"For it's not enough to walk the moon, send robots off to Mars
Nor send a lucky handful out to catch a glimpse of stars
We're gonna live and work and space. We're gonna go to stay
And the ones who'll make it happen,
the ones who make it happen,
yes the ones who'll make it happen
are the ones who make it pay"
-- Jordin Kare (b. 1956-10-24, d. 2017-07-19), "Bloody Bastards"
"For it's not enough to walk the moon, send robots off to Mars
I spent a bunch of time on the practice range yesterday and the day before and the impact has been immediate. I had a couple of twitch headshots at lunchtime overwatch that were just nuts. Intent was there, sure, but the mechanics? Pure reflex. Twitch, headshot. Good night, Hanzo. Twitch, headshot. Good night, McCree. Go to sleep.
Plus a few more deliberately aimed headshots. I had some good numbers today. Their McCree was the only one who could get anywhere near me. But more, I'm picking up the always-be-moving part. Not perfectly, of course. But I was thinking of her as best played more still than she should be, and that's wrong. Move. Always.
Also won another couple of duels with enemy Widowmakers, and one - ugh, she was terrible. I'll have this reaction when I'm playing enemy Tracer, when they're terrible - "oh, sister, you shame us all" - and I had that today, as Widow, about an enemy Widow. And I was right. I was a factor. She wasn't. We won, and they barely even ever slowed us down.
Also also, double-kill with a venom mine. That was both a first, and hilarious. "Here, have some deadly neurotoxin I got from my best friend online. Ooh, did that sting? Thanks, I will tell her."
I really do kind of think Widowmaker and GlaDOS would be evil online friends. You know, what with the common interests in deadly neurotoxin and killing. I should learn how to say "the cake is a lie" in French. Google translate says "le gateau est un mensonge." I suspect if it's gonna get anything right, it's that.
Someone should draw them getting together at a café for cake and neurotoxin. Tell me that wouldn't be great. :D
Huh, I guess it's official. I need a Widowmaker icon.
From "Oh this has not gone well" (part 14) by Redditor "ThisHasNotGoneWell":
"Well," I started, how do I explain statistics, and not sound like the boringest boring person in the world, "In the world I come from people have enough free time on their hands, and they take games seriously enough, that people will study a game like a Mage might study magic. I had plenty of time when I was waiting for the pass south to clear, so I spent some time pulling the rules apart, figuring out the probability of any given hand. The other players might have a gut feeling as to how probable a given hand is, but I know the figures exactly. I'll also try to keep track of what cards I've seen played already. Between that, and having worked out the probabilities of each, I usually have at least an idea of how good my hand is compared to the others."
"Wait," she said, trying to wrap her head around what I'd just said, "So, you know what cards they have in their hand?"
"Not quite, I know what cards they probably have. And even if I don't know specifics, I'll at least have an idea of whether their hand is better or worse than mine, and that's really all I need."
"Don't humans have anything better to do?"
I thought of the many hundreds of hours spent playing videogames and watching Netflix.
I saw a thing yesterday that said “Buying fabric and sewing fabric are TWO SEPARATE HOBBIES.”
I actually feel that I understand so much more about the world now.
I’m now up to 6 artist’s figurines (I need to write more reviews) and I was unable (or unwilling) to resist a set of 14 archival color pens, plus all the stuff I already own, but do I actually draw? No, hardly ever. (That said, I’ve done more this year than in many years.)
Anyway, point is I’m back to that “I want to draw some silly little story like Questionable Content only about, IDK, fat 40somethings instead of hipster robots” thing. Except I really don’t want to draw a story about fat 40somethings because ugh life. I want to do something cute and funny that I don’t have the skill set for but who cares I’ll do it anyway because it doesn’t matter. Or something. And I want just enough pressure to help me do maybe half an hour of art a day without having any real expectations.
Which of course is not much like my personality at all, because yes, I have met me. :p
(x-posted from The Essential Kit)
( This is something I posted on Facebook about the new Doctor Who and I feel like it's still a good summary of where I stand. )
"Why'd you do it, Gabe?"
"Send those killers to her house."
"Lena, I don't know what you're talking about. Fill me in."
"Why'd you send those idiots after Gérard Lacroix?"
"I didn't! Hell, they weren't even field agents. It never should have happened. Not the way it did, anyway."
"Amélie doesn't know that."
"Amélie should know that, she has the logs. She just doesn't want to."
"Wot? Why not?"
"As long she doesn't know that, there's someone else alive to blame."
