Since this sub and some 4000+ others are going dark in 2 days in protest of probably this site's stupidest decision ever, I figure this is probably the last time I'll get to share my pointless thoughts on this game here, so may as well. It doesn't really matter anymore if it's full of awful takes and people just downvote and insult me in the comments, it's been a grand time and I'll miss seeing posts and having discussions over this dEaD gAmE.

Construction

• Starting off strong, construction was a mistake. While it did have potential and had some cool moments, it was ultimately a distraction from the parts of the game that most of the playerbase actually interacted with. Even now with the latest updates to it, I feel like it's still a waste of time and effort on the devs' part and I'd have preferred if that time went into something like improving existing base designs instead.

Base/Map Design

• Speaking of base design, where the hell are those shielded garages outside of Oshur and containment sites? Such a small thing would have gone a long way towards improving fight longevity and yet it just never happened.
  
• Containment sites themselves are a mixed bag of design as well. Ultimately you're trying to funnel players into three long hallways with 2 areas for them to spawn/approach from, the defender lower spawns and the attacker lower spawns or the buses parked just above. Because everyone's funneled like this, the pop ends up highly concentrated in one hallway or the other in a sort of "wave" pattern and people usually won't spread out aside from a handful of folks sitting on point to prevent ghost flips. I'd have liked to see more ways for attackers and defenders alike to get in and out of the lower levels, make use of the base's design to add more verticality to the action and break up the very predictable movement.
  
• Oshur is just a tremendous waste of potential in terms of design as well. The water and boats are just utterly squandered for some reason, despite the whole continent being designed for them. Why are the islands almost entirely cliffs that make it impossible for boats to actually engage? Where are the docks, the coves, rivers, straits, channels cutting through bases? Boats should be the centerpoint of logistics in Oshur, instead of just the most convenient means of capturing points that are just floating in the middle of the ocean with some ruins underneath.
  
• Underwater combat could have been interesting as an addition to regular combat, but when you try to limit it to being its own thing by making the only bases with underwater points, ENTIRELY UNDERWATER, you just end up with slower gimped combat. Why the hell don't island bases have sections that go down to the water, and have flooded areas? It's not like you didn't get to see what that might have been like, you flooded Indar in test and that was pretty neat.
  

Vehicles

• Vehicle play has been neglected. I'm not talking about nerfs or CAI, I'm talking about just making them a more integral part of the game. There are not enough vehicles for vehicle play and vehicle vs vehicle combat to stand out because vehicles largely lack purpose. When I get to a base to contest and I don't have a sundy, I ditch the vehicle because I can contribute more on my feet than I can in my vehicle. Unless the friendly sundies die, I don't really have much of an impetus to bring another vehicle. I also don't want to bring a vehicle from the neighboring base just to kill enemy vehicles that might be farming infantry because a) those enemy vehicles aren't really contributing to the cap, and b) my vehicle won't either. GIVE PEOPLE A REASON TO WANT TO PULL VEHICLES MORE OFTEN AND YOU WILL SEE MORE VEHICLES FIGHTING EACH OTHER INSTEAD OF JUST FARMING INFANTRY.
  
• As for what might motivate people to do that, here's an idea - take the existing CTF concept, and apply it to vehicles, but instead of all the finicky flag counts and resetting, just shift the base timer every time a flag is delivered. Place the flag and delivery points on the edges of the base where infantry can have some influence but are at a notable disadvantage to vehicles. This makes it so that vehicles can significantly supplement a base cap but aren't mandatory, and they have to move around instead of just sitting still. This can apply to air units as well at bases that have landing pads, and maybe we'd see more amateur pilots and have a healthier airgame.
  
• I also believe we can improve the vehicle logistics game by adding a new option to the defense slot of transports (valk, sundy, gal, ant?) which enables players within a certain radius of the vehicle to spawn directly into it, but with a longer timer (like 10 seconds longer than a parked bus). This does not make logistics specialist implant obsolete, as that can still work for non-transports, and also does not require sacrificing the defense slot. It also offers no benefit for squadplay, as squadmates can already spawn directly into squad transports. However, it should be a boon for solo players offering logistics or trying to catch a ride. Air transports hovering above bases to act as air spawns can also make for juicy targets for pilots, so there's another thing to encourage more vehicle and air play.
  
• Suppose I should go over vehicle balance briefly too, though that's less important than the above points IMO. We're going to focus one two key ideas here: no long-range imprecise AI, and more focus on armor vs armor.
  
  • For that first idea, the outright removal of HESH. It's been used as makeshift artillery for its entire existence, even when it was HE. Rocket pods, Dusters, and AI noseguns should have a significant increase in spread to drastically decrease their effectiveness at distance. Shorter range explosive weapons like Bulldog get a pass because their range makes them easier to retaliate against (assuming you have the means to do so), and non-explosive AI like Kobalts are fine.
  • For the second idea, an increase in mobility and weapon velocities across the board, as well as new main cannons to replace HESH because there's so few of those and they're still severely lacking in variety. With faster vehicles and more accurate weapons, we want to encourage people to be attacking on the move rather than hunkering down in place and slowly feeling out the right altitude for their shots. As for the MBT cannon replacements, here is a suggestion for each (not NSO you're fine) focused on ease of use over DPS:
    • NC gets a guided shell with the same damage profile as HEAT but the reload speed and velocity of AP. Shell is laser guided so it'll adjust towards the cursor, rather than camera-guided like the Phoenix rocket, which is kind of awkward to use and probably impossible to control at this velocity.
    • TR gets a 60mm autocannon with a 8 round mag and low spread/bloom per shot. Imagine a weaker, long-range version of the Viper intended for an accurate, sustained barrage of fire.
    • VS gets a proper laser repeater. 400 RPM or something stupid like that, piss for damage to offset the ROF, low COF because it's bloody lasers. This thing should be doing strafing runs on other tanks, or firing at aircraft and making a hell of a lightshow. Laser brrrrrrrrrt.

Infantry

• Infiltrator cloak should be a separate device you need to equip and activate to use. In that same slot is a new gadget, the nanite disruptor. Think the dildar, but instead of spotting enemies moving through, it slowly drains the shields and energy of enemies in its area, and also clears spots. For all the folks that don't abuse cloak, the cloak change won't be too bad. For the folks that decide they'd rather not cloak at all anymore, have a new and useful gadget.
  
• Heavies are mostly fine right now. The other classes have enough tools at their disposal now to offset the overshield's strength IMO. It really does just come down to getting good at clicking heads at this point.
  
• AMRs seem to be a point of contention, and I get people not being particularly happy about engineers getting BASRs, even if they aren't great at anti-infantry stats wise. To offset this, why not try a different approach - make them hipfire only ala MCG/Thumper, lower the HS mult to 1.5x, and raise the base damage so most of them (3 for DAGR since it's a quick boi) can kill infantry with 2 bodyshots but not 1 headshot. A rifle of that caliber would be hard as hell to shoulder and fire accurately anyway. Now it's a worse slug pump shotgun instead of a worse bolt-action.
  
• MAXes have already seen their share of nerfs, but I'd still like to see them be shifted more towards a support role over an offensive one. Remove all the AI options from the right arm and add a special grenade launcher in its stead that can fire the class-specific grenades of the Punisher SMG. Cure nades, repair nades, havoc nades, etc. It's a big hit to its infantry offensive capability but adds a LOT of utility already, and you can probably keep yourself alive a lot longer if you just spam repair nades at your feet lol.
  
• Revive grenades are too strong and spammy. I'd just limit the max amount you can carry to 2, even with grenade bandolier.
  

Monetization

• Let's face it, RPG/DBG is not good at monetizing this game. Yeah there's the bundles which whales and diehards will buy, but even those are becoming less attractive year after year. This is only a baseless assumption, but I'd guess that membership is what generates most of the revenue from this game. 10-15 bucks a month is a hefty subscription cost, and that's mostly just to skip queues. If the membership was for Planetside alone and not everything in DBG's roster, it'd be really damn hard to justify charging those prices.
  
• The Depot just doesn't get enough updates. It's stale. Now and then a fantastic modeller like d0ku or steve will pull through and give us some gorgeous cosmetics like the new armor sets or the sunderer armadillo skin (my beloved), but that's too few and far between.
  
• It feels like this game attempted to make its own version of a season/battle pass with the campaigns, which were interesting, but the implementation of the missions for them had major flaws and it was also too quick and easy to complete when other players weren't purposely making the missions impossible to do. If campaign progression was tied more to faction/community-wide milestones that could be reached through regular gameplay, like x bases captured or x resources gathered, it would be less of a pain in the ass and still be a special event that motivated people to play more. I think something like this could work well for this game, and to monetize it in a non-predatory way you could lock some cosmetic items in the campaign currency shop to season pass owners or members only.
  

Hi,
I will be a new student in the fall for Anthropology. I am currently a park ranger in Montana till I drive 40 hours back to NC in August.
Any tips for a new student/person to Boone?
I have a place already but I don't know anyone... I was hoping there is like a movie or anime club since those are some of my interests. How did yall make friends? I am nervous bc I am living 30 mins off campus. I am worried it may make it hard to hang out but maybe I am overthinking :))
I am really excited to be a Mountaineer
Thanks

This is something I've talked about before. When Kimi no Na wa. came to the US, it only played in a few cities. A local hobby shop in my area had a carpool, they were gonna drive like 4-6 hours to the town it was playing in. At the time, I said hell no, no way the movie's that good. A decision I now regret. So many times, I've said something like "I would pay stupid money for the chance to see Kimi no Na wa. in theaters."
Not sure if you guys follow tech, but on Monday (June 5), Apple announced a brand new product called Vision Pro. I'm going to open with the price, because they didn't — this thing is going to start at $3,499.99. It's more — a lot more — if you wear glasses, because you're going to have to get custom fitted lenses that will go inside this thing. Yes, it's a virtual reality headset, and yes, Facebook makes a cheaper one, but I'm not sure the Facebook model will be anywhere as good. And, while we aren't /privacy, I'm not sure I have to work very hard to tell you why you shouldn't put Facebook on your face, literally. They're not gonna pull a Kayaba Akihiko and trap you in VR (referencing Sword Art Online), but at the same time... I wouldn't put it past them.
Anyway, the cool thing about this device is, you will be able to watch a video on a virtual screen right in front of you. And it looks like, if you're viewing it inside your room, a limit of something like 100"? But you also have the option of entering a fully virtual environment, like sitting on the shore of a lake, and then you can have a screen that is, well, as big as you want. A thousand feet across. A mile across, maybe, but you'd have to move it back farther. Essentially it would fill your view. It would certainly be bigger than a movie theater.
As far as the sound goes, it's similar to AirPods, and those can get pretty loud. They're also clear.
The display resolution is 4K, so it would be upscaling the film, which was filmed at 1080p.
I'm pretty sure there's no way to watch physical Blu-rays or DVDs on Vision Pro. If you have a "downloaded" or "backed up" copy, you may be able to use something like VLC (which exists on iOS and Apple TV, and both versions let you sideload movies into them). But Apple TV, the app, is confirmed for Vision Pro. And a few months ago I told y'all about the movie going on sale there for $5 (each per dub, so $10 if you want it in both English and Japanese).
So $3500 is a pretty big price, but we now have a price tag on the premium theatrical experience, not of one movie, one time, but of any movie, any time. your name. in theaters? How about Weathering With You and The Garden of Words? How about the original Star Wars trilogy? How about the extended Lord of the Rings movies (which were never even shown in theaters)? Any movie you want, that you can buy digitally.
Also, does it matter that it's only a virtual theater? Do you want the seats with soda spilled on them, the popcorn on the floor, the gum stuck to the arm rests, and having to miss part of the movie if you have to go to the bathroom in the middle? Granted, theaters do have an edge over the Vision Pro option in the weight of the sound. The depth of the bass. A headset will not be able to capture that. A good sound mix will sound amazing during those two big explosive scenes (the comet hitting and the power substation blowing up). It should sound good on the Vision Pro, but will it hit as hard? Hard to say.

