to have become an amnesiac as a result of “suppressing his own mind to protect himself from his enemies,” and in this process apparently also adopted a disguise by “putting another skin on himself” (what precisely that means, we don't know). He was “very rich” and came from a well-off family, had a complicated and possibly romantic relationship with his sister and was a “politician slash businessman” who “wanted to be the innocence of consumerism.” As it turns out, the enemies who were chasing him were the Therriers of Elysium’s final innocence, Ambrosius Saint-Miro (a major figure in both Sacred and Terrible Air and Full-Core State Nihilist, to be discussed later), who Soul Milton met at one point. Saint-Miro apparently told him that “there has never been an innocence who is also not an innocence.” This encounter places the Soul Milton campaign firmly after the events of Disco Elysium, possibly in the late Fifties or Sixties. During this campaign, Argo played Soul Milton’s horse carriage driver, a man by the name of Elroy Quint Duval.

Also associated with Soul Milton are two other characters. Before Sacred and Terrible Air was conceived, Robert had planned to tell the story of Elysium in three books; one starring Soul Milton, another starring a character named Dister, and the third a character named Dallasz.

Dister, or Marius Dijsters, was an extraphysicist and published author hailing from Oranje. He was a son of diplomats, one of them the grand ambassador of Oranje on Iilmaraa. He seems to have been a significant enough figure to have an entire strand of thought – Disterism – named after him (mentioned in the inside covers of Sacred and Terrible Air), and like Soul Milton, he had an antagonistic relationship with Ambrosius (as made apparent by an incident where he was threatened by the innocence’s Therriers at age 25). He is also apparently involved in some way with Theo Van Kok (of Sacred and Terrible Air fame), along with a Paul Messier (presumably the husband of Disco Elysium's Joyce Messier), apparently the beneficiary of such prestigious titles as "Enemy of the Press '67" and "Worst Person of the Year '67."

Information is rather scant on Dallasz, but during the making of Disco Elysium, there were plans to repurpose him into another project, a comic book named Mercurio Dallasz and the Twelve Kojkos which was going to be illustrated by Aleksander Rostov. This project unfortunately fell through, but we know the premise: a band of kojkos under Dallasz’s leadership attempt to assassinate innocence Saint-Miro. This was presumably an Inglourious Basterds type affair. 

Riget

“It’s better to die in the Kingdom than live in a shithole.”

This was the tagline of Elysium’s second tabletop campaign, Riget, whose name is Danish for “kingdom” and was taken from Lars von Trier’s mini-series of the same name. Once more, the setting was Revachol, but this time it was limited to a peculiar part of it: Le Royaume (French for, again, “the Kingdom”) a vast network of dungeons and burial chambers two kilometers beneath the city, housing ancient ruins and remnants (quite possibly of the Seraseolitic civilization mentioned in Disco Elysium), along with treasures such as bioluminescent plants which have adapted to living in total darkness. The stars of this campaign were three impoverished children, all between the ages of 10-12 and members of a gang named “Earthworms,” who decided to venture down into the catacombs in search of valuable artifacts to sell. At some point, these kids somehow found themselves unable to get out of Le Royaume, supposedly trapped underground by demons who sought to use the children as vessels to escape back to the surface. When this campaign was being played, demons were still a part of the setting and haunted the halls of the underground network, along with monsters – such as the armakhaan beast, also known as Lelo Lelo, a terrifying blind and flightless hunter killer bird which was a mix between the xenomorph and cassowary. As for whether demons are still part of the setting in any way; both Argo and Luiga's statements are too ambiguous to reach any firm conclusion. Argo does note that the concept of 'demons' connotes something subtly different in Estonian than the scary red guys in popular Western culture, and are more like a primordial evil.

In the campaign, Argo played a boy named Miron, whose nickname was ‘Sneaker’, while Luiga played Joschka, a crippled boy with a bad leg. During the campaign, individual roleplaying sessions with Robert were held where the players’ stories evolved in parallel without them being kept on the same page. Each of them would get info the others were not privy to: Argo’s was that Joschka is unaware of the fact that he’s not considered a true member of the gang; in reality, he’s an outcast generally considered a weird, creepy weakling, and was only brought on for his lockpicking and mechanical skills.

