Just a short note that the memorial article “Analysis and applications: The mathematical work of Elias Stein” has just been published in the Bulletin of the American Mathematical Society.  This article was a collective effort led by Charlie Fefferman, Alex Ionescu, Steve Wainger and myself to describe the various mathematical contributions of Elias Stein, who […]

At the most recent MSRI board of trustees meeting on Mar 7 (conducted online, naturally), Nicolas Jewell (a Professor of Biostatistics and Statistics at Berkeley, also affiliated with the Berkeley School of Public Health and the London School of Health and Tropical Disease), gave a presentation on the current coronavirus epidemic entitled “2019-2020 Novel Coronavirus […]

TODAY!!! Come visit me on the HarperCollins Library Love Fest Instagram today (Fri 5/8)! I'm taking over their Instagram account all day to show you pictures and videos of my writing space! Just posted the video tour! 

https://www.instagram.com/harperlibrary

Starting on Star Wars Day, for one week you can enjoy artistic renditions of your favorite films and series.

The actor behind Luke Skywalker takes StarWars.com on a journey through filming the Star Wars sequel in time for the 40th anniversary of its release.

Hondo, you ol' pirate.

Two StarWars.com writers debate Luke’s choice in Star Wars: The Empire Strikes Back.

Deep Water Games provided me a review copy of Mystery of The Temples , an abstract area control game designed by Wei-Min Ling. It's one of three games in my collection from the Deep Water Games catalog that were originally published by EmperorS4 and feature artwork by Maisherly Chan (Shadows in Kyoto and Hanamikoji are the other two).

In Mystery of the Temples, players take on the role of adventurers on a quest to collect ancient runes protected by dark curses.  In order to break the curses, crystals must be collected and aligned. During game setup, five temple cards are arranged face up in a circle and two wilderness cards are placed in between each pair of temple cards (the picture below shows an alternative arrangement for a 2-player game). A stack of rune cards (4 cards per stack; these cards provide valuable crystal bonuses) are placed face down above each temple card and the top card in each stack is flipped face up. Temple objective cards are laid out; these cards provide additional victory points for breaking temple curses. Each player is given a grid to collect crystals on.

During the game, each player moves their curse breaker meeple clockwise across the temples and wilderness, obeying the detailed rules provided in the rule book. Ending a turn on a wildness card allows a player to collect crystals to carefully arrange on their grid.

Ending a turn on a temple card allows a player to turn in crystals (which must be connected on their grid sheet in the precise order specified on the temple card) to break a curse and earn victory points. There are multiple strategic decisions to be made during a turn as each wilderness card offers up different crystal gathering opportunities and each temple card provides victory points ranging from 3 to 8, depending on how many crystals a player is able to pattern match and discard. Each of the various crystal combinations on the temple cards can only be claimed once so a player must decide whether to amass the minimum amount of crystals to quickly fill in the lower victory point slots before their opponents can, or work at a slower pace, giving themselves time to collect and arrange longer chains of crystals on their grid sheets that will be worth more victory points.

The game ends at the conclusion of the first round in which a player has broken their fifth curse. Victory points are then tallied and the player with the highest victory point total wins the game. Once players are comfortable with the standard rules of play, they can experiment with the advanced rules, which provide for more complexity and variability in play and scoring. As with most area control games, scaling player counts can be an issue. The designer has addressed this in Mystery of the Temples by providing a 2-player variant that uses extra player markers (to block off temple curse claim spots), less wilderness cards, and an extra player meeple (to occupy random temple and wildness card spaces and block movement to those spaces; the meeple moves after each player’s turn). We found these adjustments allowed for the 2-player game to be just as compelling as with higher player counts.

Replayability is high due to the abstract nature of the game play in Mystery of the Temples. There are no narrative cards to tire of and the unique move combinations that can be sequenced to earn victory points are numerous as the temple and wilderness card layout vary each game. There is a moderate amount of analysis paralysis but it is manageable. Game play lasts around 45 minutes on average.

Game components include beautifully illustrated plastic coated cards (everything Maisherly Chan creates is visually appealing and the card and box cover art here are no exception), cardboard tokens, wooden player markers and meeples, and acrylic crystals. Everything should hold up well under regular use. The crystals are sparkly and fun; I absolutely love them.

While the other Deep Water Games titles didn’t work for me (too frustrating in the depth of analysis required), this one is a keeper. It’s the only one of the three games that hits the conceptual sweet spot for me of challenging but still fun. There is a nice flow to the game; the rhythm of moving my meeple each turn and collecting crystals is pleasant.  Mystery of the Temples provides plenty of intellectual challenge in a small box (this game is not easy by any means) with beautiful artwork and an affordable price point.

-------------------------------------------------

Publisher: Deep Water Games
Players: 2-4
Actual Playing Time (vs the guideline on the box): About 45 minutes per game
Game type: area control, abstract

Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

There are some games in my collection that I get excited about when they arrive at my house but it takes me months to get them to the table. Typically in these cases the artwork is lovely, the theme is interesting, and the mechanics look promising but there is something standing in the way of playing the game right away. For Triora: City of Witches (designed by Michael C. Alves), what stood in the way is the game’s rulebook. It absolutely flummoxed me.  Even with the errata notes released a few months ago, it’s hard to make sense of the rules. It made a mess of things. And look what’s it’s done to my review – I usually like to start with a nice overview of a game’s theme, cover the components and artwork, and then dive into the gameplay.  But the rulebook is so awful in this case, I’m forced to lead with that. The publisher needs a skilled editor to rewrite the rulebook entirely. It’s laden with spelling errors and unclear language.

So that’s the bad news; the rulebook is subpar. The good news is the game itself is quite interesting. In Triora: City of Witches, players take on the role of witches and their familiars who have traveled to the city to face off against the nobility and the inquisitor, both of whom have been persecuting local women they suspect are witches. To win the game, a player must have the highest total victory points (referred to as doom points and sometimes ruin points in the rulebook) at the conclusion of the game. The end of the game happens at the end of the round in which one of two conditions are met:

[1] three of the four main locations in the city are destroyed,

or

[2] a witch is captured by the inquisitor after they have already accumulated the maximum inquisition points. Note that a witch captured this way is out of the game and ineligible for victory, as all of their doom/ruin points are forfeited.

Gameplay centers on making and using potions toward strategic ends. Players can create potions both by simply moving their witch meeple to a new location (grants 1 cauldron automatically, which can be used to make one type of potion from the requisite herbs held by the player) and by visiting a location with their witch or familiar that grants a cauldron as part of the action of that location. Note that there is an entire subroutine for generating the requisite herbs on a player’s board; once used to make a potion, herbs shift to a seed state and then must pass through planting and harvesting phases before they transform into usable herbs once more. Potions are consumed when visiting locations on the board that require a potion to complete an action at a location (either as an upfront cost to initiate the action or as an input to the action such as when changing potions into silver or taking control of villagers).  Certain locations on the board are defined targets for destruction; when players move their witch or familiar to these locations (there are 4 of them), as part of the location’s action, they place one of their wooden player tokens on the location. When the required number of tokens have been placed, the location is destroyed.

I’ve mentioned players moving their witch or their familiar on their turns. A player gets two turns per round; one turn to move their witch and the other to move their familiar. It is up to the player to determine which to move first. There is more freedom in moving witches (familiars cannot be moved to a location where a witch or another familiar is currently located) and moving a witch grants extra benefits (the automatic cauldron as mentioned above but also there is a witch’s bonus at each location that is granted only when a witch is moved to the location). However, there is also more risk in moving a witch and so it must be done with great attention to detail. This is because in addition to the witches and their familiars, there is also an Inquisitor meeple moving around the board (up to 2 spaces per round; it moves after all players have finishes their witch and familiar movements for the round). If the Inquisitor lands on a location where a witch is standing, the controlling player of the witch receives a penalty, which can include the immediate loss of the game if they have sufficiently high inquisition points already (inquisition points are assigned when completing certain actions as well as each time the Inquisitor catches your witch). In fact, in all of the games I played, the ending was triggered because a player didn’t carefully consider the Inquisitor’s upcoming movement when moving their witch on their turn and thus they found themselves caught by the Inquisitor and disqualified from winning. And these were smart opponents with several years of experience playing strategy games. So remember to be mindful of the Inquisitor’s current location and movement possibilities before you pick up your witch to move her.

