Character skeleton graphic organizer

Weekly Clan Recruitment Megathread

2024.05.14 11:00 DTG_Bot Weekly Clan Recruitment Megathread

Here is how this thread works:

You're either looking for a clan, or looking for recruits for your own clan. We have two default formats which should cover all the criteria you could ask for. So copy/paste the appropriate format and leave it as a comment below!

Rules

  1. If you are recruiting for a clan, please limit clan posts to at most once a week in the main sub and also once a week in this Weekly Clan Recruitment Post. You are welcome to reply to those who may fit into your clan, but please don't reply to everyone in this thread and actually pick those that are relevant.
  2. The following links are not allowed in this subreddit in any way:
    • Twitch
    • Youtube
    • Any other media links
    • Discord server links. Save those for PM's to new recruits.
  3. Looking for clan and looking for members posts are still allowed outside of this Megathread (please don't report them), but these types of posts will be much more visible in this thread.
Looking for recruits:
  • Your clan's name:
  • Your system(s):
  • Where are most of your clan members located (country/time zones):
  • When do you usually play (include times and time zone):
  • Tell us more about your clan (ex: how many members, requirements to join if any, focus on PvE/PvP/both, why should people join your clan, how do you communicate/organize events):
  • What is the best way to contact your clan (reply in the thread, website, Twitter, etc.)?
Looking for a clan:
  • Your system(s):
  • Your Gamertag:
  • Your country/time zone:
  • When do you usually play (include times and time zone):
  • Tell us a bit about yourself (ex: experience in Destiny, how many characters, Light Levels, anything else):
  • What are you looking for in a clan (for example: PvE, PvP, any special criteria):

Other Clan Recruitment Megathreads

Happy hunting!

submitted by DTG_Bot to Fireteams [link] [comments]


2024.05.14 10:41 SomebodyOnceSoldMe [PC] [early/mid 2000s] a 3rd person linear RPG with 3 characters

Platform(s): PC
Genre: Fantasy RPG (linear story, multiple levels, not open world)
Estimated year of release: early/mid 2000s
Graphics/art style: 3rd person RPG, with a medieval/fantasy style, every level had a different vibe, dark caves/dungeons/bandit camps
Notable characters:
I remember there being 3 characters you could control, depending on the level
Notable gameplay mechanics:
Other details:
I do not remember how this game ended up on my computer, I was very young back then, I want to say 2004-2007...
But I remember playing it as a kid and loving the elf characters execution animations, I distinctly remember one where she climbs on top of an enemies shoulders and slices his face ( I really wanna say the enemies were orcs, or goblins but it was different for every level)
I can't remember if there was any exp or actual RPG elements to the characters, but I certainly don't remember there being any.
The graphics, at that time seemed very good to me, not sure how aged they are now.
submitted by SomebodyOnceSoldMe to tipofmyjoystick [link] [comments]


2024.05.14 10:37 physcofury [PC][pre 2009] point and click game, can't remember much

Platform(s): PC
Genre: point and click
Estimated year of release: pre 2009
Graphics/art style: pixel art or hand drawn
Notable characters: 2 main characters
Notable gameplay mechanics: one section in a cave with a wind tunnel puzzle, the wind tunnels works like a grav lift, up, down , left, right.
Other details: game was stored in a cd case, there was at least 1 seqeual game came out before 2009 and could run on a pentium with integrated graphics
submitted by physcofury to tipofmyjoystick [link] [comments]


2024.05.14 10:35 Dense_Cranberry_852 [PC][Unknown] A strategy game with a little tower defence mechanic.

Platform(s): I played at PC, but the way cursor moves let me think that originally it was for consoles.
Genre: Strategy/ City building/ Tower Defence
Estimated year of release: If i'm recall correctly it was somekind of remake or remaster, so it should be something like 2018-2023 (probably)
Graphics/art style: It's not pixel or voksel. In my mind i remember it like "They are Billions" with same angle (from a top) but graphic was more colorful
Notable characters: We play as some kind of God of Light or Spirit of Light.
Notable gameplay mechanics: In TD mechanic we can build gates on the roads to block the enemies, also there is some heroes, if i remember correctly there was a guy with 2-H axe.
Other details: We should achieve something to open new territories, there was some kinf of desert with pyramid. One more thing. The game give some Japanese vibes.
submitted by Dense_Cranberry_852 to tipofmyjoystick [link] [comments]


2024.05.14 10:21 ZhaoBT21 [PC] [2010s] a cooking/restaurant game

Here's a badly drawn picture from what I remember of it ^ (the first level)
Platform : PC
Genre : cooking game where you ran restaurants/cafes
The camera was angled to one top corner of the cafe where you could see the entire place and the counter where customers stopped.
Estimated year of release : probably the late 2000s? I'm not sure but definitely before 2015
Graphics / Art style :
It had a cute cartoon-y type artstyle and it was colourful from what I remember
The customers would stop at the counter and you could see the street outside where people would be walking up and down the side walk (the side walk is where the customers stood) and the road had cars on it I think and you could see the outside go from day to night as time progressed.
One of the restaurants was at the beach and there was another at the ship. In the ship one I remember there was a hanging board in the middle of the room with a fish on it.
I think the menu where u switched restaurant locations, like which one you wanted to go to, was in2d?
Notable characters : I'm pretty sure the game had a story where you inherited the restaurant line from your grandparents or aunt, so those are the only character I remember. You played a girl. The beginning of the game had a cutscene where you got a letter or call from the grandparent/aunt about how they want you take over the chain since they were moving away from the area.
Notable gameplay mechanics :
I remember there being a timer on the top left corner of the screen that showed you how much time you had till closing hours. It was just a ticking clock. I think there was a conveyor that bought buns and stuff to make burgers/sandwiches. There were coffee and (maybe) milkshake machines that you could upgrade and buy new flavors of.
You had to find the Ingredients from the cabinets and stuff and put them together on a plate to serve the customers before they left. The customers had a patience bar I think it was hearts. Sometimes customers would come in groups and sometimes solo.
You upgraded to new restaurants eventually.
Other details : I played this when I was very young and didn't pay attention to the names of what I played. I remember being addicted to this game but now I seriously can't find even a single picture of it anywhere.
submitted by ZhaoBT21 to tipofmyjoystick [link] [comments]


2024.05.14 10:21 CreeperCristo [Mobile][201X] - Sci-fi racing game (Cool robot friend included!)