Eventually, the Riget campaign got quite far into “Lord of the Flies territory.” Near the end, Sneaker and the third boy (played by another friend) conspired to kill Joschka deep underground.

Torson & McLaine

The worldbuilders continued to refine the roleplaying mechanics they were working with for the campaigns. By the time of Riget, the basics of the Metric system had been introduced, with the now familiar INT, PSY, FYS, and MOT. But according to Argo it was the RCM campaign, known principally as the Torson and McLaine campaign, which was “the first mature cycle of Elysium storytelling.” It took place, once more, in Revachol – this time in a ghetto called Jamrock, named after a Damian Marley song, and was focused on the goings on in Station 51 (renamed Precinct 41 by the time of Disco Elysium), the RCM’s lone precinct in Jamrock. The campaign took large amounts of inspiration from the TV series The Shield and its depiction of corrupt police officers and the intermingling of gang warfare and state-sanctioned violence. A central concept was: the cops are a gang, and the gangs are cops.

The RCM campaign began on a sort of prologue session, wherein Argo and Luiga played characters named Antwone Novak and Trinidad Tranquile respectively, two junior officers newly recruited into the RCM. Antwone was a “petit bourgeois type,” whereas Trinidad was a young communist who had recently been given time off work due to excessive violence. Luiga describes him:

He worked at a meat shop that belonged to Carson Torsson, Mack Torson’s dad, and had a system of stealing from work in order to ‘adequately compensate for his labour’. He also liked to practice a crude type of critical theory in the vein of ‘this building has been made that large to humiliate me, to show off with a power greater than me, to scare me into submission’. And he had a system of smoking no more than five cigarettes per day to cut down on smoking costs — Kim’s single cigarette habit might be a distant echo of that. He had, I think, a 7 in PSY (at least 5) and 2 in INT and mediocre physical stats, the core system was pretty much set by then.

At the end of this prologue session, Station 51 became the target of a terrorist attack. We don’t know much about the perpetrators beyond them being “Church of Evil type guys” in Luiga’s words, but the dice was rolled badly and Antwone and Trini both ended up dying in a “horsebombing” attack, falling onto the bridge outside the station.

Map of Station 51, located in a repurposed steel mill.

Going forward, Argo and Luiga had to find new characters to play, and they ended up going with ones they had earlier conceptualized, half-jokingly, on one of their many walks around Tallinn from parties and other events, since public transportation was notoriously unreliable. These characters were Chester McLaine, played by Luiga, and Mack “the Torso” Torson, played by Argo. Torson was derived in half from Vic Mackey, the protagonist of the Shield, and half from Argo’s own personality. Argo says that Luiga put his own personality into Chester as well, but isn’t sure where the other half of that character came from.

The main plot of the campaign centered on a revenge operation against those who perpetrated the attack on Station 51. In the second session of the campaign, Torson and McLaine are involved in a church raid; though Argo takes care to mention that he doesn’t think this is the church raid mentioned in Disco Elysium, and that it’s not a Dolorian Church but rather the “Armed Church of Saint-Michelle.” Among the tasks of Torson and McLaine were gathering “guns and drugs” for the “big revenge operation.”

Mack Torson was an idiotic body builder, an admirer of Lieutenant John “the Archetype” McCoy, the Station’s resident mass murderer, and altogether “way too stupid to concentrate on the main plot and politics of the police station,” focusing his attention instead on matters like “how to get it on with the captain’s secretary and tattooing the word ‘Jamrock’ on his body hundreds of times over.” Chester McLaine was a little more perceptive, wondering about things such as “what the hell is going on with the armour maker or Nix Gottlieb,” but was still an all-around uncritical person who put a lot of stock into “loving the captain” and “being a communist memebot.” McLaine was also “a sword guy,” since at this point in the worldbuilding swords were still viable weapons, with guns being slow to reload. Torson and McLaine lived together, along with two other cops, Sundance Fischer and Elfboy Williams. “Elfboy’s thing was being the dexterity bro, in which he continually lost to McLaine, and Sundance’s thing was having a fat ass and cleaning his guns all the time.” Torson had a wife named Tessa Torson, and later in life both Chester and Mack would apparently raise adopted daughters, Tessa and Triss (whether these Tessas are separate characters or represent the same character at different stages of development is unclear; Argo and Luiga seem to contradict each other, unless there's something very weird going on).