A while ago, I posted a test that was to determine what kind of writer someone is, based on what part of the “modernist” spectrum they fall into. Part of the reason why I did this was to see how much I understand about the subject matter, since I will always have a postmodernist tell me that I am clueless as to what any of these are. Another reason is to have writers start realizing why they think the way they do, and possibly start questioning why they write how they do. I found out that, from the dozen or so people who took the test and posted their results to me, that most people I encounter and get along with online are modernist. A lot of these people reject mainstream media and they are secluded in alternative media sites because they don’t get along with the current overton window that’s among popular sites. I think it’s safe to say a lot, if not all, of these people are anti-woke, and they received 1 or 0 answers on the woke aspect of the test.
If I can pat myself on the back for anything, at least I can say I got the woke part correct.
Although the buzzwords I used for woke might be cheating since we all know I’m referring to something woke when I say something like “inclusivity” or “intersectionality” or “oppression”, because anyone who listens to even something like Joe Rogan will know these terms and treat them like they’re dripping with vomit and diarrhea. A lot of us, especially the classical liberal, center to center-right types, and even the center-left types, are tired of this woke nonsense. Even some guy who drinks beer while watching football and shopping at a basic store like Target is tired of this tomfoolery.
So this followup is to address a lot of the complaints I received and also to bring in some insight into how I wanted to conceptualize the test and how it turned out. I will also explain the relevancy of this type of test since some are wondering why something like scoring modernist means anything.
In philosophy, you are to hit 5 branches in order for your philosophy to be considered “full” or at least “full enough” to be granted a name. These 5 are:

1. Metaphysics (study of existence)
2. Epistemology (study of knowledge)
3. Ethics (study of action)
4. Politics (study of force)
5. Aesthetics (study of art)

If you hit all 5 of these at least once, you have a full range of addressing the stuff that makes up a philosophy. I tried to reverse engineer these 5 categories into 22 questions, and after the fact(meaning this evening), I realized that I should have had 4 questions for each category and then 2 questions about the reader and then the writer. The number 22 is related to the major arcana in tarot, with the 2 extras being the fool(the writer) and the world(the reader). That or maybe something like “what exactly do you write in your story?” and then that can relate to worldbuilding or something. It would have to be a question that lets us know what the person sees as a good world to write in the first place, because then that would show us the world they aim for, which is related to their worldview.
Or maybe to question what they read so that we can see what a writer finds interest in, so that it correlates with what they would write.
That was not critiqued by others, but I know I messed up on that. I was listening to a Jordan Peterson video where he said that a good survey questionnaire takes months of planning to get the wording right for the questions and the answers, and I looked at my test and saw I did it in a day, and went “well, I think I messed up, yeah.” My own critique will be taken into consideration so that I can remake the test and make it better. To repeat what I said in the test: I wish to use this to determine who to avoid when hiring and working with people, because anyone scoring even something like 2 answers on the woke mentality is something to be concerned about.
Other critique involves question 1 where the phrase “copy it” should be changed to “emulate it”. Yeah, I agree, that makes more sense, since copy makes it sound like someone is not putting their own spin on it or putting it in their own words. Imitate, match, resemble, something that intends to retain the purpose but including your own position on the matter. Question 17, how we get our knowledge, is a very open question about epistemology, and that one seems to have given a few people the woke answer by accident, even if they aren’t woke in the way they answer. The problem with the term “lived experience” is that people think it’s a normal term and it is one of the few woke terms that go over some people’s heads. The term is used commonly in correspondence with articles that feature globohomo artwork and they talk about how it’s important to have a person in your corporation or non-profit organization who holds “lived experience” and they are referring to living as a black person to know what a black person feels.
I find this incredibly woke because, as I’ll explain further later on, the woke are saying that the only way to know something is to be that thing, thus forcing writers to be, say, autistic in order to write an autistic character. Or they must be a woman to write a woman. Or they must be a black to write a black. This enforcement is what causes the demand for diversity hires, because somehow these diversity hires hold mystical magical knowledge that nobody else in the company would even dare to understand or comprehend unless they checked off some boxes first. On top of that, the term “pragmatic action” was poor wording and that’s my bad. I was trying to say something like “scientific realization” in order to attach the modernist to science. Something that is both pragmatic(able to be done practically) and part of some kind of education/training. You’ve done it, you’ve learned about it, you see others do it, that can be the modernist idea of knowledge.
Other than those two, I think every other question went over rather well, but I will still enhance them to be worded better as time goes on and as I revisit it with more of an organized “5 sets of 4 and the 2 big ‘uns” in mind. But then there comes the elephant in the room. The scoundrel who dared to question my authority and make a critique about the test. How dare they and stuff.
Jokes aside, I really like this kind of critique and it’s great that she put it into clear questions that I can firmly address. I like it when people are clear. It’s much better than that obfuscation thing the postmodernists always do when they complain about me without really having a reason other than something where they don’t like labels or they were offended that I dared to mention any category of anything. Page Zaplendam, a fellow writer, brought up 3 important questions which you can see for yourself here:

1. Where are the definitions of the terms?
2. How do you justify reducing things to something like woke?
3. How do you prevent people from rejecting pre-modernism?