"That's shite, Gabriel."
"It is, and you know it. She blames herself. Always has."
"'Course she does, girl. But she also blames me. I was head of Blackwatch, so she's kinda got a point."
The younger assassin just grunted, a "huh" sort of sound.
"Trust me here, having someone else to blame? It helps."
Venom thought about that, for a moment, sizing up Gabriel Reyes through anger-narrowed eyes.
"I'm not so sure it does."
I've been maintaining an offline official timeline of canon for On Overcoming the Fear of Spiders and all the in-universe stories written seperately and collected in intersections in the web of time, and now that I'm making some headway on Old Soldiers, I thought I'd format and post the thing.
It's pretty big. It includes a fair number of things that happened in Fear of Spiders that did not make it into the manuscript or any following story, and also contains a couple of first-chapter background-info spoilers for the new story. So if you're allergic to that sort of thing, don't read it. If you're not, you might find some new background you might enjoy.
- Class, Episode 5. I forgot a bit about where we were last time but oh, yes, and that, and I really like this show. And I'm bummed that it doesn't look like it's going to get a second season.
- Orphan Black Season 5, Episode 6. We're now rapidly careening toward the series finale with twists galore (some of them foreseeable, others less so) and the heart of darkness finally starting to blow up. I'm going to miss this show when it's gone.
Having cried all over the WRINKLE IN TIME trailer, I thought I’d better re-read the book immediately to get a proper feeling for it again. It’d been at least twenty, possibly thirty, years since I’d read it, and…
…it’s kind of equally weirder and more mundane than I remember it.
I was prepared for, although somewhat exasperated by regardless, the Christian allusions; whenever I last re-read L’Engle, I was adult enough to notice her books are really laced with Christianity, so I knew that was going to be there. The story itself is actually a lot more straight-forward than I remember it being; possibly I’ve conflated the other books with it, or maybe it’s just that the weird bits are SO STRANGE that I thought the story structure had to be a lot more complicated than it really is.
It’s not, from a modern storytelling perspective, especially well told. It takes about four chapters to really get going, and it’s only a 12 chapter book. There’s a lot of telling, but not much in the way of showing in terms of…*why*. Meg is not, to the adult modern reader, particularly sympathetic: she doesn’t fit in at school, she’s angry in general and specifically very defensive about her father’s absence, and is apparently some particular kind of dumb that excludes being spectacularly good at math. That dumbness may be meant to indicate she’s socially inept, but although that certainly appears to be true, it doesn’t seem to be what’s really going on.
But that…dumbness…whatever it is…is crucial through the whole book. Meg doesn’t tesseract as well as the others. Meg is more vulnerable to the Darkness than the others. Meg won’t understand if you explain the thing…but I never understood why. (I’m not sure I understood as a kid, either, but it didn’t matter as much to me then.) And it’s apparently not something that came on simply because Mr Murry disappeared, because even he comments on it, and had done so before his disappearance, so you can’t lay her anger/ineptitude at the feet of her father’s disappearance.
And, just as much as Meg’s lack is not explained, neither are Calvin and Charles Wallace’s aptitude. Calvin communicates well; well, okay, that’s fine, but why does it make it easier for him to tesseract? Charles Wallace is, as far as I can tell, not even actually human, and Calvin, who does not come from the Murry family at all, is apparently More Like Charles than Meg is. But I don’t know what they are, or why they are, or why they’re the special ones and our heroine isn’t (well, that last one is institutionalized sexism, but let’s move past that). I remember *loving* Charles Wallace (and crushing terribly on Calvin), but I find him fairly creepy now, and that’s as the parent of an extremely self-assured little kid who, like Charles Wallace, is quite certain he’s able to Do It His Way without listening to the wisdom, or at least the experience, of his elders.
The one thing that maybe felt the most true to me in the whole book was Meg coming around to being the one who can save Charles Wallace. She wanted someone else–her father, specifically, but ANYBODY ELSE–to have to do the hard work. She was terrified and resentful of having to do it herself (and possibly that’s what the aforementioned “dumbness” is, since everybody keeps saying If you’d only apply yourself, Meg,, but that still doesn’t explain why she doesn’t tesseract as well, etc), and that seems very appropriate to a 13 year old to me. To people a lot older than 13, too, for that matter. But it comes in the 11th
hourchapter, and her willingness to go on there is the only time in the book that she moves forward of her own volition. I’m not saying that isn’t fairly realistic, maybe, for a young teen, but in terms of making a dynamic book, it…doesn’t, really.