Torson and McLaine both regularly abused their powers, as RCM officers in general were prone to do, and in their heads they were justified in doing so. A highlight of the RCM campaign had been sessions dubbed “the Ballad of Chad Tilbrooks and Émile Mollins,” centering on two junior officers who were ritually abused and exploited by the older members of their station, including Torson and McLaine. At one point, Torson and McLaine were also involved in an interrogation of a local religious figurehead which devolved into mutilation torture, which only the “bullet-lobotomized” officer Damien “44” Latrec called out for what it was (enthusiastically). The interrogation ended up being ineffective as the religious leader simply “retreated into a happy place inside his head.”

The Captain of Station 51, Ptolemaios Pryce, was immensely respected and glorified by its officers, whereas the station’s lazareth Nix Gottlieb, while also respected, was generally resented and found hard to tolerate for being “an absolute horrible cunt.” In spite of this, Nix Gottlieb was known to have a curious friendship with Pryce, talking alone with him in the Captain’s office long into the night. This fact regularly perplexed the officers of Station 51.

Eventually, at some point in the campaign, Torson and McLaine would come to the focal point of the story, when they make a shocking discovery: the reason for Pryce and Gottlieb’s strange friendship is that they are both members of the top-secret underground anarchist organization the Ultra, and not only are plans underway for a national liberation movement freeing Revachol from Coalition control, known as THE RETURN, but the two have set their sights on a much larger goal: world revolution. 

The novel cycle

No more campaigns were played in the Elysium world after 2007, when the boys stopped playing the RCM campaign (with the story unfinished). Robert Kurvitz instead shifted his attention to writing a book in the Elysium universe. Eventually the plan became for it to be the opening to a cycle of novels, totaling eight altogether. We have the English titles of each book and their epigraphs, along with the order of the series, from a post by Kurvitz on the dragon.ee forums.

They are as follows:

#0 A SACRED AND TERRIBLE AIR My heart will not rest until it rests in you. - St. Augustine

#1 THE COUNTERMEASURES What am I searching for in your dreams? I am not searching. I am merely cleaning up. - Christian Emmerich

#2 NO TRUCE WITH THE FURIES Man-kind, be vigilant! We loved you. - Julius Fučik

#3 MADRUGADA It must be lit as dreams, by lightning flashes only. - Witold Gombrowicz

#4 TWO HUNDRED AND TWENTY NINE DAYS REMAINING Evening brings the child back to the arms of the mother. - Sappho

#5 COALITION WARSHIP I don’t want to be in no indie shit. I want to be in the big ones. I want to be in the ones that matter. - Mickey Rourke

#6 WE ARE THE WAITING What remains, is longing for something completely different. - Luis Althusser

#7 INDIFFERENCE A great silence, some low pressure front is forming. - Arvi Siig

Sacred and Terrible Air was eventually released in Estonian back in 2013, and after the success of Disco Elysium plans were made to translate the book into English. Rumor goes that this translation was very far along or even finished, but unfortunately all plans for releasing this translation to the public have been halted with the ongoing legal dispute.

Fortunately, dedicated fans have taken it upon themselves to translate the book into English for those particularly interested. The most successful translation by far is the one by Group Ibex, which still receives updates to this day.

Read it here.

Full-Core State Nihilist

Many don’t know that Sacred and Terrible Air is actually not the only written work predating Disco Elysium. Before even Sacred and Terrible Air was released, Martin Luiga wrote a short story later given the English title Full-Core State Nihilist, which was uploaded to the old ZA/UM blog. While obviously not as meaty a text as Sacred and Terrible Air, it deals with some overlapping themes and gives us our first proper window into the nation of Mesque, so important to the broader narrative of Elysium.  

Full-Core State Nihilist was later heavily edited and uploaded to nihilist.fm, another blog site which many of the ZA/UM members were active on.

Finally, in 2022, Martin Luiga translated the Estonian story, basing his English version on the original ZA/UM blog version, and uploaded it to Medium. This translation itself could be seen as a third edit of the story, featuring new references to Disco Elysium.

(As it happens, I have also arrogantly taken it upon myself to create my own translation of this brilliant story, which combines elements from all three versions, and is an attempt to render the prose in slightly less idiosyncratic English, closer to the “house style” of Disco Elysium, while remaining heavily informed by Luiga’s own translation.)