Platform(s): Mobile, presumably Android.
Genre: Racing.
Estimated year of release: Early 2010's, probably before 2017.
Graphics/art style: Pretty stylized. Not sure if semi-real or cartoonish. Industrial sci-fi aesthetics.
Notable characters: A cheerful robot companion with a driving helmet and a mustache who helped the player through the tutorial and gave helpful hints about every level.
Notable gameplay mechanics:
Other details:
Player's vehicle was a mix between a dune buggy and a SUV, painted orange with dark grey. I think that was the only vehicle you had.
Tracks were beige-colored metal and concrete structures mysteriously suspended in the air, surrounded by a slightly surrealistic city landscape.
The player car always started in a small sloped platform at the start of the level.
I remember once I was struggling with a particularly hard level, and the robo-buddy's tip was: "Steering (or drifting) with the rear!" No effing idea what he meant. AFAIK my vehicle steered only with the front wheels like most cars do.
It may seem my description resembles Jet Car Stunts, but I've played that one as well and no, it definitely isn't. The player vehicle doesn't have a jet engine strapped on it's back. And definitely didn't look very aerodynamic. Oh, and JCS didn't have a robot buddy.
submitted by CreeperCristo to tipofmyjoystick [link] [comments]


2024.05.14 10:20 P78903 Signs of a Student Trapo According to UNIBE.

𝗕𝗔𝗕𝗔𝗟𝗔: Kung feeling mo ikaw ay isang Student TraPo, ‘wag mo nang tangkain pang basahin ang buong nilalaman ng artikulong ito. Masasaktan ka lang.
𝗘𝘁𝗶𝗾𝘂𝗲𝘁𝘁𝗲 𝗳𝗼𝗿 𝗧𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗦𝘁𝘂𝗱𝗲𝗻𝘁 𝗣𝗼𝗹𝗶𝘁𝗶𝗰𝗶𝗮𝗻𝘀 (𝘍𝘳𝘰𝘮 𝘵𝘩𝘦 𝘈𝘳𝘤𝘩𝘪𝘷𝘦𝘴)
𝘯𝘪 𝘉𝘪𝘵𝘵𝘦𝘳 𝘖𝘤𝘢𝘮𝘱𝘰
Ating hihimay-himayin ang mga tuntunin para sa mga Student TraPos (Traditional Politicians).
  1. SUMALI KA SA MARAMING STUDENT ORGS - Walang mali sa pag-sali sa maraming orgs. Magkaka-problema lang is kapag ginagamit ito as another clout habang ang contribution mo is less to none. Bonus if Freshman siya ginagawa.
  2. ALWAYS WEAR A PLASTIC SMILE - Student TraPo ka, so you should always smile. Very typical if you want to be a Student-Leader one day. Meaning di inaacknowledge yung real emotions mo.
  3. KNOWLEDGE IN DEBATE IS A PLUS; GOOD GRAMMAR IS A MUST One of the core traits of a Leader is a Good Communicator and a Freethinker. Student Trapos only do this during Campaigns
  4. HINDI KA PAPAKABOG SA MGA EVENTS - Walang problema sa pag-cherish ng events, pero Dito papasok ang mga Student-Trapos na feeling "Main Character" each time na may events na sila ang nag-head, or sinalihan.
  5. YOU AIN'T CLICK "ADD FRIEND" UNLESS KA LEVEL MO O MAS ANGAT SA'YO- During halalan, iilan sa atin na tatakbo ay nag-sesemd ng Friend Request sa FB, but only to higher-ups.
  6. YOU VORACIOUSLY CONSUME THE SOCIAL MEDIA TO AIR YOUR SENSELESS SENTIMENTS - i.e. A Social Media Addict na focused on News.
Continuation of the above post...
  1. MARAMI KANG PLATAPORMA (NA HINDI NATUTUPAD) - The platforms of a Student-Trapo fall into 3 Categories: Generic, Impossible to Achieve within the Term, and Doesn't Benefit the Student-Body
  2. YOU PUT YOUR ASS ON THE FRONT SEAT - Another "Main Character" na "deserve" ng VIP Seat sa kada may Event.
  3. YOU’RE DONE WITH “LEDERSHEP KOWTS"; BUT YOU'RE NOT YET THROUGH WITH POLITICKING - Self-Explanatory
  4. KUNWARI SOLID KAYO SA PARTIDO BUT THE REALITY IS, NAGPA-PLASTIKAN LANG NAMAN TALAGA KAYO - The Slates are formed by either: Friends na backstabbing later, or May Backstabbing na nagaganap between the same party.
  5. VETERAN KA NA SA MEETING DE AVANCE - Veteran in a sense na nakaka-ilang ulit ka ng Meeting de Avance pero hindi ka pa rin nananalo sa eleksyon…
  6. YUNG IBANG TRAPO, MARAMING BACK SUBJECTS AT LUBHANG NANGANGANIB ANG DIPLOMA - Because ang Student-Trapo ay naging BS in Organization due to too much time on Orgs than acads na yung latter, yung mas importante, ay napapabayaan through late deadlines, mediocre effort etc.
Published in print in the Universitarian's 2015 issue.
READ FULL: https://tinyurl.com/2p8j7aes
submitted by P78903 to BicolUniversity [link] [comments]


2024.05.14 10:04 Nevada955 [REQUEST] [Steam] Diablo IV (9th attempt)

