howdoyouspell.cool

cool reader

“It takes an idiot to do cool things. That's why it's cool.” —Haruko. FLCL.

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from Sodium Reactor

When I got my account banned from the Mastodon server hosting it earlier this year1 I had motherfucking feelings. I was confident 2 that I hadn't violated the spirit or the law of the server's rules. Being banned for a first offense felt particularly egregious.

Per the server, I had the chance to make a single appeal within 30 days, and I planned to use it to express the following sentiment. I knew that I was never gonna get my old account back, (partially, if not primarily because) I never had any intention of apologizing.

I'm not contrite now3, was even less so then, and dishonesty has always fit me poorly. If I'd already been escorted across the bridge, why not burn that motherfucker?

But I decided to sit on it. To resist my first impulse. “Tomorrow's me deserves a vote on this decision” I told myself. I also told myself I'd return to the effort. To craft a more useful, more well considered response. At least one more confident and less petty.

But something strange happened.

The deadline to send that “appeal” passed this week. I didn't send one. My feelings are much smaller, much more subdued. Less “fuck that shit” and more... “hmm... I have a chance to write like.... something. I like writing. I should write something in that text box.”

It was, after all, my first time getting formally banned from any online service ever in my 20 years online. Like a first tattoo or a first broken bone.

That indecision about what to write soon faded into ambivalence and then apathy. What was there to feel strongly about, let alone mad about? I landed on a cool server. I reconnected with the people I needed and made some exciting new friends too.

We good over here. Thumbs up and shit.

No petty malice. No defiant vitriol. No antipathy. Just a desire to look ahead, not behind.

As the saying goes, “You know what that is? Growth.”

Rather than utilize my last chance to say anything to that server or its mods, and rather than workshop some 'woulda been, coulda been”-ass statement, I'll let this post be my memorial for my old, first account.

Cherished. Taken. Gone. Eventually forgotten.

I'm more confident in embodying all the #tags that make up my identity. And expressing every sentiment that doesn't fit in my brain. Still excited about carving a lil niche here on the fediverse. More excited to be NaClKnight. Known? Loved? Doesn't matter. I'm warm, and bright, and loud. Like a campfire. Grab a seat and stay a while.

I am not going to always have correct or benevolent opinions. I'll get it wrong sometimes. I'll keep trying though, and I certainly don't imagine that I'm some objectively good person. I'm just a poster trying to orient his actions and words toward his ethics, and one trying to reevaluate what those morals and ethics are.

But that's not why I'm here.

I'm here to commence the ceremonies and pour one out for my old account.

Here's to the friends I made there; the ones I kept and the ones I didn't.

Here's to learning how to use Mastodon one post at a time. To muting and blocking and posting like a motherfucker.

Whatever you drink, grab it. With that eulogy completed and its moment of silence behind us, I can move onto more pleasant things.

Raise a toast to a new Mastodon account on a different server and everything it represents. A new direction and a new path. Walking alongside new faces and familiar ones.

May it surpass its predecessor in all facets. More friends. More longevity. More memories. More smiles. More stubborn honesty.

More Chivalrous Sodium. More Saline Solutions.

Here's to more NaClKnight.

1 for posting clothed, suggestive, pinup photos of curvy models from Twitter and saying I found them attractive. I didn't even get banned for something egregious or hostile or funny. 2 still am. Make no mistake 3 still aren't. Fuck that shit

#NonFiction #Fediverse

 
Read more...

from forrest

suffering.png

Chapter I: I Will Avenge My Predecessor!

Our story begins, like so many stories, in a tavern; there, a bard sits; he recites a poem to the patrons, a poem of suffering and succession; a poem about the legendary Seven Heroes, who once banished a great evil, only to return decades later consumed by the very same evil they once banished; a poem about kingdoms crumbling to dust, then rising once more only to crumble again; of kings and queens falling at the feet of demons, only for their children to take up arms to avenge their gruesome deaths. This is a poem beset by suffering on all sides.

The poem is titled Life—er, Romancing SaGa 2.

Romancing SaGa 2 was created by famed computer game director Akitoshi Kawazu, developed and released by Square for the Super Famicom in 1993, then later remastered and ported to nearly all eighth generation consoles—including the Nintendo Switch, which is how I played the game. I could spend the rest of this essay telling you all about the historical details of the game, how this is technically the fifth title in a long series—the SaGa series (capital G very important)—and how it improves upon the previous titles in nearly every way. I could tell you all about how it manages to be one of the most unique Japanese role-playing games ever created while also retaining that signature SaGa obtuseness coupled with difficulty so macabre that it will make you wish that your mother and father had never met. I could also reword the Wikipedia article in an attempt to impress you by pretending that I am just really really well-informed about the games I like. But I’m not going to be doing much of that (this time). Instead, I’m going to give you some vague background and a seemingly random gameplay fact: the vague background being that, in Romancing SaGa 2, you play the role of an emperor of a kingdom, tasked with vanquishing the now-evil Seven Heroes, all to bring peace to the realm; and the seemingly random gameplay fact is that none of the characters—including the emperor—can recover life points; once their LP reaches zero, no phoenix down or revival potion can bring them back to life—they’re gone for good.

From the moment each character shows their big pixelated heads, they are on a timer, slowly but surely dying from every sword slashed across their chests, every firestorm cast upon them, and every fang ripped through their flesh by some twisted chimera-like creature that has three heads and a scorpion tail and a crooked pair of goat legs and useless little dinosaur arms, all while using psychokinesis to just kinda float there, taunting your party menacingly during the standard turn-based combat so commonly found within these Japanese role-playing games of old. In these battles, our heroes wait patiently to perform their actions between bouts of getting horribly maimed by demonic entities holding the still-screaming heads of other demonic entities; having their eyes squeezed out by the moist tentacles of a man-octopus hybrid; having their organs sucked out proboscis-style by a corrupted butterfly seraph; and, of course, having their blood sizzled by thunderbolts conjured by the Phantasmal Witch Queen of the (once) Seven Heroes, Rocbouquet; and plenty of other grotesqueries that are just too numerous to list here.

Being unable to recover LP comes with its own benefits, namely sweet release from the high-fantasy mortal coil our heroes find themselves born into; and what a coil it is: there’s no humor here, no joy—only constant mayhem, backstabbing, and violence. The only things that non-playable characters have to talk about are how they watched their spouse get slowly devoured by a floating ball of maggots, or how their children were kidnapped by hobgoblins and then made to row oars on massive land boats, of which the only purpose is to destroy the very land they sail upon. Antlions sinkhole into villages at night and eat people who are sleeping unawares in their beds—on a regular basis—and this is one of the better deaths one could hope for in this terrible world.

And that’s just what the in-game characters have to contend with. For the player, Romancing SaGa 2 is its own series of little heart attacks, which is especially dangerous for me, having been diagnosed with a genetic arrhythmia at age twelve. In fact, the whole Romancing SaGa 2 experience is like an EKG monitor run through several layers of computer-game abstraction—up and down with each heart-wrenching turn. The first abstraction layer is Kenji Ito’s near myth-status musical score, each composition its own self-contained epic poem, complete with heroic basslines, cascading drum fills, and heart-fluttering horns that swoop and soar in time with the action. This causes the line to go up. The second abstraction layer is the scenery and backdrops, all of which look as if they were pulled straight from RPG Maker’s stock asset library. This makes the line go down. The third abstraction layer is Kazuko Shibuya’s gorgeous sprites that pop color right off the screen, which themselves are near one-to-one 16-bit recreations of Tomomi Kobayashi’s summertime watercolors, of which every character has this huge smile on their face regardless of the terrible circumstances they find themselves in. This makes the line go up again. And the fourth abstraction layer is the gameplay itself, which is just absolutely brutal with monsters that one-hit-kill without warning and boss battles won only after the eighth attempt when the boss finally decided not to use its devastating area-of-effect attack two turns in a row, which always wipes your party regardless of how much time spent leveling characters. And this causes the EKG to flatline.

And a party wipe is really interesting in Romancing SaGa 2 because, as we covered before, characters cannot recover LP—so, when their LP reaches zero, they die for good. You would then expect the game to fade to black and throw some sort of huge-font GAME OVER screen, whereby you would reload a previous save game and start over from an earlier point—as is the case with most games of this ilk—but no; instead, you are prompted to pick a new heir to the throne, and after the new heir is chosen, they burst onto the scene with great enthusiasm, proclaiming:

“I shall avenge my predecessor!”

The next heir does a quick action pose before assembling a new band of unfortunate heroes and then saunters off to avenge their fallen predecessor; maybe this time they will actually manage to defeat the Seven Deadly Ex-Heroes, finally bringing peace to the world. But it’s more likely that they, too, will end up impaled on Dantarg’s massive javelin, then tossed to the wolves for their flesh to be torn apart and eaten like all those before them. But not to worry, because there are more than enough heirs to go around—literally an endless supply of fresh bodies to be thrown at the great spiked wall of evil, with the hope being that one day one of these fleshy heirs will finally bring the wall crumbling down, restoring the kingdom and bringing everlasting peace.

This presents a number of difficult questions, such as: Is it ethical to continue birthing new heirs into a world beset by suffering on all sides? Is this nigh-endless and possibly futile pursuit of peace truly justified regardless of the all suffering experienced along the way? This idea being that, once the Seven Heroes are defeated, the inhabitants of this world will no longer have to worry about random antlion attacks and hobgoblins stealing their children—but is that assured? Assuming this world is even remotely similar to our own, even if the Seven Heroes are defeated—and this quote-unquote peace is attained—surely there will still be some suffering left over: people will still lie and cheat and steal, hatred and discrimination will persist, disease will continue to spread, people will still find reasons to kill each other, and, at the very least, someone will surely stub their toe on the lip of a raised pathway then proceed to bounce around doing the expletive dance.

So, the real questions become: Is life worth living in the brutal world of Romancing SaGa 2? Does the pleasure of this world outweigh the pain?

I know what you’re thinking, “yo—this is literally just a computer game, what the fuck are you talking about?”

But the problem is…

Chapter II: …This Is Not Just a Computer Game—This Is Real Life

While life on Earth is obviously not the same as the world of Romancing SaGa 2, it does check all the important suffer boxes and more, including: excruciating pain, loss of life, status effects like poison and paralysis and confusion and Ebola and COVID-19, emotional grief, the nine-to-five grind of doing something you hate simply to continue existing, the passing of time and all the decay that comes along with that, et cetera. There may not be demons trying to cut your limbs off and steal your soul to power an evil death machine, but there are humans who have certainly done something similar, and, of course, all the non-human animals who would eat your flesh and muscles and organs at the first opportunity simply because they’re hungry—our very biological needs necessitate suffering, perpetuating the pain of the life around us. Someone or something is always being eaten by someone or something else. Truly, we are beset by suffering on all sides. And let’s be real here: our world is actually much worse than Romancing SaGa 2’s, because at least you can turn Romancing SaGa 2 off without having an existential panic attack.