In addition to the Inquisitor, there is a meeple representing the spirit of Morgana, the great witch who drew the witches and familiars to Triora. If Morgana catches up to a player’s witch on the board, the player is granted doom points or shovels (used in the seed to herb subroutine) if they are willing to accept some inquisition points as the cost for these benefits.

There is a moderate amount of analysis paralysis inherent in the game, but it’s not extreme. What will cause slowdowns during gameplay is trying to determine consensus on the rules as questions arise that the rulebook fails to address. For example:

1 . For the two player setup, the rulebook notes that two extra familiars should be placed on the board; these will move around the board each round and serve to occupy spaces and simulate the limitations on familiar movement that players would normally encounter during a three or four player game. Once they are initially placed (instructions say each player should place one familiar), are players limited to controlling the extra familiar they placed or can they select either of the extra familiars to move? The rulebook just states that before or after a player moves their own familiar they should move one of the extra familiars. We had much debate on this; I thought you should be able to move either familiar but my husband thought it made more sense that you should only be able to move the one you initially placed otherwise you could just move the one your opponent placed each turn to get it out of your way.

2. Do players alternate with other players their turns in which they place their witch and their familiar or does play pass from one player to another only after a player does both their turns?

3. When and how often do villager bonuses trigger? The rulebook states that they grant a bonus to the player in the final round, which implies the end of the game. But the bonus list includes “produce 1 shovel”, which would do no good in the final round so that doesn’t make sense. We think it should have read in each round, but we can’t be sure. Also, it’s a high price to play for a villager if you get its bonus only once per game as most villagers cost 3 potions.

4. More villager confusion: the rulebook notes that villagers may be used for actions in the Swamp House. But the only action available in the swamp house is to corrupt and acquire more villagers. It’s not clear how a player would use a villager to corrupt and acquire another villager.  And the rulebook also states that villagers may be used for the action in the City location. But the City is the other location where you corrupt and acquire villagers. Based on this, we think the rulebook was trying to convey that these 2 locations are where you get villagers, not where you use them as is actually written.

5. If a player is not at max inquisition points but the result of the Inquisitor catching their witch would take them over 32 points, does that also trigger the end of the game?

Once players get the rules sorted out (they will likely will need to decide on house rules for the questions above or request feedback from the publisher), they can dive in and enjoy the mechanics of the game. The artwork is lovely and the components are pretty well made (components include plastic coated cards, wooden meeples, wooden and cardboard tokens, cardboard player boards, and the large central board hosting all the locations).

I’m really indecisive on the final rating I should award Triora: City of Witches. A perfect rating (oui! oui! oui!) is out of the question because there are some minor problems with the game independent of the rulebook. For example, a round begins with nightfall and the movement of the Inquisitor and Morgana come after that during the day phase but on the top of the main board the Inquisitor’s movement is the very first item shown on the left, followed by Morgana’s movement; nightfall is shown at the end of the line. Why does the sequence of phases on the board not match the actual sequence of play? Is it possible that in earlier drafts of the game nightfall marked the end of the round instead of the beginning and the board was designed based on those drafts?  If the rulebook wasn’t a disaster the game could absolutely be worthy a oui! oui! rating.  So how heavily should the rulebook factor in here? It’s entirely possible that the problems with the rulebook aren’t the result of shoddy work but simply language translation issues (the game originated in Brazil; I am assuming the English rulebook is a translation). That makes me feel bad about dropping my rating down a notch. But with an oversaturated board game market (I heard last week that approximately 3000 new games are published yearly), I can’t in good faith recommend folks invest in a game that is such a headache to sort out how to play. So Triora: City of Witches gets a oui! from me for now. I’m going to hold onto the game and may play it occasionally and I’m happy to take another look at the game as a courtesy to the publisher should they fix their rulebook and ask me to re-evaluate.

Bonus side story: when posting pictures of the game to Instagram, I found out the village baker in Triora and other folks interested in the city track the #triora hashtag. This came to my attention because these individuals began to send me private messages on IG. They had heard a game was being made about their village but they didn’t know the details. They wanted to know the locations in the village depicted on the board (to see if they corresponded to actual locations). They wanted to know how one wins the game (imagine how awkward it was to explain that one of the goals of the game is to destroy the city). They wanted to see pictures of the game. It was a very entertaining series of conversations and now I’ve actually made a new friend from overseas after having chatted with him at length about the game and the village and its historical events regarding witchcraft.

-------------------------------------------------

Publisher: Meeple BR Jogos
Players: 2-4
Actual Playing Time (vs the guideline on the box): varies widely depending on whether the game ends via Inquisitor or destruction; 10-60 minutes.
Game type: worker placement, area control

Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

Because I love a good story and groove on rich immersive themes, legacy games really appeal to me. The chance to be part of an unfolding narrative is wonderful. It provides a structure for friends to commit to an investment of their time together on a regular basis. It holds everyone's interest over time (when the story is well written and executed). Especially valuable for me is that it lessens the bitter taste of a loss; I get so interested in the plot that I don't care as much about winning. I'm trying to tamp down my competitiveness and narrative driven games help. Finally, I’m a huge fan of Inka and Markus Brand (we have a number of their games in our library already, including all of the Exit  games, Encore, and Raja of Ganges). For all of these reasons, I was really excited when Ravensburger sent me a copy of Inka and Markus’s newest legacy game, Rise of Queensdale, to review.

I actually received my review copy early in 2019, but our RoQ group consists of parents with busy schedules so we can only get together about once a month to play. We've made our way through 13 games so far, and with only 2 or 3 more to go before we finish the legacy series of games, I thought it was a good time to sit down and share my thoughts on the game (Especially in light of Christmas approaching).

Rise of Queensdale  is a legacy worker placement game set in Medieval times. Players take on the role of subjects to King Nepomuk II and Queen Margaret and are tasked with building a new city, Queensdale, on behalf of the royal family. Each player is given jurisdiction over one quarter of the city and is competing against the other players to build the best borough.

As the legacy series of games progresses, players continue to build different types of structures to earn favor with the royal family (fame points) in the midst of dealing with political drama, disease, and other Medieval happenings. Each game in the series sees players attempting to reach their next epoch goal (a target number of fame points). If they are successful, they will have a new, higher epoch goal during the subsequent game.  Note that multiple players can reach their epoch goals during the same game as gameplay continues through the end of the current round once one player reaches their goal. The winner of each game is the person who surpassed their epoch goal by the most points.

The artwork in the game is illustrated by Michael Menzel with graphic design provided by the Fiore GMBH studio in Germany. Michael is probably most familiar to the US based board game community as the illustrator for the Legends of Andor series of games. He brings the same fantasy style drawings he used in that game, with their romantic fonts and soft palettes of color to his work here and it’s lovely. There are a lot of components included in Rise of Queensdale   and Michael does a good job of tying them all to the theme as a cohesive set with the artwork.

Components include dozens of different types of wooden tokens (huts, meeples, player score markers, etc.); the city building board,  scoreboard (epoch tracker, fame counter, and more), action board, player boards, building tiles, and other pieces made out of cardboard; and wooden dice. Everything has held up wonderfully as the months and games have gone by. The rulebook is flipped through frequently and while it’s showing signs of wear, it’s still holding together, staples in place. The rulebook is straightforward and we haven’t had any issues understanding the nuances of the rules.

The narrative in Rise of Queensdale is well written.  It’s memorable and everything that happens makes sense in the framework of the fictional universe laid down by the designers. We’ve played a lot of narrative driven games (Pandemic Legacy, Betrayal Legacy, Middara, Aeon’s End Legacy, Legacy of Dragonholt, Charterstone,  and Seafall, just to name a few) and Rise of Queensdale ranks near the top for narrative driven games that do a good job of incorporating the game play into the storyline. Some legacy games feel more like a story was loosely slapped on top of the game mechanisms, but that isn’t the case here. At the same time, this isn’t an RPG with some board game elements thrown in. The mechanics of the board game have been adeptly planned and implemented; they’re challenging and provide a compelling experience. As the legacy series unfolds, more actions are added to the action board; no one gets complacent or bored because new options keep coming available. Our game group has agreed that there seems to be enough components and actions to allow for replayability as a standard board game even after we’ve reached the very end of our last game in the legacy series.