It should be the 9th attempt and this time is special because the season should start today!
Im part of this sub for a long time now and it feels so refreshing finding people that love games and likes to share they're hobby with others, both who can afford a game or gifts and who can't. The community its amazing and im gratefull to be part of it :D .
Today im here asking for help on getting Diablo IV! but lets deep-dive into the request a bit...shall we?
What is Diablo IV?:
Well, even if you're not an RPG or in this case, ARPG fan, you probably heard in your life about Diablo! it's probably the most famous ARPG of all times, it's been out for more than 20 years now and even with the latest up's and down's of the title in the past years, it's probably one of the best in its genre. For this reason i won't really make a wall of text about it, because im gonna be real, im a new player of ARPG's (beside playing some diablo 2/3 and path of exile years ago), the first one i took seriously was Last Epoch 1 month and half ago (amazing title, i suggest it to everyone that loves this type of games) so i don't really know a lot about Diablo IV lore, story, campaign etc. I kept spoilers away from me, because i think beauty of this genre, sometimes is to explore it by yourself without people telling you what to do and how to do at first.
Why i am requesting it now?:
As i said im a big fan of RPG's, MMORPG's and now recently ARPG's made space into my list of games that im loving and im starting to appreciate any one of them (beside Path of Exile where its still a bit hard for me, one day...one day).
I recently reached the "end" of the current Last Epoch "Season / Cycle" for the characters i made and i was looking deep into the genre, Diablo is game that i already played in the past (with diablo 2 maybe 3 even, years ago when i was a young boy) and i always had a great time playing it, also it's currently one of the two games on the market that's pretty new player friendly (like Last Epoch) and i heard/readed that they're improving the game a lot with the next seasons coming up in the next months, so this is probably the best time to jump in and learn the mechanics of this title and have fun with my friends or solo eventually, so to be prepared to the next big major content update for the game.
Im looking forward to play Barbarian class and then...we'll see heheh (im addicted to big muscle and big weapons characters ahah). I love the graphic, the enviroments, the aesthetic and the whole settings of the campaign (from what i saw on the steam trailer between last year and this week), it gives me a lot of old school rpg's vibes, also the character customization and combat seems amazing, really good to see.
Why im asking for your help currently?:
As you can imagine, right now, i don't have enough money to buy a copy of the game, even when it goes on sale still a price that i can't really afford. My job is not stable and every income i have goes towards my family, the bills and the GeForce Now subscription (cloud gaming platform that i use to play games on my old laptop, since my main computer died during the covid era and i couldn't buy a new one). Unfortunately i never had the opportunity to get the game even at launch or during 2023/early this year and it went out on sale always when i was short on money for gaming.
For this reason im asking for your help and for your generosity once again, since i met a lot of good people around here and all of them were great.
If you can or want to help me i will leave below my steam profile and the page of the game, i wish you really the best and thank you again for reading me <3 .
My Steam Profile: https://steamcommunity.com/profiles/76561198259313755/ Diablo IV Steam page

submitted by Nevada955 to GiftofGames [link] [comments]


2024.05.14 09:40 adulting4kids Commandments of Writing

The Art of Deception: Crafting Characters That Lie, Cheat, and Steal Your Reader's Hearts
My dear young storytellers, it's time to enter the realm of the truly delicious: the art of creating characters so real, so vibrant, so delightfully flawed that your readers will desperately want to grab them by the shoulders and either shake them or offer them a hug (and possibly a strong drink).
Commandment #11: Heroes Are Boring (Embrace the Anti-Hero)
A flawless, always-do-the-right-thing hero makes for a rather dull story. Give your characters some baggage to unpack, some questionable decisions in their past, a healthy dose of selfishness or a pinch of cowardice. These are the cracks where the light of redemption gets in, the flaws that make them relatable…and infinitely more interesting.
Commandment #12: Your Villain Is the Hero of Their Own Story
Nobody twirls their mustache and cackles, "Mwahaha, I am evil!" A truly compelling villain genuinely believes they're the good guy. Give them a motivation that the reader can almost understand, a twisted logic that justifies their actions. This makes them far more chilling and harder to defeat.
Commandment #13: Minor Characters Matter (No Cardboard Cutouts Allowed)
Even the grumpy barista who serves your protagonist a double-shot of reality can have a spark of personality. A unique detail, a snappy line, a hidden backstory hinted at in a single gesture – this brings your fictional world to life. Remember, everyone is the star of their own narrative.
Commandment #14: Dialogue Is Not Just Talking Heads
Dialogue is a weapon, a seduction, a tool for revelation. It should reflect your characters' personalities, reveal their hidden motives, and advance the plot all at once. Make your characters' voices as distinct as their fingerprints. Study how people really talk – the pauses, interruptions, the unspoken words lingering between the lines.
Commandment #15: Actions Speak Louder Than Internal Monologues
Sure, internal monologues can be great, but don't rely on them to tell the story. Show us your characters through what they do, what they choose, and what they desperately try to hide. Actions leave far deeper impressions on a reader than pages of introspection.
World-Building for Beginners (and How to Avoid Info-Dumping)
Ah, the intoxicating power of creating entire worlds! But beware, young architects of universes, there's a fine line between a rich setting and a dry encyclopedia entry. Let's make sure your readers are booking guided tours of your world, not yawning in the face of a geography lecture.
Commandment #16: Start Small, Expand Slowly
Resist the urge to cram all your brilliant world-building details into the first chapter. Ground the reader in your protagonist's immediate world – their room, their village, their annoying neighbor. Layer in the larger world organically through action and dialogue.
Commandment #17: Sensory Overload (In a Good Way)
Don't just tell us about your world; make us feel it. The sting of salt wind on a sea voyage, the scent of otherworldly spices in a fantastical marketplace, the rough texture of ancient stone beneath trembling fingers – engage all the senses to make your setting come alive.
Commandment #18: Rules Are Made to Be Broken
While consistency in world-building is key, a single, shocking exception to the rules can be magic. Just when your reader thinks they understand your magic system, hit them with the unpredictable. It sparks wonder, curiosity, and those delicious "aha!" moments.
Commandment #19: If It Doesn't Affect the Plot, Chop It
You may have created the most intricate political system in the galaxy, but if it doesn't directly impact your protagonist's struggle, it needs to be edited down. Remember, world-building needs to serve the story, not overshadow it.
Commandment #20: Research Is Your Secret Weapon
Even in the most fantastical realms, grounding your world in some element of reality makes it believable. Research medieval sword-making, Icelandic folklore, or the migratory patterns of butterflies. These real-world details add unexpected texture and believability to your fictional creations.
submitted by adulting4kids to writingthruit [link] [comments]


2024.05.14 09:38 roxiixixixixixix [Game] Can you guys help me find more infos on this game?