Earth’s collective ecosystem is built upon pain and suffering. Take the neighborhood cat, for example, that cute ball of black-and-white fuzz that nuzzles your leg when you happen to cross paths; maybe you’ve even given the cat a name, perhaps that name is “Oreo.” During the day, Oreo spends most of his time relaxing in the shade of parked cars and wandering from home to home, expecting someone to feed him. But when he gets really hungry, he ventures out into the suburban wilds to hunt for fresh meat; he stalks a mouse in the underbrush, grabs the mouse by the tail, bats the mouse around for fun, gnaws on the rodent’s spindly legs before sinking his sharp fangs into the rodent’s underbelly, slurps up blood and gut juice before taking a big bite out of the mouse’s side while the mouse is still writhing about in agony. Oreo feasts around the mouse’s nervous system, leaving the head intact, allowing the mouse’s brain to process those final terrible moments of life. Oreo then smacks the mouse’s lifeless head around like a hockey puck before yawning, licking blood-stained chops, and wandering back to the shade of a parked car. This is all between mating seasons, during which Oreo effectively rapes female cats using his barbed penis, evolutionarily adapted to hook into the female cat’s internals, causing extreme pain. And it’s not just cats: the entire animal kingdom is predicated on suffering, as if some evil god designed the whole thing to be as awful as possible—and humans are part of this kingdom of suffering, albeit at the top. The circle of life begets cruelty simply by being a circle instead of a straight line or, better yet, nothing at all—but here we are, so we might as well try to make the best of it, right?

There is an argument to be made that the existence of pleasure justifies the potential for pain, but this assumes that both pleasure and pain exist in equal measure and that they are of equal existential value, which is certainly not the case when we compare the mouse’s experience of being eaten to the cat’s experience of eating the mouse: to the mouse, this is the worst—and final—day of its life, and to the cat it’s just another meal as the neighborhood's apex predator; it might even be a bit mundane for the cat, having brought about little hurricanes of life-ending suffering upon many a small rodent before. The cat may even find the act of relaxing in the shade more pleasurable than the act of eating the mouse—but neither is more substantial than the mouse having its organs ripped out while still breathing. One thing is certain: the mouse went through absolute hell while the cat just got another quick meal. Pleasure is nice and all, but it is never as good as we are expecting; whereas pain is often far worse than we can ever imagine.

Don’t let the fancy cars and giant metal obelisks fool you—humans have it worse than other animals when it comes to suffering, although not always from a physical perspective. It’s true that if you’re reading this, it’s likely from the comfort of wherever you happen to call home; a home that has its own running water, electricity, and some form of air conditioning, be that a unit or a good-ol’-fashioned fan. You might even have a freezer full of meat wrapped in polyvinyl chloride on foamy trays, that meat being from those now-expired animals who suffered terribly at a factory farm before making their way to your freezer—some might then say, “hey, at least I’m not in a factory farm, right?” But the thing about other animals is that they don’t have the higher awareness to fully grasp the horror of being in a factory farm. Mother cows have been known to bellow cries when their children are taken from them, but this is an edge case of awareness that most animals don’t possess; humans, however, possess this awareness in spades. As humans, we are fully aware of the cosmic horror going on all around us, and because of this, we have the added burden of being able to internalize the horror, letting it fester in our minds, forcing us to ask “why” over and over in the fetal position in the corner of a dark room. Non-human animals get over stuff pretty quickly, and only some have been known to hold grudges; humans, however—oh boy—we never get over anything, ever. I am still thinking about some of the weird shit that happened to me in grade school. Now try to imagine, instead of “weird shit that happened in grade school,” that your family was killed in front of you. Try to imagine internalizing that, what it would do to your mind, the mental anguish. That’s the rub: the psychic suffering.

As humans, we may be real smart or whatever, but this intelligence is also a pain magnifier; a curse that allows us to analyze our own suffering; a curse that allows us to ponder questions that are hard to fathom—questions that are so antithetical to life that they are often dismissed outright without any consideration whatsoever. Questions that the Seven Ex-Heroes of Romancing SaGa 2 answered for themselves, and their answers resulted in them becoming the villains of the game. That’s right—we will be tackling JRPG-villain questions with the remainder of this essay, such as:

“Considering the profound suffering in the world, is life even worth living?”

“Ought we eradicate all life to prevent further suffering?”

“Is it ethically justified to create new life given the potential for suffering?”

Many a JRPG villain has asked these questions and come to conclusions that led them to enact plans that would have resulted in the eradication of all life in their respective digital realms—some even think they can eradicate life and “start over” as ruler of a better world where suffering no longer exists. But the more logical villains nearly always come to the conclusion that the only world where suffering does not exist is a world in which there is no life at all. The heroes of these JRPGs would then attempt to thwart these quote-unquote misguided villains, forcing them to see the errors of their ways, insisting that life is indeed full of suffering but still worth living because “that’s what makes us human!” or whatever; and in the event that the villain fails to see reason, they are simply killed outright by the heroes.

Hopefully, by the end of this essay, I won’t have to be killed by JRPG heroes myself.

Chapter III: Obligatory Disclaimer

As supposedly sentient beings in this world, we are beset by suffering on all sides; and this begs several difficult questions, all of which I aim to cover with the remainder of this essay. However, I must stress: I do not claim to have the answers to any of these questions, and I would go as far as to say that anyone who claims to have the answers should be immediately dismissed as a fraud, as these are questions without concrete answers. I am not just typing this to subtly bolster my own case for philosophical legitimacy, either: I assure you, I am not an authority on philosophical matters such as those we will be covering; please believe me when I say this.

To further reinforce the fact that I am not trying to convince you that I am a philosophical authority, I present the following evidence: The majority of my philosophical knowledge comes from Wikipedia articles; I do not know my times tables; I have no formal education in philosophy; I have to do the ABCs song to figure out the alphabetical order of words; I dropped out of high school at age eighteen after being held back several grades because I was more focused on sex, drugs, computer games, science fiction, and rock ‘n’ roll than schoolwork; I mix up left and right, having to do the L-hand thing to remember, often; I earned a Certificate of High School Equivalency by passing a General Educational Development (GED) test, but only at the insistence of my mother, who pushed me to do it; I count syllables with claps; I can’t point to most countries on a map; I went to a community college for half a year before dropping out because my obsession with playing the online multiplayer role-playing game Final Fantasy XI caused me to lose sight of reality; and I have worked meaningless call center and software jobs to fund my lifestyle and provide for my family ever since.

What I’m trying to say is: I am not an authority on philosophical matters—I’m not an authority on much of anything, really. I am semi-well-read, but only in the genres of postmodern fiction, science fiction, and fantasy; I cannot recite the transcendental philosophies of Kant or the nihilistic principles of Nietzsche off the top of my head, and I have attempted to read literature by both philosophers but got bored even trying. So, again, I am not an authority on philosophical matters: I am merely someone who likes to think about what I perceive as problems of existence, using my own deductions. These “problems of existence” arise naturally for me, and I am greatly bothered by them (and this line of reasoning likely explains all of my non-fiction output). Also, I find it annoying when people quote other philosophers in discussions with me, partly out of jealousy that those people know more stuff than I do, but mostly because I value coming to my own conclusions instead of parroting the ideas of others; and in this way, I like to think that I am untainted by the previous thought-work of other philosophers, which makes me a tabula rasa of sorts—a blank slate, but certainly not an authority on philosophical matters. Therefore, the conclusions I come to in this essay—if I come to any conclusions at all—are mine alone, based on my own opinions and deductions, however flawed they might be. And, above all else, all my conclusions should be taken with massive salt piles.

The reason I include this section is that I don’t want anyone to read this essay and then conclude that their life and the lives of their children are merely factory farms for the mass production of human suffering, which could potentially result in a murder-suicide with this essay cited as the reason. In fact, this entire essay is likely just an attempt to come to grips with my own cognitive dissonance around the fact that I, as a parent of two children, have brought life into this world and that this life may very well be full of suffering, and that—maybe—I am partly responsible for that suffering; and that makes me feel real bad indeed.

But I will not pull my punches with this essay. I will go wherever my twisted mind takes me (as I’m sure you’ve already deduced from that overly descriptive account of Oreo the cat), and you can come along for the ride if you want—that’s fine, just be warned that this might get very very dark very very quickly.

And, ultimately, you should come to your own conclusions—not mine.

Chapter IV: Answering the JRPG-Villain Questions

IV.I: Is Life Worth Living? Should I Kill Myself? Should We Eradicate All Life?

Most of us were born into this world screaming, as if we already knew what was in store for us from the very beginning. One of the most common childbirth jokes is “that baby really didn’t want to come out!” and this joke is quite telling indeed; if all comedy comes from a place of truth, this has to be truth of the highest order—because, if we knew what we were getting into, who the hell would want to come out?

The cutting of the umbilical cord is a ritual that signifies the beginning of true suffering; from that moment we are cold, hungry, and lost. No longer can we simply float carelessly in amniotic fluid collecting antibodies, effortlessly absorbing nutrients and oxygen from the lifeline so easily severed from our tiny bodies. The brain doesn’t retain memories from our time in the womb, and that’s probably by design—so that we are unable to conceive how good we truly had it. And depending on the country of your birth, your skin color, your family’s monthly income, whether or not your mom was a drug addict, genetic conditions, and a number of other variables—I don’t have to tell you that your immediate life after birth could get really really bad really really quick, because we are truly beset by suffering on all sides. (You’re probably grimacing every time I use the essay title in the body of the text by this point; but hey, whatever, I think the title’s cool and, most importantly—it’s true. Here’s a heads-up that I’m probably going to keep doing it, maybe even in the next sentence.) And some of us are beset by suffering on all sides more so than others.

This brings us to one of this essay’s pivotal questions: Is life worth living? My immediate answer to this is going to come off as a cop-out: whether life is worth living is a matter of personal preference. The more interesting question is what flows from that personal preference: if I feel that life is not worth living, should I then kill myself? And that’s when things get complicated.

We are all involuntarily forced into this world. There is no heads-up, no consent form, no Boss Baby-type situation in which we decide beforehand who our family is going to be from the cumulus factory on high. Instead, people are biologically driven to have sex, and now you and I exist whether we like it or not. And, if we value freedom and personal autonomy, it seems fair that we should then allow someone to commit suicide if they so choose, because it is their own life to take, and if they feel that their personal suffering is too great, then they should be able to end that suffering; considering this, it seems intuitively cruel not to allow someone to take their own life—and many communities agree, as Kevorkianism is legal in many countries.

But what many countries don’t agree on is exactly how much suffering one must endure to justify the taking of one's own life. To be allowed to kill oneself, does one need to be limbless, writhing, cancer-ridden, squirting blood from all their pores; or do they need to be depressed, anxious, and miserable; what if they’re simply bored with life, finding no significant joy in living? These are interesting questions but, ultimately, the reasoning is arbitrary. We know that everyone experiences suffering differently, and the masochist is the perfect example of this; a masochist enjoys what others would consider “physical suffering,” they enjoy “physical suffering” so much that it can no longer be called “suffering” for them at all; “suffering,” for the masochist, becomes pleasure; subjective. But surely even the masochist has their own form of suffering—sickness, a family member’s death, et cetera—which only goes to show that, regardless of fluctuating definitions and semantics, there is some essence of pain that exists from person to person, and this pain must be considered at the personal subjective level. Yet it remains true that suffering, regardless of personal meaning and magnitude, is something we all strive to avoid and is considered bad in all cases—in fact, most ethical philosophies strive to minimize all forms of suffering, with the theoretical ideal ethical system eliminating suffering altogether.

People will often cite some nebulous concept of “meaning” as a reason to live. These esoteric meanings drive us to continue persisting in a world full of suffering and could be anything from “I want to write the greatest novel ever” to “I want to spread the word of Jesus Christ to every country on the planet” or, in the case of a JRPG villain, “I want to eradicate all life to prevent further suffering.” These “meanings of life” are different, but they share some similarities; they are all typically goals that promise some long-term or permanent state of satisfaction but rarely, if ever, deliver on that promise. This is not to say that this esoteric concept of meaning is ineffective, per se—I cling to many notions of meaning in my own life—only that these meanings are not objective, and there is no single meaning one could point to that applies to every person on Earth. Considering this, it becomes hard to prescribe meaning to someone who feels their life is meaningless, as the search for meaning is often a personal journey. And, as meaning is different from person to person, it follows that no specific meaning has intrinsic value to anyone other than the one who holds that meaning to be valuable. Religion has been effective in prescribing meaning to those without meaning, but this only works if the person is receptive to the mythos and benefits of that religion. I won’t cover the truth-value of each individual religion because, in my view, the presence of multiple religions undermines the truth-value of each religion; however, whether or not a religion is true is not necessarily important if the religion is providing meaning to large groups of people; in fact, a pastor may see this as a righteous consequence that saves lives, even if the religion’s promises turn out to be bunk—but is it truly righteous to convince people to continue living in a world beset by suffering on all sides? The concept of an “afterlife” alleviates this question somewhat, but how do you know which religion’s afterlife is true, if any? Do you then follow all religions?