Rise of Queensdale is a great board game for bringing friends and family together. It’s competitive, so those who turn up their noses at cooperative games and like to win against others will find it enjoyable. Everyone is working toward their own epoch goal and multiple players can reach their goal during a game, so everyone can feel accomplished even when they don’t win. This also creates a brilliant built-in catch up mechanism as the player in last place has the nearest epoch goal to reach. The further a player gets ahead of others in the series of games, the farther their epoch goal becomes and the greater the chance that the players behind them will reach their goals before the leader does. In our games, no one has been able to run away with the scoreboard so far. That helps the game stay family friendly. The narrative turns the game into a shared adventure where everyone is an active participant. Better than going to a movie is feeling like you’re starring in one. And as I mentioned at the beginning of this review, because Rise of Queensdale  is a series of games,  right from the beginning, it fosters a commitment for players to spend time together on a regular basis. That’s the best gift to share with friends and family – our time – and anything like Rise of Queensdale that can make that happen is a wonderful Christmas present to place or find under the tree.

-------------------------------------------------
Publisher: Ravensburger
Players: 2-4 (We played with 4)
Actual Playing Time (vs the guideline on the box): About 1 hour per game
Game type: narrative driven, legacy, dice rolling, worker placement
Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

Let's take a moment to talk about the series Exit: The Game, which debuted in the United States in 2016.

Designed by Inka and Marcus Brand and published by Thames and Kosmos, the games are advertised as an Escape Room in a box. In an escape room, you and a group a friends are placed into a room (you may literally be locked in, depending on the fire code of the city where you book the room). Then,  a timer is set, a story is told to you to provide context and atmosphere for your puzzling adventure, and you attempt to solve a series of puzzles, the answers to which will eventually lead you to a key or combination to escape the room - hopefully before time runs out. These rooms typically book for $30+ per person, so the promise of replicating the escape room experience out of a tiny little box for a fraction of the cost is very appealing.

But does Exit: The Game live up to its promise? It does. It absolutely does, with one caveat - some of the games have you puzzling to solve a mystery within the time limit, but you aren't trying to escape anything.

Earlier titles in the series are fairly straightforward. A paper booklet of puzzles; a set each of riddle cards (pair with the booklet to solve the puzzles), answer cards (used to validate puzzle solutions and lead you to new riddle cards),  and help cards (hints for solving the puzzles); a decoder wheel (used to input codes derived from the puzzles); a simple rulebook; and various accessories (usually constructed of cardboard or paper) provide the core of the game experience. Players need to come equipped with scissors (destruction of components is required in nearly every game), pens/pencils, rulers, and a sharp wit to finish the game and calculate their score (measured in stars). The puzzle mechanisms vary, but they will be at least somewhat familiar to players who have done escape rooms or puzzle hunts before.  Depending on the title chosen, the puzzles also vary in difficulty. There is a difficulty rating printed on each box. We found that on average, we finish every Exit title in about 75 minutes; what varies for us across difficulty ratings is how many hint cards we lean on to solve the puzzles.

As the series has progressed in maturity, Inka and Marcus have been able to deliver titles with creative new puzzle mechanisms, changes in solving methodology (such as varying whether the puzzles in the paper booklet must be completed in sequential order or not), and meta puzzles. Meta puzzles are those which you cannot solve without getting a piece of the solution from some or all of the other puzzles included. For example, a puzzle that has you solve for a sentence comprised of words derived from other puzzle solutions is a meta puzzle. A good example of a title from the Exit: The Game series with a meta puzzle is Exit: The Game  - Dead Man on the Orient Express. It includes a meta puzzle that requires players to pay close attention to the passengers, their possessions, and locations throughout the game in order to solve it successfully. That game also introduced envelopes to open as the game progressed and it’s one of the titles that doesn’t see players escaping anything; instead they are trying to issue a code at the end to transmit the identity of a killer to authorities.

By the time the series release of Exit: The Game – The Catacombs of Horror  came around, I really thought the Brands couldn’t have any new tricks up their sleeve. I was wrong. With Catacombs of Horror, they have introduced the two part adventure, giving players a longer puzzling experience in one box. You can play straight through the entire game (allot yourself at least 2 hours) or play the first half and come back to the second half another time. There are also some fantastic new twists on the puzzling mechanisms (a candle is included and must be lit to solve one of the puzzles, for example), and the components got an upgrade (I’m holding onto the adorable little skulls indefinitely). Alongside the puzzle elements, the theming in the series has gotten better and better as new titles are released. Catacombs of Horror provides a well written narrative, albeit very very dark. As we solve puzzles, we find ourselves chasing down what happened to a friend of ours who disappeared into the Catacombs of Paris. It seems he may have met a dark end after having crossed paths with some demonic forces. This title is definitely not for the kiddos, which might be its only drawback. We have clever tweens who enjoy puzzle games, and this isn’t something we can share with them.

There have been at least three more titles released in the Exit: The Game series since Catacombs of Horror  was published in 2018 and more are on the way for 2020. If you’ve previously purchased any of the series, I’d strongly recommend adding Catacombs of Horror  to your must-play list. If this is the first you’ve heard of the series, do yourself a favor, and start with one of the easier titles, such as Exit: The Game – The Sunken Treasure. Then if you have a good time, move onto Exit: The Game – The Pharoh’s Tomb, before sinking your teeth into the most difficult titles like Exit: The Game  - Dead Man on the Orient Express or this one (Exit: The Game – The Catacombs of Horror ).

-------------------------------------------------
Publisher: Thames and Kosmos
Players: 1-4 (we always play with 2)
Actual Playing Time (vs the guideline on the box): About 2 and a half hours
Game type: puzzle, cooperative
Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

Hello Everyone!

Chapter 02 of Starfighter has officially begun! I have really been looking forward to this moment and hope you enjoy the next installment of the story. With the first chapter of Starfighter in the capable hands of our printers, I am now free to work on pages again! Thank you so much for your patience and support; it is truly appreciated!

If you haven't already, feel free to check out the shop and subscribe to the RSS feed!

Much love, - HamletMachine

     Life really is like a box of chocolates. The really good kind is usually around 200 calories, and you can never consume just one. That becomes problematic, especially in a generation where one of anything is never enough.
     After my minor heart surgery in 2008, I became afraid to do anything but sit on the couch. Everything I did, from my job to my relationships, was settled and done by sitting, not acting. Now, three years later and over 110 pounds over weight, I feel like a new age rendition of The Blob. To conquer my weight gain, I have decided to train for a five mile swim of the Hoover Damn in October of this year. Going from couch to athlete will be a hard struggle, which I know will change my life forever. 
Being an active swimmer / water polo player and all around athlete in high school, weight was never an issue. Now, almost seven years later, I feel like I need an oxygen tank just to walk to my car some mornings. Motivation since high school has been a battle. How do you motivate yourself when you hate yourself? For almost two months now, I have been eating right and holding myself accountable for this mess I have caused myself. Almost eight pounds lighter than when I started, I feel triumphant. Eight pounds is not cause for celebration just yet, but I have this sense of accomplishment and energy—so much energy! I feel like I can do anything. My motivation will be to endure a five mile swim in less than ten months to change my life forever. 
     For your reading pleasure, (because we all love drama) I will be blogging every day about my struggles. Who knows what ten months will bring me, but weight loss is a life change and is hard to do. Follow me on my quest toward health, and I'll teach you the true skinny on being fat.

The coronavirus outbreak has officially been labeled a pandemic by the World Health Organization, potentially grinding the global economy to a halt. Yet every step of the way, the Trump administration’s response has been to deny, blame, obfuscate, and generally cover up. 

Trump and his enablers are focused only on mitigating the economic consequences of the outbreak, especially before the election – mulling proposals like corporate tax cuts and bailouts for airlines and the hotel industry, but resisting the needs of average Americans and our broken healthcare system. 

The outbreak has also revealed the utter weakness of our social safety nets: workers may be forced to choose between a missed paycheck and risking their health because too many employers have no paid sick leave, schools are weighing whether or not to shut down because hundreds of thousands of poor children rely on them for hot meals, and our cruel for-profit healthcare system is preventing people from getting tested for the virus for fear of a hefty bill.

And, remember, 80 percent of Americans are living paycheck to paycheck. Coupled with Trump’s incompetence and narcissism, it’s a recipe for total disaster.