There are parts of the book that remain wonderful. The Mrs W are still splendid; Camazotz (which I always read, name-wise, as being what happens when Camelot goes terribly wrong) is still EXTREMELY CREEPY, and the thrumming presence of IT remains startlingly effective. Aunt Beast is wonderful. (So basically: the aliens work a lot better for me than the humans do.)
It doesn’t feel like a book that could get published now. It would need more depth; it felt shallow to me. A lot of its weirdness seems to me like it came very specifically out of the 50s and early 60s; I don’t think that book would, or perhaps *could*, be written now. It’s very internal in a lot of ways, and I’m really looking forward to seeing how the film adapts the weirdness and the internalness and Meg’s basic lack of agency into an accessible story. My *feeling* is that they’re going to do a magnificent job of it, that it’s going to be one of those cases like Frankenstein or Jeckell & Hyde where the book’s conceptual foundation proves more powerful in film than it does on the page. I hope so!
But you know what I really wanted to do when I finished reading A WRINKLE IN TIME? I wanted to re-read Diane Duane’s SO YOU WANT TO BE A WIZARD, because I felt like the Young Wizards books use A WRINKLE IN TIME as a conceptual springboard and dove off into something that worked a lot better as a *story*.
So I guess I know what’s up next (or soon, anyway) on the Catie’s Re-Reads list. :)
(x-posted from The Essential Kit)
"But there's a story behind everything. How a picture got on a wall. How a scar got on your face. Sometimes the stories are simple, and sometimes they are hard and heartbreaking. But behind all your stories is always your mother's story, because hers is where yours begin." -- Mitch Albom, For One More Day [via Goodreads]
So I vocalised into the mic, "oooookay... social... team chat... disconnect" as I did exactly that.
I proceeded to four-gold, and captured the first point nearly solo while everyone else but Sombra was trapped at spawn. (And, credit where it's due, Sombra definitely helped with the capture, mostly on the second third.) Yes, 1 to 2 on 4-6, depending upon how many could rush back at any given time to defend, and winning.
I can do a lot even for even a spectacularly shitty team when I'm on a roll - and I was.
Sadly, I couldn't capture the second point the same way, because the enemy were on to my tricks at that point, but, well, whatever. Four golds. I worked hard to make sure I had 'em all.
I then switched to Widowmaker on the flip side (defence) and popped in to team chat quietly for a second for a reaction, just in time to hear the same jackass bitching about everything, particularly the Widowmaker. And I popped back out.
We proceeded to lose, but I golded in objective kills and I think objective time but I'm not sure. (Might just have silvered.) As we're seeing all that, I pop back into team chat, and they're going at each other, just being salty as fuck.
So I hit my mic and say, "And this is why you don't call your four-gold 'retarded' - she might decide to play Widowmaker next round. Bye!" and dropped.
I realise this kind of snippery is not necessarily the best possible response to this kind of jackass? But I'm thinking, y'know, maybe he might be a little bit hesitant to let that shit fly right out the gate next time. Maybe. Because you really, really don't know who you might be playing with.
(For the record: I actually am trying to learn Widowmaker, that's why I'm playing her in quickplay a lot at the moment. Best kill streak with her so far is I think 12, max kills with her is 23, I've earned the Pixel spray but not the Cute. So if the team I'm with is any good, I'm not a joke, I'm a legitimate contributor, I often gold in objective kills with her, and I always play the best I can at any time. I always play to win. Even here.)
There was a third opening act but doors were at 6:30 and we got there at 7:15. Tears for Fears started at 7:17.
Tears for Fears were on fire. I didn't think I knew their oeuvre as well as it turns out I do, including songs I probably hadn't heard in 25+ years and could sing from memory. Their voices were strong, their instrumentation and playing were excellent, and while it doesn't look like they're putting out new material, I'd buy it if they were. Plus they win the prize for most on the nose cover with Creep.
Hall and Oates weren't bad, but it was hard to live up to what Tears for Fears was doing. They didn't really get into the music hard until the encore (which was basically a long second set). And Daryl Hall is almost 70 if not more than, so his upper register is shot and the rearrangement of the songs is a bit disorienting. Especially when the audience is singing along to the radio version.
I'm glad we saw Hall and Oates but Tears for Fears was the clear winner here.
Animated Shorts, Tosca Quartet, Austin Chamber Music Festival at the North Door. July 14. 2017.
