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talenlee
talenlee

How to Be: Frieren (in 4e D&D)

In How To Be we’re going to look at a variety of characters from Not D&D and conceptualise how you might go about making a version of that character in the form of D&D that matters on this blog, D&D 4th Edition. Our guidelines are as follows:

  • This is going to be a brief rundown of ways to make a character that ‘feels’ like the source character
  • This isn’t meant to be comprehensive or authoritative but as a creative exercise
  • While not every character can work immediately out of the box, the aim is to make sure they have a character ‘feel’ as soon as possible
  • The character has to have the ‘feeling’ of the character by at least midway through Heroic

When building characters in 4th Edition it’s worth remembering that there are a lot of different ways to do the same basic thing. This isn’t going to be comprehensive, or even particularly fleshed out, and instead give you some places to start when you want to make something.

Another thing to remember is that 4e characters tend to be more about collected interactions of groups of things – it’s not that you get a build with specific rules about what you have to take, and when, and why, like you’re lockpicking your way through a design in the hopes of getting an overlap eventually. Character building is about packages, not programs, and we’ll talk about some packages and reference them going forwards.

Frieren: Beyond Journey’s End is an anime about what happens after an adventure is over and the player character with all of their level 20 powers wanders the world keeping their brains from being pickled by the feelings of losing all your friends. It’s a well-regarded, critically acclaimed series, and it’s clearly resonating with a lot of people. It’s a story about grieving and loss and finding your own purpose, as well as a story about connecting to your own emotions, and recognising the way your own life can pass by you.

It is also a story about a petite smug elf who turns into animated gifs really well.

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Normally, in these articles I talk about a character who can be reasonably represented from the game start by the character build I propose. The idea is that you can just pretty much take what I offer and while it may lack in some significant way to start with, the character you have still looks mostly like they should. In the case of Frieren we have a pretty significant gulf to cover when talking about representing her in 4th edition Dungeons & Dragons.

The Greatest Mage of a Generation

It’s pretty much text in Frieren: Beyond Journey’s End that Frieren is one of the most powerful mages in the world. In almost all mundane contexts people are familiar with, Frieren is the most powerful thing they’ve ever met. The story still shows some real powerhouses that hang around alongside Frieren’s level, and I have all sorts of concerns about how the show represents power, but we can just take it as read that in the context of the show, one of the things that defines Frieren’s character is that she is very powerful. When I wrote about Being Harrowhark Nonagesismus, I talked about how representing a character as powerful is a problem when talking about a more mathematically balanced system like Dungeons & Dragons (4th edition).

Frieren, in the anime, can blow up mountains. She is a powerful character in the vein of a videogame hero who has finished the main quests and has all the equipment and late-game special powers, coming back to round out early quests in the starting game. You aren’t going to be able to make any build in a TTRPG like Dungeons & Dragons that works like that, without the Dungeonmaster specifically making some really weird accommodations and honestly, I don’t think you should want to. One of the best things about 4th Edition Dungeons & Dragons is the way the system interactions handle so many decisions that would be complex to interact with and adjudicate and instead reduces them to cold, simple math.

That means that any representation of Frieren for this kind of format begs for a compromise. There are story routes around it! For example, your Dungeonmaster might allow for a form the story takes where your character has to maintain their power at a lower level, or hide it somehow, or even give it up as part of the story. That’s a kind of compromise to talk about with them, and it’s entirely up to your table how to handle that sort of thing. I can’t help you judge that.

For myself, what I want to recommend is a series of compromises that you can use to explain things without any special say-so from the Dungeonmaster.

The important thing, to me, is not perfectly replicating the greatest living mage in history, but rather, capturing the vibe. And therefore, what is the vibe?

Examining Frieren

We learn a lot about Frieren, in detail. Much of the story is a slow boil of examining her, as a person, and also her powers, as she handles them and thinks about them. This gives us a reasonably strong impression of her mental state and we can infer things about her physical state.

Here’s a new struggle in 4th edition D&D. Frieren is an absolute wuss, and her mental stats aren’t that great either. For her to be really strong or nimble seems out of type, since she is clumsy and weak, and while she displays a lot of signifiers of being smart (collecting and reading books constantly) her judgment is famously bad, as is her ability to understand what people tell her. Also her ability to convince other people of things, or to express complex ideas or her own emotions are hilariously bad.