Meanwhile, the Democratic electorate is in the midst of a primary to unseat this sociopath. After Tuesday, Biden has kept his delegate lead with wins in Idaho, Michigan, Missouri, and Mississippi. And while the race isn’t over yet, it’s wise to start making contingency plans.

Biden’s biggest weakness is his failure to attract progressives and young voters. In a CNN exit poll for Michigan, Bernie won a whopping 82 percent of voters age 18-29. Without these voters, if Biden is the nominee, Democrats will not be able to get the votes needed to defeat Trump.

So what are Biden’s options for getting out the vote of this crucial portion of the Party? He must select a true progressive for Vice President, like Elizabeth Warren or even Bernie Sanders, who can push bold progressive ideas like a wealth tax, Medicare for All, tuition-free college, cancelling student debt, and a Green New Deal.

These progressive policies are also winners with the electorate – a majority of voters even in Mississippi and other southern states supported replacing the current healthcare system with a single-payer system, and polling continues to reflect this appetite for transformative change. Even if Bernie isn’t getting the support he counted on, his ideas are.

And don’t count Bernie out just yet. A debate is coming up this weekend that could boost his campaign enough to help him secure wins in later key states like Ohio and Pennsylvania.

But if he fails to get traction, he needs to do whatever he can to help reunite the party, and most importantly, keep working to shift the party in a progressive direction. Behind the scenes he needs to negotiate with Biden a pathway to gain progressive support.

Meanwhile, Biden needs to take up the issues of concern to young people, who are the future of the party and who Democrats can’t win without. This might seem like a pipe dream, but Biden has no choice. This is not 2016. The nation cannot afford another 4 years of Trump. If you’re angry – and rightfully so – use that anger to keep pushing the movement.

Societies gripped by cataclysmic wars, depressions, or pandemics can become acutely sensitive to...

Coronavirus and the Height of Corporate Welfare

With the coronavirus pandemic wreaking havoc on the global economy, here’s how massive corporations are shafting the rest of us in order to secure billions of dollars of taxpayer-funded bailouts.

The airline industry demanded a massive bailout of nearly $60 billion in taxpayer dollars, and ended up securing $50 billion – half in loans, half in direct grants that don’t need to be paid back. 

Airlines don’t deserve a cent. The five biggest U.S. airlines spent 96 percent of their free cash flow over the last decade buying back shares of their own stock to boost executive bonuses and please wealthy investors.

United was so determined to get its windfall of taxpayer money that it threatened to fire workers if it didn’t get its way. Before the Senate bill passed, CEO Oscar Munoz wrote that “if Congress doesn’t act on sufficient government support by the end of March, our company will begin to…reduce our payroll….”

Airlines could have renegotiated their debts with their lenders outside court, or file for Chapter 11 bankruptcy protection. They’ve reorganized under bankruptcy many times before. Either way, they’d keep flying.

The hotel industry says it needs $150 billion. The industry says as many as 4 million workers could lose their jobs in the coming weeks if they don’t receive a bailout. Everyone from general managers to housekeepers will be affected. But don’t worry – the layoffs won’t reach the corporate level.

Hotel chains don’t need a bailout. For years, they’ve been making record profits while underpaying their workers. Marriott, the largest hotel chain in the world, repurchased $2.3 billion of its own stock last year, while raking in nearly $4 billion in profits. 

Thankfully, Trump’s hotels and businesses, as well as any of his family members’ businesses, are barred from receiving anything from the $500 billion corporate bailout money. But the bill is full of loopholes that Trump can exploit to benefit himself and his hotels.

Cruise ships also want to be bailed out, and Trump called them a “prime candidate” to receive a government handout. But they don’t deserve it either. The three cruise ship corporations controlling 75 percent of the entire global market are incorporated outside of the United States to avoid paying taxes.

They’re floating tax shelters, paying an average U.S. tax rate of just 0.8 percent. Democrats secured key provisions stipulating that companies are only eligible for bailout money if they are incorporated in the United States and have a majority of U.S. employees, so the cruise ship industry likely won’t see a dime of relief funding. However, Trump has made it clear he still wants to help them.

The justification I’ve heard about why all these corporations need to be bailed out is they’ll keep workers on their payrolls. But why should we believe big corporations will protect their workers right now? 

The $500 billion slush fund included in the Senate’s emergency relief package doesn’t require corporations to keep paying their workers and has dismally weak restrictions on stock buybacks and executive pay. 

Even if the bill did provide worker protections, what’s going to happen to these corporations’ subcontractors and gig workers? What about worker benefits, pensions and health care? How much of this bailout is going to end up in the pockets of executives and big investors?

The record of Big Business isn’t comforting. Amazon, one of the richest corporations in the world, which paid almost no taxes last year, is only offering unpaid time off for workers who are sick and just two weeks paid leave for workers who test positive for the virus. Meanwhile, it demands its employees put in mandatory overtime.

Oh, and these corporations made sure they and other companies with more than 500 employees were exempt from the requirement in the first House coronavirus bill that employers provide paid sick leave.

And now, less than a month into statewide shelter-in-place orders and social distancing restrictions, Wall Streeters and corporate America’s chief executives are calling for supposedly “low-risk” groups to be sent back to work to restart the economy. 

They’re so concerned about protecting their bottom line that they’re willing to let people die to preserve their stock portfolios, all while they continue working from the safety and security of their own homes. It’s the most repugnant class warfare you can imagine.

Here’s the bottom line: no mega-corporation deserves a cent of bailout money. For decades these companies and their billionaire executives have been dodging taxes, getting tax cuts, shafting workers, and bending the rules to enrich themselves. There’s no reason to trust them to do the right thing with billions of dollars in taxpayer money. 

Every penny we have needs to go to average Americans who desperately need income support and health care, and to hospitals that need life-saving equipment. It’s outrageous that the Senate bill gave corporations nearly four times as much money as hospitals on the front lines. 

Corporate welfare is bad enough in normal times. Now, in a national emergency, it’s morally repugnant. We must stop bailing out corporations. It’s time we bail out people.

From Ukraine to Coronavirus: Trump’s Abuse of Power Continues

Donald Trump has spent a lifetime exploiting chaos for personal gain and blaming others for his losses. The pure madness in America’s response to the coronavirus pandemic – shortages of equipment to protect hospital workers, dwindling supplies of ventilators and critical medications, jaw-dropping confusion over how $2.2 trillion of aid in the recent coronavirus law will be distributed – has given him the perfect cover to hoard power and boost his chances of reelection.

As the death toll continues to climb and states are left scrambling for protective gear and crucial resources, Trump is focused on only one thing: himself. 

He’s told governors to find life-saving equipment on their own, claiming the federal government is “not a shipping clerk” and subsequently forcing states and cities into a ruthless bidding war.

Governors have been reduced to begging FEMA for supplies from the dwindling national stockpile, with vastly different results. While we haven’t seen what “formula” FEMA supposedly has for determining who gets what, reports suggest that Trump’s been promising things to governors who can get him on the phone. 

Our narcissist-in-chief has ordered FEMA to circumvent their own process and send supplies to states that are “appreciative”.

Michigan and Colorado have received fractions of what they need while Oklahoma and Kentucky have gotten more than what they asked for. Colorado and Massachusetts have confirmed shipments only to have them held back by FEMA. Ron DeSantis, the Trump-aligned governor of Florida, refused to order a shelter-in-place mandate for weeks, but then received 100% of requested supplies within 3 days. New Jersey waited for two weeks. New York now has more cases than any other single country, but Trump barely lifted a finger for his hometown because Governor Andrew Cuomo is “complaining” about the catastrophic lack of ventilators in the city.

A backchannel to the president is a shoe-in way to secure life-saving supplies. Personal flattery seems to be the most effective currency with Trump; the chain of command runs straight through his ego, and that’s what the response has been coordinated around.

He claims that as president he has “total authority” over when to lift quarantine and social distancing guidelines, and threatens to adjourn Congress himself so as to push through political appointees without Senate confirmation.

And throughout all of this, Trump has been determined to reject any attempt of independent oversight into his administration’s disastrous response.

When he signed the $2 trillion emergency relief package into law, he said he wouldn’t agree to provisions in the bill for congressional oversight – meaning the wheeling-and-dealing will be done in secret.

He has removed the inspector general leading the independent committee tasked with overseeing the implementation of the massive bill.