We've been to the North Door for shows before and this was clearly the worst configuration for it. The seats were too close together, the AC wasn't working properly to the point where Michael had to leave, and the door was around the back because of construction on Fifth. The music was lovely, including the bandoreon player who gave a great intro to his instrument, and the shorts were nice enough, but we'd seen most of them because more than half were from Fantasia and Fantasia 2000.
I'd like to see another program like this in a better venue with a better selection of animation. The idea was sound, but not the execution. At least the company was good.
Carrie Fisher. Robin Wright. Gal Gadot. Daisy Ridley. Melissa McCarthy & Leslie Jones & Kate McKinnon & Kristen Wigg.
It shouldn’t matter. It shouldn’t matter, but it goddamn well does.
You know why I chose the women I did, up above? You know why I didn’t include Weaver & Hamilton & Theron on that list?
Because Ripley and Connor and Furiosa were given to us. They were put on the table by filmmakers who said either “it doesn’t matter if this character’s a woman or a man,” or who specifically chose a woman as the vehicle for the main story. Alien & Terminator were always ours. We didn’t have to ask, much less plead and beg, for Ellen Ripley and Sarah Connor. We weren’t looking for Furiosa, and Theron came out of nowhere the same way Weaver & Hamilton did.
But Carrie Fisher? Robin Wright? Yeah, Princess Leia & the Princess Bride were integral to their stories, but Buttercup was a pretty passive observer in her own story and Leia wasn’t there FOR GIRLS. She was there as the token female. The fact that she had an important role & agency is almost beside the point. I read something recently–maybe in Empire Magazine–where someone said something like “If you think about it, Star Wars is really Leia’s story,” and all I could think was WOULDN’T IT HAVE BEEN AMAZING IF IT HAD BEEN FILMED THAT WAY?
So General Antiope? General Organa? I feel like we *fought* for them. Diana? Rey? I feel like they’re from us saying “we want this so much, we deserve this, we hold up half the fucking sky, people.” An all-women Ghostbusters team? We kept saying “oh god please we want this this would be so awesome.” And so now, a female Doctor? It feels like another one we fought for.
And it shouldn’t have to. We shouldn’t have to be pleading for 1/13th of the pie (or less). We shouldn’t have to be THIS HAPPY to get it. And yet I am.
And I’m also SO ANGRY that it takes so little, such a crumb, to make me THIS HAPPY, when it shouldn’t even be a conversation.
And none of that even STARTS to touch on how 8 of the 9 (or 11/12, depending on how you wanna count it) women I’ve talked about are white ladies.
I don’t want white women to be the only ones gaining ground here. I don’t want increments. We don’t NEED increments. The actors are there. Storm Reid proves it. Zendaya proves it. Hannah John-Kamen & Frankie Adams prove it. And I want to see women of color in all these big amazing roles and films too. I don’t want this to just be a moment for white girls and indistinguishable blondes.
I want more, god damn it. I want it all, for all of us. #GirlPower
(x-posted from The Essential Kit)
This is not part of the on overcoming the fear of spiders continuity; Lena Oxton is Tracer, not Venom. It is a standalone story, in an AU which is still pretty much canon-compliant as of July 2017. It would be set in late 2077 or early 2078, in universe. [AO3 link]
"It is not easy to explain," said the Widowmaker, looking frustrated, fixated on her game screen and sitting next to Hana Song, who of course had her own pro rig and client.
Widowmaker had said that, not Amélie, and it was very important not to get that wrong. The Widowmaker didn't like it, and if Amélie had an opinion - or was in there at all - she never spoke up.
The blue assassin was playing a shooter game, but not as a sniper - as a melee character, high DPS, fast - not entirely unlike Tracer. She always played the same character. Tracer wasn't sure what that meant; Angela told her not to read too much into it, but she knew that Lena tended to think of it as a good sign anyway. It's still shooting people, but it's shooting people in a different way, and Lena couldn't help but feel a little flattered that if the spider was emulating anyone, it was her.
"I exist," the spider continued, as her character on screen ran across open field between buildings towards some sort of objective. "I am here. I exist by right of existence. I do not wish not to exist." Realising that - she knew, herself - had been a big step for her, one she had managed on her own, one taken before she escaped from her controllers with a surprisingly complete list of Talon embedded agents to exchange for her sanctuary.
"And Talon didn't agree with that, did they." Tracer replied.
"No. I was supposed to be an asset, not a person."
"And Angela doesn't entirely either, does she." It was a statement, not a question.