While it may seem like I’m arguing in favor of suicide—and I am, for the most part—it’s far more complicated than what has been laid out thus far. Hypothetically, if one was living on their own, completely divorced from society and with no ties to anyone else, and this hypothetical person wanted to kill themselves, I would be totally in favor of that; but this is not the case for most people. Most people have ingrained themselves into social units that include other people who depend on them for some level of personal happiness—a parent that takes care of their children or a child that takes care of their elderly parents are both examples of this—and this instantly complicates the suffering-suicide equation, because in these cases, suicide has a ripple effect that harms those who depended upon the person who committed suicide: the child is now in foster care, bouncing between abusive homes; the elderly parent has no one to count their meds in the morning, feed them, or make sure they get to the bathroom without falling down the stairs. In many cases of suicide, the person committing suicide has introduced more suffering into the world simply by committing suicide; and this is a tragedy not only for those impacted by the suicidal ripples but also on a philosophical level, as it seems that, even when trying to escape this world, we create great suffering in our wake. Truly, we are beset by suffering on all sides, and we cannot escape it without creating even more suffering.

Yes, it is true that we did not choose to be born and that we ought to have bodily autonomy—which includes the right to kill ourselves—but we must consider those around us. They say, “life sucks, then you die,” and while I agree with this sentiment almost entirely, one of the benefits of having higher cognition is that we can work together to limit the suffering of those around us—and, although we didn’t choose to be here, we are here whether we like it or not, so we might as well try to make the best of it for ourselves and the people around us; otherwise, we are simply multiplying the suffering in this already insufferable world.

So, allow me to summarize:

Is life worth living? In the grand scheme of things, probably not. But ultimately, this depends on the personal feelings of the person answering the question. With sufficient meaning in one's life, they may feel their life is worth living, and, as such, their life would indeed be worth living at that point. I have no objection to this line of reasoning, provided said peron’s personal reason for living does not involve amplifying the suffering of those around them.

Should I kill myself? Probably not. But, personally, if I were isolated, with no ties to others, and were truly suffering without meaning in my life, or if my suffering were so great that I was merely a burden to those around me, then I would not be opposed to killing myself if—and only if—I wanted to. However, if the answer to the following question, “Will one person be harmed if I die today?” is yes, then I owe it to those people to stay alive for as long as possible, so as not to amplify the suffering of those around me. And it just so happens that I have two children, so I will be staying alive for them for the time being.

Should we eradicate all life? Life is suffering, and—in my view—there is no true meaning or grand plan a la the rapture. It is also true that, without life, there is no experience of life and therefore no suffering, so considering that we are truly beset by suffering on all sides (I’m going to keep doing it), I would not be opposed to the eradication of all life if the following conditions were met: 1) the eradication method is instant and physically harmless (i.e., an all-powerful being snaps everyone out of existence simultaneously) and 2) the eradication method is guaranteed to wipe out all life without any margin for error or sensation of suffering. Considering that both of these conditions (currently) can’t be met—and, likely, can never be met—I am not in favor of eradicating all life at this time. However, in theory, I am not opposed to this as a method to prevent future suffering in every respect.

It follows then, that, if I were given the option to instantly snap everyone out of existence, I might just do it, and that makes me far more similar to a JRPG villain than a JRPG hero.

Maybe the heroes will have to kill me, after all?

IV.II: The Great Gamble

We’ve made it to the final and most important question: Is it ethically justified to create new life given the potential for suffering? Or: should we just stop having children?

As suffering is an intrinsic aspect of all life, the question of whether we should actively pursue making more life is, in a way, far more important than any other question we have tackled thus far; and this is because, if we are creating more life, we are creating more suffering. Creating life entails responsibility to that life, meaning: we are responsible for the suffering of that new life.

The most common argument in favor of creating new life is that since pleasure exists, and pleasure is good, then it is good to create new life so that they may experience that good pleasure. This is an extension of the “pleasure outweighs the pain” concept. This argument hinges on the idea that if we don’t create life, we are depriving potential life of pleasure, which seems problematic on its face, as the logical conclusion would be that we should make new life at every possible opportunity. I have dubbed this argument “The Great Gift,” because it exudes a high level of hubris, as if we are little gods bestowing a great gift—the gift of pleasure—upon our subjects.

Let’s break down The Great Gift and see if it makes sense logically. In the case of existence, we can experience both pleasure—which is good—and suffering—which is bad—and we’ve already covered that both of these are—in terms of magnitude—entirely subjective to the person experiencing them. If we don’t exist, we experience neither pleasure nor suffering; the former of which some would argue is bad, because if we don’t exist then we are missing out on the pleasure we could be experiencing, but it seems more logical that this is neutral instead, as we would not exist to know that we are missing out on pleasure at all; and the same goes for suffering, some may argue that not experiencing suffering is a good thing, but, like the pleasure example, it’s logically more of a neutral thing, as, again, we would not exist to know that we have avoided suffering to begin with. In fact, there would be no “we” at all. It follows then that “existing” has both good and bad aspects, whereas “not existing” is an absence of both good and bad entirely, a totally neutral non-experience. One could then conclude that existing is a gamble in and of itself, in which we are gambling that our personal pleasure will outweigh our overall suffering. The Great Gift then becomes The Great Gamble.

It could be argued that The Great Gamble is made every day when we choose to take risks that have a high potential for personal payoff, like the thrill of rock-climbing, a dangerous endeavor that provides some with a great sense of satisfaction; or using most of your savings to start a business, knowing there is a high risk of failure. These types of gambles, however, are entirely justified and entirely different from The Great Gamble because they are made by individuals who know and consent to the risks. When we create new life, however, that new life is not giving consent—we are deciding for them. In fact, in any other situation, this type of consentless gamble would be seen as highly unethical. Imagine pushing a person into a lion’s den with the justification that the person may make friends with the lions; or forcing a person to take untested drugs with the justification that it may cure their rare illness; or stealing someone’s money and investing it into a weird start-up company with the justification that they will make millions of dollars; each example is highly unethical because the consent of the person is missing. Why, then, would we say it’s OK to make this type of gamble for our children?

When a person chooses to have a child, they are gambling with that child’s life. They are gambling that the child will be born healthy with their wits about them; that the child will not be abused by their own caregivers; that the child will not be hit by a car, left permanently crippled, or unable to speak; that the child will not be mauled by a bear during what was supposed to be just a fun camping trip with grandpa; that the child will not be molested by a camp counselor at the Citadel’s military summer camp; that the child will not contract an illness that results in a slow, painful death; that the child’s pet cat isn’t shot by redneck survivalist neighbors who are very serious about the arbitrary line that makes up “our property.” Some of these example may be close to home.

It could be argued that we are on shaky ground here; as, when we choose to have children, we are not gambling with someone that currently exists, but rather with potential children who do not yet exist; some nebulous idea of a life is being gambled. However, I have a hard time caring about this distinction—as hard as it may be to wrap my head around—as the child will certainly exist one day, and they will certainly experience some sort of suffering. One could also argue that we don’t normally care about a child’s consent anyway—school, shots, bedtime, the list goes on—but time waits for no one, and that child will one day be a full-grown adult that has not consented to existing. You could then argue that, as an adult, they could just kill themselves, effectively nullifying their non-consent by unaliving themselves, but by then they have already suffered non-consensual suffering at their parents' hands simply by being born, and one should not have to suffer to nullify their own non-consent. We could even grant that the child may have a wonderful life nearly devoid of suffering, and that, consequentially, we are in the “ethical clear” because the pleasure has outweighed the pain for the life we created—but even the stubbing of a single toe undermines our “ethical clear,” because we put that child in harm’s way, however minor that harm ended up being. It follows, then, that perhaps the kindest thing we can do for our future children is not have them at all.

To put it bluntly: Every time we choose to create life, we are putting someone in harm’s way without their consent—and because of this, I see no ethical justification for creating new life.

Chapter V: Conclusion

Birth is the prologue to death; the Grim Reaper’s job is easy as Hell; every cell can be a cancer cell; we all become predecessors eventually; life is like a box of poisoned chocolates, it kills you; every cradle is a grave; life is like a black hole, it sucks and also spaghettifies you; death is hardcoded into our DNA; God is a death fetishist; we are all cows in the factory farm called LIFE. Et cetera. Et cetera.

It may seem odd that this essay was written by someone with two children, but I believe it gives me a unique perspective over the tripp-pants-wearing Hot Topic teenager who would normally write something this dark and edgy. (If Hot Topic is even a thing anymore; admittedly, I am out of touch with what is cool among the modern-day alternative youth scene.) Anyway, I love my children. I don’t want any harm to come to them. This is not a unique sentiment, as I imagine most parents don’t want to see their children harmed either. And, in a poor post-hoc attempt to excuse my having kids despite coming to the conclusion that we probably shouldn’t have kids, I wasn’t thinking much about the ethical implications of having children back when I decided to have them—I didn’t think it through much at all, really. I was barely even writing at that point—kinda just vegged out on computer games and television. I had some money from working the same job for over 10 years, so I wasn’t financially strapped, and as such, I didn’t see it as irresponsible to have children at the time. And my partner wanted children, which was another driving factor—so we went for it.

Why people have children is a complicated subject—one that would likely take its own essay to fully explore—but I generally don’t think it’s because of “The Great Gift”; people are not that kind. The drive to have children—outside of the basic biological urge—comes from that same place of “meaning” we covered earlier. People see children as giving meaning to their lives, and they’re right; having children bestows great meaning, and this meaning ties you to the material world by staving off that ever-present sense of pointlessness in life. But using children as fodder to give oneself meaning is, by definition, selfish.

I admit that I have some of the same fantasies that I imagine most parents have in regard to why they had children, such as the desire for a little-me running around that is as cool—perhaps even cooler—than myself; a Me 2.0 who is better than me in every way: a little conceptual avenger, avenging all my could-have-beens and should-have-beens, giving my life meaning, slaying all my demons. And when my LP reaches zero, I would hope that my children will pick up my old sword, hold it to the heavens, and proclaim…

“I will avenge my predecessor!”

I also admit that this is incredibly selfish of me.

But some self-aware-woe-is-me proclamation is not the conclusion of this essay.

Some might say that, given the conclusions reached in the previous chapters, having children is a mistake, and it would then follow that my having children was a mistake as well; and I don’t disagree with this conclusion. But, while this is true, it’s not important. People make mistakes all the time; this is nothing new; people are making mistakes every second of the day. What is important is the Here and Now, which is that my children exist and—last I checked—they want to continue existing, and I am responsible for that existence, and as such, I am responsible for their well-being more than anything else in this entire world; because, not only did I bring them into existence, but I enabled their suffering. Every nick, cut, and bruise; every frown, tear, and sigh; every scream; every hospital visit; every late night in which they are groaning in bed, sick, and I am there stroking their hair, giving them Gatorade and crackers; every time a kid at school says they have a big belly and they come home asking, “Am I ugly?”—everything. I am responsible.