I’ll address the first one to then follow through with the rest of the answers, because they all go in a long chain of “why, why, why” and “how, how, how”.
To begin the explanation, we’re going to need to establish what modernism is so that the others can be explained. It’s the word that created the reason we see a difference in aesthetics like this because this was the moment we engaged in what’s called the enlightenment. During the early 17th century and around that time, people started to remove their dependency on kingdoms and instead create nations and industry. Religion was also being questioned because scientific advancements through record keeping allows people to give better assessments on what causes something to happen in the world. The view of the world started to become more natural and so naturalism was common, as well as rationalism and empiricism. People were using logic to make their decisions and data to come to conclusions, rather than faith or scripture from prior.
During this time, the modern age, traditions were tarnished and deemed as unnecessary. Medicine allowed people to praise science instead of pray for a mystical cure. Predictions of weather with meteorology allowed people to reduce famines and starvation. Printing presses allowed books to become more common, machinery allowed more production of goods, and life went from depending on neighbors to depending on communities and global trade. This dramatic change in both lifestyle and mentality allowed art to enter the modernist art era, which is determined as art that experiments to search for new meaning and objectivity without the necessity of a deity, tradition, or the supernatural.
Mythology became psychology, alchemy became academia, and religion became fandom. Everything mentally changed under modernism to create an environment of experimentation, the romances took over, which led to the pulp adventures and existentialist works of things like noir. Weird tales brought us ideas of cosmicism, thanks to the lack of god or at least the lack of a god who cares about humanity. With this freedom from religion, the mostly liberal environment of modernism allowed people to make up their own rules, their own ideas of what’s real, and thus we were able to focus more on the individual, rather than the collective. Stephen Hicks has a great video where he lectures about how modernism came to be and what it is, but I can simplify it into the 5 categories he has on his chart.
Metaphysics: naturalism
Epistemology: empiricism and reason
Human Nature: Tabula Rasa(everything mental is gained from experience)
Ethics: individualism
politics/economics: liberal capitalism
As you can see, modernism caused this reliance on the self, but also reliance on science as a replacement for religion. It caused the worship of money, while also opening people up to other ideas thanks to the liberal mindset. The liberty to engage with other things allowed people to mingle with both good and bad ideas. This is actually why people, like James Lindsay, say that liberals caused things like Nazism and Communism to come into fruition, because the liberal is so open and accepting that they allow terrible ideas to take over the top of the social structure and they think it won’t touch them if they are on the bottom. This is also how dictators were able to trick people into treating them like a God, because the dictator convinced people that they were able to answer prayers and did this during their campaigns to get elected or during the revolution while they’re beheading their opponents in the streets.
In other words, the uprising of democracy had people rely on voting in the same way as people relied on prayers, but here it’s where we pray to a natural government and hope they do something we want.
One thing that we don’t like to realize is that colonization occurred because of a scientific superiority among the Europeans, and this scientific advancement was caused by years of wars and immense dedication to their royalty. Then there were areas they colonized that had a crazy amount of gold, such as Australia and the Aztec empire, and this abundance of gold allowed trade to skyrocket, while Indian trade and the silk road allowed wealth to spread across the globe. Diamonds and gold found in Africa, like a sick joke from God to force white people to go to such a hellhole to get the diamonds in the rough. It’s not that white people wanted to go around and rule the world. It’s that enlightened explorers and merchants wanted to make a crazy amount of money and these environments were inhabited by people who left these literal gold mines untapped, and these explorers used technology to take over.
No wonder modernism was full of that toga wearing utopia sci-fi stuff!
It’s not hard to realize why the Europeans took over entire empires with small groups of conquistadors. They had armor, guns, ships with cannons. Those Chinese must have their face red realizing they are the ones who sold them black powder. Every alchemist should feel bad and stuff that they are the reason guns were used versus the people who didn’t have guns. It was such a destructive force to use guns against savage tribes and kingdoms because it was both physical and psychological. It was like dealing with metallic robots who fired lightning from their arms and filled the area with a concealing smoke. That’s like showing a caveman a cellphone, their brains instantly melt trying to comprehend what’s going on.
So people are angry at the modernists for being… rational and empirical, and I guess being urbanized or industrialized. People are mad at capitalism for being effective and a good way to globally get along. They’re mad at liberals for being okay with race mixing. The utter nerve of such horrid actions. How dare people mix. I’ll make sure to tell my own future mixed kids that they should be ashamed of themselves for having parents who came from different parts of the Earth and that’s about it.
So modernism, do I like it?
Well, it’s not bad. A lot of my favorite stuff is modernist and usually when people say they want to go back to the old days, they point at modernism as the example. Hell, a lot of postmodernists now are saying they want to go back to modernism, and then they say they don’t, because they feel like it's superior, but they hate the idea of accepting that it’s modernist. I mean, that’s why it’s called postmodernism, it’s the thing after modernism is gone, it’s the rejection of modernism and also pre-modernism. But more on that one later.
I noticed a lot of people got mostly modernist as their answers on the test and it makes sense. Many people online, especially on alternative social media, will be actual liberals who are open to different ideas, which allows them to engage with things that both offend them and possibly something they see as evil. They’re open to having their minds changed and they are always willing to learn more because there’s a big idea on learning more and experimenting, which is something I can relate to because I’m always trying out new restaurants in my area and I don’t mind trying a genre that I’m not familiar with. For me, I have a bit of that liberal mindset because I try out a lot of things I’m not familiar with and I end up liking some stuff, but I usually stick to what I established as my firm ideas from prior.
For example, when I was a kid I hated eating beans and I refused to eat fish that wasn’t canned tuna. Now, after being more open, I love salmon and I love eating beans, which dramatically helped my nutritional intake. There is a healthiness involved with experimenting and there is also a risk factor. But if you know how to avoid dangers, I don’t see a problem with trying out something like a new genre you’re not used to, just to see if you can get into it.
I mention this because the modernist writer will experiment, but will also claim a truth that comes from rationalism, which assumes the world we live in is logical. Even if it’s chaotic and absurd, they’ll say it’s logical, because it’s predictable and we can interact with it. This allows their writing to hold to formulas through things like pulp, while also experimenting through things like weird fiction. There is repetition that happens, and this is why genres became a big thing, so the reader can tell what form of repetition they want to deal with through what they are familiar with. This caused what’s called a comfort zone, which is the state of mind where a person feels at ease because there is an abundance of familiarity and a lack of unwanted challenges. Genres create these comfort zones, and this is then where we have to talk about individualism.
Liberalism has the problem of causing individualism to slowly become sophistry and egotism. The person declaring they are the one who is to be relied on and they are the ones who make up their own rules becomes a person who can’t tell who they’re obeying. Especially if that person puts something above themselves, like race, or science, or nation, or the opinions of others through democracy. Thanks to romanticism during this modernist time, we were able to feel like we had an abundance of freedom and capability, but then barely a century later the rise of Naizsm and Communism caused people to realize that this capability is in relation to what the shadow is capable of. The darkest, most disturbing and destructive actions a person is capable of, beyond their imagination and beyond what we’d consider a “human act”.
This quick change into the most dangerous entity nearby is why I don’t trust anarchists when they say their utopia would be functional. When it comes to real life, that doesn’t work, we need a more powerful overarching thing to keep that shadow in check, and we need that entity above the human to be in check of its own shadow on top of that. And this shadow is also what causes the modernist to engage with things like dada and a hatred of art to the point where they can say the work is for them and them alone, or that all art is equal, down to where a turd on a pedestal is the same as the Mona Lisa.
The pro of modernism is a focus on the individual, which promotes movements like poetic realism and neorealism, which grants a look into everyday lives. The mundane can be put into the forefront and average people can feel like they relate, which allows the average person to buy the work. That is a great plus, and it’s why the most popular shows out there are stuff that involves soap opera style drama and an environment that is simple, like a hospital or a police station. The sitcom is a result of modernism, because only a modernist would find value in seeing a family hang around their house while you’re sitting in your house with your family watching someone else in their house with their family.
Now let’s get on with pre-modernism, after all of that introduction is said and done. Pre-modernism is everything that came before this enlightenment and this separation from God. Atheists like to say how atheism has been popular forever and they have simply been suppressed, but something crazy that they ignore is that every civilization, without ever talking to each other, before any contact with anyone else, became a religious, spiritual, civilization. We even have a name for this basic religion, called animism. This natural desire to be religious in humans comes from how we think when we are young, as well as how we think when we are not relying on science or even words.
I know this sounds strange but we think more in pictures and visions than we do with words when we don’t know how to read. Reading unlocks a vast amount of knowledge that can be gained practically instantly, but a lack of language in our ability to think causes an abundance of symbolism in our head to fill in the gaps, meaning the ability to read locks away this visual aspect. When we’re babies, we view everything as giant, threatening, and frightening. And why not? We’re this tiny soft thing that has a skull that can easily be dented and we’re unable to feed ourselves. We need someone to throw food into our mouths like bananas into the mouth of a hippo at a zoo. We have our parents doing stuff for us, and so our brain right away connects the two.
Stuff happening around us is caused by something like a parent, like an authority, like a sky father and earth mother. The father gives me brain stuff and the mother gives me food stuff. But then we’ll grow up and realize that something like the wind moves on its own, the moon comes up to replace the sun on its own, and the seasons change on their own. There’s something we can’t see that’s doing this, something beyond the sky and under the ground, and everywhere we can’t see, especially behind our eyeballs. There’s this strange image that appears behind my vision that is not of the world but of my mind, and I conjured it.
And if I didn’t conjure it, I had someone else put it in my head through a spell, in the form of words, which cast the symbol to occur in my mind. Writers in the pre-modernist age are spellcasters, wizards, that make sure something is explained about the mysterious and supernatural world that is beyond the stuff we see around us. This “rejection of the average” causes the pre-modernist writer to talk about stuff that are not only real, but hyper-real. It doesn’t speak about an individual and it’s not for an individual, because it’s attaching everyone under the same umbrella and form. This is why I find poor interpretations of mythology humorous but also rather useless.
People will look at something like Greek mythology where a god has a child with their sister and go “well, isn’t incest a bad thing?” Not only do they miss the point, but they forget that it's a god we’re talking about and it’s not a human. It’s not some biological thing standing in front of you. It’s the supernatural, it’s beyond something like biology. Or better yet when someone reads the bible and goes “why did Adam take a rib out to get a woman? Couldn’t God just make a woman without taking his rib?”
It’s like, you missed the point and you’re ignoring the importance of symbolism, and this symbolism grants all of the meaning that you’re missing from the bible. Yes, Eve is made from Adam, and yes, it takes a rib, because rib is a bone and bone is structure. A rib is near a heart, a protector of heart. Heart is courage, love, emotions, stuff that makes our blood pump. Blood is a humor based on air, and air is one of the 4 elements. The connection goes on and on and on, because this mythology is all connected together into one giant story that goes beyond the words stated in the story. Each tiny noun or verb means way more than it lets up to mean. I’ve been studying mythology for a while, and really trying to look into them before I say anything about them, and there is so much inner history with mythology that’s both present and reachable, but it’s practically endless with how everything connects.
And at the same time, all of this is essential, of a form, symbolic, and objective.
This relation to religion in pre-modernism causes the definition to be something like “the art form that depicts hyper-reality in an objective truth that involves the supernatural as a source of the natural and as the source of truth.
Stephen Hicks puts the politics of the pre-modernist as feudalism, but it’s more like monarchy, where you believe that there should be a king, because someone has a family line that was sacred enough to treat like one. In pre-modernism, we had ancestor worship in every culture, because your family line was important to keeping your existence relevant. This is because everything in the pre-modern age involved titles, which were granted by an authority, and many times this authority is a god or an ancestor.
Your title within your family is in relation to your family members and your last name determines your family’s title for others to recognize. If someone was a smith, they would get the last name smith, like say John the smith just becomes John Smith, and they will endow their established trade to their next of kin. So if the son of John Smith wants to make a living, he’s going to be a smith as well. There is this lineage and family business that is treated seriously, because if you step out of this title, you’ll have to create your own. People could do that by entering a trade or a guild, by learning from others, from gaining a title after being born a bastard, or whatever they could to get a title.
But the key factor is that title is important to the pre-modernist. What’s even more important is form, because this religious mentality creates the environment that perfection is possible. A metaphysical manifestation separate from the material world that is able to be aimed towards and sought after, even if unable to be reached. This was well portrayed in characters like Jesus, which Christianity dedicated itself to fulfill the traits of Jesus, due to Christianity being a religion where people follow the teachings of Jesus.
I would say that every religion had their own type of Jesus, the perfect form that someone or something has to uphold and look up to as inspiration.
Later on, alchemy came out of the prototype phase and started to connect all of these religions and symbols with each other to create more overarching symbolism that went for more core ideas. At this point, people could only argue against combinations and where something is in a hierarchy, rather than the validity of the claim of something like a single god or a creator. Sects of religions were made in order to determine different end goals, or different ideas in how a ritual should be done, or whether something like a church is important for worship, and these were the biggest sources of dispute possible.
You either followed God's will or you didn’t, and if you didn’t, you were a heathen. Heathens are sent to the bad place, believers go to the good place. We have a supernatural aspect of our body, beyond our body, beside our body, that went there for us, usually in the sense of a soul or spirit. The mind is an intermediary between the body and spirit that allows communication between the two at all times. This was usually depicted with gods like Psyche or Hermes or any other messenger god.
The gods would speak to us with omens and with us using clairvoyance. Any pattern in front of us or up in the stars could be used as a means to decipher a supernatural message. This message was easily able to repeat itself because there was an objective meaning to everything, which is why something like Zodiacs are constantly watched even to this day. Pre-modernist art retains this tradition of using mythology and symbolism to depict truths about the world. Romanticism was an attempt to return to this truth telling style during the modernist era, but Romanticism was absent of the religious aspect and was more of something like a neo-alchemical way of handing stories, where symbols were kept basic and for individual progress instead of a collective one.
A big part of pre-modernism is collectivism, especially the collective unconscious, which Jung coined later on when referring to his more pre-modernist analysis of psychology that heavily relied on alchemy and mythology. We used mythology to say something of value, with a universal or at least human level of objectivity, and the only way to miss the message is to deny that symbolism exists for them. Or at least, your level of symbolism in your interpretation would have to be so low resolution that it misses every point entirely and has zero context as to why mythology is important in the first place.
Mythology grants the idea that our world holds order, while the modernist idea is more about how the world is chaotic and we hold order to shape the world better. Fables grant the idea that particular personalities do particular things, while modernism declares that things change or can be grey and shows how. The black and white morality of the pre-modernist merged into grey once modernism kicked in, because there is the lack of theism under modernism.
We’re half way through the explanation and now we come to postmodernism.
Pre-modernism establishes that the supernatural causes order to cause truth, modernism changed that to say a secular natural world causes chaos to have us find truth. So what does postmodernist do to change all of that?
It rejects both and says both pre-modernism and modernism are wrong, and instead says everything that can be perceived is subjective and the objective is unknown to us. Stephen Hicks says in his video that postmodernists are really intelligent and well read into an abundance of stuff, and he’s impressed by that. I would have to disagree with him because it’s not like they read everything they did in order to understand it. They read everything and continue searching because they intend on claiming it’s not true, and use their personal interpretation to claim such. It’s very much like when a person studies mythology to then say “you know, the gods committing incest and magically transforming is really weird.”
Before I get deep into postmodernism, I would like to explain the concept of realism. Realism, in both philosophy and art, is to depict a thing as how it truthfully is. There is accuracy, there is something there that really exists, and it has attributes that causes it to really exist. Both modernism and pre-modernism have this as an axiom. Postmodernism on the other hand is ANTI-realism.
You cannot believe in something being “real” as a postmodernist because to claim something is real is to claim an objective truth, which a postmodernist is allergic to doing. They are unable to claim anything as true, because there is no proof for them to use, thus any statements they make must be an opinion and any statement they see must be perceived as an opinion as well. In all honesty, I have trouble finding postmodernists who go this far down the rabbit hole. All of them focus on subjectivity, but they’ll still try to tell others that things can be real in a colloquial way that lets them blend in with modernists. It’s hard to get people to follow you when you claim things aren’t real, so there is a form of deception and contradiction that occurs, but it’s also acceptable to the postmodernist.
This is because postmodernists don’t care about logic, and anything they want to claim as “true” is based on a social subjectivism that can also be considered an overton window that shows them what is acceptable to say and what isn’t. A lot of them try to push it, others try to blend in with it, with the intensity depending on how far they want to push their deconstructionism and reductionism. For example, phrases like “we’re all just stardust floating around” is a way for the postmodernist to seem deep with their reductionism, but it’s actually their way of saying they are nihilistic while trying to sound deep and poetic.
Stephen Hicks does have an amazing point in his presentation where he says truth no longer matters to the postmodernist and what does matter is power. That kind of concept comes from Nietzsche’s will to power (which is why Nietzsche is considered a proto-postmodernist, one who helped birth it into existence) and Marx’s historical materialism. The thought that human labor forms the material basis of society, and this idea being spread out into every 3rd world country(aka communist country during the cold war) means that a big chunk of the world is convinced of this concept of power through labor and power through capital that’s seen as “stolen labor” when it’s a bourgeoisie.
This leaning into Marxist terminology, thanks to communists and hippies, causes postmodernist politics to be considered leftist, and exclusively leftist. There is no way for a right wing postmodernist to even occur because the right winger believes in a truth through natural rights and there is no way to remove that aspect. This is why Stephen Hicks calls the postmodernist political and economic idea socialist, which what he really means is leftist. Although, socialist works a bit more for the political aspect since socialism is a wonky word that means whatever the socialist wants it to mean.
They think the worker owns the means of production and that some form of social relevancy should happen and the rest is dependent on what they want to advocate for. Not surprisingly, this socialist aspect quickly turned into syndicalism and later corporatism when relying on the government to enforce this social power upon the masses, also known as a cult of personality. The cult leader, or leaders, tell everyone that they have power, they tell everyone that they’re special, the people don’t question it because they think it’s a common opinion, and so the cult grows unrestrained. We see this at all times when people will both hold water for a politician for any little thing and also attack their opposition for any little thing, no matter how much of a double standard or fallacy they apply to their advocacy.
To the postmodernist, advocacy is labor geared towards power, with advocacy being the only thing you can do to socially stay relevant.
When it comes to postmodernist media, the key idea is exploitation, because the goal is to get as many views as possible and break as many boundaries as possible. Modernist rating systems are pushed and pushed constantly into exploitation to the point where new ratings are made and R rated material becomes the new norm. The grindhouse is a common place and is normalized, even though before these would be considered taboo, because the way the overton window moved more towards the left through their advocacy. The leftist postmodernist demands power as the social structure and so they demand power and are slowly granted it over time. But there is a bit of a weird thing that happens between how Hicks and I see postmodernism.
In his chart, he labels postmodernism as collectivist and egalitarian. I see this as a bit misleading since the leftist is not really for collectivism in the same way as a pre-modernist would claim we’re all connected. The postmodernist believes that we’re all connected in how we’re all trapped in our own subjective constructions, as if we’re all islands in this massive chain of islands and the water between us is the subjective separation.
For example, let’s say I look at a dog and another person looks at a dog. We both see the dog but the dog is one dog for me and another dog for them and there is this supposed infinite number of dogs who make up this single entity that takes up the space where the perceived dog resides. And not just an infinite number of dogs, but infinite number of things between what the dog is made of, with an infinite number of those for each smaller thing. I guess, to him, that’s collectivism, and the egalitarian thing comes from how leftist demand that people are to be treated equal, as well as all art to be treated equal.
Just like dada, which was a proto-postmodernist art movement, the postmodernist thinks that all art is equal, with the Mona Lisa holding the same aesthetic value as a turd on a pedestal. This allows the postmodernist to use juxtaposition to combine something of high regard with something of low regard, like say having classical music play during a moment where someone is being tortured in a grindhouse way. Or maybe another example is like how Tarantino combines low quality exploitation movies with high quality dialogue that people praise for its realism and tension. This is why surrealism became popular under postmodernism, because surrealism juxtaposes a high concept symbol with nonsensical low concept literal images or events.
Another aspect of postmodernism is the idea that art and real life has merged into a type of hyperreality that blurs the line where life and art meet. People record their lives online and turn that into media, thus turning even things like talking about people who are in media into a form of media itself(aka Hollywood gossip stuff and youtube drama).
Without much of a message or objective symbolism, a lot of postmodernist media focuses on playfulness, because messing with things is all that there’s left as a means of entertainment and media making. Personal interpretation as the only means of experiencing causes the postmodernist to aim for open interpretation work, using vague wording and dog whistles to hide intents that they believe a common audience wouldn’t like, but select circles would catch. And with this demand for social power came the rise of corporate media, where corporations crank out stuff with self made trends and control groups who guide the corporation towards more money, thus more power.
There is also a combination of media, usually in the form of merchandising, so that a form of media will still be advertised and thought about, even when not engaged with the media directly. For example, GI Joe started out as a toy for kids. Then it became a comic and a show for kids. Now it’s a movie series for kids. Transformers, He-Man, I think even Gundam. These things aim for sales first and then plan the story after, because it’s all one big marketing campaign. There’s nothing in these that try to say what is true, they simply try to say things that will have people think they agree with it, or at least can’t argue against it to where they disengage with the product that’s being sold.
This has caused postmodernist media to become both highly marketable but also highly forgettable. Things easily get outdated even if the tech level stays consistent because of intertextuality, which is the relationship one media has with another to grant the user of intertextuality with relevancy that can have the audience understand the reference. This is a fancy way of saying something like an inside joke or a typical reference like a meme that we see online. If you ever want to understand this one, just think of any Channel Awesome reviewer. They will try to make jokes that reference something in media, probably something they reviewed prior, in order to keep the dedicated fans in the circle of attention and make the new fans try to keep up with this intensifying requirement of knowing jargon.
Intertextuality can also be seen as a sort of specialized culture within a franchise or company or genre or just stuff that is similar, so that the people who are of the fandom can all enjoy speaking some special language with each other and keep out the people who don’t know about their niche idioms and references.