You can find Luiga’s translation here and my version here.

THE RETURN

In 2014, Robert Kurvitz pitched an idea to his friend and associate, novelist and businessman Kaur Kender, to turn the Torson & McLaine roleplaying campaign into a full-fledged video game for PC. The pitch proposed a 3000 EUR investment to produce a vision document, with design and artwork handled by Aleksander Rostov and Juri Saks, detailing the setting, plot, game mechanics and art style. In 2015, this document was finished, and by this time a provisional name for the project seems to have been settled on: THE RETURN.  

This vision document reveals that the game was once planned to feature turn-based tactical combat. The plan was also for the player to create their own character from certain “archetypes,” each with different personalities, talents and appearances. Over time it became clear that these plans were too ambitious; by 2016 the archetypes had been narrowed down into a single character – the “disgrace to the uniform” Harry du Bois – and the prologue chapter of his story, set in Martinaise, was split off into its own game. This smaller project received the title that originally was given to the third novel in the planned cycle (which was almost certainly anticipated to center around the story of Precinct 41 in the year ’51) – NO TRUCE WITH THE FURIES.

No Truce became Disco Elysium and the rest, as they say, is history. But unlike many fans who view Disco as a singular statement that needs no further comment, the developers were far from done with the world they had created. The dominant internal view, especially among the original worldbuilders, was that Disco Elysium was merely a minor project to get ZA/UM’s foot through the proverbial gate. Work on the true game – the one they had wanted to create all along – could finally begin now.

As far as we know, the plot of the game would’ve stuck fairly closely to the events of the Torson & McLaine roleplaying campaign. The game was to open with an attack on Precinct 41, and the rest of the game would’ve been a revenge story of sorts. Players would assume control of Harry again, and this time his primary partner would be Jean Vicquemare, although there would be an assortment of other potential party members. The map would be at least four times bigger and set in Jamrock.

Plot points which would be explored in the sequel had already been set up in Disco Elysium – among these are Pryce and Gottlieb’s revolution, Le Royaume, Edgar Claire, and La Puta Madre. Cuno and Cunoesse would’ve featured as returning characters; not much is known about how Cuno and Kim would’ve been integrated into the game given how variable their endings in Disco Elysium are, but Argo says that he would’ve insisted on Cuno returning. X7 – the now-cancelled DLC project which Argo worked on for the remainder of his time at ZA/UM after Robert, Rostov and Helen were ousted from the company, would’ve featured Cuno as the protagonist. Meanwhile, Cunoesse was planned to reappear in THE RETURN as a leader of a gang of kids in Le Royaume, according to Martin Luiga.

Obviously, the characters of Precinct 41 would've featured heavily, and we'd be introduced to many familiar names which we were already given glimpses of in Esprit de Corps checks in Disco Elysium. One of these would be Lt. Berdyayeva, a superior of Harry’s, whose daughter is Jean Vicquemare’s ex. A character we know nearly nothing about except for the fact that he was conceptualized back in the tabletop days as a sort of joke character, but survived all the way into the planning stage for THE RETURN, is “Marivald the Merry Butcher” – what his role might've been, your guess is as good as mine.

Pryce and Gottlieb’s goals in the game might've involved an attempt to unite several diverse groups with a common interest in an independent Revachol; this would’ve included the besmerties, the West Revacholian crime syndicates mentioned in Disco Elysium. Prominent among them would’ve been La Puta Madre, a Mesque gang leader and drug manufacturer, a man of such immense power that he has RCM officers tending his poppy fields in terror (his influence also seems to survive past the events of the game; he gets a mention in Sacred and Terrible Air). The Madre would’ve apparently been an attractive feminine-presenting man, impeccably dressed and wearing beautiful makeup; his gender-nonconformity a way of projecting power over the traditionally macho culture of Villalobos. The rival gang, Ahura Mazda, led by a gangster known as the Mazda, would’ve presumably also featured prominently – Rostov recently released old concept art depicting one of their gang members.