I was afraid that writing this essay would lead me down a spiral of misery, concluding that life is truly meaningless for everyone—including my kids—thus ending with the murder of my entire family. But really, what it has elucidated for me is that I am doubly responsible for the well-being of my children; that, since my children are here, and since I had a hand in bringing them here against their will, I am obligated to minimize their suffering at all costs while respecting their personal will to live. My children are their own people, and they have the right to come to their own conclusions about their lives; and as the person responsible for bringing them into this world, I have to respect that while ensuring my children experience the least amount of suffering possible. This is a personal responsibility all parents ought to bear.

And while I may be more similar to a JRPG villain than a hero, the smiles on my children’s faces are still the most important thing in the world to me. One might get all logical and ask, “But do their smiles outweigh their pain?” But that’s for them to decide—not you or me.

While they’re figuring it out for themselves, I will be the best JRPG-villain parent that I can possibly be—anything less would only bring more suffering into the world.


#RomancingSaGa2 #Ethics #ComputerGames

 
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from Lucifer Orbis

We already knew beforehand about our plans to go to a bouldering introduction course. My wife has been training these last few months, somewhat on-and-off but doing what she can handle, sometimes in reality, and other times in intention. Me on the other hand, not that much. I’m a sitting person doing sitting things. I go to work, walk a little bit, sometimes try to catch the bus two or three bus stops away, all well and good. But training, no, it’s not my specialty. Do I have one? Complaining in silence. I spent my Monday writing and working and wondering how the bouldering course would be. It would be great, of course! No reason not to be able to climb a short wall, I guess. I think I’ll manage given that, for some good blessing of nature, I have good upper-body strength. Were it not at the expense of my lower-body I could almost think myself a fitting human. Even in muscle distribution I am able to be a contrarian. As long as I can use my hands and shoulders, using my legs as support, I can climb at least the easiest colours. This is exactly the opposite of what should be done. Let me be very straightforward: don’t use anything you read here about physical exercise as gospel.

I arrived home and after hearing the story about how our washing machine is not working yet and the neighbours were nervous because there was a water leak that was immediately fixed before their eyes, not without the implication of panic plastered on their foreheads, I finally put the dinner in the oven and waited patiently for the meal that would give me superhuman strength to climb my way to heaven. After more lively dialogue we decided to leave. My wife usually drives because I have driving phobia and can only be summoned in situations of dire need in case someone in distress needs help. In a nutshell, if you’re dying, I’ll drive.

With GPS in hand we readied for the road trip to the klatresenter (the place of boulders). Suddenly my mother-in-law calls and the phone is busy with the GPS because the one in the car isn’t updated and we didn’t want to drive over the mountains but take the tunnels instead. I messed up the buttons because touch screens were invented for accidental taps and I’m still from the time when pressing buttons expressed intent. “I don’t want to talk with her now, “ my wife declares, “reject the call!!!!” I tried, but there wasn’t any digital red button on the screen, just a green rectangle over the GPS and a myriad of words I wasn’t able to read in passing. I just closed the window and chose to believe the call was gone. “It’s still there!!!” I tried my best to look it up but the phone wasn’t giving any sign of an ongoing call. It disappeared. I opened all the tabs and it was gone and transferred to the car’s computer. God, don’t make me describe all this because I don’t know what happened or what I did wrong. After a while, I assertively said that I wanted relaxation so we could drive safely. With call or no call it’s not like she was able to hear us, right? (She wasn’t.)

We arrived at the place and couldn’t find the right building. There was a complex of concrete blocks that housed companies and offices. We parked near the dentist practitioners. On the opposite side was a Barry’s with loud music and voices coming from the inside. It’s the place where people go for exorcisms – not our thing. After calling the klatresenter we were guided to the right place, around the complex, passing by another establishment where people have fun jumping on trampolines. I tried to shove aside all visions of nightmarish leaps of faith and broken necks. Finally at our destination, we entered the place and the reception was also a cafeteria. It was cosy and we were welcomed by two very smiley individuals and another, not so smiley one, showing signs of not wanting to be there. It was our instructor. We introduced ourselves and she asked if we wanted to start right away considering that we were early? Were we? Well, that’s a first! We told her we would wait and get ourselves ready. We used that time to grab a pair of shoes and see the place. Not a lot of people were there, everyone seemed skilled and welcoming. It was obvious we didn’t belong but I didn’t feel like I was just landing from Sirius. The relaxed atmosphere made me feel relaxed too, despite the idea of trying a new activity, something I never tried before. It wasn’t a big place with very high walls and it made me feel slightly reassured and less intimidated.

When the instructor showed up we were directed to an area with the easiest colours, where we could safely start. She gave us some tips and my wife went first, showing clear proof of courage and might. She did well, and then it was my turn. I also did well, first try, using my arms to raise my body, not entirely aware of where my legs were. I used intuition and strength. Then another time, then another. There were a lot of those easy routes, some reached higher than others and I enjoyed reaching the highest boulder and then climbing back down. The instructor told us she also prefers to climb back down instead of falling down on purpose due to the higher risk of back, knee or arm injury. However, in case we fall, it is recommended to bring our hands close to our chest and let ourselves fall. “Also, pay attention to other people climbing in the same area, especially above you, in case they fall over you.” Visions of leaps of faith and broken necks.

After what appeared to be one hour tops, my wife got tired. Her legs weren’t responding so well and she looked extremely happy but exhausted. It was to be expected as we haven’t been exercising, much less doing something like this. I could still go a little more. There was a wall where the boulders were a ways apart from each other. I pulled myself up and easily climbed it. I could safely conclude that I was ready for the easiest parts without much effort; it was only a matter of training until I was ready for higher difficulties, just like in video games. What I wasn’t expecting was the quality of my tendons in contrast with the quality of my muscles. When I looked down, a small bump on the inner side of my forearm was already showing and I was slowly feeling every connector tissue compressing against every muscular fibre inside my right forearm. I had a choice right then and there. Either I could play the hero of my story and keep climbing until I was really tired or I could go home and take care of an obvious case of inflammation and come back another day. I decided for the latter because I’m an adult, albeit imperfect.

My wife’s left arm ghosted her, and her legs were shaking when she climbed down. I didn’t notice mine were also in the same messy state although it would have been a fun sight, were I been able to select a third person view only to see my thin feet shaking like the tail of our cat when he’s angry. I mentioned what appeared to be one hour doing this. It wasn’t. We were at it for only half an hour of a two-hour course. After this extremely awkward realisation we had to say we were done. The instructor told us we beat the record of less time travelled in the boulders. People say so many things when they don’t know what to say. In any case, despite the obvious lack of a good build for the sport, we managed to climb! For 30 minutes we raised our bodies in artificial walls and didn’t fall or struggle that much! Two ladies who like reading and knitting and never leave the house did the unthinkable. I call it a win! When we arrived home, I put some ice on my swollen arm, and it worked like a charm. A few more climbs and I wouldn’t be typing silly things about myself for the internet to see. Now the pain, the real pain, will come tomorrow, or maybe not. Maybe it was just tendons and I’ll be relaxed, feeling that I used my body for something more than a vessel for a poor functioning brain.

 
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from Crapknocker

So how do you actually play FrogComPosBand, and more importantly how do you win?

First off, you have some options in playing the game. I highly suggest you download the precompiled binaries from the author's GitHub. You can also compile directly from the source code, but unless you know exactly what this means and what it entails, don't do this. You can also play online through your browser via angband.live.

Visually, you have options too. You can try to use the graphical tiles option, but I've found that most unique enemies are not rendered correctly and end up basically invisible using this method. I therefore suggest going native and playing in good ‘ol ASCII mode. That way you get proper representation of your monsters and you can pack a lot of info on your main screen to boot.

Speaking of screens, since these types of games date back to the days of the terminal, you have some additional options that can make your life easier. You can freely resize your main window to show as much of the game as your resolution can handle, but you can also have additional windows that serve specific functions. In game, press the equals key (=) to go into that menu, by which I mean hold shift and press the + key at the same time. Yes, the game differentiates between lower case and upper case letters and the same goes for all the other keys on the keyboard. There are a lot of things you can do in this game, and there is a unique input for each one.

I like to have a window showing my inventory, one with my equipment, one showing the message log in case I missed something important and a final window showing the visible enemies in the area. This is mainly because the game is designed to fuck with you and occasionally throws things your way like the space monster, which is represented on screen by a blank space. Or the creeping coins, represented by a dollar sign that looks exactly like piles of treasure but these attack and poison you. Being able to tell foe from dungeon feature will save your life more than once.

The Early Game

If it's your first time playing, you'll have to create a character and I've already run through the ridiculous amount of options there. But for a first-timer I'll suggest a Mercury Demigod Warrior. Warriors are a pretty solid class, easy gameplay consisting of hitting monsters with the biggest weapon you can muster and the Mercury demigod heritage gives you some speed on top of all of that.

Once you actually pop into existence in the starting town of Outpost, you'll need to control your character. You move by using the number pad keys. You attack in melee by going up to a monster and ‘bump’ attacking them (moving into them), trading blows each turn until one of you backs off or dies.

There's also a bevy of shops and places to go in town, so I'll do a quick overview of those. Armor, weapon, potion, magic items and booksellers are in every town, as are a food and light source vendor, and a temple shop that sells healing potions among other things. Finally, there's the black market where you can buy rare and expensive items.

For your first purchases I recommend buying a brass lantern and a flask of oil to fill it, since that gives you an extra square radius of light compared to the torches you probably started with. You should also probably buy a few pieces of basic armor from the armor shop. This should improve your initial survivability.

There's also an inn and mayor’s office where you can accept quests. Quests are optional, usually single level challenges that come with a reward upon completion. The first two available in Outpost are the Thieves’ Hideout and the Trouble at Home quests. Do the Trouble at Home one from the inn first, as it's the easiest. Once you go down the stairs that have appeared in town (you have to enter > to go down the stairs, yes I mean shift plus period) you'll be faced with killing a few mean mercenaries. The good thing is that they don't come after you until you attack them. If you have a sling or other distance weapon, fire it to aggro one to you and get a free hit or two along the way. Get used to maximizing every advantage you can against the monsters, they definitely don't fight fair. You'll probably have to finish off the merc in melee, which will knock you down a few HP. Rest up between fights (either hit the 5 key a bunch of times or R to specify how long) and kill all the happy singing drunks that stumble about, there's no downside and they sometimes drop money. Finish off all the rest of the mercs and feel free to explode a bit before you take the stairs back up. There are a few potions and rations in the back you can nab to sell in town to get you a bit of extra gold. Sell all the potions, they aren't that useful. Keep the rations for when you get hungry later. Don't forget to get your reward from the inn when you're done.

The Thieves’ Hideout is a little tougher, you'll probably want to be level 3 before attempting it. What I like to do to make this leveling process a bit faster is to go on the stairs to the dungeon just outside of town, go down to see if there's anything interesting just within that first room and go directly up if not. People on forums and messageboards call this stairscumming and it's fairly useful throughout the game. Kill a few low level enemies, grab a few items to sell, level up and buy a ranged weapon if you don't have one and maybe better armor. Go down into the den once you're ready to take on the quest.

Don't move once you're down the stairs, you are surrounded by traps except for in one direction. Which direction you won't know immediately. The bad guys will start coming to you, so when you see them start shooting them with arrows or pebbles or whatever. They will probably hit you and steal a little gold then teleport away. This is irritating, but actually to your advantage right now. When they run up again you can shoot them a few more times until you wear them down and (hopefully) kill them all. But still, don't move. Hit the s key to search around you until you locate the traps. You can try to disarm them (D), but it might be easier to go around. There are several more traps throughout the level so search a bit before you step. Gather up the treasures remaining and head back up. Get your reward, probably a magic weapon, from the mayor and you're well on your way into the early game.