This combination of reality and media, along with removing objectivity from the equation, with high and low arts being combined through playfulness and for marketing, is why our media is the way it is today. It’s made like fast food, doesn’t offer anything for the brain to work with, and is actually more for our brains to turn off if anything. People like Ray Bradburry saw this issue with TV and determined it was going to turn us into Idiocracy, which he explored in his book Fahrenheit 451. People are indulged and distracted by the idiot tube, they stop questioning things, books start being called evil, the government enacts a war against books, all people have left are things that keep them dumb, and then they can’t even see a war that’s happening all around them and in their own backyard.
The benefit of postmodernism is that it can appear more creative and people get entertained. That’s about it. No more feeling like you need to tell the truth, now you can make a story about whatever. The only benefit quickly becomes the main problem with it: it’s a bad influence. Postmodernists can only deconstruct and so they’re never pleased.
We see this all the time with Channel Awesome reviewers where they will miss the point of everything in a movie, like say Last Action Hero, and even though Last Action Hero is a postmodernist deconstruction of action movies, the reviewer will scream and holler about how the movie can’t be taken seriously. Then when they are challenged on the integrity of their review, they will spin it around and say they were just being meta and knew it was satire all along, that nobody should take any review of theirs seriously or as their actual opinion.
Or better yet, a postmodernist fan will chime in and speak for the reviewer, like when I said Spoony’s review of Final Fantasy 8, yet another deconstruction work that people were conflicted on, was misguided and wrong. A bunch of fans came in and said “Well, that’s not his REAL opinion. He didn’t REALLY say what he wanted to during the months he spent working on that review.”
I guess the point of postmodernism is to NOT say what you mean. Because how can they? That would address there is an objective idea in their head of what they mean, and that can’t happen under postmodernism. So you’re left with this endless chain of people trying to make a satire or make fun of something that is already making fun of something and that thing is already not to be taken seriously, and… you get the picture.
But then, recently, a sort of organized idea sprouted out from postmodernism. This idea that everything is both power and subjective, while also being a social construct, coagulated into a unification of something under what is called intersectionality. In 1989, Kimberly Chrenshaw coined the term, which already was working off of ideas during postmodernism such as second wave feminism and critical race theory. Through the idea that extreme egalitarianism is the way, in a subjective way, these defenders of the marginalized demanded that media should cater to whoever they deem as marginalized.
This branch of postmodernism is known as woke.
For wokeness, there isn’t much of a history or even aesthetic choice to shift through, but there is an awful lot of jargon to explain so that people know what I’m talking about. So for the majority of the woke explanation, I will be explaining the special words used that the woke will both claim are super important to know, but will also refrain from defining because they want to keep it on the down low. They mostly want to do that because they know their reasoning doesn’t make any sense and because it’s self contradictory, but that’s okay for them because they are, by their own admittance, anti-logic and “there is no real wokeness”.
Actually, before I explain the jargon, I want to get into that “there is no such thing as woke” talking point they always do. This is the same thing as saying “I want everyone to do x and there is no x”. Or when they are less radical, they will say something like “Everyone should do x, but nobody has done x yet.” But recently it’s been more like “This thing in the media has always been x, which is why we need it to be more x”.
As you can see, the narrative is always changing and they are always telling people to do something. This is the opposite of postmodernism in how it’s authoritarian, but is part of postmodernism because of the subjective aspect, as well as the neo-dada form of anti-art. The “art” of woke art is meant to express representation, and this representation is supposed to be of a group, and this group is supposed to look a particular way, absent of any stereotypes, negative or positive, and absent of any grand narratives, pre-modernist or modernist.
Therefore, all we’re left with is… appropriation and exploitation of marginalized groups.
Something tells me they didn’t think this through. It’s almost as if their goal is to be the thing they claim to fight against, but they don’t want to be called racist or sexist or whatever phobic because they don’t want to lose social power. This enforcement of an ideology, an ideology that tries to equally exploit for money, is put under the acronym DEI: Diversity, equity, and inclusion. This is a profitable business to get into, because DEI is estimated to have corporations annually spend $17 billion on DEI programs and organizations by the year 2027. In 2003, it was estimated that corporations spent $8 billion. In 2022, that number was recorded at $9 billion.
What do these numbers mean? It means companies are wasting money on this and they’re losing money after enacting woke policies.
When we combine wokeness with the socialist/Marxist mentality of the postmodernist, we end up with a constant drain of capital on the end of the media maker. The one making the art LOSES MONEY when they go woke, which is why we say “go woke, go broke.” There is no intention on making money with wokeness. This is why governments added wokeness to what is called the ESG score, which is a score that governments use to subsidize companies that follow things like climate change advocacy, DEI, and following whatever regulations a country puts in like mask regulations.
Follow these things, get closer to the “leader” score, and you get more money from the government. This is why companies don’t care when they lose customers, because at the end of the day, they are kept afloat by tax dollars. Then the people in charge of these companies buy the lowered stock that was hit by a controversy, and they have it go back up between woke projects. This is why the CEO of a corporation loves woke backlash, as long as they can pretend they had nothing to do with the woke decision. This is why, for example, Budlight decided they had nothing to do with hiring Dylan Mulvaney AFTER the boycotts worked, instead of, you know, while hiring him to be a spokesperson for the beer on April Fools day of all days.
So the go broke part is for the company itself, while the people using wokeness for their benefit are grifting and taking short term gains. Same thing was for something like BLM, which is an organization that revealed the money donated for the purpose of helping black communities was instead used to buy the founders mansions. The idea that wokeness brings in the cash and it can be called “woke capitalism” is absurd due to the lack of longevity the concept has. This is like calling a stolen item that gets sold at a pawn shop “illegal capitalism”. It doesn’t mean much, and it’s just trying to tie capitalism in with something negative, which is hilarious since wokeness is meant for the left.
With that out of the way, I’m going to get into the jargon, which will allow us to see some of the “philosophy” behind woke. The first one is “critical theory” which is what everything under wokeness is based on to enact a policy. This is how they choose who is marginalized and who isn’t. The term critical race theory originated in the 1980s through discussions about laws because some people decided that equality was not enough. It’s not enough that you can treat a person as an equal, like how a liberal does, because somehow a person born in 1980 is influenced by their ancestry from 1480. Judith Butler helped popularize critical queer theory, which lost the critical part once that aspect was seen as bad, thanks to critical race theory.
They kept all of the critical theory roots, but they removed the word critical because they don’t want to appear… critical. This also happened when Lisa Tuttle popularized the current form of feminist theory, where they remove the critical part because of the stigma they know the word has. No matter what, deception and omission must be used to get their agenda through, because that’s all they know how to do. They cannot get power unless they deceive people into giving them their power. And I find that a little odd since critical theory is a Marxist theory that came from the Frankfurt School from a man named Max Horkheimer, way back in 1937.
Max’s idea was that the enlightenment was a mistake, making him anti-modernist, but the postmodernists of this school of thought will still insist that there is something modernist about critical theory. They claim it’s because Marx was objective because Marx thought something objective is whatever is practiced, yet nothing he claims that is practiced was ever true, so it’s sort of a strange way to misdirect people into thinking that his appeal to his own version of rationalism was somehow actual rationalism. In other words, it’s wordplay. But, we can still say something like his attachment to science being a key element of his ideology, with science trying to be used to determine the natural world, is sort of modernist.
And this is the first step into getting confused as to what anything is, which is why people need a clear explanation as to what something like a modernist is. A good way to explain if something is actually modernist is if you can ask a writer if they believe in marxism and objectivity. If they say no, then we can see that Marxism appeals to the postmodernist in a way that is by design, not by accident. This is why Jordan Peterson is forced to call actual Marxists “neo-Marxists” and “cultural marxists”, because of the constant wordplay that is used by the very same Marxists.
Now, I want to harp on Marxism due to the fact that every single critical theory that the woke adopted is a Marxist theory. Critical theory was based on Marxism and critical theory declared that cultural equality was required in order to prevent fascism. It determined that individuals are not the ones behind social problems, but instead these problems were caused by social structures and cultural bias. What are these problems and what are the solutions, you may ask?
Well, critical theory doesn’t have any of that covered. In fact, the goal was to NOT cover any of those and to just say “social problems are at the social level” and that’s it. Congratulations, theory complete. The social thing is about society and society is how individuals interact. So it’s not the individual’s fault, it’s how they act with each other that’s the problem. So the theory is saying we need to change our act in order to solve the problems, and this was followed by the feminists who say we need to help the women get up in life. This was followed by the CRTists who said we need to help certain races get up in life. This was followed by the Queer Theorists who said we need to help the LGBT get up in life. There is the body positivity, the handicapped, the “don’t slut shame me" movement, and the list goes on and on.
Now we’re in a world where all of these things are in our media and forced into our media because somehow critical theory is the new normal, but you’re not allowed to say it’s forced. If you say it’s forced, some people might reject it and then the enforcers lose power, so they will always say “this is how media always was”. This is how we now have people claiming that ancient civilizations were pro-trans and pro-gay, even though they weren’t and I thought the entire point in CHANGING society is because these social problems are ingrained into society?
This is how the woke say one thing and then mean another. They want the power, but claim the power is given to someone else, while they take the power for themselves. Something like gender is told to be super important and something even worth committing suicide over, but then the lady who made up queer theory says that gender is performative, meaning that it doesn’t matter. Feminism is told to be super important because this is how we can help women become equal, and then we’re told by the person who made current feminist theory that “you’re not born a woman, you become one, even if you were born a male.”
This “equality of power” that the critical theorists said they wanted quickly turned into an “equality of babbling”. Nothing under wokeness makes any sense, and neither does the origin of the term woke. It is meant to mean a person is awake, that they were sleepwalking through life and now they are aware that bad things are happening in society. What are these bad things? Well, whatever you can make up and convince others is bad, since it’s all subjective. If someone steals a VCR and they are black, you can say the police who arrested the thief are evil because they are oppressing a desperate black man who “wouldn’t have stolen if society just treated him better.”
Of course, this implies that rapists only rape because they weren’t treated well enough by society, but only of that rapist is a particular skin color. The woke quickly tie the “need to rape” with skin color, and then call others racists. Actually, now that I’m on the race topic, let’s lay out CRT and how they view race from their supposed “law related origins”.
CRT determines that race doesn’t actually exist, that white people created race to then create racism. I’ll say that again to make sure if you caught that. CRT, a belief about how race works, claims that race doesn’t exist. But then it blames a particular race because… it’s not racist. Did I mention that this belief is anti-evidence and anti-reason? Yes, they do not want reason or evidence to be used for laws, because these things are biased. Instead they want storytelling from the marginalized person, who is called black, even though they don’t believe black as a race exists. This storytelling can be something like “I was walking down the street and I saw a police officer and I felt fear. I should not feel fear. That means the police officer is racist because I’m black and they made me fear.”
To make it even worse, they determine that color blindness from laws causes racist laws to form, because discrimination can occur from certain laws like murder rates, drug use, and theft. Something like being on time to work is considered racist, because a clock is a construction by white people to keep black people down. There’s always something designed by the white man to “keep black people down” because they believe white people only have power because they can keep others down. This is why they advocate to pull all of the non-whites up by forcing white people to hire non-white people into roles in movies or something like a job or using affirmative action to force black people into college classes by reducing their requirements.
Apparently, when you go to the military, the goal is not to have a good soldier but to allow more women to get in by reducing the standard for them. The goal of getting black people into college is to reduce the requirements for them so that they can get in, while increasing the requirements for Asians because there are too many Asians in college. But if we look at media, and only the US media, we can see there is a lack of Asians, so Asians are forced into film sets. Yes, there are plenty of Asians in, you know, Asian countries, soaking up all of the film time, but they don’t count.
In fact, they don’t count because white people don’t watch them as much, so now we have to have an enforcement of Asians being translated into English for western audiences to indulge in Asian culture, which is why Netflix transfers money from the west to the east and tries to get a bunch of Korean, Chinese, Japanese, and Thai content out. A lot of this Asian content is also LGBT, because even though these Asian countries don’t care for such content, the west must believe that the east is super open about it. There will be something like a comedy about a pregnant male that comes from Korea, and the west will take that and say it’s empowering because it fights against gender norms.
Meanwhile, the story is just a postmodernist joke about how it would be funny if men felt pregnancy pain. And it’s because there was a postmodernist comedy called Junior which had the joke “wouldn’t it be funny if a big buff Austrian dude was pregnant?”
My point is that wokeness is just appropriation, through and through. If it’s ancient bigotry, they will say it’s woke. If it’s modernist liberalism, they’ll say it’s woke. If it’s postmodernism making fun of wokeness, they’ll say it’s woke. No matter what, they will spin something to call it woke, just so that they can say liberalism is evil and equality is evil. Their goal is to have an equal outcome, which is their excuse to give certain groups more money and fame, all while ignoring merit. The very idea of rejecting merit as a qualifier is the reason woke media is designed to lose money, and is also a way to tie woke to postmodernism.
I think this is enough explanation of the jargon for now. Not sure if I missed anything, but I think enough of a point is made on that part to have anyone understand how wokeness works. The metaphysics is the same as postmodernist, it’s all subjective. The epistemology is through lived experience because of the storytelling that’s deemed as superior to reason. The ethics is social justice, because they demand equity, aka equal outcome. The politics are marxist, meaning their goal is to remove capitalism because capitalism is an evil product of liberalism. And finally the aesthetic is what I would call anti-art.
I guess I might be able to explain the aesthetics, but it’s rather loose. The problem is that art to the woke is just propaganda. The don’t really give a story or plot with woke media, instead they just take something generic and roll with it, assuming they even give it a plot. For example, there is a woke comic from Marvel(since every comic from them is woke now) where a superhero gets stopped by a cop for being native american. This female, possibly lesbian, native american uses her powers to have the cop realize he’s racist by mind controlling him into thinking he’s racist.
Work with me here…
So the cop is at his house later and decides that he can’t live with himself as a racist person, so he shoots himself in the head. The native american woman watches him from afar and goes “my work here is done” and considers herself a hero for the day. Comic book issue over. So the plot of that story was “super hero uses powers to make a random cop kill himself because racism.”
There is nothing in the story we can call true, nothing we can call interesting, nothing can be called entertaining, nothing can be called useful, nothing can be called anything other than utterly pointless. But the point was to say “racism exists. Stay woke.” That’s the message. That’s the reason an artist spent a month working on a comic and that’s why a company invested money into it to sell it to people who decided to pay money for it and read it. I have no idea who paid money to read that, but I can safely say it wasn’t that many people.
The goal is not to have people buy the product, it’s to simply say the product exists and point to it and go “see, a company put money into that group.” This is kind of like an updated version of “everyone gets a trophy” but instead of everyone, it’s the non-whites, non-cis, non-straights, and non-males. And instead of a trophy you get a product people don’t want to buy.
This is why I consider any answer as woke in my test as an indication of a person being woke. You really do need to jump through a bunch of hurdles to get stuck into this kind of mentality and the only question that people got woke was the one where lived experience is the answer. I think a better term might be anecdotal evidence, because like I said, the woke will reject reason and evidence and instead focus on storytelling, with storytelling here meaning you’re saying what you thought happened through your subjective opinion, and this can be anything you want it to be.
Hell, I can say something like “I felt like a unicorn” and that is considered a lived experience, because somehow I know what a unicorn feels like and somehow you now need to believe I did. So maybe anecdotal is the proper term to use, but then the woke will avoid that one since they know it looks like a fallacy and they can’t socially bring themselves to be stigmatized like that when they think it’s not acceptable. So it’s one of those things where I can either have one wording that causes a false positive or the other wording that will cause a false negative. But, then again, if someone is woke already, they would fail other questions anyway, so maybe I can put that one as not really important to worry about.
So there you have it, definitions and grave detail into all 4 types. I’m sure someone will conjure up more questions and I’m sure a postmodernist will say I’m wrong about everything, but at that point, I did my part so it’s not my problem.
Onto the next section that follows the next question: How do you justify reducing things to something like woke?
Reductionism is when you take something that is complex, like a story, and reduce it to particular fundamentals to provide a sufficient explanation. This is something like when a story gets reduced to a genre when you label it with a genre, because the genre is fundamental. This can also be something like calling yourself a Christian when you believe in the teachings of Christ. Sure, you have other qualities about yourself, but this can be an explanation into something that explains very quickly because it broadens the scope. But the question is HOW do I do this with something like woke, or modernism.
Simple: you look at the definition and go “ah, I see, that’s what it’s doing.”
Pre-modernism and modernism are objective, postmodernism and woke are subjective. Already these two groups are split by a single key factor. I can instantly say woke is a terrible storytelling way of thinking because the goal is to treat merit and superior quality as oppressive, so there is no possible way of making a good story that’s woke. It’s, by design, unable to be good. If we take postmodernism, we can say that it instantly rejects telling the truth, so it must make something up with exploitation and it’s going to be like fast food for the brain. It is, by design, unable to stand the test of time.
But then if we take something like modernism, we can see a truth is there, even if it tries to be individual, because then a guide based on personalities can be seen, and a way might be unlocked. This is why a modernist story is considered classic, and we look up to it as inspiration. Pre-modernism is as primitive and societally significant as you can get, to the point where it’s part of history books as a mythology. We base entire cultures around this type of media and we follow through with our daily life by using this type of media as a guide. In fact, pre-modernism is found IN postmodernism by accident when a postmodernist tries to appropriate, which is why we can find something like alchemy and Gnosticism in a postmodernist movie like The Matrix. There are modernist concepts like The Rabbit Hole in The Matrix, despite The Matrix trying to subvert it and reject it.
So like a genre, the direction of your modernist variant is reliant on both intention and focus, rather than if something is there. I can have a cockroach crawl into my cake when I’m baking it, that doesn’t mean cockroach is part of the recipe. So the goal of the test is to see what kind of recipe people are following and we can determine what kind of cook they are in how they view recipes. There is no danger of reductionism because reductionism is used to prevent dangers. In fact, in the most ironic way possible, to claim reductionism is dangerous here is to use dangerous reductionism to make such a claim, because it reduces the entire process to the idea of dangerous.
Now for the last question: How do you prevent people from rejecting pre-modernism?
Page has determined that if you claim form = function = truth, then you have caused pre-modernism to be the same as woke. As I’ve explained, they aren’t the same thing. Yes both are based on religions, with wokeness being based on Gnosticism, which is to self worship and deem yourself as the true god that is imprisoned in your body by the demiurge, but that isn’t the same thing as “telling an actual truth”.
Gnosticism is sophistry mixed with satanism. I always forget the term and can never find it, but it’s the belief that you’re alone and you’re talking to yourself even when you talk to others. This is how people get trapped in an echo chamber, because all the can do is hear themselves talk and tackle their own ideas of what could be wrong, which requires them accepting they could be wrong, and if they don’t accept that possibility, then everything goes in one ear and out the other. They start to follow a script, become an NPC, and all they can do is become violent once the script runs dry.
Can the pre-modernist become the same thing? Absolutely not. The benefit of a pre-modernist is that we don’t believe we rule the world. We understand that the world is in control, the supernatural controls the world, and we are below all of that as measly humans. We are the cameraman, not the director. Better yet, we are the audience watching a live feed with a cameraman controlling what we get to see, and we’re not involved in any of the production. This acceptance of humility allows the pre-modernist to seek truth, which is how a mythology is born in the first place. The only valid criticism is that the subjects become so grand and universal that they are basic and unable to really tackle the more personal and social issues that modernism tackles.
This basic and broadness is what Page considered “unentertaining”. But during a later exchange, during the making of this response, I found something fascinating. Page’s definition of entertaining is contradictory, because she believes it is objective in the fact that entertainment exists, but WHAT WE SEE as entertaining is subjective. So the complaint that something could be unentertaining isn’t valid, because it doesn’t mean anything if it’s subjective. It’s like saying a traditional dish doesn’t taste good and that’s why that traditional dish is bad to limit people to it.
Well, what if every good dish becomes traditional because people see it as tasty? I am not limited to my own personal tradition, I can enjoy another person’s tradition. I can eat sushi as a German who loves bratwurst and sauerkraut. I can eat pad thai and I can eat sweet and sour pork. I can eat baba ghanoush and shepherd’s pie.
Do you know why I can eat these? Because they are all food that is made of nutrients that people ate since the dawn of time. My human body needs stuff that humans eat for nutrients and there is a select number of nutrients that I need per day because it’s the stuff my body uses. Same goes for storytelling and the specific things my brain will use to gain wisdom and intelligence. The pre-modernist believes that there are these end points that we can address and say “this is the form, this is the end point, can’t go past that.”
The modernist claims “this is scientifically why we can’t go past a certain point, but we might get more information later that will allow us to pass that point.”
Then the postmodernist says “that point is a made up line, the limitation is made up, and the idea you’re in a particular position is also made up, so just mess with things and call them different things.”
Then the woke say “That point doesn’t exist but it’s oppressing me.”
As you can see, the pre-modernist is the most coherent because it’s the most accepting of how things are. I think what Page misunderstood is that some people think a form is what humans determine the form to be, and the form is left as that. Wrong. Form is to reach an endpoint and we cannot physically reach this endpoint, meaning the form will only be in our mental state through symbolism when we’re trying to think of such. Thus, symbolism is the key factor, and all you have to do is make the symbol more clear.
What really struck me as odd is that Page also declared the Bible as entertaining, meaning a pre-modernist work is the prime example of entertaining while her rejection of pre-modernism is because it is not entertaining. I cannot make any sense of that contradiction other than maybe Page believing that media being full of lies is entertainment and that’s not allowed under pre-modernism, which doesn’t mean anything to me.
That’s like going “well, your philosophy doesn’t allow contradictions and uses only logic, so it’s not a good philosophy.”
At that point, we simply have to call such a person postmodernist, because only a postmodernist would demand such a thing.
What am I going to do now that the test was tested? Well, I am sure I am going to make 5 sets of 4 questions for sure, with the 2 overarching questions added in the beginning and end. I will also try to use that google forms thing so that it can be a real test. When I get a website up for my company, I will have the test as part of the entrance exam to join the club. Pre-modernists are preferred, modernists are welcomed, postmodernists are tolerated, and woke are excluded. Sorry, we don’t allow such hateful people into the club. We like to work with normal functional people, and the woke do not meet either requirement.
And I know it doesn’t seem like it, but I am working on the test to have writers see what they KNOW about writing. That one is going to be a bit harder to put together, since I was thinking of getting written answers rather than multiple choice. I think the hardest part with that one will be figuring out how to work in creativity, since that one is tricky to sense if it’s intentional or accidental. But, like always, if I need help, I’ll ask.
Till next time.