He appointed one of his own White House lawyers, who helped defend him in his impeachment trial, to oversee the distribution of the $500 billion slush fund for corporations. That same day, he fired Inspector General Michael Atkinson – the inspector general who handed the whistleblower complaint to Congress that ultimately led to Trump’s impeachment.

There should never have been any doubt that Trump would try to use this crisis to improve his odds of re-election.

Stimulus checks going to the lowest-income earners were delayed because Trump demanded each one of them bear his name. As millions of the hardest-hit Americans scrambled to put food on the table and worried about the stack of bills piling up, Trump’s chief concern was himself.

It doesn’t matter that this is a global pandemic. Abusing his power for personal gain is Trump’s MO.

Just three and a half months ago, Trump was impeached on charges of abuse of power and obstructing investigations. Telling governors that they need to “be appreciative” in order to receive life-saving supplies for their constituents is the same kind of quid pro quo that Trump tried to extort from Ukraine, and his attempts to thwart independent oversight are the same as his obstruction of Congress.

Trump called his impeachment a “hoax”. He initially called the coronavirus a “hoax”. But the real hoax is his commitment to America. In reality he will do anything – anything – to hold on to power.

To Donald Trump, the coronavirus crisis is just another opportunity.

Corporations Will Not Save Us: The Sham of Corporate Social Responsibility

Last August, the Business Roundtable – an association of CEOs of America’s biggest corporations – announced with great fanfare a “fundamental commitment to all of our stakeholders” and not just their shareholders. 

They said “investing in employees, delivering value to customers, and supporting outside communities“ is now at the forefront of their business goals — not maximizing profits.

Baloney. Corporate social responsibility is a sham.

One Business Roundtable director is Mary Barra, CEO of General Motors. Just weeks after making the Roundtable commitment, and despite GM’s hefty profits and large tax breaks, Barra rejected workers’ demands that GM raise their wages and stop outsourcing their jobs. Earlier in the year GM shut its giant assembly plant in Lordstown, Ohio.

Nearly 50,000 GM workers then staged the longest auto strike in 50 years. They won a few wage gains but didn’t save any jobs. Barra was paid $22 million last year. How’s that for corporate social responsibility?

Another prominent CEO who made the phony Business Roundtable commitment was AT&T’s Randall Stephenson, who promised to use the billions in savings from the Trump tax cut to invest in the company’s broadband network and create at least 7,000 new jobs. 

Instead, even before the coronavirus pandemic, AT&T cut more than 23,000 jobs and demanded that employees train lower-wage foreign workers to replace them.

Let’s not forget Jeff Bezos, CEO of Amazon and its Whole Foods subsidiary. Just weeks after Bezos made the Business Roundtable commitment, Whole Foods announced it would be cutting medical benefits for its entire part-time workforce.

The annual saving to Amazon from this cost-cutting move is roughly what Bezos – whose net worth is $117 billion – makes in a few hours. Bezos’ wealth grows so quickly, this number has gone up since you started watching this video.

GE’s CEO Larry Culp is also a member of the Business Roundtable. Two months after he made the commitment to all his stakeholders, General Electric froze the pensions of 20,000 workers in order to cut costs. So much for investing in employees.  

Dennis Muilenburg, the former CEO of Boeing, also committed to the phony Business Roundtable pledge. Shortly after making the commitment to “deliver value to customers,” Muilenburg was fired for failing to act to address the safety problems that caused the 737 Max crashes that killed 346 people.  After the crashes, he didn’t issue a meaningful apology or even express remorse to the victims’ families and downplayed the severity of the fallout to investors, regulators, airlines, and the public. He was rewarded with a $62 million farewell gift from Boeing on his way out.

Oh, and the chairman of the Business Roundtable is Jamie Dimon, CEO of Wall Street’s largest bank, JPMorgan Chase. Dimon lobbied Congress personally and intensively for the biggest corporate tax cut in history, and got the Business Roundtable to join him. JPMorgan raked in $3.7 billion from the tax cut. Dimon alone made $31 million in 2018.

That tax cut increased the federal debt by almost $2 trillion. This was before Congress spent almost $3 trillion fighting the pandemic – and delivering a hefty portion as bailouts to the biggest corporations, many of whom signed the Business Roundtable pledge. 

As usual, almost nothing has trickled down to America’s working class and poor. 

The truth is, American corporations are sacrificing workers and communities as never before in order to further boost runaway profits and unprecedented CEO pay. And not even a tragic pandemic is changing that. 

Americans know this. A record 76 percent of U.S. adults believe major corporations have too much power. 

The only way to make corporations socially responsible is through laws requiring them to be – for example, giving workers a bigger voice in corporate decision making, requiring that corporations pay severance to communities they abandon, raising corporate taxes, busting up monopolies, and preventing dangerous products (including faulty airplanes) from ever reaching the light of day.  

If the CEOs of the Business Roundtable and other corporations were truly socially responsible, they’d support such laws, not make phony promises they clearly have no intention of keeping. Don’t hold your breath.  

The only way to get such laws enacted is by reducing corporate power and getting big money out of our politics.

The first step is to see corporate social responsibility for the sham it is. The next step is to emerge from this pandemic and economic crisis more resolved than ever to rein in corporate power, and make the economy work for all. 

I had a wonderful (Dog)Mother's Day with my browns and my lovely step-woof, Greta! Here's a picture of us.

Congress Sets Up Taxpayers to Eat $454 Billion of Wall Street’s Losses. Where Is the Outrage?

By Pam Martens and Russ Martens: May 7, 2020 ~ Beginning on March 24 of this year, Larry Kudlow, the White House Economic Advisor, began to roll out the most deviously designed bailout of Wall Street in the history of America. After the Federal Reserve’s secret $29 trillion bailout of Wall Street from 2007 to 2010, and the exposure of that by a government audit and in-depth report by the Levy Economics Institute in 2011, Kudlow was going to have to come up with a brilliant strategy to sell another multi-trillion-dollar Wall Street bailout to the American people. The scheme was brilliant (in an evil genius sort of way) and audacious in employing an Orwellian form of reverse-speak. The plan to bail out Wall Street would be sold to the American people as a rescue of “Main Street.” It was critical, however, that all of the officials speaking to the … Continue reading →

-

USA Badminton has been taken off probation by the U.S. Olympic and Paralympic Committee, which tried to decertify the organization for noncompliance to protect athletes from sexual abuse.

At least 70% of U.S. Olympic sports organizations have applied for government funds during the coronavirus pandemic, a stark financial reality that underscores the frailties within the world's most dominant Olympic sports system.

Posted by: icon_uk

In the comments to these weekly posts (and only these posts), it's your chance to go as off topic as you like. Talk about non-comics stuff, thread derail, and just generally chat among yourselves.

The EU hosted a summit where over 40 countries and global organisations promised a starting figure of over $8 billion to the development of a covid-19 vaccine.

Much of the world is starting to experiment with opening up again in a new sort-of-post-Covid19 world, with places like Germany and Spain relaxing, gradually, some of the lockdown protocols, with strong limitations and provisos.

In New Zealand, consistent reminder that competent politicians exist Jacinda Ardern has suggested that the country may not have open borders for a long time to come.

In the UK, a phone app is being developed for contact tracingM and notification of people you may have been in contact with who develop Covid19, though in true current UK style, it's going against every other countries developed app by not using the personalised data storage method (Where your information never leaves your phone), but a centralised database, which is raising some concerns about the storage and disposal (or not) of this data.

The US government is planning on borrowing around 3 TRILLION dollars in the next quarter to pay for pandemic support initiatives. That's 3,000,000,000,000 (Which I only mention because I've never had a reason to type an actual number that big in a real world context!)

The US is also starting to open up in places, though the wisdom of this is being called into question by... well, pretty much everyone else on the planet, and a goodly number of the local population of course.

The Clone Wars seventh and final season came to an end with a frankly spectacular arc which saw Ahsoka Tano facing off against Darth Maul in the sort of iconic fight scene that, truth be told, the sequel trilogy was mostly completely lacking, at least on an emotional level), and giving us a chance to see the impact of General Order 66 from the point of view of Ahsoka, as well as the actual Clone Troopers who we have got to know and care about over the years of this series. THIS is how you do it!

The long overdue, repeatedly delayed, New Mutants movie was briefly appearing as forthcoming video on demand from Amazon, though without a release date, but it has now disappeared again. This DOES seem to suggest it might go straight to digital with no cinema release.