We are dealing with a truly swagless elf here.

Oh sure she’s cute, but she’s also an absolute bozo.

One of the things about her powers is that they’re expressed very widely as arcane magic. It’s a force in the world, it’s fed by ‘mana,’ people can have an individual handling of it, and you get better at it by learning things. It is as much as any given magic system can be, arcane magic, and that means any Frieren build wants to be built around the arcane source.

Glossary Note: Conventionally, the term used in D&D for this mechanical package is race. This is the typical term, and in most conversations about this game system, the term you’re going to wind up using is race. For backwards compatibility and searchability, I am including this passage here. The term I use for this player option is heritage.

Also: Elf. She wants to be something ageless, because being very old (eventually) is part of the point of the character. Whatever she is, probably wants an Intelligence bonus. Also, we don’t see Frieren teleport much, so the Eladrin is actually likely an almost but not quite option.

The Basics

First of all, the three different builds that I propose here are all built around the Deva. It’s an intelligence-secondary heritage, and you can put your 8 in Wisdom, and a 10 in Strength. They get extra languages and they are functionally immortal, which can mean you can play with your Frieren being a ‘time abyss’ character. This is not the best or only option for each one, but it’s a place to start.

Second to that, all three of these classes have been picked because they begin with the feat ritual caster. There’s a host of small magical effects that spellcasters can do that all fall under this space, and ritual casting is done by buying up materials for their use, and buying the rituals themselves. It’s a great way to add Frieren-ness to this Frieren, because she’s going to be able to go to new locations and see what new spells and rituals they have.

For themes, because Frieren has a widely diversified range of damage types, a few of the normal go-to examples are out. The theme I’d recommend for this version of Frieren is a Scholar. That’s a theme that adds a lot of stuff that isn’t very obvious; there’s a power for focusing on and spiking an opponent out, and throwing up a defensive shield, with Use Vulnerability. On the other hand, it also gives you access to all languages, and that’s pretty strong for representing the immense breadth of Frieren’s knowledge.

Beyond that, we have three build options that are about trying to compromise with the vast power of Frieren and her stats.

Compromise 1: Young Frieren

First things first, it’s not hard at all to represent a Frieren at the start of her adventure. Not young per se, because even the Frieren at the start of her adventure with Himmel was nearing on nine hundred years old at the youngest, but rather, a Frieren who is, in your case, just a Frieren who isn’t that powerful yet. Since the point of Frieren is her grappling with having achieved everything that matters to her and then seeing the things that mattered go away, this might not land. It is nonetheless, the simplest place to go for a Frieren when you’re focused on her being an arcane wizard who knows a lot, and attacks people with her intelligence.

For this, I opt for the Deva Wizard. Frieren uses something that could be negotiated as a Staff, Rod, or Wand; of those types, I think it’s best to go with a Staff. Staff Expertise has the most common applications; it protects you from attacks of opportunity when you cast spells.

Compromise 2: The Image of Frieren

Another option is to approach the story of Frieren as someone who has done things one way, and is now doing them another way, which involves building and maintaining social connections instead of ignoring them. Basically, it’s the transition from ‘blaster caster’ to a leader archetype. My advice for this is to make a ranged, intelligence-based arcane magic user, which is unfortunately, the Artificer.

I say unfortunately, because the single best power available to Artificers, and the thing that tends to determine how everything else works for them, is the 1st-level At-Will attack Magic Weapon. Magic Weapon is a power you want to use every chance you get, but it is only a weapon attack. Now, personally, I can compromise on that – get a crossbow, make it look a little funky, and play maybe, a senior Frieren who’s been injured and relies on a device. Or maybe talk to my Dungeon Master about if I can have a ‘crossbow’ that’s more like a staff.

Compromise 3: The Botomless Well

This is the biggest compromise but I think it gives the best option with the fewest questions. Specifically, the idea here is to play with the idea of a Frieren who can go all day; someone who isn’t reliant on big splashy dailies. It’s about a character whose power can be so overwhelming it literally dismays enemies, and this is an at-will power that will be worth using your whole career.

The problem is it’s not an Arcane power source.

The power I’m talking about is the Psion power Dishearten. Dishearten is absolutely cooked, it is a fantastic power. It does reward you building for Charisma as well as Intelligence, but it’s an area effect attack that shows your true power to opponents and dumpsters their ability to attack you in response. I think Dishearten is so good for representing Frieren comparing power sheets to her opponent and it’s an attack she can do all day every day, to represent that bottomless wellspring of power, that I think that the Psion is the best place to make a Frieren.