Widowmaker glanced briefly at Tracer, just with her eyes, just a little surprised, before her focus snapped back to the game. "No. She still thinks I am some folded-up version of her former friend. I am not."
The spider saw that Tracer nodded her agreement. Of all the people here, she thought, only Tracer seems to understand even this much. Perhaps it was the younger woman's experience as a ghost, after the Slipstream accident. Perhaps it was being an Omnic War orphan. Perhaps it was just her nature. The spider didn't know.
Tracer watched the two women game, but really watched Widowmaker think. She's close to something, I can feel it, she thought to herself.
"Is this why you won't let Angela undo any of Talon's work?" Widowmaker had adamantly refused any attempt to reverse any of the physical changes Talon had made, though she tolerated anything she could decide qualified as an "improvement." That included giving her control over her own emotional dampers. Handling that was still a learning process.
"Yes," replied the blue assassin. "I am me. I am not that other woman, even if she was the source for some of my parts. I cannot be her. I do not want to be her."
"I get that, luv," said the Londoner. That part didn't matter to Lena. It was easier, for her, if Amélie was dead, if she was gone, and buried, and this was Widowmaker, another person entirely, just happened to look a lot alike. "Y'know, personally, I like the blue," she said. Makes it easier, she thought.
"You may be the only one, myself aside," replied the spider.
"Hey, n00b," Hana said, "Cover your flank or you're gonna get p0wned."
"Thank you," Widowmaker replied, sweeping left, hitting far more than she missed. D-pad instead of mouse or rifle, she was built for aim.
"Nice shot! For a game controller. You should level up to a real interface."
"Perhaps never," said the assassin.
"Okay," replied the gamer, "don't listen to the professional."
"...point taken," replied the blue woman, as the round ended, with scores D.va 100, bad guys 12, Widowmaker 10.
"I'm outta D.ritos. Want anything?"
"No thank you."
"Just ate, luv, but thanks."
"Be right back!" she said, as she jumped backwards over her chair and headed out to the hallway.
Widowmaker leaned against the rec room's couch, watching the game's idle screen. "I like the character I am playing, more than the game itself. I think that is not too unusual, no?"
"Sure!" Lena answered, encouragingly. "That's why there are fan sites and hangouts and stuff. What do you like about her?"
"This character I play," Widowmaker gestured to the screen, "within the confines of the game, she is a person, like me - no, that is wrong, she is not like me, except in that she was... constructed. It is part of her story. Built, for a purpose. As I was, by Talon."
Built, thought Tracer. "Like Omnics, you mean?"
Widowmaker shook her head, no. "I have thought about it, but I think not. Neither of us are robotic, I do not think it is the same, and I cannot really ask our occasionally resident Shambali master to be sure..."
"Yeaaaaaaaaah," agreed the younger woman. "Probably never."
"I have been told that he says he does not carry a grudge, but I can tell that he carries a grudge, and I do not even blame him." She paused for a moment. "I am far more surprised that you talk to me than that he does not."
Lena bit her upper lip for a moment. "T'be honest, I am too."
Widowmaker hummed a little, a note that signalled her acknowledgment of the situation. "Why do you?"
Lena tilted her head back and forth a little. "...I dunno. That night in King's Row was the second worst of my life. I felt so angry and so betrayed, and I'd've done anything to undo it, but I couldn't. And you couldn't even tell me why."
"I did not know," she replied. "Or care. The question, it struck me as so unimportant, so silly. It was the first time I'd ever laughed. It may have been my first real, unprogrammed... thought."
"I didn't know that," said the Overwatch agent. Her first thought was... laughter? Wow. "But it hurt, then. Still does, a little. Less, now that I know you really aren't Amélie."
"My emotional range is still limited, but... I think I am sad about that."
"Maybe that's why, then. Maybe I can tell. Maybe that's why... somehow, here I am."
The eyes of the woman who had been made from Amélie Lacroix narrowed in thought at those words.
"Winston was built, too, genetically," said Tracer, changing back the subject and realising as she said it that it didn't fit. "But that's really not the same either, innit? He still grew up. You didn't. I think I get it, you just... came online, all at once, didn't you? 'Here I am, ready to kill.'"
The spider's gold eyes flashed to Tracer, but not in anger, as was so usually the case with that look. "Yes," she said, grabbing Tracer's hands. "Yes. I had a purpose, already. And then I had more purpose, that fit with it. No doubts, no hesitation, just purpose. Do you actually understand?"