Also a new image of a new baddies form the movie have been released in the shape of the Smiley-Men.

And I've clearly been watching waaaay too much anime, or at least listening to too many anime soundtracks when a random video from something called Argonavis (A games based anime from what I can see) popped up and I thought "Gosh that sounds like Unison Square Garden" (who did "Orion o Nazoru", the belter of an OP for Tiger and Bunny) only to discover it's not, but it was written and arranged by two of the members.

In terms of podcasts, alongside old favourites like "Jay and Miles X-Plain the X-Men" (pretty much what it says on the tin and currently looking at Age of Apocalypse), "The NoSleep Podcast" (Horror fiction) and "The Arkham Sessions" (An actual qualified clinical psychologist, Dr Andrea Letamendi, examined, firstly "Batman the Animated Series" and is now looking at the "Doom Patrol" TV series for their depictions of mental conditions), I've just started Mockery Manor, a horror/mystery/drama set at a gloriously awful (and thankfully fictional) British theme park in the late 1980's.

So today's extra curricular activity for the community: What podcasts are you currently listening to that you'd recommend to others?


comments

Posted by: iamrman

People seemed interested in my New Mutants Dungeons and Dragons story, so here is the first chapter.

( Read more... )

Místo zájezdu nové brýle a namísto pravidelné masáže konzultace s lékařem na dálku. Vládní opatření proti koronaviru změnila také čerpání zaměstnaneckých benefitů. Na rozdíl od výplat je však firmy nekrátí.

Kvůli koronavirové pandemii pracují z domova tisíce lidí. Home office má však určitý pracovně-právní rámec, což tuší málokdo. Jaká jsou práva a povinnosti zaměstnanců a co musí zaměstnavatel udělat, aby neporušil zákoník práce? Ve spolupráci s právníky Bořivojem Líbalem a Markem Poloni přinášíme praktický servis rad pro zaměstnance a zaměstnavatele.

Práci z domova u zaměstnanců soukromých firem nelze jednostranně nařídit, vzniká jen na základě dohody obou stran. U pedagogických pracovníků a zaměstnanců škol však platí trochu jiná pravidla. Ve spolupráci s právníky Bořivojem Líbalem a Markem Polonim přinášíme odpovědi na nejčastější dotazy pedagogů.

The finalists are:

• Tommy Arnold
• Rovina Cai
• Galen Dara
• John Picacio
• Yuko Shimizu
• Alyssa Winans

Just looking up those websites has given me a lot of pleasure - my art knowledge continues to be "I don't know much but I know what I like" - and I'm looking forward to taking more time to consider each of the finalists more carefully.

I'm pleased to see Galen Dara on the shortlist, I've seen her work frequently in Uncanny, Lightspeed & Fireside Magazines, and usually like it. I was lucky enough to get into a kaffeklatsch with John Picacio at Dublin Worldcon last year (although I came there sideways, through interest in his work founding The Mexicanx Initiative, which was a finalist for Best Related Work), which was a great experience.

• 1 orange, peeled and chopped ($.70)
• 1 teaspoon powdered tumeric ($.10)
• 1 teaspoon caraway seeds($10)
• a few black peppercorns, or pinch of black pepper
• stevia or sweetener, if desired ($.10)

1. Place the orange, turmeric, and caraway seeds in a large saucepan with four cups water. 
2. Bring to a boil over high heat and continue to boil for about five minutes. This will reduce any bitterness in the turmeric.
3. Add the peppercorns or pinch of pepper and steep for a minute or two. 
4. Strain through a fine mesh strainer into mugs and and the sweetener of your choice, if desired. 

Good things: jack and I went to see the Troy exhibition at the British Museum. With a bit of time and energy left after that, we also visited the Aztec room. And then we went out for pancakes at my favourite spot. And it was generally lovely.

Then we had a go at some tabletop roleplaying, with OSOs and their younger two. jack had put together a cut-down system, roughly D&D based but a lot lot lot less complex and fiddly. And a delightful little one-shot story about saving a baby giant turtle from a suspicious sea captain, set in an archipelago of islands on the back of giant turtles. jack really encouraged us to develop fun characters, and we're all excited to play more in this setting.

I have plans for an exciting date with ghoti_mhic_uait next week, and I think after that no more travel for fun. Honestly I'm not sure about this week either. Maybe it isn't morally or safety-wise sensible to visit a huge tourist spot in the capital. I'm expecting several months of somewhere between boring and terrifying, and I'm not really impatient for that to start.

ghoti_mhic_uait bought me and jack an annual membership of the British Museum for our birthdays. And it was a really good time to visit as members; the Troy exhibition, in its last weekend, was completely sold out for non-members, plus it was lovely to be able to go to the museum semi-spontaneously rather than having to plan for a particular time and buy tickets. I probably wouldn't have made a special trip or paid lots of money to see Troy, but when it was low pressure it was worthwhile.

Basically what they've done is presented objects that represent the myth as told in Classical literature, so lots of vases and friezes and so on, arranged to recount the story of the fall of Troy. And then they have a gallery of Renaissance responses to the Trojan myth, and then a gallery of modern (ish) responses. Nice curation, lots of ideas about how the myth was interpreted through the culture of the time. And a marvellous collection of objects, the BM has really a lot of good blackfigure vases and beautiful neo-Classical objects. There is also quite a lot of commentary about how war is actually bad rather than epic, and thoughtful stuff about attitudes to women, and it's 2020 so we're no longer doing the ridiculous 'no homo' thing about Achilles and Patroclus.

My favourites were this gorgeous little bowl with a really sweet picture of Eris:


And a stunning pre-Raphaelite portrait of Clytemnestra immediately post-murder, which I couldn't photograph due to the lighting, and can't find an image of online.

Then we went to have tea in the special members' room. The main advantage is that it's quieter than the main tea-room, as it isn't in a huge echoing hall. We reckoned we had enough time and energy left to look at one more thing, and Jack was excited to see the famous double-headed turquoise snake from the meso-American gallery. I fell slightly in love with this grumpy woman who shares the room with it:


On the way we wandered past a staircase with some cool mosaics, the Wellcome gallery with has a Moai that they're in the process of returning to the Rapa Nui peoples they stole it from, and the gallery of indigenous North American stuff, much of which is again, stolen. Also the Enlightenment room, which I'm interested to go back to with more time, partly because it contains more stuff that the British Museum actually has a right to than a lot of the galleries!

Dinner was pancakes and mango lambic beer at My Old Dutch in Holborn, which has been a tradition since I visited the BM with my friend MK and his then two-year-old.

comments

Normal life up to February or March 2020 was clearly the Before Times. (I like that better than calling it BC for 'before corona', because the latter seems slightly offensive to Christians, and Before Times is ironic but immediately transparent.)

ironed_orchid pointed out that the period we're in now is clearly the Time of Isolation.

So what are we going to call the post-Covid future? Maybe we'll never really be post-Covid, any more than we are post-flu or post-TB, but I am daring to hope for a time when it's not the dominant feature of everybody's lives. Anyone heard a term as memorable and fitting as Before Times and Time of Isolation?

comments

Seen several variations of this floating around. This particular version I got from ghoti_mhic_uait who pointed out that whether and how some of them are gendered can be really regional.

It/its - Basically nobody ever uses 'it' spontaneously unless they are trying to insult people for being GNC or perceived as trans. Most people perceive me as a not particularly feminine woman, so 'it' pretty much doesn't happen. I don't have any wish to be insulted by people who hate non-binary folk, but in the abstract I somewhat prefer 'it' to 'they'.

She/her - Most usual pronouns for me, and what I'll pick if people ask for pronouns and I don't want to be that annoying cis person who says 'I don't mind'. But actually I kind of don't mind.

He/him - I about equally don't mind 'he' as 'she', but in practice nobody ever reads me as male. I'll correct it if we're in an online discussion where people assume that articulate and sensible = male, but otherwise, emotionally it would be fine, realistically not very likely.

They/them - I feel guilty for saying this but I somewhat dislike being referred to as 'they'. I think it's the same objection I used to have when 'Ms' became common. It ought to mean that my gender (marital status) is irrelevant to what people are saying about me, which is correct, but actually it seems to mark me as one of those people for whom non-binary gender (or non-determinate marital status) is really important. So I don't like 'they' because I feel like I'm being gendered as a gender rebel, which I'm really not, I have no spare energy for activism around not fitting into the female box. I am entirely happy to refer to other people as they and hopefully wouldn't make too many assumptions about anybody else's gender politics, but I dislike it for myself.