Name: Protokid, Protokyd, ProtoKid
Platform(s): it's one between Sega Saturn (probably) or Dreamcast
Genre: 2d platform (probably) "mario-like"
Estimated year of release: Between 1996 and 2008
Graphics/art style: vibrant and cartoony, Mario-worldy
Notable characters: N/A, I've never played it
Notable gameplay mechanics: N/A, I've never played it
Other details: It was shown to me during a convo with Dennis Valle (NewMedia Director and Communication manager – Diesel (May 1995 to June 2000)) recently at my uni; it was brought up during a talk about the presence of fashion advertising in '90-'00 games. He worked mainly for Diesel and Dolce & Gabbana but he also worked as a consultant for a variety of brands. Another maybe relevant detail is that he had worked previously with the wipeout developers/marketing team to add diesel adv in the game backgrounds.
Hope my description helps, first time posting here
tytytyty
submitted by roxiixixixixixix to HelpMeFind [link] [comments]


2024.05.14 09:38 nichefilmfarm01 10 Innovative Film Marketing Strategies to Boost Your Movie's Success

10 Innovative Film Marketing Strategies to Boost Your Movie's Success

Introduction

Marketing a film effectively is essential to ensure its success at the box office and beyond. With the rise of digital media and changing audience behaviors, more than traditional marketing strategies are required. Filmmakers and marketers must embrace innovative techniques to stand out in a crowded marketplace. Here are ten cutting-edge film marketing strategies that can significantly enhance your movie's reach and impact.
https://preview.redd.it/z6n97e3gic0d1.jpg?width=612&format=pjpg&auto=webp&s=ff5a5e4ff63f61e055d093c62860611703b70dd7

  1. Harness the Power of Social Media
Social media platforms like Facebook, Instagram, Twitter, and TikTok are invaluable tools for film marketing. These platforms allow you to connect directly with potential viewers, create engaging content, and build anticipation for your film.
Strategies:
  • Teasers and Trailers: Share short clips, teasers, and trailers to generate excitement.
  • Behind-the-scenes Content: Post behind-the-scenes footage to give audiences a glimpse of the filmmaking process.
  • Interactive Posts: Use polls, Q&A sessions, and live videos to engage with your audience.
  • Influencer Collaborations: Partner with social media influencers to reach a wider audience.
  1. Leverage Influencer Marketing
Influencers have a dedicated following and can effectively promote your film to their audience. You can tap into their established fanbase by collaborating with influencers relevant to your film's genre or theme.
Strategies:
  • Exclusive Screenings: Host private screenings for influencers and encourage them to share their experiences.
  • Content Creation: Work with influencers to create content related to your film, such as reaction videos or themed challenges.
  • Social Media Takeovers: Allow influencers to take over your film's social media accounts for a day to create buzz.
  1. Create Viral Content
Viral marketing can exponentially increase your film's visibility. Creating content that has the potential to go viral can attract a large audience and generate significant word-of-mouth.
Strategies:
  • Memorable Hashtags: Develop a unique and catchy hashtag for your film.
  • Engaging Challenges: Launch social media challenges that encourage user participation.
  • Shareable Memes: Create humorous or relatable memes related to your movie.
  1. Utilize Augmented Reality (AR) and Virtual Reality (VR)
AR and VR offer immersive experiences that can captivate audiences and provide a unique way to promote your film.
Strategies:
  • AR Filters: Develop custom AR filters for platforms like Instagram and Snapchat.
  • VR Experiences: Create VR experiences that transport viewers into the world of your film.
  • Interactive Trailers: Use AR to create interactive trailers that allow viewers to explore scenes from the movie.
  1. Host Engaging Events
Events can create a sense of community and excitement around your film. From premiere screenings to fan meet-and-greets, events provide opportunities for direct audience engagement.
Strategies:
  • Premiere Events: Organize a grand premiere and invite celebrities, influencers, and media.
  • Fan Events: Host events where fans can meet the cast and crew.
  • Film Festivals: Submit your film to various festivals to gain exposure and credibility.
  1. Implement Content Marketing
Content marketing involves creating valuable content that attracts and engages your target audience. This can include blog posts, articles, videos, and more.
Strategies:
  • Film Blog: Maintain a blog that covers various aspects of your film, such as character backstories, production challenges, and fun facts.
  • Video Content: Produce video content like interviews, making of documentaries, and character profiles.
  • Educational Content: Create content that educates audiences about your film's themes or historical context.
  1. Develop a Mobile App
A dedicated mobile app can provide a central hub for all things related to your film. Fans can access exclusive content, participate in contests, and stay updated on news and events.
Strategies:
  • Exclusive Content: Offer app-exclusive content like wallpapers, behind-the-scenes footage, and special interviews.
  • Interactive Features: Include features like quizzes, games, and AR experiences.
  • Push Notifications: Push notifications alert users about important updates, such as release dates and event announcements.
  1. Utilize Email Marketing
Email marketing lets you communicate directly with your audience and keep them informed about your film.
Strategies:
  • Newsletter: Send regular newsletters with updates, exclusive content, and special offers.
  • Exclusive Previews: Email subscribers early access to trailers and other promotional materials.
  • Contests and Giveaways: Run contests and giveaways to encourage email sign-ups and engagement.
  1. Leverage User-Generated Content
User-generated content (UGC) is any content created by fans and followers. Encouraging UGC can build a sense of community and authenticity around your film.
Strategies:
  • Fan Art Contests: Host contests where fans can submit artwork related to your film.
  • Hashtag Campaigns: Encourage fans to share their experiences using a specific hashtag.
  • Feature Fan Content: Highlight user-generated content on your social media channels and website.
  1. Engage with Online Communities
Online communities, such as forums and social media groups, are great places to engage with potential viewers and build a loyal fanbase.
Strategies:
  • Film Forums: Participate in discussions on film-related forums like Reddit's movies.
  • Social Media Groups: Join and engage with Facebook groups related to your film's genre.
  • Fan Clubs: Create official fan clubs and engage regularly with members.