At least, if what I care about is that feeling of relentless power.

Junk Drawer

There are a few other options. Nothing that pulls all the factors together or solves the problem of Frieren being very powerful. Sure, there are choices that make a character feel very powerful – some of those Wizard dailies feel very strong! – but they aren’t good at supporting the intelligence base. The problem is that the character is a little lacking in depth, conceptually, beyond the idea of ‘is a very powerful mage,’ and well, how do you play with that idea? She’s much more about the ways she’s deficient – not physically powerful, not tough, and not wise.

Conclusion

The important thing is understanding your own wants. Any build you make is going to be a thing you should be comfortable playing with, that lets you try and do the things you want to do when you sit down to play the encounters that make up the story space for your game.

Also some of you probably saw the subject and went ‘oh please’ and I just gotta say, look, talk to your local gender clinic.

Check it out on PRESS.exe to see it with images and links!

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zomb13s
zomb13s

Why you should hire me (story)

My name is Alfons Scholing I am a graphic designer by trade and I have since than expanded my wings. I now consult in many creative fields.

Let me tell you why! There are but few of me. The ones that don’t do what most people do. I give a certain security that most don’t.

I’ll give you some examples.

A good mate of mine showed me some video’s. Two video’s to be exact. One video is a video of a…

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twoquad
twoquad

A frustrating day of making stuff today. Discovered reflective acrylic cracks when you heat and bend it, and 2mm is too thin for holding buttons.

Still. Had fun trying new stuff! :D

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zomb13s
zomb13s

Why you should hire me (story)

My name is Alfons Scholing I am a graphic designer by trade and I have since than expanded my wings. I now consult in many creative fields.

Let me tell you why! There are but few of me. The ones that don’t do what most people do. I give a certain security that most don’t.

I’ll give you some examples.

A good mate of mine showed me some video’s. Two video’s to be exact. One video is a video of a…

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moviesdock
moviesdock

Marvel Studios Assembled: The Making of Black Panther: Wakanda Forever (2023) | Movie | Movies Dock

🎬 Title: Marvel Studios Assembled: The Making of Black Panther: Wakanda Forever
Story: Dive into the journey of creating “Black Panther: Wakanda Forever,” where the talented cast and crew honor the legacy of T’Challa through powerful storytelling. With exclusive behind-the-scenes footage and insightful interviews, experience Shuri stepping into the role of Wakanda’s protector while confronting…

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moviesdock

Marvel Studios Assembled: The Making of Ms. Marvel (2022) | Movie | Movies Dock

🎬 Title: Marvel Studios Assembled: The Making of Ms. Marvel
Experience the creation of a new Marvel adventure.
Story: Dive into the behind-the-scenes journey of the series, featuring captivating footage and enlightening interviews with both the cast and crew of Ms. Marvel. Watch as Iman Vellani and her character, Kamala Khan, evolve into an adored superhero right in front of you.
⭐ Rating: 6.75…

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moviesdock
moviesdock

Marvel Studios Assembled: The Making of Eternals (2022) | Movie | Movies Dock

🎬 Title: Marvel Studios Assembled: The Making of Eternals
Uncover the transformation of comics into cinema with Marvel’s iconic heroes.
Story: Join director Chloe Zhao and the cast of Eternals as they share their insights and experiences throughout the production of what is considered Marvel Studios’ most ambitious project so far. This documentary explores the cast’s emotions as they embraced…

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doodle12022
doodle12022

-… ..- … -.– .-.-.- / – .- -.- .. -. –. / -.– — ..- / … — – . - …. .. -. –. .-.-.- / .. / - …. .. -. -.- / -.– — ..- / .– .. .-.. .-.. / . -. .— — -.– / .. - .-.-.-

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talenlee
talenlee

Dev Pile: Illuminating the Unobvious

Warning ahead of time, this is mostly going to be images, and they are hand drawn. You’re going to see my hadnwriting. Ostensibly when I make a post like this, I’m going to be doing it to show you meaningful information that can elaborate to you the ways that I, a game designer think. Well, this time you’re going to see hand-drawn illustrations of charts I’m trying to make to express ideas, with notes about what the things I’m trying to describe mean.

an icon of a chart with the arrow going up and right

First things first, here’s an illustration of the model of considering games in terms of their abstraction, enrolment and stuffness. This is the first principles for how you approach making games (consciously or not), in that you start with an idea in one of these three spaces, and then you find things that fit where you started, and build out from there. Also, these three elements are meant to interact with one another.

