ZDL

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[–] [email protected] 0 points 8 hours ago

I'm pretty sure that my point was clear: "never" is a very fucking long time when it is already happening.

But sure, go get your feelings hurt. Buhbye.

[–] [email protected] 0 points 9 hours ago (2 children)

Realities on the ground outside of the USA say otherwise. Here, for example, after a huge push toward ownership of individual vehicles, an ever-increasing proportion of those vehicles are permanently parked. Outside my window, for example, there's a square that is filled with cars parked bumper to bumper that haven't moved in the past year or two. Technically they're owned and would certainly be counted in ownership statistics, but it is physically impossible for any but the four cars at the end of the square to even be taken out of the lot.

Why?

Because the advantage of private ownership has been whittled away slowly but steadily over the past 20 years.

There was a time that a private vehicle was the only practical means to cross the two rivers (Han and Yangtze) that divide the city. Buses of the time were hideously uncomfortable, highly unreliable, and painfully slow. Going from my home to the then-largest park in the city (Zhongshan park) was a good 2.5-3 hour trip by bus. By car, even through traffic jams (which buses had to go through as well, obviously), it was 1-1.5 hours instead.

Today that same trip is slightly lower by car (cut off about fifteen minutes because of the Yangtze tunnel) but by metro it's about 25 minutes. And you don't have to hunt around for increasingly rare parking, then pay for that parking on top of it. And then repeat that when you get back home. More and more people aren't bothering to drive at all, leaving their cars in long-term parking "just in case" and that case never comes.

Personally I haven't owned an automobile since the second line of the Wuhan Metro opened, and the bus service got upgraded to serve it. There's no point. The rare times I need to use a personal vehicle in specific, taxi services are more than sufficient. For the price of a car I could use, after all, a taxi to go from one end of the city to the other and back every day. For two years. That very infrequent case of needing a taxi is a trivial expense compared to just the purchase price of a car (not including insurance, maintenance, fuel/electricity, etc. etc. etc.).

So "never" is a really long time that's ending as I watch.

[–] [email protected] 2 points 11 hours ago

The Apartheid Manchild has this weird obsession with Mars.

There will be no permanent settlement on Mars in the next decade. (I frankly doubt that there will even have been human footprints on Mars in the next decade!) There will be no permanent settlement on Mars in the next century. There will likely be no permanent settlement on Mars in the next millennium. And I'm saying that last one not because I don't think we'd have the technology in a thousand years, but rather because there is no point in living on Mars.

Mars has nothing we need that's worth maintaining a settlement in the face of conditions harsher than the absolute worst the Earth has to offer. If people want to live in a permanently cold shithole with nothing usefully accessible they can just build a house on Antarctica. It's a far cheaper way to fuck around and find otu.

[–] [email protected] 2 points 1 day ago

Read George Polti's The 36 Dramatic Situations. It's a list of plot elements that have a snappy title, a list of participants in the plot element, a brief discussion of how it works, and then (unfortunately dated) references to dramas that used them.

Using this when building a world, or a campaign, or a local setting, lets you quickly set up a bunch of conflicts (ideally with interlaced participants so that single NPCs (or PCs) can be in different roles in different dramatic situations. Then you just let the events flow logically, and as the dramatic situations get resolved you get a plot. PCs can interfere with these dramatic situations and thus have an impact on resulting plots even if the overall setting is far larger than they are.

[–] [email protected] 2 points 1 day ago

For depth in world-building I use a rule I call "Y-cubed". (I got it from somewhere else but can't recall the source anymore.)

For every detail you make, you ask the question "Why" three times.

So a village the characters have reached stop all work every 77 days for a festival. Why? It celebrates an ascended local hero who saved the village from a magical blight. Why 77 days? It took 77 days for effort for the blight to be defeated. ... And so on.

This is a rapid way to both build depth in your setting quickly, as well as inspire possible mysteries and intrigue for investigation later.

A slight modification works also for giving NPCs depth.

[–] [email protected] 2 points 1 day ago

Anybody who thinks that the Apartheid Manchild was ever intending on reducing spending needs to be given a dunce hat and forced to sit in the corner.

[–] [email protected] 1 points 1 day ago

Robert's cynicism is cracking these days soon. His laughter is increasingly forced and joyless.

These are shit times.

[–] [email protected] 2 points 2 days ago (5 children)

I am not sure what you mean by saying the CPC isn’t Communist anymore.

The CPC has never been communist.

It's socialist.

[–] [email protected] 1 points 2 days ago

The number drops a bit when the polls are done in secrecy. Still far higher than any western government, mind.