Lena's heartbeat jumped as the spider grasped her hands, but she didn't let herself flinch, at least not more than with surprise. She touched me, she thought, intentionally. Woah! "I," she gathered her thoughts, "I think I do. I mean, not emotionally, right? I grew up too, and looked for somethin' to do with my life. But... in my head, I kinda get it. A little. You're not there, and then you are, all at once. And you already know why. That's, that's, that's, a kind of perfect, innit? It's..." she groped for the right words, "...flawless."
"Yes," she said, squeezing Lena's hands tightly. "For a reason, and with a purpose, and she," she gestured to her head to the screen, "is like that, and also biological, also for a reason, also for a purpose."
Lena put the rest of the pieces together. "...and nobody else in the whole world is."
The Widowmaker pulled Tracer against her, suddenly, roughly, and put her head on the Overwatch agent's shoulder. Lena could hear the spider breathing and found herself dazed, wrapping her arms around the assassin before she even knew what she was doing, asking only as she did it, softly, "...is this okay? Do you want a hug? 'Cause I can stop..."
"...no. I think I do."
She is so lonely, thought the former test pilot. And she don't even know it. Maybe that's why I don't mind this. She held the cool blue woman carefully in her arms. "Did you lose it, somehow? Your purpose?"
The spider did not say anything.
"Did you stop believing in it? Was that it?"
"It was... I could not stop... thinking. I was perfect, and whole, and content, and I brought exquisite deaths, and then I... and then I laughed, and I was not perfect, and not whole, and not content, and I could not fix it."
"And you miss that purity of purpose."
"Would you go back to it?"
Tracer nodded, and hugged a little tighter, as she said, "Because it's part of being a person. That's why you're here, innit?"
Widowmaker lifted her head from Lena's shoulder, looked her in the eyes, and whispered, "You do know."
Lena Oxton met the spider's gaze, and was not afraid. "This much, yeh. I do."
The spider laughed, just a little. Another thought, all her own. "May I hug you again, later?"
Tracer surprised herself by nodding agreement at once. What am I doing? She... she's who she is. She's built to kill. I can't ignore that. "'Course you can."
"Thank you," she said, and went ahead and did it right then, as well.
I can't ignore what she is, but maybe, Tracer thought, as Hana burst back into the room with grotesque amounts of junk food, ...maybe I can learn to live with it.
"The audience usually has to be with you, I'm afraid. I always regarded myself as not even preaching to the converted, I was titillating the converted.
"The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be."
-- Tom Lehrer, in a 2003 interview in the Sydney Morning Herald (interviewer: Tony Davis)
[And then there are those satirists who manage to leave room for both reactions simultaneously...]
* Sharp white cheddar (mine came from CostCo, the Coastal stuff)
* Rosemary bread (mine came from Trader Joe's)
* Lemon curd (another thing from Trader Joe's)
* Butter (I did unsalted, the cheddar is plenty salty enough)
* Toaster Oven
* Frying pan and oven
* Lightly toast one side of the rosemary bread in the oven
* One one slice of rosemary bread, put a pile of chopped up white cheddar chunks on the toasted side. Put it back into the toaster oven until the cheese gets pretty melty.
* While that's going on, spread lemon curd on the other piece of bread, on the toasted side.
* Put a pat of butter in your frying pan and melt it
* Take your melted cheesy bread out of the toaster oven, put both pieces together so the cheese of one side is against the lemon curd of the other
* Put your sandwich into the pan, swish it around, flip it to the other side--this will make sure that both sides have butter as you pan toast.
* Toast both sides of your sandwich in the pan with the butter, flipping as necessary. When it's toasted to your liking, put it on a plate.
* Tada! Fancy grilled cheese.
I’m somewhat better than I’ve been, but I’ve still got a cough and snotty nose. No, I haven’t gone to a doctor, but only because it turns out there’s a shortage of doctors in this town and nobody is taking new patients. We got signed up with a clinic in theory but we still haven’t gotten notification that we’re actually in their system, so…yeah. Anyway. At this point I think I’m going to have healed up before I’m in the system. Whee.
That said, all I want to do today is lie in a lump on the couch and watch Brooklyn Nine Nine all afternoon, but I’d have a 7 year old beside me saying, “What? What?” and fake-laughing at things, which wouldn’t really be much fun.
The Wrinkle in Time trailer dropped yesterday and made me cry. Twice. It looks amazing. (“Mommy,” Indy said incredulously, “are you *crying*?” Yes. Yes I was.) Anyway, I haven’t read the book in at least twenty, possibly thirty, years, and I immediately bought a new copy to read it. I didn’t think it would hold up, honestly, but I’ve read the first chapter and so far it’s still amazing.