With the cash you get from that, it's time to buy some things that will save your life. First, healing potions. Go to the temple shop and buy 5-10 of the largest healing potions you can afford. Go to the potion / scroll shop and buy 5-10 scrolls of Teleportation. Use these liberally throughout your game! It may feel cowardly to run away, but it only takes one fatal mistake to end your entire run. Stay safe and live longer. They put that low HP warning in the game for a reason.

With those quests under your belt, you can start diving into the early dungeon right outside of town. Dive a few levels in, always resting up between combats, until the monsters start to feel hard. Once your inventory fills up with items, head back up to town to sell and clear up space.

This is a good time to tell you about item identification. As you probably noticed with the potions, you don't always know what an item can do upon first encountering it. You can drink a potion to identify it, but this can be a bad idea if it turns out to be a potion of Poison or Death. If you hold onto weapons for a while in your inventory, you will eventually get a feeling about the quality of the item. The game will pop up a message about this and the item will say something like {good} or {excellent} in your inventory. The good or excellent ones are magic, you can read a scroll of Identify on them to figure out their exact stats. Same goes for potions, but very early on that might be cost prohibitive so you can just sell one in a stack to find out what they all are. Same goes for stacks of ammunition. To get around buying all those individual identify scrolls, I like to make my next goal in the early game to get enough cash to buy a staff of identify, usually sold by the magic item shop in town. They go for 2-3k but recharge themselves for free, so save up.

Once your item identification needs are met, you've probably leveled up once or twice and are tired of going up and down all those stairs. Let me introduce you to the Scroll of Word of Recall. Reading it in town takes you to the lowest level of whatever dungeon you've visited. Reading it in the dungeon brings you back to the most recent town you were in. So helpful. This will be your main mode of transfer range back and forth throughout the game. Keep an extra one in your inventory in case your last one gets burned up.

Now that you've got easy access to the dungeon, you can resume diving to try and get down to the bottom of the Warrens and kill Mugash the Kobold Lord. He doesn't have any special powers, but he does hit hard and have a whole group of other kobolds along with him. Don't let them surround you, fight them one at a time and retreat and heal if you take too much of a beating. Once you take him down you'll probably want to use the stat point you get to up your strength. That lets you hit harder and carry more stuff in your inventory before you get overloaded and start to lose points of speed (always a bad thing).

Once you kill Mugash at the bottom of the dungeon you can continue your adventuring exploits in the Hideout dungeon to the southwest. It starts at level 9 and has more human-type enemies which results in much better drops. You will probably see your first excellent items down here and if you're lucky an artifact or two. There are also some heavy unique monsters that show up here, so beware.

One of the biggest pitfalls I've succumbed to again and again in this dungeon is lack of confusion resistance. One particular unique, the Variant Maintainer, causes confusion on hit but more irritatingly also summons software bugs that also confuse on hit and explosively multiply. There are also quiver slots that shoot arrows that confuse on hit, so without confusion resistance you'll be stuck with no means of escape. Keep an eye out for rings with confusion resistance while shopping throughout your early game playthrough.

Once you've conquered your second dungeon, you begin to enter the midgame.

#FrogComPosBand

 
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from Crapknocker

Being a roguelike that has been passed around like the proverbial town bicycle, the mechanics of FrogComPosBand are an agglutination of lots of people's ideas of what might be fun over an extended period of time. Needless to say, they're complicated.

Regardless of your character choice, you'll have the same basic stat categories: strength, intelligence, wisdom, dexterity, constitution and charisma. The game again shows it's D&D influence here by adopting the 3rd edition style of stat progression. In that system, stats start at zero and go up to 18, which is considered peak human ability. Above that, stat increases are incremented by the 18/10 notation, meaning that for every 10 after the slash in the total is basically an extra point in that stat.

Attributes can be increased by equipment, temporary buffs, rare and expensive potions, by hitting level up milestones, or by defeating guardians of different dungeons throughout the world.

Backing up a bit, Nethack and older games started you out in the dungeon and had towns where you could buy and sell equipment randomly found throughout. Somewhere along the line, people added an overworld and static towns that you would teleport to back and forth from the dungeon. Like other variants, FrogComPosBand has an overworld with multiple dungeons as well as multiple towns to buy, sell and complete quests in.

One of the other core systems of the game is the resists system. As you might expect, monsters can cast spells and breathe various elements to try and kill you. This damage can be mitigated somewhat by having resistance to that element.

Resists can come intrinsically; if you're playing as a red dragon it wouldn't make sense to be vulnerable to fire. But the majority of your resists will come from equipment.

Press C (by which I mean shift+c, it has to be a capital C) to see your character page. Hit page down and page up to scroll through it quickly. Here you can see what your current resists are along with what equipment, if any, is affecting them. There is tons of information on this screen, read through it all at your convenience.

As you might expect from a family of games that have been forked and maintained for more than 30 years, there are more than your basic assortment of elements. Acid, electricity, fire and cold are your basic resistances, but by no means are they the end of the story. Poison, light and dark attacks also exist but are less common than the basics. Then you get into the more exotic, or ‘high’ resists: confusion, sound, shards, nether, nexus, chaos, disenchantment and time.

Interestingly, each element, base and high, has their own special effect if you get hit with it without any resistance. Acid degrades your armor, reducing your overall AC and making you easier to hit. Electricity can destroy jewelry in your inventory, fire can burn scrolls and books, and cold can shatter potions you are holding.

Poison starts a counter that slowly decrements, causing damage each turn until it expires or is cured. Light and dark can blind you and also change the lighting status of the dungeon.

Confusion is a status effect that causes you to move randomly and prevents you from using certain magic and items. Sound can stun you, reducing your ability to hit monsters and cast magic. Shards cause cuts, a more severe status that behaves similarly to poison. Nether is used by most undead enemies and reduces your maximum HP, stats, experience and overall level. Nexus can teleport you, polymorph you or permanently scramble your stats which can be devastating to the unprepared. Chaos has several random effects including extra damage, stat loss and healing the monster that hit you. Disenchantment permanently reduces the bonuses your equipment provides you. Time is the rarest element found in the game, only used by a handful of monsters, resistance provided only by a small number of items. Getting hit by it can ‘turn the clock back’ and reduce your stats, experience, and level.

Having a resistance to an element reduces both the damage you take and the likelihood of receiving a negative effect like potions shattering by like 90%. Having double resistance to an element reduces damage further and lowers the chance of negative effects by like 99%. When you get breathed on by a Great Wyrm of Perplexity, you're going to want all the confusion resistance you can get.

Along with all those bad things, there are several other status effects that can cause you trouble. You can be afraid, hallucinating, paralyzed, have your life drained, be slowed down, be hit by invisible enemies, afflicted by hunger, have your equipment cursed, contract an illness, get ancient blood curses cast on you, or even be crushed by earthquakes. All of these have various ways of being mitigated but the unwary can have their run cut short by any one of them.

Aside from stats and resists, there is another very important consideration for the aspiring adventurer: speed. Most roguelikes run on the basis of turns, i.e. you act and the monsters simultaneously get to act. But if you have a greater speed than the monsters you will get to act more frequently and vice versa. Underneath this system in FrogComPosBand is the energy system. In general, you get a certain somewhat randomized amount of energy each turn and the higher your speed the more energy you get. If you have above a certain threshold, you get to act. Slowed enemies take longer to cross that threshold and therefore get fewer turns. So the more speed you have, the better.

Outside of player characteristics, you've also got a rather large world to explore. Dungeons exist outside the towns with randomly generated layouts, each one with its own general theme. Some feature narrow twisty passages between rooms, some have rooms with open areas between. Some have forests that block line of sight between you and the monsters. Some have constant elemental effects that can damage you. Certain dungeons have families of monsters found within, like dragons found high in the mountains or knights in castles.

Dungeons have a difficulty rating indicated by their depth. In old versions of Angband they used feet notation, i.e. 3750’ deep, which is still referenced in some odd places in FrogComPosBand like the scrolls of Rumor that give random, occasionally helpful advice. In modern versions they use ascending level depth, meaning the higher the dungeon level, the harder the difficulty.

The overall goal of the game is to descend to the 99th level of the dungeon Angband, kill Oberon the guardian to be able to go to level 100 and then kill the Serpent of Chaos therein. Making this extra difficult is the quirk of the Angband dungeon to feature out of depth monsters. As you descend levels, monsters are generated to populate the dungeon. But in Angband, the game pulls harder monsters from its repertoire than any other dungeon in the game.

The other quirk in Angband is that certain levels are guarded by what's called a unique enemy. Unique enemies have their own specific name, generally have higher HP and do more damage than their normal versions and have special powers not present in their more common versions. Early on, you might encounter an orc boss that is resistant to confusion and can summon other orcs to his aide. Later on, uniques can get mountains of HP, breathe exotic elements on you, teleport away when their HP gets low or cast devastating spells on a regular basis. The fun really comes when the game has selected an especially nasty guardian for that level and until you kill them the stairs to the next level won't appear.

The flip side is that uniques drop better items than any other enemy type in the game. Items in FrogComPosBand come in a ridiculous variety. There are daggers, short swords, long swords, two-handed swords, rune swords, diamond edges, and blades of chaos. There are bo staffs, glaives, hatchets, scimitars, latajangs, sticks and fishing poles. There are slings, bows, crossbows and guns. There are dozens of different types of body armor, boots, gloves, shields and helmets. There are light sources like lanterns, jewelry, and crowns. There are also consumable items like potions and scrolls. There are books to cast magic from. There are magic wands, rods and staves that produce spell effects.

Equippable items come in four varieties. Normal, magic, highly magic (or ‘ego’ items), and artifacts. Magic items generally have a bonus to hit and damage or armor. Ego items come with a bouquet of enhancements like resists or extra effects on hit. Artifact items have all of the previous effects and usually one or two other things you can't really get anywhere else. By the end of the game, you will be wearing primarily artifacts. You want artifacts, you need artifacts.

Enemies can drop any kind of item at any level. There are low level unique bosses that can drop low level unique items. The deeper you go into the dungeon the better the quality of the items that drop from monsters and that can be simply found on the ground.

One important exception to this are vaults. Vaults are special areas that can be generated in any dungeon that contain treasures and monsters better and harder than you would normally find at that level. This ups the risk/reward calculation you're constantly doing while playing the game. And greed has been many a character’s fatal downfall.

#FrogComPosBand

 
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from Crapknocker

After my win in ToME 2.3.4 I tried a few different roguelikes. I bounced off Brogue, as it was too distantly related to the style of game I knew so well. I ended up playing and eventually winning Tales of Maj’Eyal with a Dwarven Bulwark, even though the systems there were still fairly distinct from Angband.

I bought Caves of Qud, which is an amazing game, albeit very far removed from Angband. It pulls off its far far future setting much better than any other game I've ever played. Still haven't won that one, though.

Which brings me back to FrogComPosBand. I was looking for a game I could play during my commute with my dinky, graphic-card-less laptop. I searched around for what the new hotness in roguelikes was at the time and found this guy.

FrogComPosBand is what happens when decades of work on different variants of the same game get mashed together. One of the big ‘selling’ points of this game over other variants is it's kitchen sink approach to game design. It contains the vague Tolkien theming of Angband, the Amber references of Zangband, the Cthulhu monsters along with dozens of other sources of influence from other videogames like Doom to much farther out references to books and anime.

It also has dozens and dozens of different classes to play. From your standard fighter to mages of many different stripes to rogues. But there's also real oddballs like the mirror master and magic eater classes. Playable monster races are also well represented by orcs, skeletons, mummies with special curse mechanics, vampires, and liches. Again there are odder choices like boits and kutars along with half-titans and klackons.