Neo-pronouns - If it were a politically uncomplicated choice, and didn't have the same problem as 'they' that neo-pronouns mark you as a gender rebel, this would probably be my preference. I particularly relate to zie / hir ; some people object to this set because it sounds like German 'sie' meaning 'she' and therefore isn't truly gender neutral. But actually that matches pretty well how I feel about myself. I'm sort of female-ish, if people think of me as somewhere on the female side of neutral, that's about right. Also, as you can see from my icon, my preferred pronoun in Swedish is definitely 'hen'; yes, it does sound like the feminine gendered English word 'hen', which is a problem for many bilingual people, but for me personally it works really well.

Mr. - Can't really imagine this happening to me. Sometimes I choose it in a fit of pique if I'm choosing from a fixed list with only inappropriate title options. But just like I'm never going to be called 'he' spontaneously, nobody ever calls me Mr.

Mx - Don't love Mx but I'm ok with it. If social norms shift to the point that Mx is the default that people start out with rather than assuming Mr or Ms, that would be ok with me. But I don't love it anywhere near enough to insist on it if people are using a different title. (I don't like to spell it with a dot as it was in the list I copied from, 'Mx.' just looks wrong to me because it isn't an abbreviation for anything.)

Miss - My preferred title if Dr. isn't available. I dislike when people who don't know my name just call me 'Miss', but in a formal context where we're using titles, I will opt for 'Miss Surname'.

Ms - I guess, if I can't have Dr or Miss, then Ms is probably better that the other options. I am less prickly about being identified as a feminist than I was years ago, but it kind of doesn't really feel like me and I'd rather have Mx.

Mrs. - Don't like this because there is no sensible combination of 'Mrs.' with a surname. I don't have the same surname as my husband, so calling me 'Mrs. Hisname' is incorrect, but calling me 'Mrs. Myname' doesn't work either because it's not a married name, it's the same surname I was assigned at birth. A few distant relatives on both sides do default to 'Mrs. Hisname', and I don't really take offence at it, it's just a slightly incorrect formalism, not an insult. It just feels completely irrelevant to how I think of myself.

Dr. - This is my correct and earned title, which is incidentally gender neutral. I don't like being pretentious enough to insist on it always, but if I have to give a formal title to a random customer service bod, then Dr. is more correct than any of the other options. I'm happy to be addressed as 'Dr. Surname' if we are being formal. I'm not a fan of being addressed as just 'Dr.' or 'Doc', but I suppose it's better than plain 'Miss'.

Sir - I can't imagine a situation where someone would call me Sir outside a kink scene. And even then I'm almost exclusively submissive so it's not very likely. If I hypothetically did get read as male, and hypothetically it was the kind of context where 'Sir' is polite, I would be ok with it, but I'm not willing to go to the effort to be read as male, so it's not going to happen.

Ma'am - The cross-section of class and region I'm most familiar with doesn't use this. I have occasionally been called 'Madam' and I'm ok with that if it's a mark of genuine respect from someone who doesn't have a clue what my name or title are, not if it's sarcastic.

Dude - Relatively gender neutral in my dialect, but mostly used as an expression of surprise. So I wouldn't expect to be called 'dude' for real, but if it happened it would be ok.

Bro/bruh - I don't think anyone has ever called me either of these. If I heard it from someone from a similar sort of race and class background to me, I would assume they were taking the mick, either mocking me, or mocking what they perceive as a working class or ethnic minority dialect. If I were called 'bro' by someone who regularly calls people 'bro' that would be ok but again, unlikely because it's too male-gendered.

Sis - Fine from my actual siblings, and one particular friend with whom I have a negotiated fraternal relationship. Fine from people who are expressing feminist solidarity; I think I broadly prefer 'sister' over 'sis' but either is fine.

I'm also totally fine with Muslim women calling me 'sister' if they come from a culture where that's the general term of respect for anyone perceived as a woman. And if they normally only call fellow-Muslims 'sister' then it's a compliment to include a Jewish woman in the sisterhood. I don't expect it from Christians because I'm not a nun and not likely to be mistaken for one.

I wouldn't like to be called 'sis' by a stranger trying to get my attention though, it's one of the words that assumes intimacy.

Sib - Nobody really calls me 'sib' (or 'fam' for that matter). I like them, but they don't really belong in my culture and dialect.

Woman - I'm totally fine with being described as a woman. I strongly dislike being addressed as 'woman'; I can't think of a context where that would be anything other than deliberately rude.

Man - I don't think people call me 'man' directly. People use 'man' as an expression of emphasis, like, man, you're fast!. But I don't perceive that as being addressed as 'man'.

I have a few friends who will refer to me as a man if I happen to be wearing more masc attire than I usually do, and I am somewhat uncomfortable with that, because I'm not more male in trousers than a skirt, though I appreciate the underlying thought process which is to acknowledge gender-fluidity.

Boy - Implausible.

Girl - In a feminist-disapproved way, I do to some extent think of myself as a 'girl'. I am ok with other people calling me 'girl' in a context where it's obviously positive, like you go, girl!, but I wouldn't respond to someone calling me 'hey girl!' in the street. I might slightly ironically say 'because I'm a girl' when discussing some gender unfairness. I don't like people referring to me as a girl, because that can be patronizing. I particularly don't like 'girl' as a modifier; I'm not a 'girl scientist' or a 'girl manager' or a 'girl blogger', I'm a woman or female scientist.

King - I don't move in the kind of circles where this would ever be a term of address.

Queen - I think you have to be a certain kind of gay man or African American to call someone 'Queen' so this doesn't seem to fit me.

Prince - Implausible.

Princess - I kind of dislike this even as a term of endearment. It feels like a name for either a young child, or someone you don't really respect as a person but think of as basically an ornament or toy.

Captain - Completely irrelevant. The only time I'm ever even slightly likely to be addressed as 'Captain' is if someone is gently ribbing me for being bossy, which I suppose is ok if we have the kind of relationship where that sort of teasing is accepted.

Lady - As a term of address where this is culturally normal, fine. I don't feel personally excluded or hurt if someone addresses a speech to 'Ladies and Gentlemen'. If a complete stranger is trying to get my attention, I probably prefer 'lady' over 'girl', though neither is great. I don't mind when parents tell their children, say thankyou to the nice lady or similar. I would not expect anyone who knows my name to call me 'lady' instead. If someone is describing me rather than addressing me, I think 'woman' is a better word than 'lady', and 'person' is a better word still.

Feminine compliments - I don't entirely agree with the various examples from different versions of the meme of what constitutes a feminine, masculine or gender-neutral compliment. I broadly dislike 'feminine' compliments from people who don't know me well, because they are almost all about appearance, and because they are often belittling. If I'm in a close relationship with someone and feel comfortable with them complimenting my appearance, I prefer the gender-neutral 'gorgeous' over the more feminine-ish 'beautiful' as terms of address, but if it's a description rather than a name then it depends on the person giving the compliment.

Masculine compliments - I would love to be described as 'handsome', but it's never going to happen, because I'm really not. Also I don't like being addressed as 'handsome' in place of a name or title. What other masculine compliments even exist? I can't think of any of the top of my head.

Neutral compliments - In place of a name, supposedly neutral compliments are often feminized. Like, if a stranger calls me 'cute' or 'hot' or 'sexy' because they don't know my name, they're quite likely to be asserting gendered power over me and I don't like that. If someone wants to describe me in a sentence using complimentary language, I usually prefer neutral over explicitly feminine.