Conclusion

Innovative film marketing strategies are essential for standing out in today's competitive entertainment landscape. You can effectively boost your movie's success by leveraging the power of social media, influencer marketing, viral content, AVR, engaging events, content marketing, mobile apps, email marketing, user-generated content, and opportunities. Each strategy offers unique ways to connect with audiences, create buzz, and drive engagement, ensuring your film reaches its full potential.
By embracing these techniques, filmmakers and marketers can increase their films' visibility and foster a dedicated and enthusiastic fanbase to support their projects long after the credits roll.
submitted by nichefilmfarm01 to u/nichefilmfarm01 [link] [comments]


2024.05.14 09:37 zlaxy On this day exactly 120 years ago, the New York Times published an article, "The Abolition of History," about the posthumous publication of English historian Edwin Johnson's book

On this day exactly 120 years ago, the New York Times published an article, “The Abolition of History,” about the posthumous publication of a book by the English historian Edwin Johnson that, in a “scientific, dispassionate, searching method and manner,” total revision of the Christian history of Europe and the history of England in particular.
Abolition of History.
Generations of English schoolboys yet unborn will rise up and call blessed Edwin Johnson, if the contentions of his posthumous book just published here by the Putnams are successfully established. “The Rise of English Culture,” which appears three years after the author’s death, undertakes to abolish all English history before the end of the fifteenth century. There simply is no such thing. It is an invention, not of the devil, as no doubt large numbers of English schoolboys in the past have thought, but of the Benedictine monks. Respect for the powers and industry of this great hierarchy will be vastly enhanced if what Mr. Johnson maintains is true. In their monasteries was manufactured and turned out all the information, or what has hitherto passed for information, in regard to all the English Kings, all the achievements of the English people, nay, even all the history of Europe and all the literature that is supposed to date before that time. “A wall of darkness seems to rise behind the faintly outlined figure of- Henry Tudor and the fiendlike Richard,” says this uncompromising skeptic, “which shuts in the view of the observer and hides from him the earlier past.” The author puts it mildly when he says that this must come upon the unprepared mind with “a shock of surprise.”
Mr. Johnson is perfectly calm about it. His method and his manner are scientific, dispassionate, searching. He scrutinizes, and he gives his reasons. Being accused of having “Benedictines on the brain,” he gravely replies that it is modern history which he has on the brain, and he knows that this subject cannot be understood without attention to the Benedictine system. That system, as he explains it, is of a band of “dishonest fabulists organized and disciplined in the use of the pen,” “taught to agree upon a dogma and a fable.” From their hands came the whole of our Christian literature, the whole of our history, arranged to suit their purposes. Why have these points been so long neglected, and why have they escaped the notice of the most skeptical and thoughtful historians? These fables were founded, to begin with, on “the imagination of the world.” Already during the Revival of Letters there were brought to light expressions of doubt. They were forgotten or suppressed. The fabulists were organized and disciplined, working for self-interest; the critics were not.
The imagination, fertility, and intellectual power of the fabulists at least are worthy of admiration. Not only all the Saxons, the English Kings downward from “William the Conqueror” — so our skeptic designates his mystical character in quotation marks — are phantasmagoria of Benedictine brains, but laws and literature, the bedrock of our ancient belief, are all products of “the forge and writing house of fable” in the monasteries. St. Augustine and St. Jerome and Tertullian and a St. Thomas Aquinas and their works came thence. So did the Venerable Bede, the symbol of the literary activity of a knot of Benedictines, told off to the duty of illustrating the imaginary past of England. John Wiclif is no historic-personality, but a convenient figure of the poor priests at which the monks and friars aimed their polemical arrows. “Chaucer” (and Mr. Johnson mentions with modest pride that he is the first to point it cut) is a name under which masked a group of men of the English renaissance, keen but genial critics of the monastic system; we first hear of the “Chaucer legend” in 1540. Dante is in a similar predicament. Rabelais is another mask, worn by a jesting monk, who poured contempt through it on the whole system of historic fiction then coming into vogue. Roger Bacon is another mythological figure set up, by the Merton friars through the necessity felt for cultivating the little science then current. We may not even keep our Caxton; he is a legend and not the man who first introduced printing Into England. We must even give up Domesday Book and such a safeguard of our liberties as Magna Charta. Both are real, but both are late — and all that about King John and the Barons at Runnymede is fable.
In an introductory chapter, signed by Edward A. Pretherick, the reader is informed that Edwin Johnson was born in 1842 and died in 1901. He was a Congregational minister until he accepted the Professorship of Classical Literature in New College, London, in 1870. He wrote “The Rise of Christendom,” (1889) and translated the “Prolegomena” of Father Hardouin.
Published: May 14, 1904 The New York Times
Contemporary information about Johnson from the English Wikipedia:
Edwin Johnson) (1842–1901) was an English historian, best known for his radical criticisms of Christian historiography.
Among his works are Antiqua Mater: A Study of Christian Origins (1887, published in London anonymously) and The Pauline Epistles: Re-studied and Explained (1894).
In Antiqua Mater Johnson examines a great variety of sources related to early Christianity “from outside scripture”, coming to the conclusion that there was no reliable documentary evidence to prove the existence of Jesus Christ or the Apostles.
He asserts that Christianity had evolved from a Jewish diaspora movement, he provisionally called the Hagioi. They adhered to a liberal interpretation of the Torah with simpler rites and a more spiritualized outlook. Hagioi is a Greek word meaning “saints”, “holy ones”, “believers”, “loyal followers”, or “God’s people”, and was usually used in reference to members of the early Christian communities. It is a term that was frequently used by Paul in the New Testament, and in a few places in Acts of the Apostles in reference to Paul’s activities.
Both Gnosticism as well as certain Bacchic pagan cults are also mentioned as likely precursors of Christianity.
In The Pauline Epistles and The Rise of English Culture Johnson made the radical claim that the whole of the so-called Dark Ages between 700 and 1400 A. D. had never occurred, but had been invented by Christian writers who created imaginary characters and events. The Church Fathers, the Gospels, St. Paul, the early Christian texts as well as Christianity in general are identified as mere literary creations and attributed to monks (chiefly Benedictines) who drew up the entire Christian mythos in the early 16th century. As one reviewer said, Johnson “undertakes to abolish all English history before the end of the fifteenth century.” Johnson contends that before the “age of publication” and the “revival of letters” there are no reliable registers and logs, and there is a lack of records and documents with verifiable dates.
submitted by zlaxy to ThisDayInHistory [link] [comments]