Hey y’all, I’ve got a very specific and weird question I was wondering if any of you might be able to help with. Towards the end of one of their earlier episodes (I want to say pre-300, definitely pre-400) the boys give a shoutout to a tattoo artist who works at a place in my hometown. I heard it once and it was super cool for a place near me get mentioned by the boys, but I didn’t make a note of the episode it was in, and now it’s been a few years and I’m struggling to find the clip again.
A few things I recall with varying degrees of confidence:
-It’s an early episode but not super early, probably between episodes 100-300
-I’m pretty sure wasn’t part of a long series. I think it was a one-off (possibly a creepypasta) but it may have been part of a 2-parter.
-For some reason my gut also says it was a more lighthearted episode, not a killer or anything. That is legitimately just the “vibe” of what I think I remember and I could be wrong.
-The clip comes at the very end of the episode, which I remember because I usually skip to the next episodes when they start wrapping up but I heard the shoutout because I didn’t on this occasion.
Like I said, it’s a very specific question and I don’t exactly have a lot to narrow things down. That said, if anyone here knows what episode I’m looking for, I’d really appreciate the help!
Thanks in advance, and hope y’all have a great weekend. Hail yourselves!

For adventurous couples seeking to tie the knot in a truly unforgettable way, traditional wedding venues may not capture their spirit of exploration and love for the great outdoors. This is where the concept of adventure weddings comes into play, combining breathtaking locations with stunning photography to create a once-in-a-lifetime experience. Adventure weddings allow couples to exchange vows amidst awe-inspiring landscapes, and professional photographers adeptly capture these epic moments, ensuring that the memories are preserved forever.
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Breath-Taking Locations, Unforgettable Moments
One of the most captivating aspects of adventure weddings is the chance to exchange vows in breathtaking locations. Imagine standing on a majestic mountaintop, with panoramic views stretching as far as the eye can see. Picture saying "I do" against the backdrop of a cascading waterfall, the sound of rushing water adding to the ambiance. Whether it's a secluded beach at sunset, a lush forest with rays of sunlight filtering through the trees, or a hidden gem nestled within a national park, adventure weddings allow couples to create truly unforgettable moments that will be etched in their hearts forever.
The Role of Professional Photographers
Capturing the magic of an adventure wedding requires the expertise of professional photographers who specialize in outdoor and destination weddings. These skilled individuals not only have a keen eye for composition and lighting but also possess a deep understanding of the unique challenges and opportunities that come with photographing in remote and unpredictable environments.
Professional adventure wedding photographers are adept at using the natural surroundings to create stunning imagery. They skillfully capture the grandeur of the landscapes while also focusing on the intimate moments shared between the couple. From the anticipation and nervous excitement before the ceremony to the tender exchanges during the vows, these photographers excel at capturing the emotions and the essence of the day.
Preserving Memories of a Lifetime
Adventure weddings provide an extraordinary backdrop for couples to celebrate their love, and the photographs taken during these occasions serve as cherished mementos for years to come. The images captured by professional photographers encapsulate not only the breathtaking landscapes but also the emotions, joy, and love shared between the couple. Each photograph tells a story, preserving the memories of that incredible day and allowing couples to relive those moments time and time again.
Moreover, the photographs from adventure weddings often serve as a testament to the couple's love for exploration and their willingness to embrace the unconventional. These images become a source of inspiration for others, showcasing the beauty of nature and the boundless possibilities for celebrating love in extraordinary ways.
Planning the Perfect Adventure Wedding
Planning an adventure wedding requires careful consideration and meticulous preparation. Here are a few essential steps to ensure a successful and memorable experience:

1. Choose the Perfect Location: Research and select a location that resonates with your sense of adventure and aligns with your vision for the wedding. Consider factors such as accessibility, weather conditions, permits, and the overall experience you wish to create.
2. Engage with Local Experts: Collaborate with local wedding planners and experts who are familiar with the chosen location. They can provide valuable insights, recommend vendors, and assist with logistics to ensure a seamless and stress-free experience.
3. Work with Professional Photographers: Seek out professional photographers who specialize in adventure weddings and destination photography. Review their portfolios, discuss your vision, and ensure they have experience working in outdoor environments.
4. Plan for Safety: Adventure weddings often take place in remote or challenging locations. Prioritize safety by understanding potential risks, hiring experienced guides if necessary, and being prepared for unforeseen circumstances.
5. Personalize the Experience: Infuse elements of your personalities and shared interests into the wedding ceremony. Consider including adventure-related props, incorporating symbolic rituals, or writing personalized vows that reflect your love story.

Embrace the Adventure of a Lifetime
In conclusion, adventurepre wedding photography in delhi provide couples with an extraordinary way to celebrate their love while immersing themselves in stunning landscapes and unique experiences. These weddings offer a chance to exchange vows in breathtaking locations, creating unforgettable memories that will be cherished for a lifetime. With the expertise of professional photographers, these epic moments are beautifully captured, allowing couples to relive the magic and share their incredible journey with others.

For adventurous couples seeking to tie the knot in a truly unforgettable way, traditional wedding venues may not capture their spirit of exploration and love for the great outdoors. This is where the concept of adventure weddings comes into play, combining breathtaking locations with stunning photography to create a once-in-a-lifetime experience. Adventure weddings allow couples to exchange vows amidst awe-inspiring landscapes, and professional photographers adeptly capture these epic moments, ensuring that the memories are preserved forever.
Embracing the Spirit of Adventure
Adventure weddings embrace the spirit of adventur and wanderlust, offering couples the opportunity to say their vows in some of the most incredible locations on Earth. From towering mountains to pristine beaches, from dense forests to remote deserts, the possibilities are endless. These unconventional venues provide a sense of awe and create a truly unique backdrop for a wedding ceremony. Adventure weddings are perfect for couples who have a deep appreciation for nature and seek to infuse their special day with a sense of exploration and adventure.
Breath-Taking Locations, Unforgettable Moments
One of the most captivating aspects of adventure weddings is the chance to exchange vows in breathtaking locations. Imagine standing on a majestic mountaintop, with panoramic views stretching as far as the eye can see. Picture saying "I do" against the backdrop of a cascading waterfall, the sound of rushing water adding to the ambiance. Whether it's a secluded beach at sunset, a lush forest with rays of sunlight filtering through the trees, or a hidden gem nestled within a national park, adventure weddings allow couples to create truly unforgettable moments that will be etched in their hearts forever.
The Role of Professional Photographers
Capturing the magic of an adventure wedding requires the expertise of professional photographers who specialize in outdoor and destination weddings. These skilled individuals not only have a keen eye for composition and lighting but also possess a deep understanding of the unique challenges and opportunities that come with photographing in remote and unpredictable environments.
Professional adventure wedding photography in delhi are adept at using the natural surroundings to create stunning imagery. They skillfully capture the grandeur of the landscapes while also focusing on the intimate moments shared between the couple. From the anticipation and nervous excitement before the ceremony to the tender exchanges during the vows, these photographers excel at capturing the emotions and the essence of the day.
Preserving Memories of a Lifetime
Adventure weddings provide an extraordinary backdrop for couples to celebrate their love, and the photographs taken during these occasions serve as cherished mementos for years to come. The images captured by professional photographers encapsulate not only the breathtaking landscapes but also the emotions, joy, and love shared between the couple. Each photograph tells a story, preserving the memories of that incredible day and allowing couples to relive those moments time and time again.
Moreover, the photographs from adventure weddings often serve as a testament to the couple's love for exploration and their willingness to embrace the unconventional. These images become a source of inspiration for others, showcasing the beauty of nature and the boundless possibilities for celebrating love in extraordinary ways.
Planning the Perfect Adventure Wedding
Planning an adventure wedding requires careful consideration and meticulous preparation. Here are a few essential steps to ensure a successful and memorable experience:

1. Choose the Perfect Location: Research and select a location that resonates with your sense of adventure and aligns with your vision for the wedding. Consider factors such as accessibility, weather conditions, permits, and the overall experience you wish to create.
2. Engage with Local Experts: Collaborate with local wedding planners and experts who are familiar with the chosen location. They can provide valuable insights, recommend vendors, and assist with logistics to ensure a seamless and stress-free experience.
3. Work with Professional Photographers: Seek out professional photographers who specialize in adventure weddings and destination photography. Review their portfolios, discuss your vision, and ensure they have experience working in outdoor environments.
4. Plan for Safety: Adventure weddings often take place in remote or challenging locations. Prioritize safety by understanding potential risks, hiring experienced guides if necessary, and being prepared for unforeseen circumstances.
5. Personalize the Experience: Infuse elements of your personalities and shared interests into the wedding ceremony. Consider including adventure-related props, incorporating symbolic rituals, or writing personalized vows that reflect your love story.

Embrace the Adventure of a Lifetime
In conclusion, adventure weddings provide couples with an extraordinary way to celebrate their love while immersing themselves in stunning landscapes and unique experiences. These weddings offer a chance to exchange vows in breathtaking locations, creating unforgettable memories that will be cherished for a lifetime. With the expertise of professional photographers, these epic moments are beautifully captured, allowing couples to relive the magic and share their incredible journey with others.

23F (5'7 205lbs)
Since Wednesday night i've not been feeling well it started with a migraine so I took my migraine meds and laid down thought it would be better. I woke up the next morning and attempted to go to work when I got there I left within an hour I felt like absolute garbage like I was going to puke or pass out luckily I did neither but I did have diarrhea and my vision got very blurred could barely see how to walk. I also had a bad sore throat and dizziness. Went to the doctor then to the hospital they ran blood work, urine, ekg, chest x-rays, flu, strep, covid and everything was normal. Last night my fever got up to 103 but I was freezing cold wearing a thermal hoodie and pants in 80 degree weather. The hospital released me and basically told me to drink and get rest. This morning I woke up my shirt covered in sweat i've sweated through 2 shirts today still have the chills and having dizziness and my throat now has several blisters on it. What could this be??
Edit: I should also note no medical issues aside from congenital heart disease (pulmonary stenosis) and I had a valve replacement a year ago. Also I had a cold sore for the first time ever the same day this started that has since became a bit infected

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Find our boats here- https://www.yachtscancunluxurycharters.com/type-of-yachts/

CONSIDER THE TIME OF YEAR AND WEATHER CONDITIONS.

When planning your Boat Charter Cancun holiday, it’s important to consider the time of year and weather conditions. The best time to visit Cancun is from December to April, when the weather is dry and sunny. However, this is also peak tourist season, so prices may be higher and popular attractions may be crowded. If you’re looking for a more affordable and less crowded time to visit, consider traveling during the off-season from May to November. Just be aware that this is hurricane season, so there may be some rainy and windy days. Your boat charter company can advise you on the best time to visit based on your preferences and budget.