Honey, sweetie etc - If it's normal in someone's dialect to call random strangers by terms of endearment, that's fine. I think doing so can be gendered slightly female, but it doesn't bother me if someone calls me 'darling' or 'sweetheart' because they perceive me as female. I dislike endearments once I'm having an ongoing interaction with someone, in that case I want them to ask my name (or title, in a more professional context) and use it.

comments

Mornings go best when I’m ready to go before anyone else gets out of bed. I need to save my knees for my commute and cannot take the stairs at work. (Having discovered how much this helps, I am now reconsidering all the previous times in my life when my knee issue flared up.) I … Continue reading Things I learned in 4 months of full time employment

Hey.  This isn’t a real post but I thought you might enjoy. Recently the Yorkshire Museum had a curator battle where they challenged museums to post the #creepiestobject in their collection on twitter.  And it was fantastic and a million … Continue reading →

It’s Sunday so that means this is a good place to put all the stuff that doesn’t fit anywhere else, like: ONE Let’s Pretend This Never Happened has a new cover and it’s adorable.  This means that if you have … Continue reading →

Did one of the most difficult things I’ve ever done: I cut up my mother’s wedding dress. Now, Mom always *loathed* her wedding dress. Her mother talked her into a waltz length, ballerina-y dress, and she never enjoyed looking at her wedding pictures. She put it in her cedar chest and never looked at it. […]

As any Common Lisp coder knows, a REPL is an incredibly useful tool. It can be used not just for development, but for running all sorts of tasks. Personally, I don't bother making my Lisp tools into executable scripts and just run them directly from SLIME. As such, any operation that requires leaving the REPL is quite inconvenient. For me, one such operation was viewing image files, for example in conjunction with my match-client:match tool. So lately I've been researching various methods to incorporate this functionality into the normal REPL workflow. Below, I present 3 methods that can be used to achieve this.

Open in external program

This one's easy. When you want to view a file, launch an external process with your favorite image viewer. On Windows a shell command consisting of the image filename would launch the associated application, on Linux it's necessary to provide the name of the image viewer.

(defvar *image-app* nil) ;; set it to '("eog") or something

(defun view-file-native (file)
  (let ((ns (uiop:native-namestring file)))
    (uiop:launch-program (if *image-app*
                             (append *image-app* (list ns))
                             (uiop:escape-shell-token ns)))))

Note that uiop:launch-program is used instead of uiop:run-program. The difference is that launch- is non-blocking - you can continue to work in your REPL while the image is displayed, whereas run- will not return until you close the image viewer.

Also note that when the first argument to run/launch-program is a string, it is not escaped, so I have to do it manually. And if the first argument is a list, it must be a program and a list of its arguments, so merely using (list ns) wouldn’t work on Windows.

Inline image in REPL

The disadvantage of the previous method is that the external program might steal focus, appear on top of your REPL and disrupt your workflow. And it's well known that Emacs can do everything, including viewing images, so why not use that?

In fact, SLIME has a plugin specifically for displaying images in REPL, slime-media. However it’s difficult to find any information on how to use it. Eventually I figured out that SWANK (SLIME’s CL backend) needs to send an event :write-image with appropriate arguments and slime-media's handler will display it right in the REPL. The easiest way is to just send the file path. The second argument is the resulting image's string value. If you copy-paste (sorry, "kill-yank") it in the repl, it would act just like if you typed this string.

(swank::send-to-emacs '(:write-image "/path/to/test.png" "test"))

You can even send raw image data using this method. I don't have anything on hand to generate raw image data so here's some code that reads from a file, converts it to a base64 string and sends it over SWANK.

(with-open-file (in "/path/to/test.png" :direction :input  :element-type '(unsigned-byte 8))
                (let* ((arr (make-array (file-length in) :element-type '(unsigned-byte 8)))
                       (b64 (progn (read-sequence arr in) (cl-base64:usb8-array-to-base64-string arr))))
                  (swank::send-to-emacs `(:write-image ((:data ,b64 :type swank-io-package::png)) "12345"))))

Note that the first argument to :write-image must be a list with a single element, which is itself a plist containing :data and :type keys. :data must be a base64-encoded raw image data. :type must be a symbol in swank-io-package. It’s not exactly convenient, so if you’re going to use this functionality a helper function/macro might be necessary.

Image in a SLIME popup buffer

Inline images are not always convenient. They can’t be resized, and will take up as much space as is necessary to display them. Meanwhile EMACS itself has a built-in image viewer (image-mode) which can fit images to width or height of a buffer. And SLIME has a concept of a “popup buffer” which is for example used by macroexpander (C-c C-m) to display the result of a macro expansion in a separate window.

Interestingly, slime-media.el defines an event :popup-buffer but it seems impossible to trigger it from SWANK. It is however a useful code reference for how to create the popup buffer in ELisp. This time we won’t bother with “events” and just straight up execute some ELisp code using swank::eval-in-emacs. However by default, this feature is disabled on Emacs-side, so you’ll have to set Emacs variable slime-enable-evaluate-in-emacs to t in order for this method to work.

Also Emacs must be compiled with ImageMagick for the resizing functionality to work.

Anyway, the code to view file in the popup buffer looks like this:

(defun view-file-slime (file &key (bufname "*image-viewer*"))
  (let ((ns (namestring file)))
    (swank::eval-in-emacs
     `(progn
        (slime-with-popup-buffer (,bufname :connection t :package t)
          (insert-image (create-image ,ns))
          (image-mode)
          (setf buffer-file-name ,ns)
          (not-modified)
          (image-toggle-display-image))
        ;; try to resize the image after the buffer is displayed
        (with-current-buffer ,bufname (image-toggle-display-image))))))
    ))

Arriving to this solution has required reading image-mode’s source code to understand what exactly makes image-mode behave just like if the image file was opened in Emacs via C-x C-f. First off, image-mode can be a major and a minor mode - and the minor mode is not nearly as useful. slime-with-popup-buffer has a :mode keyword argument but it would cause image-mode to be set before the image is inserted, and it will be a minor mode in this case! Therefore (image-mode) must be called after insert-image.

Next, the buffer must satisfy several conditions in order to get image data from the filename and not from the buffer itself. Technically it shouldn’t be necessary, but I couldn’t get auto resizing to work when data-p is true. So I set buffer-file-name to image’s filename and set not-modified flag on.

Next, image-toggle-display-image is called to possibly resize the image according to image-mode settings. It's called outside of slime-with-popup-buffer for the following reason: the buffer might not yet be visible and have any specific dimensions assigned to it, and therefore resizing will do nothing.

Here’s an example of how calling this function looks in Emacs.

The position of the popup buffer depends on whether the original Emacs window is wide enough or not. I think it looks better when it’s divided vertically. Use M-x image-transform-fit-to-height or M-x image-transform-fit-to-width to set up the auto-resizing method (it gets remembered for future images). Unfortunately there’s no way to fit both height and width, at least with vanilla Emacs. I prefer fit-to-width because in case the image is too tall, it is possible to scroll the image vertically with M-PgDn and M-PgUp from the other buffer. Unlike other image-mode buffers, this buffer supports a shortcut q to close itself, as well as various SLIME shortcuts, for example C-c C-z to return to the REPL.

That's it for now, hope you enjoyed this overview and if you happen to know a better way to display images in Emacs, I would be interested to hear about it.

I have finally obtained the first batch of the printed "Programming Algorithms" books and will shortly be sending them to the 13 people who asked for a hardcopy.

Here is a short video showing the book "in action":

If you also want to get a copy, here's how you do it:

1. Send the money to my PayPal account: $30 if you want normal shipping or $35 if you want a tracking number. (The details on shipping are below).
2. Shoot me an email to vseloved@gmail.com with your postal address.
3. Once I see the donation, I'll go to the post office and send you the book.
4. Optionaly step: if you want it to be signed, please, indicate it in your letter.

The book was already downloaded more than 1170 times (I'm not putting the exact number here as it's constantly growing little by little). I wish I knew how many people have, actually, read it in full or in part. I've also received some error corrections (special thanks goes to Serge Kruk), several small reviews and letters of encouragement. Those were very valuable and I hope to see more :)

Greetings from the far away city of Lima, Peru!
I loved this part: "Only losers don't comment their code, and comments will be used extensively"
Thank you so much for putting this comprehensive collection of highly important data structures, i'm already recommending this to two of my developers, which I hope i'll induce into my Lisp addiction.
--Flavio Egoavil

And here's another one:

Massively impressive book you've written! I've been a Lisp programmer for a long time and truly appreciate the work put in here. Making Lisp accessible for more people in relation to practical algorithms is very hard to do. But you truly made it. You'll definitely end up in the gallery of great and modern Lisp contributions like "Land of Lisp" and "Let Over Lambda". Totally agree with your path to focus on practical algorithmic thinking with Lisp and not messing it up with macros, oop and other advanced concepts.
--Lars Hård

Thanks guys, it's really appreciated!

If you feel the same or you've liked the book in some respect and have found it useful, please, continue to share news about it: that definitely helps attract more readers. And my main goal is to make it as widely read as possible...