2024.05.14 09:36 Khorde__the__Husk BattlePostings Game Rules

i like Warhammer 40k, but 40k doesnt afford you the abilty to let you play your own custom character or faction if it isnt up to certain specs in tournaments(lore strict rules). and running an army battle in dungeons and dragons is overly complicated unless you ignore a bunch of rolls and rules.
i propose a blend of both. who's cannon takes place in the cosmos of perspective.
(you make your own faction cannon. )
each unit type has user generated has one data sheet, each named character you have would have their own data sheet.
the models can be 3-D printed or kitbashed, but they must be at 1/36 scale. essentially one infantry= one of those cheap plastic army men standing at 5 cm tall.
from here, this was typed up before today, by a few months. there is no campaign.
but i would imagine a new fandom in table top roleplay would be born regardless
___________________________________________________________________________________________
WELCOME TO BATTLEPOSTINGS T.T.R.P.G.
A tabletop rpg for diy, model painting, kit bashing, 3-DPrinting, and plastic army battling enthusiasts.
all parts of this game are user generated, with the exception of the rules. Though u/Khorde__the__Husk sent this to a bunch of redditors for help in balancing the game and setting up basic play structure.
Things to note:
· You must have one “advisor” per two warlords in the session. Advisors, act as the game master to make sure no one is cheating. If there is confusion on what kind of weapon a unit has in their hands or equipped to their armor, the Advisor has final say. The advisor is supposed to keep the game fair.
· In theory you could have as many players as you want, but no more than four is recommended because turns consist of multiple phases that are meant to organize the battle strategy for each player.
· Players are encouraged to kit bash, 3-D print, or purchase traditional plastic army men. For the sake of scaling, follow the scaling of the image below. But you must have your own general. It is recommended that your general be unique, make it yours. Have fun.
· Players can make their own campaigns and lore. Such attempts are encouraged. For the purposes of release, you can follow the campaign I have written.
· For any session, you will need a handwritten or typed general’s reference stats Dossier, 1D20, tape measure, and an army of which you will fight with. (painted)
· When rolling on a check, higher is always better. 20 is always a success
· Your armies stats are fixed and defined in this document. Your general’s stats are dictated by the roll of a 1d20. These stats are:
o morale
o Movement speed
o Accuracy
o Health points
o Punch
· Turns are split into phases.
o bombardment
o Movement
o Attack/counter attack
· The different types of units are:
o Infantry
o Armor
o Airborne
o B.A.M.(BIG ASS MACHINES)