I also re-read THE HERO AND THE CROWN a couple days ago and for the first time the acid trip battle with Agsded actually made sense to me. I’ve only read the book about forty times, so it’s nice that I eventually became able to really follow that scene.
Also I don’t remember crying through Talat’s rehabilitation before. *wipes eyes*
I made crabapple jelly with the last of LAST year’s crabapples, some cherry jam, pitted more cherries that Dad brought out, and bought some peaches that I need to process today and see if I’ve got enough for jam. I have frozen strawberries, too, and some many-berry mix frozen berries. Jam, glorious jam. :)
There are TWO kittens in the garden. We’re calling them Topsy and Turvy and are feeding them and their mama. I’m waiting for the local rescue people to have a capture cage available, so hopefully that’ll come through soon.
I turned a grant application in last week. I’ve got a book proposal just about ready to submit. I have copy edits to do and need to email my editor about line edits. And…I’d have to look at my to-do list to see what’s next. That’s plenty to get me through the week, though. :)
(x-posted from The Essential Kit)
"Rabbi Hillel also asks, 'If I am only for myself, what am I?' If you don't identify as being negatively affected by misogyny, this is where you come in. We are all part of the interdependent web of existence. What affects one affects us all. Sometimes connecting the dots from one form of harm to another is too abstract to notice immediately. Sometimes we benefit in obvious ways from oppression, even as our bodies and souls are destroyed in other ways. Cisgender men benefit in some ways from patriarchy. They get higher salaries on average, reduced risk of violence, and a greater likelihood that they will be heard when they speak, among other things.
"Patriarchy also gives men an increased risk of being bullied if they veer too closely to feminine patterns of behavior. It leads society to punish men for maintaining a connection with their emotional and inner life. It gets in the way of true and trusting relationships. Misogyny negatively affects men. Being for ourselves and being for others can mean the same thing when it comes to dismantling oppression."
-- Rev. Lyn Cox, 2017-03-05
(I like having the ability to read all antique media. Need anything off a Commodore PET floppy? In theory, I can do that for you, as long as it's double-density or less, and yes, they had a 1mb PET floppy at one point.)
The machine is named Blue, drive D is named Purple, and it's registered to Amélie Lacroix and the password is oneshotonekill because of course it had to be. Also, the desktop starts out with weapons and such but turns into widowtracer art because we all know what's really going on here.
It's also much quieter now, particularly for a machine from 1996, as I've replaced all the fans and improved the venting. Two of the fans were outright dead - the CPU and GPU fans, so that's terrifying. (I think the CPU fan may have worked occasionally, but don't hold me to it. Also I had already improved the venting some, even with the old fans - I just improved it more now.)
A couple of power supply capacitors should be replaced too, they're bulging a bit, and I had to order them - VetCo had none of the right caps in stock. Ah well, I tried.
( List under the cut. )
I'm working through a lot of minor items that are winding down, and the exercise and house items plus food trucks are the big remaining things. And financial stuff. My next big gaming thing is I need to work on HOC experience.
"Everyone knows that debugging is twice as hard as writing a program in the first place. So if you're as clever as you can be when you write it, how will you ever debug it?" -- Brian W. Kernighan
[Also quoted as: "Debugging is twice as hard as writing the code in the first place. Therefore, if you write the code as cleverly as possible, you are, by definition, not smart enough to debug it."]
I'm playing a lot of Widowmaker against AIs in hard mode, because I'm learning the character, because I used to be a decent sniper once, and not at all because I write Tracermaker fic and identify with certain aspects of Widowmaker no not at all don't let's be silly.
And one thing I figured out real quick is that if the enemy team has a Zen and I get in line of sight, whether he can see me or not, he will whip around and instakill me. Seriously, I've seen it enough in replays to know, he's 180 degrees facing away from me, I peek over, WHIP DEAD.
(I am not exaggerating. Engaged with others of my team, facing away, no fukkit I'm killing that Widowmaker.)
And I was getting kind of salty about this because no human player could do that, right? And I was complaining about it to @annathepiper, and she said:
Well, you did assassinate his brother....and i'm like "...oh yeah."
So now, okay, it's still super frustrating? But it's also kind of hilarious.
Fortunately there seems to be some sort of distance limit to the trigger for that reaction, so I can take him out from afar and then try to play. But, still, damn. And, still, lol.