  • The place where a game’s abstraction and stuffness interact is material significance – that is, how you use material to signify information. A game about being poor probably shouldn’t be giving you solid gold coins to play with as your currency, for example.
  • Where the abstraction and enrolment interact is thematic coherence – that is, how the rules and the fiction work together to feel akin. Things like, say, for example, a vampire that damages an enemy gains some health? That’s making the mechanics express the fiction.
  • The third interaction is perceptable strategy, which is if your enrolment and your stuffness don’t provide meaningful information to players, they don’t know what to do. This is how you use the material to show players their options, or to make memory easier to maintain. Thin like tapping cards in Magic: The Gathering.

What we have here is an example of the ‘discovery in hindsight’ model of forebears I have. There’s this idea from Jorge Luis Borges who wrote about the way that Kafka’s forebears only appear to be related in the work of Kafka to crystallise them. In this case, making Lysen Co did involve reflecting on some ideas I had – like my opinion on corporate information and my interest in sorting algorithms – but expanding on that reflection – with the prototype as a lens – helps me find a number of personal experiences that have informed the design of Lysen Co as well.

This is kind of the process. This is the thing that hypothetically, you want to read my PhD for; it’s describing the process of how I go about making a game and then reflect on the elements in that game. The Reflection is doner passively; the process starts before you consciously start, and it only shows up at the end when you synthesise your reflections on the past. But that reflection leads to your first step: Playing with an idea.

You play with an idea that gets you to investigate the things this idea can work with. That’s where we get our stuff/fiction/rules tryptich (stuffness, abstraction, and enrolment). With these ideas in mind, you make a prototype, then that prototype goes through rounds of playtesting and revision until it’s acceptably done. The final step that the thesis takes is to reflect on the whole process, and through that, synthesise together all the influences that became part of the proceduralised idea.

Alright look they’re not all bangers. This is just a visual description for the timeline of card faces I need to create.

This here is a table that’s trying to communicate the idea of how mechanical complexity and communication freedom can create game structures. A really simple game with completely free communication becomes trivial – if all the players have all the information and the game is too simple you get something like tic-tac-toe. If a game is very complicated but communication is still extremely free, you wind up with multiplayer solitaire, where several players are interacting with systems but not interfering with one another and maybe even clearly aware of who is winning at some point in the game. Can sap the fun. High complexity with costly communication runs the risk of creating an alpha gamer problem, where a single player can take the lead and determine the best course of action with the information that’s public, but players can’t readily develop conventions for countermanding that influence.

Lysen Co aims to be a simple game with complex communication rules, which is why it’s on the table up in the top right. I may want to revise this one; I think I need to be clearer about what kinds of games it’s for (games where players need to cooperate).

This here’s a simple diagram of a timeline of the Lysen Co development cycle, with different playtest experiences in the course of the months in 2024. The two play sessions in February are connected to specific people (whose names I don’t want to put on my blog without their permission).

‘Typesetter’ is Fox, though, she’s the person who convinced me of the smarter way to do fonts in Lysen Co.

This chart here is meant to represent another attempt to communicate a meaningful idea in game design from the ground up. Friction in this case is referred to as the ways the game does things to prevent players from continuing the game. Friction isn’t bad! A typical example of friction is when the game stops so a player can make a choice, that’s holding the game up and stopping the game from proceeding, but it’s hardly a bad thing. Similarly, shuffling a deck of cards is a form of friction but it’s hardly something you want to design a game to never do, right?

This chart is trying to illustrate signifiers that can be used to determine the difference between productive and uh, umpeding friction. Look, I was tired when I drew this. The point is that there’s types of friction that are always going to wind up being bad – things that you can design around like when the material for the game is ambiguous. Confusing fonts. Making it so the art of a card and the effect of the card don’t line up – these are bad.

On the other hand, if a player is stuck thinking of two different choices, while that’s a problem, it’s a problem that’s good to have. You want, after all, players to have meaningful choices, and if they’re held up on them, it’s a sign that both choices have results the player may actually want.