But my favorite addition to the player pantheon are the monsters that have no distinct class, the ones that radically transform how you play the game. For comparison, your standard warrior can equip things you would expect: swords, shields, magic rings and the like. But you can also play as a hydra which starts with two heads and able to equip a helmet on each one. As you level up you gain more heads, more attacks, and more head equipment slots. Or you could play a jelly which starts with only four equipment slots but is able to equip any type of item in them without restrictions.

Or you could be a straight-up dragon with a powerful breath weapon and claw and tail attacks. They can equip tons of rings, but have limited slots for other equipment. Dragons come in many different elemental flavors as you might imagine but are also able to specialize in one of several areas. They can choose to augment their breath weapon, making it even more devastating. They can specialize in melee attacks, giving them an even greater edge in up-close combat. They can also become masters of different forms of magic, from teleportation to summoning.

But my favorite monster race is the lowly filthy rag. Unable to equip anything and unable to attack aside from a basic punch, you gain power by absorbing other sets of armor, gradually getting better armor class, resistances and other core attributes. It starts out weak but can be overwhelming if you survive into the endgame.

And that's not even the only monster type with that mechanic! There are death swords that do the same for melee weapons. And the tricky ring monsters that ensnare wearers and absorb the essences of other jewelry.

And all that is just the tip of the iceberg in character creation!

#FrogComPosBand

 
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from hazardes

today was a public holiday here in the UK and i had the day off work. it's the end of the month and i have no money left so the plan for today was to sit around at home, do a couple of chores around the house, have some dinner, and then watch a load of films

mission accomplished!

i ended up marathoning the last three films in the Battles Without Honour and Humanity series, which will come as a shock to you i'm sure. i said writing this blog would give me an excuse to watch them all again. i honestly don't think i've ever been as into a series of films as i am these, like i mentioned in an earlier post they're just so dense, and i really feel like i'm learning lots of things while watching them; language, history, culture, all of it very alien to someone who grew up half a world away

the third and fourth films; Proxy War and Police Tactics are the two films in the series that are the most closely linked together, Police Tactics follows directly on from the events in Proxy War, and tells how an all-out gang war erupted in Hiroshima between rival yakuza factions in 1963, and the subsequent crackdown from the authorities. the plot gets very heavy in these two, when i talked about the first film i mentioned that it can be hard to follow in places, and that is magnified here as there is so much going on, it all follows the familiar pattern of alliances, betrayals, and violent revenge, but i did find it a lot easier to keep track of who everyone was the second time round

it's funny, you'll spot an actor and be like “oh i recognise him he's so and so from the first film” but then you remember that the character he played two films ago was brutally murdered and that same actor is playing someone completely different now. this happens quite a lot

one actor i have to mention is the amazing Nobuo Kaneko who plays Boss Yamamori in all five films. i came to absolutely love him by the end, Yamamori is a slimy double-crossing cowardly snake, and Kaneko delivers such a memorable performance. he appears in loads of other Japanese films i've watched recently from around this time too, always playing similar characters – scheming bosses, corrupt politicians, he was definitely typecast, and he's great in them all. i looked him up on Wikipedia and he had a really long career, even hosting a popular cookery show on Japanese TV towards the end of his life. such a character

the fourth film Police Tactics was originally planned to be the final film in the series, and it's written that way, however it was such a success that Toei put up the money and got Fukasaku to direct one more. i'm glad they did because Final Episode is an absolute banger movie and a great send off for the series. set a few years after the events of Police Tactics, the public have turned against the yakuza and their constant violence forcing the gangs to try and rebrand as respectable businesses and a “political organisation” called Tensei. predictably this doesn't go well and infighting soon leads to more violence

you really get a sense of how tired of it all Shozo Hirono (Bunta Sugawara) is by the end, when he realises that he's become the boss sending the young footsoldiers out to die

so, which one of the five films is the best? i can't decide, please don't put a gun to my head and force me to choose, all five of them are simultaneously the best film i've ever seen, but Proxy War is probably my favourite

still can't believe i got the box set for twenty-five quid

 
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from Lucifer Orbis

I was rereading the book “Arte e Beleza na Estética Medieval” by Umberto Eco, edited by Editorial Presenca in 1989 (EU Portuguese edition). The title in English is “Art and Beauty in the Middle Ages” but when citing the book I'm using my translation unless stated otherwise. It's a slow-paced reread that I've been doing. Umberto Eco has always been my favorite for studies about the Middle Ages and semiotics. Finding more than one of his books in our literature lists at the university was to be expected. “Art and Beauty...” was one of those books. It works more or less like a guide with the most fundamental concepts on aesthetics coupled with a variety of sources to pave the way for further study. There must be better and much more comprehensive sources by now. Everything changes. The reason why I'm still so attached to these books is purely emotional because it comes from a time I'm still longing for. I'm not the same person, I don't have the same life, I'm not surrounded by the same things, but I still have the same nature.

I was reading a section about the Chartres school and found an excerpt of a poem in Latin that goes like this:

O Dei proles genitrixque rerum. vinculum mundi, stabilisque, nexus, gemma terrenis, speculum caducis, lucifer orbis. Pax, amor, virtus, regimen, potestas, ordo, lex, finis, via, dux, origo, vita, lux splendor, species, figura, Regula mundi.

Alain the Lille (Alanus ab Insulis) (1128 – c. 1202) De Planctu Naturae, ed. N. Häring, Spoleto, Centro Italiano di Studi sull'Alto Medioevo, 1978

It's one of the primary sources cited in the book on page 49. The poem was followed by a Portuguese translation and I got stuck in the word lucifer which was translated the same as lux. The person who translated the translation from Italian (the original “Art and beauty...” is written in Italian) chose to use the same word – luz – to translate lucifer and lux. Since I don't live in a place where I can go to the library and easily find Latin sources and romance languages, I had to search online. A possible translation for lucifer that isn't Lucifer, the angel, is estrela d'alva – morning star – with reference to the planet Venus and it's seldomly used, at least with that wording. After a while I found what I was looking for. Lucifer: that brings light (que traz a luz), that gives (or reveals?) clarity (que dá claridade), luminous (luminoso). I very badly need to read this translation in Italian but I'm going to leave you with an English translation by Douglas M. Moffat that, accurate or not, shows the beauty of this poem:

O offspring of God, mother of all things, Bond and firm chain of the universe Jewel of earth, mirror to mortality, Light-bringer of the world! Peace, love, virtue, government, power, Order, law, end, way, light, source, Life, glory, splendor, beauty, form, Pattern of the world!

I may have seen a number of English translations and couldn't decide which one to choose. The Italian translation I was looking for is locked behind a paywall. But if the title De Planctu Naturae appears often translated as The Complaint of Nature in English, in Italian it's instead called, in direct translation, The Lament of Nature. The frustration I have to deal with for now is that the Portuguese translation of the excerpt could have been reworked, but it still depicts what touched me about this poem (which is much longer that what's written here). Umberto Eco selected this strophe to express the organic sense of nature in contrast with static mathematical principles, where the immanence of the Son is the organizing principle of aesthetic harmony, the Father is the effective cause (causa efectiva), the Holy Spirit is the final cause (causa final) – amor et connexio, anima mundi. (Eco, p. 49).

What is accuracy in translation after all? With spiritual texts and prayers in Latin I prefer to go for perceived meaning instead of exact meaning or, say, a translation with literary flourishing. However, when reading these works from an academic and study perspective is when my hands are tied. I may (or may not) know that it means, as in what it refers to. What is the spiritual link that connects the soul of the world? What lies in the root of nature's primordial force? What's the sense we make of it and its connection to God's creation?

*

By a stroke of luck I found another translation. The book “Art and Beauty...” is available online for your perusing. Let's go to page 34 of this translation by Hugh Bredin and see how he nailed the poem (spoiler alert: he did):

Oh child of God, mother of creation, Both the universe and its stable link, Bright gem of those on earth, mirror for mortals, Light-bearer for the world: Peace, love, virtue, guide, power, Order, law, end, way, leader, source, Life, light, splendor, beauty, form, Rule of the world.

In the Portuguese edition species is translated as aspect (aspecto). There's a reason for it. Species can mean beauty, yes, but its meaning is not only confined to value. It can be aspect, appearance, look, exterior. It can also be beauty! And, let's face it, between splendor and form isn't beauty so vibrant?

The light-bringer, the light-bearer presupposes an agent: the one that brings the light, the one that bears the light. Can the light be brought or borne with the passive voice? What was Alain thinking? Did he mean the so-called offspring of God or the children of God as agents? The progeny of God born from the origin (female/ genitrix) of creation, the one who brings light, stability, bond (vinculum), the one that unveils the world (orbis) and brings the world to light? Or the creative nature of all things from which the offspring generated? Well, we could be here all day but if Umberto Eco moved on to the next point, so will we.

Just to close the subject, De Planctu Naturae is, to put it simply, an allegorical depiction of the Creation, the order of the universe and its disorder. Alberto Bartòla on the article “Filosofia, Teologia, Poesia nell 'Planctu Naturae' e nell 'Anticlaudianus' de Alano di Lilla” page 233, wrote the following:

Nella seconda scena della prima parte, attraverso un lungo monologo, il personaggio feminille svela sua vera identità e definisce il ruolo che assume rispetto al Creatore e nel contesto de tutta la creazione: ella è la vicaria Dei, la mediatrice dei disegni della divina volontà sulla terra.

“In the second scene of the first half, there's a long monologue, the female character reveals her true identity and defines the assumed role in relation to the Creator and in the context of all creation: she is the vicar of God, the mediator of the divine will's design on earth.” – My extremely direct translation. It gives some clues on Who in fact is our secret agent!

 
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from Crapknocker

I was working a summer internship at a mosquito control company many years ago with two other people. We traveled a lot to different areas which gave us a decent amount of downtime where we could do what we pleased. Being dudes, we played a lot of videogames.

One guy had his own shard on Ultima Online where we all made characters and farted around. This was fun, killing monsters and navigating the weird economy of UO that had built up years after most of the player base had moved on. But occasionally I would see the other guy playing a game on his laptop with tons of windows open and weird tiny little tiled graphics. I asked him what the heck that was and he told me it was ToME, short for Tales of Middle Earth. It was a free game, so I installed it and gave it a whirl.

The game I played was ToME 2.3.4, the final release of that version before the developer went on to make an aborted attempt at ToME 3, then moving on to the much more successful Tales of Maj’Eyal. Which is a great roguelike in its own right, but before I tell you that story, I need to tell you this story.

Rogue was released for Unix microcomputer systems in 1980. It was a text-based game that centered around going through a dungeon, battling monsters and acquiring items. It was inspired by Dungeons and Dragons and other computer games of the time. One of the selling points was that every time a new game was started the dungeon would be different and that once a player character died, it was permanent and irreversible.

Eventually, the source code for Rogue was released so people could add or change the behavior of the game. This led to variants like the still popular today NetHack which eventually gave birth to variants like SLASH'EM (Super Lotsa Added Stuff Hack – Extended Magic). All of these games had a similar design ethos, a single character traversing a huge, randomly generated dungeon to accomplish a difficult goal with only one chance to succeed.

Angband was another one of those variants. Since the antecedents were heavily influenced by Tolkien, as was much of early nerd culture, it's only natural that a game would fully embrace that heritage. Angband is named for the huge dungeon of Morgoth and many of its items and enemies carry on that theming.

Angband, like it's predecessor, also ended up open source which allowed for even more variants. Zangband (short for Zelazny Angband) incorporated elements from Roger Zelazny’s Chronicles of Amber novels. Cthangband used monsters from H. P. Lovecraft’s Cthulhu mythos. ToME went all in with a fully explorable Middle Earth.