· We play at a 1/36 scale. All models are at that scale.
make your own terrain and cover. kitbashing, 3-D printing encouraged. terrain is the battleground, the floor the pieces and obstacles stand on. obsticles can be anything. debris, nature, etc. obstacles are cover. if an attacking piece can see the defending piece in its entirety, the defending piece is in the open. if the defending piece is partially seen by the attacking
· Ability checks logic below:
20=crit hit/sucsess
1=jam(gun)/woopsie(melee)/crit fail
To succeed , a unit must roll their combined ability score. This is their base ability +general ability. Debuffs such as kickback only are applied to whatever you rolled when you roll for an ability check.
Regardless, the fundamental rules of this game will apply to your creations. these are an assortment of rules designed to keep the game fair and guard against unfair players(referred to as God-Emperors or God-empresses) and hopefully combat power creep.
Now lets expand upon these ideas so you can have fun kit-bashing and army smashing quicker.
GENERAL’S (named character) STAT DOSSIER
Your army’s stats are based on your general’s stat Dossier. The leader of a nation is oft a good indication of how high of a quality their army’s going to be.
The first thing you should write is your general’s name, then write their bio. Their bio includes their background, their homeland, what politics are involved (if any). It is not recommended that you write a novel, you have a game to play. What are the weapons that your general will have on their person? What are their character traits? How will those traits affect how the game is played?
The next thing to do is to make a picture of your General that resembles the piece you kit-bashed for your general to be. It can be menacing, wholesome, serious or whacky. As long as the design choices resemble what your army has for their design and your general’s character traits. It doesn’t have to be hand drawn. A photo of your piece will suffice. no general may have a skill number higher than 16.
ARMY STAT DOSSIER:
what good is a king without a kingdom?
terrible.
each type of unit gets one ARMY STAT DOSSIER. you can have as many scout infantry you want, but you need a dossier on how they are deployed, what weapons they use, and most importantly, THEIR STATS. make sure your unit type description is comprehensive including what styles of combat they are trained for. this could influence your decisions on how you play. give them lore for shits and giggles. no unit may have a skill number higher than 15.
WEAPON STAT DOSSIER
this is the list of weapon types and their ability modifiers.
when attacking bare handed, you go by your unmodified stats.
STATS EXPLAINED AND BORING SHIT
Now comes the part with the dice. You only need 1d20. This is to reduce the confusion.
· Morale
Rolled by 1d20, checked by 1d20 per unit.
Morale is basically moral law. How far will your troops go to follow your orders? If your morale over a given unit is 1, the unit in question is shell shocked for one whole turn, to be marked with a yellow slip. If your unit is shell shocked, it is traumatized to where it cant follow any orders on the next turn. If for some reason the morale hits 0, that unit defects and must be marked with a red token. Units that defect are now under control of your enemy. If defected units hit 0 authority again, it simply dies. Suicide. Cowards way out.
The Morale that your general has over friendly units is base unit morale +the general’s modifier. Your general’s base Morale is the number you rolled the 1d20 for. If for any reason your general’s morale score goes below 0, the general must rally all nearby troops (within 30cm) to protect the general for one turn on the next turn. If your general’s morale hits zero, you get shell shocked, and your general cannot take action for one turn and if your general was within line of sight of any other allied unit, the observing unit cannot take action either.
· Movement Speed
Rolled by 1d20, measured by cm on a measuring tape or meter stick because inches suck.
Movement speed is how much ground a given unit can cover. Unless your object has a punch score higher than the hp of an obstacle, or can fly, you will have to go around the obstacle. There are exceptions. If the obstacle is below the knee of an infantry unit, the infantry or whatever can climb over at the cost of the individual unit climbing modifier.
The base movement speed of your general influences the movement speed of your troops. To find a troops total movement speed:
Your unit’s base movement speed + your general’s base movement speed = total troop movement speed. See army stat dossier or named character stat dossier.

· Accuracy
Rolled by a 1d20, checked by 1d20 per unit
Accuracy must be rolled every time a unit attacks an enemy unit.
Accuracy is basically the chance of your selected troop hitting their targets. Different weapons and vehicles have different accuracy modifiers(aka kickback or x-range), and different types of troops have different base accuracies. Accuracy can affect enemy/friendly Health points or morale. If a shot hits near enough to a troop, or makes a kill close enough to another troop, the troops affected must undergo a morale check with the exception to nearby friendlies of any troop who gets an enemy kill.
Explosives and artillery have an area of effect. any troop within the inner blast radius (with the exception of troops behind sufficient cover) is dead. Any in sufficient cover, or within the outer blast radius must make a morale check. Sufficient cover is a piece of the environment which has an assigned hp that is higher than the punch of an explosion.

Small arms fire requires line of sight for targeting. The path of bullets is a straight line, keep this in mind when deciding collateral damage. Friendly fire is a thing and it is a war-crime. If you want to play nightmare mode, your general gets summoned to a military court tribunal and executed if three friendly troops or more die as a result of friendly fire that occurred by your command.

Melee combat can only be conducted during movement phases. If its melee vs gun there is the variable of line of sight. If the melee unit is within line of sight, the gun unit has advantage. If the melee unit is outside of line of sight of the gun unit, the melee unit has advantage.
To find your troop’s accuracy:
general’s base accuracy+ troop base accuracy- kickback. The higher the accuracy the better.

· Punch
Punch is how much damage a unit causes to another unit or object should they pass their accuracy check. Different weapons pack a different punch. Remember to add their bonus to the punch check roll.
When attacking an obstacle or object, units must roll against the hp of the object. If the roll lands on a number that meets or beats the hp, the object or obstacle is destroyed.(marked with red sticky note and can be traversed as if the object was destroyed. Bullets pass thru within reasonable trajectories, no ricochet)
When attacking units, whatever is rolled is subtracted from the victim’s hp. The victim can only move at half of their normal movement speed afterward.(treaded, wheeled, and airborne vehicles excluded from the debuff even if they are hit. They are treated as obstacles with the addition of the passed accuracy check requirement.)
· Health points(hp)
Health points are what determines how close your units or general is to kicking the bucket. In any game mode, If your general kicks the bucket, you lose. If you have no units other than your general, you lose and your general must go into hiding. each unit and general may have no more than 10hp. powercreep is bad
UNIT CLASSES
Unit Classes are determined by how big the individual unit is, and how it traverses the battlefield. The smallest and most common all the way to the biggest and most intimidating of units are all fit into several categories by what they look like. To solve disagreements on what class your unit is, the advisor has final say. Disagreements should be easy to avoid if you design your units properly. It would be useful to stick to a theme. Candy punk, steampunk, horror, medieval, sci-fi, and historical designs are all fine, you could even come up with your own. A theme will be better for discerning friendlies from you enemies. At the same time, make your units discernable enough that players and especially advisors can easily determine what classes your units are.
· Your general/warlord, whatchacallit
Your general is the most valuable unit because it is what you have to control your forces. Without a wise and strategic leader, your forces will fall into disarray and you will lose the war. You can only have one general, and you made it yours. Kitbashing and 3D printing would likely be your most common means of gaining a general. They must take resemblance of the general on your general stat dossier they can swim in water terrain for two turns before they drown.
· Infantry
The easiest to acquire and kit bash. This allows for vast hordes of infantry, or small fireteams, or something in between. Find your play style. Your infantry should be as tall as the plastic green army men in the image below. These men and women are the bravest of them all.
they can swim in water terrain for two turns before they drown.
· Armor
Mainly made up of vehicles and smaller mechanical suits, must be land based. Expect tanks, jeeps ,Humvees, calvary mounted animals etc. here is an image I ripped for scale as to the largest example of armor you can have. Not my drawing. Its basically the largest tank ever built replace the man in the image with one infantry and you have your scale. Or 0.283333333 m* 0.283333333 m *0.5m
these machines will break down in water terrain.
· Airborne
Airborne units can only fly. They can drop bombs, airdrop armotroops, and attack up to one target per gun that the aircraft is equipped with(within range) as they move. Their biggest weakness is anti-aircraft weaponry and enemy aircraft weapons. How big can an aircraft be?
2.44 meters. X 2.44 meters by 0.60 meters is your maximum for all airborne units.
any airborne that fly like a plane have a +4 to their movement stat but can only bomb ground units 15 cm in front and attack any unit that is in front of it
anything that flies like a helicopter does not have this buff or debuff, they can shoot at any target, but can only use missiles for up to 15 cm on ground units.
NAVAL VEHICLES
Naval vehicles can be big or small, but they can only operate in the designated water terrain area. they can carry troops, they can fire artillery, depth charges, missiles, torpedoes, and submarines can hide below water for three turns before air runs out. but they can be spotted by sonar. if a submerged vessel is within 10 cm of an enemy surface or submarine vessel, the enemy vessel can act as if they know where the submerged vessel is even if the submerged vessel is still submerged.
· B.A.M. ‘s
Big Ass Machines are basically giant robots and massive land ships. These can be Game breaking depending on how you build them and how big you build them. They can fire upon one target per weapon. how big Can these be? They cannot be more than 1.5 meters tall or take up a ground area larger than 4 meters. Players are not allowed to use functioning motor vehicles including, but not limited to cars, trucks, busses, etc. rule of thumb, if you can ride it, you can’t play it. It might as well be just fan art. The maximum distance these can move at any time is 2000cm. to move these, they must make a special movement check. War machines of that size can get stuck easily, so subtract your general’s movement speed from your final roll on each check. If they are larger than the specified limits, you’ve built a giant immobilized obstacle for one turn.
Mobile terrain essentially is a whole battlefield or obstacle of its own. The biggest difference is that anything other than B.A.M. compatible units that are attached to the B.A.M'S can’t be removed from the B.A.M.'S. Artillery such as main guns can’t move, only rotate. same with S.A.M.S. , C.R.A.M.S., and anti aircraft weaponry.