There’s some charts!

Check it out on PRESS.exe to see it with images and links!

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pixegias
pixegias

Periwinkle is making self-hosted social media on Bluesky’s AT Protocol even easier

The Berlin-based startup Periwinkle is offering a new avenue for those wanting to leave centralized social media operated by Big Tech companies. Instead of joining a decentralized, open social networking app like Mastodon or Bluesky, Periwinkle allows anyone to set up a social media account on their own domain, under their own control.
Built on top of the AT Protocol, the same open source…

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mkwteescom
mkwteescom

Making Wine Patent T-shirt

🍷 Vintage Elegance Uncorked! Meet the Making Wine Process Apparatus Patent Tee (1893) — a vintage-inspired design celebrating classic winemaking ingenuity. 📜 Perfect for lovers of oenology and timeless style! 🍇✨

🛒🧸🔥 Save 10% with code 👉 TUMLR10 🎉

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newstech24
newstech24

The Console Wars Reignite: Exclusives Stage Their Grand Comeback

The imminent future of gaming systems might strongly resemble a bygone era. Once a defining characteristic of the industry, console-exclusive titles have progressively grown scarce over recent years, as firms like Sony and Microsoft ventured into providing software on various systems. Indeed, the very identity of an Xbox has become ambiguous. However, it appears these ventures proved unfruitful.…

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pixegias
pixegias

Console exclusives might be making a comeback

The near future of game consoles could look a lot like the past. Once a hallmark of the industry, over the last few years console-exclusive games have steadily become rare, as the likes of Sony and Microsoft experimented with offering titles on multiple platforms. Heck, who knows what an Xbox even is anymore? But it seems that the experiments haven’t paid off. Signs are pointing to the return of…

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talenlee
talenlee

Dev Pile: Bridged Pairs and Apologetic Traitors

Hey, Lysen Co is a complicated game and there’s ideas in it that even now I don’t think I’ve properly documented. Here are some!

A banner showing my cards, with the Lysen Co card back centered.

The first thing I want to talk about is something that comes up in small groups of play of Lysen Co. The idea is one of bridged pairs, which came from a playtesting session in February 2024, with one of my PhD Supervisors.

In this version of Lysen Co, and this is worth mentioning because this idea persists even to now, is an emergent mechanic I didn’t quite recognise in the design at first. Here’s the setup; you have a two player game of Lysen Co. In a two player game, the deck flips the card to start the trick, and the leader of the trick chooses up or down; then people contribute into the trick until the trick hits 5 cards, and the trick is flipped over to check.

In Lysen Co, a trick passes if more than half of the cards in it are kept, and you see if cards are kept if they follow a Stalin Sort. A Stalin Sort works by going from the starting number and counting in the direction and then dropping anything from the list that’s out of order. If the leading number is, for example, 1, counting up, and then the cards after it are 3, 8, 5, 12, then the 3 is kept, the 8 is kept, but the 5 is out of order. The sort drops it, and that means the list is 1, 3, 8, 12, and you only had to do one parse. Thus the power of a Stalin Sort.

What my supervisor found is that in these small games, pairs of cards which are very close together, or very far apart, represented a lot of power in this game. Since only two cards need to be kept after the original card, if you can guarantee a pair, then you control the trick, and you can make it so none of your opponent’s cards are likely to get in.

Here’s the simplest example. Let’s start again with our flipped card of 1 and counting up. If in my hand, I have 50 and 51, and I play first, I can almost completely eliminate your ability to land any cards; I put my 50 on top of the 1, then you place a card, and I place my 51 on top of the stack and you place whatever. The flip over then goes 1, 50, some number that probably isn’t higher than 50, and I know it can’t be 51, so it gets dropped. Then 51, which gets kept, and you have only one possible card that could be in that last spot.

That’s one kind of bridged pair, and it locks a player out of any cards when you can make it happen. In a larger game, this strategy fails. In a three player game, you may be able to contribute two cards to a trick if you lead the trick, but only after two other people add to the trick, and if you do something that locks both of them out, they can team up against you and cooperate to punish you for your hubris. The players form a type of control mechanism on your options.

Another type of bridged pair, which works better when you move to the three-player game, is the extremes. If you have a two numbers near extremes – 1, or 52 – then you can reliably force both numbers into the trick in second place. You lead with one, then you count in the direction of the other, and you can ignore what the other two players do, since you’re ‘closing’ the trick with the other part of the pair.