There were more plans for the sequel that only came along after the development of Disco Elysium itself. Robert has talked about wanting to double down on events like the Mercenary Tribunal, handling big action scenes within the more closed literary format of the FELD dialogue system, hopefully allowing for even more variation than was possible in Disco's big confrontation. Another infamous idea was the inclusion of a second protagonist – a pregnant woman, about 5 months along. Kurvitz has mentioned this idea in interviews, saying that it would be "an incredible writing challenge" within Disco Elysium's internalized skill system: "It would be unbelievable to use our skill system to speak about the bodily sensations of having another organism inside of you, while you're in the setting and talking to another person." That said, the addition of an entire new protagonist is very ambitious indeed – it's not clear whether the idea would involve alternating perspectives of some sort, or a choice in the character creator of which one to go with, but Kurvitz made it clear that these would be entirely different characters, unlike many games which offer only a superficial choice between male and female playable characters. Kurvitz expressed some doubt about being able to include this in the game, but at least expected it to be integrated via an expansion post-release if not.

Miscellaneous info

Argo and Robert have both hinted that there is a metatextual element to the overarching Elysium narrative. Whenever presented with readings or theories that contextualize the game as some sort of story-within-a-story, they act coy and refuse to give any clear answers. Argo outright offered an interpretation of the pale which presents it as what happens as the narrative starts “leaking out” of the head of a reader or audience member no longer actively absorbed in the world and said that “Elysium is a fictional world that is aware that it’s fictional.”

Apparently related to this aspect of the narrative, according to Argo, are the three satellites in orbit above the world of Elysium – Iikon, Zenith and Shakermaker – which have been there since “before the 8,000 years of recorded history” and before “the Polycarpeum event.” The satellites have only been mentioned in niche corners of the currently published materials, and the innocence Polycarp has only been mentioned in secondary materials, such as the artbook and the inside covers of Sacred and Terrible Air, leading to speculation about him being involved with the pale and the memory of his reign being wiped from history.

Also related to the metatext, again according to Argo, is a character known as “the Man Behind the Black Sun” – he gets one mention by the Paledriver in Disco Elysium, but curiously she seems to refer to it as the title of a movie that was released in Mesque during the revolutionary era, potentially a boiadeiro picture starring the actor Gabriel Buenguerro.

The magical elements of the pre-Elysium fantasy world morphed over time into what is called “extraphysics” in Elysium. The innocences, the pale, and “plasm” all testify to this supernatural aspect of the setting.

At some point, Ambrosius Saint-Miro apparently constructs nihilist death camps, which Triss and Tessa (the adopted daughters of Torson and McLaine) end up in and eventually escape.

"Magpies" are not a real thing and were never a part of the original plan for the Elysium narrative. The concept artist who made the image from which the term was popularized has gone on record saying that he invented this idea himself and that it was taken from his own worldbuilding ideas. There is nothing to suggest that this was integrated into the game; Argo and Luiga reacted with confusion at the mention of this concept.

Kurvitz had an insanely ambitious list of projects he wanted to make in the Elysium universe before he was ousted from ZA/UM; "The last one I want to make, when I'm 50 or 60, that I want to absolutely go crazy on and throw out all commercial considerations and get this as conceptual as possible, is the tabletop setting. The working title for the tabletop setting is You Are Vapor. It will be a really, really, crazy pen-and-paper game."

List of sources:

All parts of Argo Tuulik's Human Can Opener Podcast episode.

Martin Luiga's Human Can Opener episode.

Martin Luiga's Medium account and other blog posts: Interview, 8 years ago..., Hello Fellow Worldbuilders, Correction, A Policeman In Revachol, Fuirum Thundergate (Substack)

Tweets by Martin Luiga: 1, 2, 3, 4

Tweets by Argo Tuulik: 1

The dragon.ee post about the novel cycle

"Welcome to Revachol" on the devblog

"Outro" by Robert Kurvitz, featured in the official Disco Elysium artbook.

Disco Elysium, Sacred and Terrible Air, and Full-Core State Nihilist. Obviously.

Possibly more that I'm forgetting. Feel free to ask.

[high-priestess-house]

𝕾𝖎𝖒𝖕𝖑𝖊 𝕸𝖔𝖔𝖓 𝕻𝖍𝖆𝖘𝖊 𝕮𝖍𝖆𝖗𝖙

New Moon

Appearance: The moon is not visible in the sky.

Duration: Lasts about 1-3 days.

Energy: New beginnings, fresh starts, setting intentions.