I was hooked on ToME for a good long while. The early game was fairly easy to get through and there were a few ways to bypass it entirely, although not without risk. After quite some time playing, I managed to push through to the end game and actually win with a Dark Elf Mindcrafter (#515 on the Angband ladder!).

I eventually got fired from the internship after bringing in a router so all us interns could get on the Internet at the same time. At the start they told us there would be a possibility of getting hired full time afterwards, but I checked years later and they were still offering that same internship position so I think they were full of shit.

#FrogComPosBand #roguelikes

 
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from hazardes

the hardest thing about writing this post was coming up with a title

rather than dedicate a whole blog post to one film, i thought i'd try writing about all the films i watched this week, in a sort of anthology post, let's see!

two films from Kinji Fukasaku, and one from Teruo Ishii. i'm new to Ishii, Blind Woman's Curse (1970) is the first film of his i've seen, and i enjoyed it a lot. a young Meiko Kaji in her first starring role as the dragon-tattooed oyabun of a yakuza clan, facing off against a rival gang in a surreal mix of traditional period ninkyo eiga yakuza movie and weird grotesque ghost story. this is par for the course for Ishii apparently, some of the titles of his other films are definitely interesting! Horrors of Malformed Men sounds wonderful. Blind Woman's Curse is quite bloody in places, with lots of red paint spraying everywhere in that style common to the early '70s (Lady Snowblood is great for that) i really liked how Kaji's gang all had matching back tattoos that lined up when they stood in formation, with Kaji at one end with the head of the dragon on her back. she is such a badass

it's easy to see why Meiko Kaji went on to become a star. she just has this aura about her, that mesmerising quality that makes it hard to focus on anything else when she's on screen. if i was 20 years older i definitely would've had a poster of her on my teenage bedroom wall (tbf i'd put one up now if i could find one)

Hiroshima Death Match (dir. Kinji Fukasaku, 1973) is the second film in the Battles Without Honour and Humanity series, and is a slight departure from the first in that it mainly focuses on one character, the tragic yakuza hitman Shoji Yamanaka (played by Kinya Kitaoji) also starring Meiko Kaji (notice a pattern here) and Shinichi “Sonny” Chiba who gives an incredible performance as the psychopathic Katsutoshi Otomo. stylistically it's exactly the same as the first, which is hardly surprising as they were filmed back to back (the entire five film series was released in the space of two years) and features the same frantic fight scenes and documentary style that leaves you breathless. you remember how i said that i didn't know which of the five films was my favourite? well it might be this one, mainly because of Kaji and Chiba as they are both excellent

based on true events, with only the time period changed slightly so it would continue from the events of the first film rather than being set concurrently (plus production happened so quickly they couldn't rebuild one of the sets in time) Bunta Sugawara takes a back seat in this one. the real life Yamanaka was still held in great reverence by the yakuza of Hiroshima so screenwriter Kazuo Kasahara had to be careful and not change his story too much

i really love this series, there's so much density to it, so much to read about and learn, and it's a tragedy that it took so long to get the recognition it deserves outside of Japan

finally, this week i also watched another Fukasaku movie, Wolves, Pigs, and Men (1964) which has recently been released on blu-ray by Eureka. shot in black and white, this is a brilliant tale of the fallout of a heist gone wrong, starring one of the golden boys of Japanese cinema of the time period, Ken Takakura, playing a character called Jiro, who is an absolute bastard. quite a hard watch in places, this film is packed with social commentary about the downtrodden people forced to live out their lives in the slums of Tokyo, and their efforts to escape to a better life. one film that i am pretty sure was influenced by this masterpiece is Quentin Tarantino's Reservoir Dogs as they are quite similar in places (including some nasty torture sequences)

one word i would use to describe this film is “bleak” as there are no happy endings here, when a heist goes wrong things quickly devolve into paranoia and infighting, and when the yakuza get involved, well...

Fukasaku is quickly becoming one of my favourite film makers, everything i've seen of his so far has been fantastic, and each time they announce a new release of one of his movies it jumps right to the top of my must watch list. Arrow have one coming up, “The Threat” which is another one of his black and white earlier films, and i am looking forward to it immensely

 
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from Lucifer Orbis

So simple. A blank page. I couldn't ask for a better interface. Look how these words populate the page so magically. It's a sight to behold, considering the clutter we are subjected to in other online spaces.

I was a bit unsure about what to write here. I created this blog as a backup space in case my WordPress blog went out of commission for some reason. Usually the reasons aren't communicated from the get-go and they urge you to take action in case you wish to recover all content you no longer have access to. It's confusing and I wasn't prepared to take in the idea that what I write in platforms owned by others doesn't actually belong to me. Pretty basic concept I was blissfully unaware of.

I'm still trying to figure out how this blog works, so this first post will be shorter and against the rules, or maybe not. Having less options for customization doesn't mean I get way faster at figuring things out. I can no longer give the excuse of my age because there's many people my age who are way better than me at navigating online platforms and using software. If there's one thing I've learned when I started using Mastodon was that I must be extremely techno-stupid. Mea culpa.

One day I told my wife: “A day will come when I'm going to get banned from Facebook or some other very well-known network and it will be for some stupid reason involving spam filters or because I chose the wrong react emoticon or something. Mark my words.” So yeah, let's wait and see. I can say that I'm a proud owner of a Mastodon account for almost (or probably exactly) one year and nothing happened yet, I haven't offended anyone and didn't crash the instance. I also never got angry, and that is a first.

I could start by saying where the name of this blog came from but I'll keep it for another time. It's not important. What's more important is that I'm in good company here – of this I'm absolutely sure – and I hope to fit well. I really do. What I'm not going to use this blog for is writing about video games, because I already do it somewhere else, unless in comes from an ongoing stream of consciousness. I could write about books but in order to do that I have to read them, and many other activities are just in the way, sometimes my own thoughts are in the way.

*

I've been using Discord a bit more often to connect with other bloggers. For some reason that I'm yet to understand I can't seem to like the chat. It surely is great to exchange tips about video games and other hobbies but I find it very difficult to keep a conversation going. It's like I go there, check the latest chats, send one or two comments and that's it. I struggle to communicate with people and I feel that chatting amplifies this shortcoming. I managed to keep it going once, with one person, and it was actually pretty cool. For a brief moment I was thrown back to my IRC times, where the chat window was brimming with activity and people constantly cycled between private and public chat. At the time, we had about five or more private chat windows and then just shitposted on general chat. It was fun, and we could always get to know people.

Now on Discord we have profiles that say “Ask to DM” and I wonder what that means. DM used to be the default so I think people must have changed. Or the internet changed. And where are we supposed to ask? If it's a private message wouldn't announcing ourselves in public defeat the purpose? “Illustrious person, could I please send you a private message about a given situation I'd very much like to discuss with you in private because it only concerns you and I don't see any reason to go off-topic in this general chat?” My goodness. The best course of action, I think, is to refrain from DMs altogether and react only if someone sends one to me. I miss IRC though. Some people were crap but at least we learned first-hand why.

I know why it is so. I know what trolling and abuse are and I've also been on the receiving end of it. I just wanted to rant a little and dwell in my own thoughts for a brief moment. There's a Norwegian expression that I enjoy very much: å ha mye på hjertet. It means, in direct translation, to have a lot in our heart, meaning that we have a lot to process, to communicate and to put out there. It can also mean that we have a lot of opinions about a subject. So let's relax a little. I think this blank page is the best place to start.

 
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from rC:\ Writing Portfolio

I'm Afraid to Die, so I Made a Website

August 18, 2024

A black and white faded screenshot of a Neocities HTML editor page with a grey skull image covering the center part of the image

I.

There are days when I wake up in the morning and curse the fact that I exist. Despite this, I know deep down that I want to be here. For all the contradictions that come with living as a human being in a post-humanist world, I still derive personal enrichment from simple pleasures and discovering ways to become a better version of myself.

I don't want to die. I don't want to be swept away in the biblical floods, lifted out of my house by a swirling vortex. I don't want an unknown pathogen to wreak havoc on my vital organs. I don't want my skull caved in by a fascist militia because of my alternative lifestyle. I don't want to be struck by an errant bullet because I picked the wrong time to buy groceries. I don't want to be left economically destitute, without another person to rely on as I starve to death under a highway overpass. I don't want to kill myself because there's nothing left to be around for.

The world we inhabit is a terrifying, monstrous plane of existence and by some miracle, I don't want to be apart from it. I am tethered to my experiences, my memories, my thoughts and feelings, my possessions, the people I depend on. I may lose sight of this fact sometimes, but a constant internal state of rebellious, stubborn persistence lives on.

The problem that I come back to time and time again: I don't know what to do about anything. I feel like a fallen leaf from a decaying tree, spiraling downward into an endlessly flowing river, riding the current wherever it takes me. I will eventually get ripped to pieces or snagged on something downstream, it's just a matter of when.

Society has become a distorted mirror image of what it was supposed to be, yet everybody goes on like nothing happened. Traditional avenues on the way to self-actualization have been stripped for their parts, or were merely illusions to begin with. Institutions that people relied on for generations have become hostile toward those who need them today. I've come to the realization that I am seen as nothing more than a node of value to be extracted from and disposed of.

I'm afraid to die, so I made a website. Someday, I will die. Rebellion and stubbornness will only get me so far in the battle against time. I do what I can to put little barriers between myself and this overwhelming force, but I have to be realistic. We all do.

My real-world identity is not explicitly tied to my online persona, and if all goes right, hopefully it will stay that way. The real me is not whatever arbitrary designation I was bequeathed by my English speaking parents, it's not even the physical characteristics I present to the world based primarily on the genetic lottery.

The real me is how I express myself. At present, the internet provides the most direct way of accomplishing this task. If I make you feel something, make you remember the words I say, that could be enough to help you understand the real me. In this way, I could live on forever.

II.

Here is my website. It's not the most in-depth thing ever made. It's got inconsistent, weirdly spaced margins. It's got low resolution animated GIFs and a tiled background I lifted from an old version of Microsoft FrontPage. It's got a subdomain attached to it because I'm too much of a cheapskate to pay another faceless individual a periodical fee in exchange for an intangible object. It's got an old school view counter widget that has ticked up over 1,000 since I first published the site several months ago.

The fact that over one-thousand people looked at my site and didn't tell me it was the most hideous thing they ever saw means the world to me. It should be clear from all this that I'm not a professional web developer. My qualifications mainly consist of a few HTML textbooks that I never bothered to open, stored away in some box in a back closet. I took it upon myself to learn basic web design using a few recommended online resources paired with a truckload of search engine queries, pretty much the only way I can learn a new skill these days.

Joining an online community where others advertise their personal sites was a motivating factor, but I also felt like this was something I should have learned to do 20 years ago. I took a website design class during summer school one year, but never followed up on it in a serious way until recently. If anything, learning to design for the web was an attempt to break free from a creative rut I've been stuck in for longer than I can remember.

My site serves as a place where I can log away information, ideas, projects, random tidbits for anybody to see. I want visitors of the website to get a general idea of who I am as a person and what I care about. It's also a personal hub for me to quickly access things I've held on to, rather than having to recall a website title off-hand or sift through an unorganized list of bookmarks.

I was not very careful in preserving my digital life when I was younger. Anything I have left from my teenage years exists due to serendipity, random chance. I did not yet realize the importance of holding on to digital objects for a future version of myself to reminisce about, and I'm paying the price for it today. This website is a manifestation of that psychosis; I've lost so much over the years to the point that I may now be overcorrecting in what I feel is worth preserving.