Thing is, this means these pairs are most valuable to use on your own turn, and cards that can turn into this kind of pair are really valuable to hold onto in your off turns. You’re not just playing cards to try and force them into tricks, or to lump traitors on people, you’re aiming to try and sculpt your hand for these pairs. And this is a really interesting puzzle because at the time I was genuinely unsure if anyone wanted that kind of strategic depth in the game.

I found it novel. Most playtesters were more interested in something else, but this kind of play option told me that there was strategic depth for players who wanted to outwit and outplay other people. And any time the game introduces or exposes more complexity, there’s always the question of ‘hey, do I want this?’ As it is, the audience for my games don’t tend to express themselves as proudly competitive (outside of the audience for You Can’t Win).

three cards from lysen co

Another moment, another time. I know I’ve spoken about it in the past, but I had this thread on Mastodon where I talked about revising the card face. I think this thread is a really good resource for all sorts of examinations of choices I was making, but most significantly is interesting because of how it shows me resisting the problem of the font being ambiguous around 6 and 9.

I know this didn’t just happen on Mastodon. I know this because Fox was in the room with me and we spoke about it, and then we spoke about it more and I kept trying to find good explanations for why, actually, the ambiguity wasn’t a problem, actually. After all, the 6 and 9 were never going to be the most significant digit (the ‘1’ in ‘12’ for example). Setting aside this is silly, because this is a game where the gap between 36 and 39 is in fact, quite important, this is a good data point because eventually I came to the conclusion I was just wrong.

Another thing that had to change in Lysen Co was the density of traitors. Back in that playtesting experience with my PhD supervisor, I felt that traitors were perhaps ‘a bit much.’ Playing with my family a few weeks later, I felt that they were definitely too dense when spread around a group of four players. I wound up peeling away 8 of the traitors, pulling them down from 15 (about a quarter of the cards) to 7 (about an 8th of the cards).

This family playtest also showed me what the game looks like when the players aren’t interested in competing and just want to build their own groups. They don’t think to talk to one another – ‘hey, if I play a 38, can you use that?’ – even though the rules don’t bar communication. But they did apologise as they played traitors into each others’ tricks, claiming ‘I didn’t have any other choice,’ and even took plays that wasted their hands, just to burn traitors out of their hands and let them get closer to a version of the creative, building game they wanted to play.

That is the same period where I realised that the card faces had problems that needed to be sorted for ‘order’ – I realised that when you flip the stack over, it can be easy to lose track of whether you’re counting up or down and in what direction. That meant adding the line to the game to make the stack-flip work better.

an icon of an hourglass trickling with sand from the top to the bottom

These are just some experiences that I feel needed documenting! They existed in scattered notebooks, but now they’re on the internet for general access!

Check it out on PRESS.exe to see it with images and links!

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originalheroluck
originalheroluck
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samejimachich
samejimachich

Original illustration super hi-speed making video

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talenlee
talenlee

I Don't Write In Bed (any More)

I have strong memories of sitting on the sofa, a house ago, looking at the TV playing – I want to say Babylon 5 or Arrested Development but in my heart of hearts it might have even been something like The Apprentice – some show or another, and reflected how I wished even while I was watching something, I could still write things down in a way that I could revisit later. This was a long time ago, before I ever had a smartphone, but even if I had a smartphone, it wouldn’t be a good device to have, not really, because a big part of how I write is my relationship to a keyboard and my own ability to touch-type.

I wasn’t journaling at this point. I hadn’t gotten into the habit of hand-writing text on paper, and I think that particular habit has low-key been one of the biggest improvements in my life and my mental habits. I don’t know if I have some urge I’ve transferred onto my little paper and probably-plastic stack, but I do know that this morning, as I write this, I was delighted to find in myself the realisation that I could cross off some things from a list.

I wanted to write.

I wanted to write everywhere.

An icon of a quill pen in an ink pot.

I think this might have been just before I got a blog, but it might not have been. Before press dot exe, there was the leechimera blog, where Fox and I had a blog on something called blurty, and I don’t think that was active around this time. I don’t think at the time that I was writing anything specifically, but I just wanted to write. I have been wanting to ‘be a writer’ for a long time, but it wasn’t really until Fox set up press.exe and gave it to me as a present (one of the best I’ve ever received) that I had some outlet that left me with a want to write every day. Even once I had it, Press wasn’t a daily blog for a few years.