Activities

Intention Setting: Write down or meditate on your goals and desires for the coming month.

New Projects: Initiate new projects or start new habits.

Cleansing: Perform a cleansing ritual to clear away old energies and make space for the new.

Waxing Crescent

Appearance: A small sliver of the moon begins to appear.

Duration: About 7 days.

Energy: Growth, expansion, gathering energy.

Activities

Manifestation Work: Focus on the growth of your intentions and desires.

Affirmations: Use positive affirmations to strengthen your goals.

Action Steps: Take practical steps towards achieving your intentions.

First Quarter

Appearance: Half of the moon is visible.

Duration: About 1-3 days.

Energy: Decisions, challenges, taking action.

Activities

Problem-Solving: Address any obstacles that have arisen since the new moon.

Courage Spells: Perform spells to boost confidence and courage.

Reevaluation: Adjust your plans if necessary to stay on track.

Waxing Gibbous

Appearance: More than half but not fully illuminated.

Duration: About 7 days.

Energy: Refinement, patience, and persistence.

Activities

Refinement: Fine-tune your goals and work out the details.

Patience Rituals: Practice patience and stay focused on your long-term goals.

Energy Work: Perform rituals to boost your energy and motivation.

Full Moon

Appearance: The moon is fully illuminated.

Duration: About 3 days.

Energy: Completion, celebration, illumination.

Activities

Manifestation Rituals: Perform powerful rituals to manifest your intentions.

Gratitude Practices: Celebrate your achievements and express gratitude.

Divination: Use tools like tarot cards or pendulums to gain insight and clarity.

Waning Gibbous

Appearance: More than half but decreasing in illumination.

Duration: About 7 days.

Energy: Reflection, gratitude, sharing knowledge.

Activities

Reflection: Reflect on what has been accomplished and learned.

Sharing: Share your knowledge and experiences with others.

Gratitude Rituals: Focus on giving thanks for what you have received.

Last Quarter

Appearance: Half of the moon is visible again, but decreasing.

Duration: About 1-3 days.

Energy: Release, letting go, forgiveness.

Activities

Release Rituals: Let go of anything that no longer serves you.

Forgiveness Practices: Practice forgiveness for yourself and others.

Decluttering: Clear out physical and emotional clutter.

Waning Crescent

Appearance: A small sliver of the moon is visible before disappearing.

Duration: About 7 days.

Energy: Rest, recuperation, introspection.

Activities

Rest and Recuperation: Take time to rest and recharge.

Introspection: Reflect on your inner self and spiritual journey.

Dream Work: Pay attention to your dreams and subconscious messages.

Additional Tips for Baby Witches:

Moon Journaling: Keep a journal to track your activities and feelings during each moon phase.

Crystal Charging: Use the full moon to charge your crystals by placing them under moonlight.

Moon Water: Create moon water by leaving a container of water under the moonlight to absorb its energy, especially during the full moon.

This chart provides a basic framework for how you can align their practices with the moon phases. As you grow in your practice, you may find additional or alternative activities that resonate more with your personal path.

[agirlwithglam]

How I’m preparing for 2025!

✅ vision board

i've already made my digital vision board but tonight im gonna print out all the pics & sit down to make my physical vision board (first time i've made one!)

the vibe is nighttime, candles lit, hot chocolate, photos messily put on the floor, fav music (ariana grande) & living my best life

✅ writing a letter to your 2025 self

im also gonna do this tonight along with my vision board💋

heres some things you can write about:

date

current obsessions- songs/artists, movie/show, hobbies, books, color, food, season, aesthetic

what you’re proud of

some dreams/goals for 2025

challenges you’re facing currently

2025 wishlist

encouraging pep talk

a piece of advice

how do you feel about yourself currently

what you’re grateful for

✅ using the 12-week framework & plan the 1st quarter

this year, i decided to use the 12 week frame work (its a book, you can read about it!). so you split the year into 4 quarters (or 12 weeks) and i've started to plan each week so each week i'm doing something to achieve my goals (using notion)

by the end of the 12 weeks if it turns out to work very effectively i will make a post on it & how i used notion to help!

✅ finished all the projects & books i was currently on.

I’m actually very happy I did. There’s only gonna be fresh starts & no old energies this new year!! Eeekkk!!