23F (5'7 205lbs)
Since Wednesday night i've not been feeling well it started with a migraine so I took my migraine meds and laid down thought it would be better. I woke up the next morning and attempted to go to work when I got there I left within an hour I felt like absolute garbage like I was going to puke or pass out luckily I did neither but I did have diarrhea and my vision got very blurred could barely see how to walk. I also had a bad sore throat and dizziness. Went to the doctor then to the hospital they ran blood work, urine, ekg, chest x-rays, flu, strep, covid and everything was normal. Last night my fever got up to 103 but I was freezing cold wearing a thermal hoodie and pants in 80 degree weather. The hospital released me and basically told me to drink and get rest. This morning I woke up my shirt covered in sweat i've sweated through 2 shirts today still have the chills and having dizziness and my throat now has several blisters on it. What could this be??
Edit: I should also note no medical issues aside from congenital heart disease (pulmonary stenosis) and I had a valve replacement a year ago. Also I had a cold sore for the first time ever the same day this started that has since became a bit infected

Welcome back to another Pick'Em thread!
This post can be used to discuss your picks for 06/10/2023. If you have any feedback or suggestions on improving the thread further, drop a comment below or message the moderators.
Don't forget: picks must be submitted during the twelve-hour window before Noon EDT on game day, you can only make one selection per day, and missed days count as losses, so choose wisely and don't delay!
Games for Saturday, 06/10/2023:

Matchup and Team Records	Probable Pitchers (Season ERA)	Estimated Win Probability
Arizona Diamondbacks (37-25) @ Detroit Tigers (26-34)	Ryne Nelson (5.40) / Matthew Boyd (5.23)	55% / 45%
Miami Marlins (35-28) @ Chicago White Sox (28-36)	Sandy Alcantara (5.07) / Michael Kopech (4.33)	48% / 52%
Cincinnati Reds (29-34) @ St. Louis Cardinals (26-37)	Andrew Abbott (0.00) / Miles Mikolas (3.74)	40% / 60%
Minnesota Twins (31-32) @ Toronto Blue Jays (36-28)	Joe Ryan (2.76) / TBD (-)	43% / 57%
San Diego Padres (29-33) @ Colorado Rockies (26-38)	Ryan Weathers (5.09) / Kyle Freeland (4.06)	60% / 40%
Kansas City Royals (18-44) @ Baltimore Orioles (38-24)	Brady Singer (6.45) / Cole Irvin (10.38)	36% / 64%
New York Mets (30-33) @ Pittsburgh Pirates (32-29)	Kodai Senga (3.75) / Johan Oviedo (4.29)	55% / 45%
Los Angeles Dodgers (36-27) @ Philadelphia Phillies (30-32)	Bobby Miller (1.06) / Aaron Nola (4.30)	53% / 47%
Texas Rangers (40-21) @ Tampa Bay Rays (46-19)	Nathan Eovaldi (2.24) / Taj Bradley (3.60)	42% / 58%
Washington Nationals (25-36) @ Atlanta Braves (38-24)	MacKenzie Gore (3.66) / Jared Shuster (4.99)	30% / 70%
Oakland Athletics (14-50) @ Milwaukee Brewers (34-29)	Paul Blackburn (6.00) / Julio Teheran (1.56)	32% / 68%
Houston Astros (36-27) @ Cleveland Guardians (29-33)	J.P. France (3.44) / Triston McKenzie (0.00)	52% / 48%
Chicago Cubs (26-36) @ San Francisco Giants (32-30)	Kyle Hendricks (4.70) / TBD (-)	42% / 58%
Boston Red Sox (31-32) @ New York Yankees (37-27)	Tanner Houck (5.46) / Domingo German (3.69)	40% / 60%
Seattle Mariners (30-31) @ Los Angeles Angels (34-30)	Bryan Woo (27.00) / Patrick Sandoval (4.14)	46% / 54%

1. All columns are Away / Home. Records are typically current as-of the time of posting, and do not always contain the matchup results from the day of posting.
2. A bolded matchup means that there is a "Probability of Precipitation" greater than 50% in a non-domed stadium at the time of this post.
3. An italicized matchup means that it is Game 2 of a doubleheader, which for Pick'Em purposes will not be applicable (only Game 1 is counted, but Game 2 is still included above so that you can be aware that pitching management may be different than a non-doubleheader game day).
4. Probable pitchers and stats sourced from mlb.com (via the MLB-StatsAPI); weather data soured from the OpenWeather One Call API.
5. Estimated chance of winning percentages sourced from FiveThirtyEight’s 2023 MLB Game Predictions, an ELO-based, easy to understand ratings system.

Details such as probable pitchers, winning odds, and match certainty are subject to change. Note that a pick for a team in a cancelled game (weather or otherwise) is automatically counted as a correct guess.
View Poll

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The solar industry has been growing at an incredible pace over the last decade. As the demand for renewable energy sources continues to surge, the need for sustainable technology has become more important than ever before. This is where Jurchen Technology comes in.
Jurchen Technology has been a trusted name in the solar industry since 2008, providing top-quality substructure and DC cabling for ground mount and roof mount solar panel installations. But what sets Jurchen Technology apart from other companies in the industry?
The Importance of Renewable Energy
Renewable energy sources, such as solar power, are crucial for a sustainable future. The burning of fossil fuels has led to a buildup of greenhouse gases in our atmosphere, which is contributing to climate change. We need to shift away from these harmful practices and embrace renewable energy sources instead.
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Solar power is a renewable energy source that is both clean and abundant. By harnessing the power of the sun, we can significantly reduce our reliance on nonrenewable resources and reduce our carbon footprint.
The Role of Jurchen Technology
Jurchen Technology plays a crucial role in the solar industry by providing high-quality substructure and DC cabling for solar panel installations. The substructure, or mounting system, is what holds the solar panels in place, while the DC cabling is responsible for carrying the electricity produced by the panels to the inverter.
Jurchen Technology's substructure is made of durable, corrosion-resistant materials that are designed to withstand harsh weather conditions. This ensures that the solar panels are securely mounted and will provide optimal performance for years to come.
The DC cabling provided by Jurchen Technology meets all safety and performance standards and is designed to minimize wastage and maximize efficiency. This ensures that the electricity produced by the solar panels is delivered to the inverter with minimal losses.
The Benefits of Choosing Jurchen Technology
When it comes to solar panel installations, there are many options available. However, choosing Jurchen Technology for your substructure and DC cabling needs can provide a number of benefits.
Firstly, Jurchen Technology's products are designed to last. They are made of high-quality materials that are designed to withstand the elements and provide optimal performance for years to come. This means that you can install your solar panels with confidence, knowing that they will provide a reliable source of renewable energy for many years.
Secondly, Jurchen Technology's products are designed for maximum efficiency. The substructure holds the solar panels at the optimal angle for capturing the sun's rays, while the DC cabling ensures that the electricity produced by the panels is delivered to the inverter with minimal losses. This means that you will get the most out of your solar panels and maximize your energy savings.
Finally, Jurchen Technology's products are backed by a team of experts who are dedicated to providing top-quality customer service. If you have any questions or concerns about your installation, the Jurchen Technology team is always available to help.
Conclusion
Jurchen Technology has been a trusted name in the solar industry for over a decade, providing high-quality substructure and DC cabling for solar panel installations. With the demand for renewable energy sources growing, it is more important than ever to choose sustainable technology that is designed to last and maximize efficiency.
If you are considering installing solar panels, choosing Jurchen Technology for your substructure and DC cabling needs is a smart choice. You can trust their products to provide reliable performance for years to come, while also helping to reduce your carbon footprint and contribute to a sustainable future.
Solar Power Plant, Solar panel mounting structure, Solar panel structure
https://www.jurchen-technology.in/

Red Sox @ Yankees - Fri, Jun 09

Game Status: Final - Score: 3-2 Red Sox

Links & Info

• Current conditions at Yankee Stadium: 68°F - Cloudy - Wind 6 mph, Calm
• TV: National: MLBN (out-of-market only), Red Sox: NESN, Yankees: YES
• Radio: Red Sox: WCCM 1490 AM (SP) (es), WAMG 890 AM (SP) (es), WEEI 93.7, Yankees: WADO 1280 (es), WFAN 660/101.9 FM
• MLB Gameday
• Game Graphs
• Savant Gamefeed

	Red Sox Batters	AB	R	H	RBI	BB	K	LOB	AVG	OBP	SLG
1	Verdugo - RF	5	0	2	0	0	1	1	.288	.365	.449
2	Yoshida - LF	4	0	0	0	0	0	3	.309	.381	.482
3	Turner, J - DH	4	0	2	0	0	1	0	.260	.340	.403
4	Devers - 3B	4	2	2	1	0	0	3	.247	.302	.490
5	Duvall - CF	3	0	0	0	1	3	1	.417	.488	.944
6	Casas - 1B	3	0	2	1	1	1	1	.209	.330	.390
7	Arroyo - 2B	4	0	0	0	0	1	4	.247	.281	.365
8	Wong - C	3	0	1	0	0	2	0	.237	.299	.459
9	Hernández, K - SS	4	1	1	1	0	1	2	.230	.300	.364
	Totals	34	3	10	3	2	10	15

Red Sox
BATTING: 2B: Devers (16, Cole). HR: Devers (14, 6th inning off Cole, 0 on, 1 out); Hernández, K (6, 7th inning off Abreu, A, 0 on, 1 out). TB: Casas 2; Devers 6; Hernández, K 4; Turner, J 2; Verdugo 2; Wong. RBI: Casas (19); Devers (51); Hernández, K (27). 2-out RBI: Casas. Runners left in scoring position, 2 out: Arroyo; Devers. GIDP: Arroyo 2; Hernández, K. Team RISP: 1-for-4. Team LOB: 7.
FIELDING: E: Wong (6, throw).

	Yankees Batters	AB	R	H	RBI	BB	K	LOB	AVG	OBP	SLG
1	LeMahieu - 2B	4	0	2	0	0	0	2	.239	.302	.390
	Higashioka - C	0	0	0	0	0	0	0	.223	.270	.383
2	Donaldson - 3B	4	1	1	1	0	1	2	.171	.237	.600
3	Rizzo - 1B	4	0	0	0	0	1	2	.273	.345	.450
4	Stanton - DH	4	0	1	0	0	1	0	.243	.284	.514
5	Bauers - RF	4	0	0	0	0	2	2	.237	.333	.513
6	Kiner-Falefa - CF	4	1	2	0	0	0	0	.239	.281	.355
7	McKinney - LF	4	0	1	0	0	1	1	.300	.300	.800
	1-Cabrera, O - PR	0	0	0	0	0	0	0	.200	.249	.313
8	Trevino - C	2	0	0	0	0	1	0	.212	.258	.310
	a-Torres - 2B	1	0	1	0	1	0	0	.252	.330	.420
9	Volpe - SS	4	0	1	0	0	0	3	.189	.264	.351
	Totals	35	2	9	1	1	7	12

Yankees
a-Walked for Trevino in the 7th. 1-Ran for McKinney in the 9th.
BATTING: HR: Donaldson (5, 6th inning off Whitlock, 0 on, 0 out). TB: Donaldson 4; Kiner-Falefa 2; LeMahieu 2; McKinney; Stanton; Torres; Volpe. RBI: Donaldson (6). Runners left in scoring position, 2 out: Rizzo; Bauers; Volpe. Team RISP: 0-for-3. Team LOB: 7.
FIELDING: DP: 3 (Volpe-LeMahieu-Rizzo; Donaldson-LeMahieu-Rizzo; Donaldson-Torres-Rizzo).