When Fox started university, she got a little netbook – a tiny laptop – and I had a deep and mighty want for it. She got me one and that was also an incredible gift, and I loved it too. Sitting on the sofa, writing while TV played in front of me was something that I think helped getting me in the habit of writing. I could even take it to bed, and sit in bed, doing more writing. This then became part of my life, something I loved to do; play videogames and write a bit on my desktop computer, then move to the bedroom of an evening or the living room and write more on my little computer, and eventually my laptop.

an icon of a keyboard

I thought of it as something really cool. Just the fact that I could pin text down whenever it was in my head. I started with this idea that I could take notes anywhere, and for a while there, I actually used twitter for that. It was a really cool tool at the time, I would have an idea for something I wanted to write later, I would frame it as a tweet, then I would come back to it later. That was back when twitter had some kind of value to it, where I could accept that sure, I like the experience of using this, but obviously there are bad things about this space, I mean we’d have to be silly to imagine it wasn’t bad, in some ways etcetera. That it was bad was apparently obvious (I’m sure I have hindsight bias on this), but I think I got ahead of the curve recognising when it was very very bad and left.

I don’t use Mastodon for the same kind of thing very much. I think Mastodon is a good thing for having the vibe of twitter, but more than twitter, Mastodon is a place I post things to see if people have anything to say about them. I don’t use it as my scratch pad any more, which is probably in part because I can’t really gauge if what I say has a meaningful traction to anyone – nobodfy on Mastodon ever pipes up and goes ‘wow, that’s cool, I want to know more,’ which you know, that’s okay. Mastodon feels like a retirement home for twitter and you only get unsolicited responses if you’re a woman talking about computers, and in that case, you have to deal with the worst bloody people on the service.

(Aside from the nazis, of course.)

I have also seen a picture of a guy on the subway, with a fold-out bluetooth keyboard on his lap. He’s typing, without looking at a screen, just thinking, and pouring out the words, and I am deeply jealous of that. I don’t know how usable that kind of setup is for me, but the idea of sitting on the bus – not looking at any kind of screen – and just having an open faucet to type whatever words I have in my mind, knowing that I can send them to my computer when I get home? That intrigues me. On the other hand, it’s tricky to test without first having a bluetooth keyboard that’s convenient for using on the bus, and that’s not free to play around with.

An icon of a bed.

Time has passed, though, and nowadays, I don’t write on the sofa, with my laptop on my lap. I don’t like the heat on my legs. I also don’t like the angle my legs hold the keyboard at, unless I change how I sit, I have to go all tippy-toes to do it.

For about a year now, though, I have found myself telling myself a little lie. “I’ll finish work here, then I’ll go to bed and write whatever comes to mind there.”

Know what keeps coming to mind in bed? When I’m sitting there with my laptop on my lap on my neat little writing desk? Wow I should go to sleep now.

Reader, I think that I may have turned forty and I think it might be having some after-effects.

Check it out on PRESS.exe to see it with images and links!

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newstech24
newstech24

HMRC’s Tax Labyrinth: Is Confusion the Goal?

Gain access to the Editor’s Curated Summary without charge
Roula Khalaf, the FT’s Editor, chooses her preferred articles for this weekly publication.

An inauspicious new fiscal year commences on April 6. In roughly six weeks, nearly one million independent contractors and property investors will serve as test subjects in the government’s Making Tax Digital initiative.
Hailed as the most…

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newstech24
newstech24

NASA Lights the Afterburners for Artemis

“This is simply not the appropriate course of action,” Isaacman stated.
A high-ranking NASA representative, sharing insights confidentially with Ars, pointed out that the aerospace organization encountered hydrogen and helium escapes during the pre-flight preparations for both Artemis I and Artemis II. These issues, consequently, resulted in launch postponements spanning several months.
“As I…

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pixegias
pixegias

NASA Is Making Big Changes to Speed Up the Artemis Program

“This is just not the right pathway forward,” Isaacman said.
A senior NASA official, speaking on background to Ars, noted that the space agency has experienced hydrogen and helium leaks during both the Artemis I and Artemis II prelaunch preparations, and these problems have led to monthslong delays in launch.
“If I recall, the timing between Apollo 7 and 8 was nine weeks,” the official said.…