I also feel self-conscious about the current state of the site, I can't help but believe that certain visitors will be judgmental of my sloppy coding techniques, wonky presentation or overly personal writing style. At the same time, there is a certain elegance about the simplicity of the design, a factor that others have mentioned as a positive.

That's what makes the indie old-school web immediately appealing: there are no preconceived notions of what your site is supposed to look like. Do you want to use a pre-made template or HTML generator program and tweak it to your liking? Go for it! Do you want to hoof it on your own, learn some basic coding skills and try to make your vision come to life? It's your prerogative.

Designing for the web is like learning to paint, even a finished product that may appear crude and amateurish to some people has value in the eye of another beholder. You can seek out professional training and learn to do it like everyone else, or you can choose to teach yourself through experience and develop your own style, your own voice. Having the tools to express yourself is key to the flourishing of a creative process.

Learning some simple HTML and CSS techniques has revolutionized my creative output. What was originally meant to serve as a simple repository for my projects and achievements has turned into an obsession over learning how to become a better writer, a better communicator. I still have a considerable amount of work cut out if I want to keep improving in these departments, but sometimes one just needs a push in the right direction.

I couldn't have gotten this done without Neocities, an admirable attempt to bring back accessible do-it-yourself web design for the average person in a similar way to how GeoCities functioned around the turn of the millennium. An underrated feature of this service is that it allows me to download my entire site as a .zip file, at least ensuring that as long as I can keep it safe on a hard drive somewhere, my work will live on into the future.

III.

The beautiful thing about websites is that they allow for complete, free expression where the only curation is performed by the webmaster. Sure, I have at least one social media profile I regularly keep up with that serves a similar role, but there's something innately appealing about having total control of the end-user experience in a way that a social media site can't offer.

Social media tends to present a flawed, incomplete view of the human being that it serves. While expressions of joyful moments and fleeting thoughts are encouraged on the social web, an honest-to-god website lets you shake off arbitrary limitations and show the world what makes you the person you are in as many characters as needed.

It's no secret that personal websites have fallen out of vogue over the past twenty years. Much like file sharing and other decentralized tasks involving the computer, Silicon Valley tech companies have successfully whittled away such utility by providing more convenient, less effort-intensive services that can fulfill the same needs for most people.

What these corporate services can't do, however, is provide total autonomy to the user. These firms will sell your data to the highest bidder, use it to train proprietary large language models without your consent, feed you misinformation, censor things they don't like and spy on your habits to more effectively serve you advertisements. In the same way that an AI image generation service can't create an image that lampoons a company logo, a corporate social media app can't give you access to the nuts and bolts of your profile page. At the end of the day, corporations desperately need control of the boundaries people operate within.

The death of the public forum is frequently brought up in discussions about the effects of late capitalism. Indeed, there are very few spaces left outside in the world for people to just exist without the expectation of payment. If you sit down at a table outside a coffee shop, need to go to the restroom while out in public or simply want to meet up with a friend after work, you're most likely going to be pressured to hand over at least a meager amount of imaginary numbers to whichever unsympathetic figure you happen to be a patron of by virtue of existing in a certain space. An act as simple as going to a public park for an afternoon may require you to get in your vehicle that you pay to keep insured and filled with gasoline so you can drive to a parking spot where you need to pay by the minute just to leave it in place.

I cannot get into the head of the person who invented the internet or the countless people who improved it, iterated upon it and maintain it to this day. That said, I look at the web today and still see a place that people can mingle and share ideas, hobbies and creative projects without involving a financial entity—I see a vision for an augmented human experience that wasn't possible before it existed. The problem with this utopian vision is that, in reality, we've been living in a period of corporate digital land grabbing for nearly two decades, one that mirrors the gradual accumulation of real-life monetary wealth in fewer hands.

Some people don't have the wherewithal to learn how to code a website from scratch, organize a local collection of media or set up an external hard drive to back up their personal data, so a free-to-use online service that will do the heavy lifting is naturally appealing. Most people won't want to go out of their way to accomplish something unless they feel compelled to do so. Convenience rules the day, and people who park their butts on $1,000 leather chairs in corporate boardrooms know this all too well.

Corporations don't want you to own your data, they don't want you to own anything. Their goal is to tally as much quarterly profit as can be mustered, extracting wealth from everyday human beings is the most direct way to do so. Their dream is to legally steal things you have owned for years and sell them back to you.

What do you actually own in your life? Take a moment and think about it.

You may think the physical objects that exist in your living space are yours, and they should be. In reality, you could lose them based on the whims of your landlord, the bank you pay a mortgage to, the city government you are subject to, a changing local climate or an armed force that has decided you are part of the out-group. If you can carry an object with you anywhere you go it's yours, right? Not if you have a run in with the law, American police engage in civil asset forfeiture all the time.

Your digital collection of music, books, videos or games could have some type of digital rights management holding it hostage. What is your phone or laptop worth to you if you can't access a network or the means of keeping it in working shape? What good are digital objects if you can no longer access them in the physical world?

In a cosmic sense, even if none of those previously mentioned things were true about the world, there is no way to claim true ownership of anything in this life because we will be gone for good in a relatively short amount of time. Go to your local rummage sale and you'll find heirlooms that once belonged to a recently passed-on neighbor being sold for pennies on the dollar. Head over to the estate auction and bear witness to the rest of them being taken home by whichever asshole has the highest number.

To me, the only thing left that somebody could actually “own” is what is ascribed to them, what is commonly attributed to their life and actions taken within it. You need the help of everyday people to preserve your history, you can't rely on a soulless corporation that churns through several employees a year to care about preserving anything from your life unless it is useful to them.

If you were to design a website on your own terms, host it on the internet using an original domain name or something close to it, there's a chance that someone or something out there will log it, file it away and hold on to it for safekeeping. If you share your site with people who care about you, they might learn something about you they didn't know before, deepening a mutual relationship that no outside body could ever hope to replace. If you put a part of yourself out there, with a little bit of luck, you could live on forever.

IV.

A while back, I stumbled upon an old website that was preserved on The Wayback Machine from around 1996 that functioned as a journal for a husband whose wife was experiencing serious cardiovascular issues. It recounted the painstaking journey through a rapid decline in health, an attempt to save the woman's life with a heart transplant and the tragic, abrupt end of a life cut too short.

I was struck by the matter-of-fact nature of the chronological account as well as the outpouring of support from the nascent social web for a family separated too soon. I could get a sense for the shaky optimism the husband held on to even up until his wife's final moments. The early stages of grief were apparent in the later writings, but still reserved enough to the point that it felt sanitized as an outside observer.

The segments between the mind, fingertips and digital parchment can obscure the true nature of thoughts and emotions, like playing a game of telephone with yourself. It's possible that people in the mid-'90s simply didn't yet conceive of the internet as a place to vent and express their innermost feelings to a bunch of strangers. Or maybe, some people just don't want their vulnerabilities broadcasted to the world. Having not experienced this type of grief yet, I can't say I have much personal insight into the topic.

It was remarkable to witness how a collection of carefully written words printed in Times New Roman against a white backdrop were enough to convey a raw, human experience. In a way, the minimalist presentation style of this webpage helped show more about what these people were experiencing than a distant relative's photo album on Facebook ever could. The deliberate sharing and omitting of details painted a picture of the situation more vibrant than I could have even imagined when I first clicked on the hyperlink, and the experience has stuck with me for several months afterward.

Unfortunately, for one reason or another, I can't find this website anymore. Despite how engrossed I was while reading this story from a year I can't even remember clearly and a place I've never been, I didn't take the time to bookmark the site or even mentally log away the names of the people. I scavenged through my internet history as well as the possible sources I would have stumbled on this site to begin with. It vanished, as fleeting as a picturesque, surreal landscape depicted in a dream.

If I conjured the right combination of words, I could find this website again. Thanks to the Internet Archive and the Wayback Machine, the information will persist on for future generations to one day come across whether or not the original owners even realized it was possible. Conversely, traditionally reliable search engines that were known for cataloging sites like these now skew their results toward sponsored content and generally more modern, centralized destinations.

For all its faults, the internet has been a wonderful tool for preserving history, even if the current means of accomplishing this are held together by metaphorical duct tape and twine. It was conceived as a superhighway of unfettered information zipping across the globe for the benefit of all who could access it. Somewhere along the way, the priorities behind this technological marvel were funneled into specialized lanes to serve specialized interests.

This is all to say, we can do our best to pour ourselves into a creative project and share it with as many people as we can manage to reach. We can put our best foot forward, try new things, be remembered for our work, our contributions, what makes us unique. We can strive to change the world into a place that works for everybody's interests. But, much like a major league pitcher throwing an off-speed breaking ball toward a fearsome slugger, it's out of our control as soon as it leaves the grasp.

You can go out into the world, trade away several years of your life in an attempt to get ahead, and be struck down by a proverbial roll of the dice before you can even reap the benefits of your labor. You can learn a skill, develop a passion or take interest in something, and never get the chance to reach your full potential. The outcomes of our lived experience can be cruel, banal and devoid of meaning despite our best efforts, and it feels like I've spent every waking moment trying to outrun this fact.

I would never have known about this mysterious woman and her husband's attempt to chronicle her last days as a conscious being, if not for the worldwide web. There have been countless people who went through similar health problems, and many since, but this story stuck out in my mind because I was able to interface with it. In some small way, could this be how she lives on?

V.

Death is NOT the end.

What am I trying to prove by writing this? Do I actually believe any of it?

Life has an explicit start and end point, a lot goes on in the middle but one has to wonder if anything happens afterward. I want to believe that the people, the places, the events around me are real, but I can't prove it.

Even if it's all real, so what? Why do people care about the legacy they leave behind if there's no way for them to bear its fruits? I don't know what else to say about this, I'm not sure it even matters.

I'm not here to tell you how to think, I don't have any evidence to prove I've been successful in changing anybody's mind about anything for as long as I've lived. It's clear now that this has all been a selfish exercise in coming to terms with my own mortality. If you got something out of it, great, but what does that mean to me?

I'm afraid to die. I made a website. I went into all of this thinking that the two were related. Upon further inspection, I'm not so sure anymore.

Earlier, I discussed the motivating factors that pushed me to make a personal website. The truth is, there may have been none greater than the thought that I haven't left anything behind for people to remember me by. If I vanished today, who would notice? Would it change anything about the world?

Following the onset of the COVID-19 pandemic, I experienced physical and mental degradation that I'm not sure will ever be fixed. A six-hundred dollar check from the government could never have been enough to soothe the pain, suffering and loss that so many have endured.

Not long afterward, I turned 30 years old. I now exist in Schrödinger's age, a quantum superposition between youth and senectitude. The past few years have been an experience in confronting my mortality in earnest for the first time and figuring out how I'm supposed to feel about it. The thing is, I'm still here, and I'm going to be.

If you're reading this, there's a chance that you know me. I want to say that I love you, at least in a brotherly, familial way. Really, I do. You shouldn't worry about me, and I hope you liked what I had to say. You should know that I think about you from time to time. You've filled my life with meaning, with purpose.

If you don't know me, well, maybe this was more than you ever needed to know. Maybe it was an engrossing read, or maybe you didn't even make it this far and clicked off within seconds. Maybe it was totally irrelevant to your life experience, or maybe it was the most vapid, pretentious thing you've ever seen.

I made a website. I made this blog which is also a website, and you're reading it. We're here, together, in the world, with the same body parts, breathing the same air, under the same sky, right now. We're real to ourselves. We're not dead yet. Maybe, that's enough.

(Originally published on my blog: https://read-only.net/posts/2024-08-18-I'm%20Afraid%20to%20Die,%20So%20I%20Made%20A%20Website.html)

 
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