[–] [email protected] 1 points 2 days ago

To clarify for any pseudo intellectual who happens to be reading:

" is true for you utter idiot" is not an example of the ad hominem fallacy.

" is true because you're an utter idiot" is an example of the ad hominem fallacy.

Glad to be of service.

[–] [email protected] 1 points 2 days ago

Have you considered taking a communications course so you don't sound like a pretentious, obfuscating jackass?

Eschew gratuitous obfuscation. (See what I mean?)

[–] [email protected] 4 points 2 days ago

In AI alone, we lead the world.

*Deep Seek has entered the chat.*

 

So when they return to port they can just Scandinavian.

explanation if needed"scan the navy in"

 

Apparently he doesn't understand cyberpunk either, which explains so much about him.

 

If only this were instead him being revoked membership in Society in general.

 

-10
Burn! (ttrpg.network)
 

The noted anti-trans Apartheid Manchild wants to have babies?

 

From the time a full subway car leaves a Beijing metro station to the time the next one takes its place is 51 seconds.

Here in Wuhan it ranges from 2 minutes to 5 minutes depending on the line and time of day. In Beijing it's 51 seconds.

Wow.

NGL, i'm kinda jealous.

3
Truth & Lies (www.youtube.com)
3
submitted 1 month ago* (last edited 1 month ago) by [email protected] to c/[email protected]
 

This band is the second Chinese folk metal band I encountered. I was expecting something more like things along the line of 小雨 (Mysterain) when I started listening—which is to say symphonic folk metal—and instead I got … this.

In short I got my mind blown.

This band started my dive into Chinese metal culture, and what I like best about this song, the one that started that dive (or perhaps that pushed me into the deep end of the pool) is that it showed the astonishing diversity of the scene. This is straight-up blackened death metal mixed in cunning ways with traditional Chinese melodies and instrumentation that gives it a unique voice of its own that very few others can match. (葬尸湖/Zuriaake is probably the only other band that can compare in this regard, though less on the instrumentation and more on the melody lines and lyrical content.)

And, not gonna lie, I love watching the faces of westerners when the dan voice kicks in. The "WTAF!?" look just makes me laugh and laugh.

 

Tang Xianzu is called "The Shakespeare of China". I think this is grossly inaccurate. I think he's a far more talented artist than Shakespeare, mastering not only prose, poetry and dialogue like Shakespeare, but also musical and libretto composition. The masterwork he's most known for, and the one generally considered his best, is 牡丹亭/The Peony Pavilion, a stirring multi-day tour de force of the performing arts. (Because I'm a rebel and a loner I actually personally prefer his 南柯记/Record of the Southern Bough, but The Peony Pavilion is really good too.)

This particular piece is a 皂罗袍 (no translation, really, but transliterated Zao Luo Pao) structured element and is a pivotal moment in the 昆曲/Kunqu opera. It is strongly emotionally charged as the lead character 杜丽娘/Du Liniang has her emotions stirred by the garden's scenery which transforms to romantic thoughts. It is the lead-in to the (very steamy!) dream encounter with 柳梦梅/Liu Mengmei and this results in the rest of the events of the play.

There are several reasons why I adore this particular piece:

  1. I'm a fan of Kunqu in general. It is the Chinese operatic form that retains the most relevance to China, despite being its oldest surviving form. This is because most other opera forms have become sterile, courtly affairs that simply recycle music and technique while Kunqu, as an entertainment form of the people, is constantly being rejuvenated as it incorporates the ever-changing culture of the folk around it. (Modern kunqu pieces have, in addition to the traditional vocalization and instrumentation, also incorporated synthesizers, modern drum kits, and even autotune distortions.)

  2. Though this is not my favourite Kunqu (that one is 憐香伴/The Fragrant Companion, an openly sapphic work from 1651), or even my favourite one from Tang Xianzu (that is, as I said, Record of the Southern Bough), it is still a piece I thoroughly enjoy both reading and listening to various aria collections from.

  3. This piece is a perfect embodiment of the emotional essence of the entire play.

In addition, I greatly enjoy this particular adaptation of it by the Zide Qinshe group.

  1. By stripping instrumentation down to only a 古琴/guqin accompaniment to the vocals, it lets the voice shine out as the accompaniment subtly supports it and carries the tune forward.

  2. The guqin player, 白无瑕/Bai Wuxia, is one of my favourite guqin performers capable of some astonishing subtleties on that already-subtle instrument.

  3. The singer, 钱瑜婷/Qian Yuting (a.k.a. Sunshine), has a gorgeous voice under incredibly tight control.

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