Red Sox Pitchers	IP	H	R	ER	BB	K	HR	P-S	ERA
Whitlock (W, 3-2)	6.1	7	2	1	1	6	1	88-63	4.78
Pivetta (H, 1)	0.2	0	0	0	0	0	0	4-4	5.57
Martin (H, 12)	1.0	0	0	0	0	0	0	10-8	2.41
Jansen (S, 14)	1.0	2	0	0	0	1	0	17-12	3.48
Totals	9.0	9	2	1	1	7	1

Yankees Pitchers	IP	H	R	ER	BB	K	HR	P-S	ERA
Cole (L, 7-1)	6.0	7	2	2	1	6	1	101-68	2.84
Abreu, A	0.1	2	1	1	0	1	1	9-7	3.60
Ramirez, N	1.0	1	0	0	1	1	0	20-12	1.80
Cordero, J	1.2	0	0	0	0	2	0	14-11	3.04
Totals	9.0	10	3	3	2	10	2

Game Info
WP: Whitlock.
HBP: Wong (by Cole).
Pitches-strikes: Whitlock 88-63; Pivetta 4-4; Martin 10-8; Jansen 17-12; Cole 101-68; Abreu, A 9-7; Ramirez, N 20-12; Cordero, J 14-11.
Groundouts-flyouts: Whitlock 6-2; Pivetta 1-0; Martin 2-0; Jansen 0-1; Cole 3-4; Abreu, A 0-0; Ramirez, N 1-1; Cordero, J 1-0.
Batters faced: Whitlock 26; Pivetta 2; Martin 3; Jansen 5; Cole 25; Abreu, A 3; Ramirez, N 5; Cordero, J 4.
Inherited runners-scored: Pivetta 1-0; Ramirez, N 1-0; Cordero, J 1-0.
Umpires: HP: Jeremy Riggs. 1B: Brian Knight. 2B: Alex Tosi. 3B: Tony Randazzo.
Weather: 68 degrees, Cloudy.
Wind: 6 mph, Calm.
First pitch: 7:07 PM.
T: 2:28.
Att: 46,007.
Venue: Yankee Stadium.
June 9, 2023

Inning	Scoring Play	Score
Top 4	Triston Casas singles on a sharp line drive to right fielder Jake Bauers. Rafael Devers scores. Triston Casas to 2nd.	1-0 BOS
Top 6	Rafael Devers homers (14) on a fly ball to left center field.	2-0 BOS
Bottom 6	Josh Donaldson homers (5) on a fly ball to center field.	2-1 BOS
Top 7	Enrique Hernandez homers (6) on a fly ball to left field.	3-1 BOS
Bottom 7	Gleyber Torres walks. Isiah Kiner-Falefa scores. Wild pitch by pitcher Garrett Whitlock.	3-2 BOS

Team	Highlight
NYY	Bullpen availability for New York, June 9 vs Red Sox (00:00:07)
BOS	Bullpen availability for Boston, June 9 vs Yankees (00:00:07)
NYY	Fielding alignment for New York, June 9 vs Red Sox (00:00:11)
BOS	Fielding alignment for Boston, June 9 vs Yankees (00:00:11)
NYY	Starting lineups for Red Sox at Yankees - June 9, 2023 (00:00:09)
BOS	Garrett Whitlock's outing against the Yankees (00:00:22)
NYY	Giancarlo Stanton's bloop single (00:00:22)
BOS	Connor Wong throws out IKF (00:00:15)
NYY	Jake Bauers' running catch (00:00:23)
BOS	Triston Casas' RBI single (00:00:26)
BOS	Rafael Devers' solo homer (14) (00:00:29)
NYY	Josh Donaldson's solo homer (5) (00:00:22)
BOS	Hernández's solo homer (6) (00:00:29)
NYY	Isiah Kiner-Falefa scores on WP (00:00:30)
NYY	Field view of Donaldson's HR (00:00:26)
NYY	Gerrit Cole fans six (00:00:42)
BOS	Garrett Whitlock fans six (00:00:45)
BOS	Kiké Hernández's nice catch (00:00:14)
BOS	Check out Rafael Devers' home run (00:00:33)
BOS	Kenley Jansen nails down the save (00:00:59)
BOS	Alex Cora on 3-2 win over Yankees (00:01:21)
NYY	Aaron Boone on loss to Red Sox (00:01:17)
BOS	Red Sox vs. Yankees Highlights (00:03:10)

	1	2	3	4	5	6	7	8	9		R	H	E	LOB
Red Sox	0	0	0	1	0	1	1	0	0		3	10	1	7
Yankees	0	0	0	0	0	1	1	0	0		2	9	0	7

Decisions

• Winner: Garrett Whitlock (3-2, 4.78)
• Loser: Gerrit Cole (7-1, 2.84)
• Save: Kenley Jansen (14, 3.48)

Division Scoreboard

TEX 3 @ TB 8 - Final
KC 2 @ BAL 3 - Final
MIN 3 @ TOR 2 - Final
^{Last Updated: 06/10/2023 12:27:33 AM EDT}

Every time my buddies talk about a golf trip, it’s Pebble Beach, or Kiawah, or Pinehurst, or [insert big name, $500/round golf course]. Went to Ireland and played some iconic courses there. They were pretty cool, views were amazing but the weather was ass, and it was impossible to enjoy the golf sometimes. It sucks the fun out of it for me when you have to book a tee time a year in advance, and then pay a shit load for what ends up being a nice golf course, but mostly just a brand name.
One of my favorite things is finding courses that aren’t brand names, but are just as nice. There are bound to be so many flying under the radar.
Two such courses I’ve played:
1) Balsam Mountain Preserve - Near Asheville, NC. I think it’s fully private now unfortunately, but holy shit. It’s up in the Smokey Mountains, built all along the mountainside. It was immaculate, like easily PGA Tour quality. Crazy elevations, unreal views.
2) Highland Meadows - Windsor, CO. Stumbled across it one summer while I had a couple of days off work. Let me walk on and didn’t charge me for rental clubs either day. It was like $40 which was crazy for the course you got. Really lush conditions, beautiful houses all around. Some parts run along a wildlife area, and plenty of nice views.
Just wondering what your hidden gem courses are, and why?

As the warm rays of sunshine gently embrace us and the days grow longer, it's undeniable that summer is in the air. Inspired by the recent spell of good weather, I felt compelled to curate a special mix of my favorite ambient tracks, perfectly suited for lazy sunny days and those moments of winding down after a memorable night.
Ambient Balearic is a carefully selected collection of soothing and immersive sounds that effortlessly transport you to a state of tranquility. Whether you're lounging by the pool, strolling along the beach, or simply seeking a peaceful retreat from the hustle and bustle of daily life, these tracks are here to accompany you on your journey.
This mix channels the spirit of the ambient selections found on compilations from the late 90's and early 2000's. Inspired by the sounds of that era, the selection of sounds here invites you to embark on a soul-soothing journey through the enchanting realm of ambient Balearic music. As it unfolds, you'll find yourself immersed in a tapestry of serene soundscapes. The seamless blend of ethereal textures, soothing beats, and subtle nuances creates a harmonious fusion that washes over you, transporting you to the sun-drenched shores of Ibiza.
Drawing inspiration from the timeless gems of Real Ibiza and Cafe Del Mar, this bridges the gap between the nostalgia of the past and the contemporary evolution of ambient music. The mix pays homage to those influential compilations while infusing a fresh perspective, creating a sonic experience that resonates with both seasoned enthusiasts and newcomers alike.
Sit back, close your eyes, and let the melodic waves of this mix wash over you. Allow yourself to be transported to a realm where time slows down, and every note becomes a gentle breeze that carries you to a place of inner peace. Whether you're embracing the lazy days of summer or seeking solace in the quiet moments, this mix is here to accompany you on your journey of relaxation and rejuvenation.
Link to mix here...

Hi everyone,I'm 37 years old, based in Israel. Since it's super difficult to buy an apartment in Israel nowadays (crazy inflated prices), me and my family decided to invest the money, using a safe strategy in the stock market.The idea behind this portfolio is based on such investors as Harry Browne and Ray Dalio. To create a portfolio for all seasons, and to minimize downfalls, even in difficult times such as we're in today.I'll be using Interactive Brokers, as they charge low fees.The portfolio is made up of a big chunk of our family's savings (around 180,000 USD), which is why we're aiming again for a conservative and a relatively safe investment plan.Another guiding principle is to invest as wide as possible, to diversify among many asset classes, and to diversify to markets outside the US as well.The portfolio would be harder to rebalance but it's probably worth the hassle.In order to avoid dealing with the taxman, all of the funds are accumulating (rather than distributing).Specific funds were also chosen based on lower TER (total expense ratio) values, rather than similar funds with a high TER.There's no attempt to beat the market, as an average return seems good enough. There is an attempt to minimize down-years though, and to weather bad financial periods.As I'm not a US national, all of the funds in the portfolio are European funds. This way I'm not exposed to US inheritance tax.
A global stock fund, mostly US, large and mid cap (16% of portfolio):https://www.justetf.com/en/etf-profile.html?assetClass=class-equity&groupField=none®ion=World&distributionPolicy=distributionPolicy-accumulating&sortField=ter&sortOrder=asc&from=search&isin=LU2089238203#overview
Small-Cap US stocks (5% of portfolio):https://www.justetf.com/en/etf-profile.html?assetClass=class-equity&equityStrategy=Small+Cap&groupField=none&sortField=ter&sortOrder=asc&from=search&isin=IE000JNKVS10#overview
A global ESG Fund (stocks), large and mid cap (7% of portfolio):https://www.justetf.com/en/etf-profile.html?groupField=none&sortField=ter&sortOrder=asc&fsg=more100&distributionPolicy=distributionPolicy-accumulating&sustainable=true&from=search&isin=IE00BJBYDQ02#overview
A global emerging markets fund - all sizes (5% of portfolio):https://www.justetf.com/en/etf-profile.html?assetClass=class-equity®ion=Emerging+Markets&groupField=none&sortField=ter&sortOrder=asc&replicationType=replicationType-full&replicationType=replicationType-sampling&distributionPolicy=distributionPolicy-accumulating&from=search&isin=IE000KCS7J59#overview
A global REIT fund (5% of portfolio):https://www.justetf.com/en/etf-profile.html?groupField=none&distributionPolicy=distributionPolicy-accumulating&sortField=ter&sortOrder=asc&assetClass=class-realEstate&age=etfAgeFive&replicationType=replicationType-full&from=search&isin=LU1437018838#overview
A Bond fund of US treasuries - short, medium and long maturity (21% of portfolio):https://www.justetf.com/en/etf-profile.html?groupField=none&sortField=ter&sortOrder=asc&distributionPolicy=distributionPolicy-accumulating&assetClass=class-bonds&bm=All%2Bmaturities&from=search&isin=IE00BGYWFS63#overview
A global bond fund, all maturities, developed and emerging markets - USD hedged (21% of portfolio):https://www.justetf.com/en/etf-profile.html?assetClass=class-bonds&groupField=none&sortField=ter&sortOrder=asc&distributionPolicy=distributionPolicy-accumulating&fsg=more100&replicationType=replicationType-full&replicationType=replicationType-sampling&age=etfAgeOne®ion=World&from=search&isin=IE00BZ043R46
A gold fund (13% of portfolio):https://www.justetf.com/en/etf-profile.html?assetClass=class-preciousMetals&groupField=none&distributionPolicy=distributionPolicy-accumulating&sortField=ter&sortOrder=asc&from=search&isin=DE000A0S9GB0#overview
A broad commodities fund (5% of portfolio):https://www.justetf.com/en/etf-profile.html?assetClass=class-commodities&groupField=none&sortField=ter&sortOrder=asc&from=search&isin=IE00BF0BCP69#overview
A small sum which is allocated to Bitcoin to further diversify (1% of portfolio):https://www.justetf.com/en/etf-profile.html?groupField=none&distributionPolicy=distributionPolicy-accumulating&sortField=ter&sortOrder=asc&assetClass=class-currency&from=search&isin=GB00BJYDH287#overview
A small sum which is allocated to Ethereum to further diversify (1% of portfolio):https://www.justetf.com/en/etf-profile.html?groupField=none&distributionPolicy=distributionPolicy-accumulating&sortField=fundSize&sortOrder=desc&assetClass=class-currency&from=search&isin=GB00BLD4ZM24
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Overall the portfolio is comprised of:40% risky assets: stocks (33%), real-estate (5%) and crypto (2%).60% safer assets: bonds (42%), gold (13%) and commodities (5%).
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Am a little unsure about the gold fund and the Ethereum fund, as both have a TER value of 0%.May use an alternate gold fund:https://www.justetf.com/en/etf-profile.html?assetClass=class-preciousMetals&groupField=none&distributionPolicy=distributionPolicy-accumulating&sortField=ter&sortOrder=asc&from=search&isin=IE00B579F325#overviewAnd an alternate Ethereum fund:https://www.justetf.com/en/etf-profile.html?groupField=none&distributionPolicy=distributionPolicy-accumulating&sortField=ter&sortOrder=asc&assetClass=class-currency&from=search&isin=GB00BJYDH394
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Would like to hear your thoughts on this portfolio and its details.Thanks.
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