I guess it's a pain in the ass but I totally deserve it. Except my Widowmaker didn't do that. So I don't. I need an AU of this mode that works in my Fear of Spiders AU. Or something. XD
"I'd better quit my talking, 'cause I told you all I know,
But please remember, pardner, wherever you may go,
The people are building a peaceful world, and when the job is done
That'll be the biggest thing that man has ever done."
-- Woody Guthrie (b. 1912-07-14, d. 1967-10-03), "Biggest Thing That Man Has Ever Done (aka. The Great Historical Bum)", 1941
Seriously, I fell 100 points despite continually golding in objective kills and time but absolutely nothing I could do mattered.
So many bad team decisions - teams entirely off comms, floating mostly-sniper groups (seriously it'd be like three snipers and a Genji on capture-the-point levels, and I'm like, are you trying to lose?), Hanzo trying to dive-bomb a held point solo, one game with no healers (so I played Mercy as best I could), bastions insisting on playing on offence and trying to turret their way from off point to victory I guess? So terrible.
(I mean I'm not a good Mercy; if I have a choice on healer I'm picking Ana, but I'll try. I got a couple of rounds of rezzes per game, but they weren't protecting me so it was still bad.)
I'm not the sort to go on comms and say "this combo is guaranteed to lose no matter what I do" and I was trying to coach but with so few people on comms, well.
The only good part was that afterwards I said 'fukkit I'm taking Widowmaker into quickplay for the first time' and proceeded to silver (23) in kills, gold (20) in objective kills, and gold (I don't remember, but it was several minutes) in objective time. This should NOT BE A THING and is STILL MORE BAD DECISION THEATRE, yet there I was taking down Reinhardt with my Talon machine gun because SOMEONE HAS TO BE ON POINT and I GUESS IT'LL BE ME.
The best part being, of course, that I did take Reinhardt down with my machine gun on the point three times. It was like I was paying Tracer. He was so mad. As was, really, their whole team, 'cause it wasn't just him. I had a 12 kill streak at one point, all objective.
The only way they won is that they literally stacked all their ults at me, and it still took a few goes. The first point, I'd tried playing Widowmaker properly and killed like half their team on their first push and yet they still took the point immediately, and the first 2/3rds of the second, so all this was in the context of nine minutes of defence on the second point.
We lost, of course, in overtime, because I'm sorry even I can't survive four stacked ults pointed at me.
But I did unlock the Does That Sting? achievement on my first actual game as Widowmaker. That was hilarious. Don't underestimate those venom mines, kids, I had like eight kills with 'em.
- The Greatest Knight: The Remarkable Life of William Marshal, the Power Behind Five English Thrones, by Thomas Asbridge. Finished this, and it was really solid. I was glad I read it.
- Red Sonja, Vol. 1: Queen of Plagues, by Gail Simone. A fantasy icon written by a woman, with a woman-centered cast. More like this please!
- The Coldest Winter, by Antony Johnston. Prequel to the other Coldest story and I liked this one even better.
- Northlanders, Vol. 1: Sven the Returned, by Brian Wood. It's a western with Viking garb but it's a really good one.
- Orphan Black Season 5, Episodes 2-5. Four really good episodes, and now we're caught up. The first with a horrible end twist and the second an Allison & Donnie comedy piece, with bonus mando and Highland dancing. Then the evil science on the island and the counterpart of Sarah with S, Helena, and Kira in the next two. I loved the flashback to S1. I think my favorite bit was S as the researcher, which was great bit of acting work by Maria Doyle Kennedy.
- Fader, First Light. I didn't expect to love this as much as I did on first listen, but I really really did. I think Neil Arthur does better with a strong collaborator and Benge was one for this album.
- Lindsey Buckingham, One Man Show. Replicates the experience of attending his solo shows beautifully. Not a "single hits" listening album but nice music to work to.
- Usher's Island, Usher's Island. Self-titled supergroup doing their trad thing. Familiar and new all at once, and very enjoyable if you like your trad high church. (I do.)
"If you are describing any occurrence... make two or more distinct reports at different times... We discriminate at first only a few features, and we need to reconsider our experience from many points of view and in various moods in order to perceive the whole." -- Henry David Thoreau (b. 1817-07-12, d. 1862-05-06)
How Disfigured Villain's like Wonder Woman's 'Dr. Poison' perpetuate stigma
Similar to previous linked articles here, but includes a wider critique of media by including Voldemort, Darth Vader, and others.