EQUIPMENT AND ARMAMENT
Guns and RE’S(ranged explosives)Require a reload period(one full turn) every so often. Dual wield is an ability that is only applicable to infantry equipment . dual wield only applies when two identical weapons are in both hands of a single unit. Range is how far a weapon can fire before a debuff is added to your accuracy roll. For every 10 cm beyond the stated range, an x-range debuff of -1 is added.
Overheat can only occur on weapons that are labeled with overheat. Every time a gun with overheat is about to fire , a coin must be tossed. If the coin lands on heads, the gun overheats. Overheating will cause the unit to explode. The explosion will deal 1d20 damage to anyone/anything within a 6 cm radius. You only need to roll once.
Cone is a special debuff. Weapons with cone Can only fire at sequential targets within 25 degrees of original target.
im having trouble with deciding the individual weapon stats. so ive decided that i am going to leave those up to you. (the moment i hear people are getting into fights IRL, i will be putting in an elaboration which will settle all disputes regarding equipment and artillery... and i wont be happy about it.)
players are encouraged to record their battles in battle reports and post it online in their relevant subreddits. if they win/lose, then the player is encouraged to come up with a lore reason for any change in tactics, named characters(generals), or stats.
an army is considered overpowered if they can take out all opponents in as little as 10 turns. they must be nerfed if this happens. dont forget to add a lore reason for this occurrence in the battle report.
unlike overpowered, underpowered armies can be taken out in 10 turns. they must be buffed if this happens. dont forget to add a lore reason for this occurrence in the battle report.
this is sci-fantasy/high fantasy, battles are supposed to be epic and economically exaggerated.
write the name of the weapon, the type of weapon.(melee or gun) and its accuracy and punch modifiers.(bare hands is melee and equal to. magic is gun)
spells must be vetted in good faith by advisors prior to the game to prevent game breakage. spells may not kill units or generals in one blow. spells effects can only last one turn unless its a healing spell. healing spells cannot heal more than 5 health points at a time per unit. write out the spells you have for your units and have them vetted by an advisor, advisor will determine gamebreakability of the spell. if spell is determined to be game breaking, mid game, the advisor will have the offending spell removed and the turn undone. at wich point the offending player effectively must alter their strategy in the spirit of good sportsmanship.) There are three approved arcane focuses, wands, staves, and hand casting, (one must not make them look like the caster is going to punch something, have them hold an orb or something.)
(the moment i hear that people get into IRL fights over spells, i will make a list of approved spells and a LONG LIST of forbidden spells. and no one will be happy. )
THE MOST IMPORTANT RULE
Dont be a dick, be a good sport, and have fun.breaking thegame intentionally is a dick move. advisors are encouraged to post their reports of game breaking spells so it may help me in the event Khorde__the__Husk has to revise the rules.
submitted by Khorde__the__Husk to Battlepostings [link] [comments]


2024.05.14 09:34 roxiixixixixixix [Sega Saturn/Dreamcast][late '90s] Can you guys help me find more infos on this game?

Name: Protokid, Protokyd, ProtoKid
Platform(s): it's one between Sega Saturn (probably) or Dreamcast
Genre: 2d platform (probably) "mario-like"
Estimated year of release: Between 1996 and 2008
Graphics/art style: vibrant and cartoony, Mario-worldy
Notable characters: N/A, I've never played it
Notable gameplay mechanics: N/A, I've never played it
Other details: It was shown to me during a convo with Dennis Valle (NewMedia Director and Communication manager – Diesel (May 1995 to June 2000)) recently at my uni; it was brought up during a talk about the presence of fashion advertising in '90-'00 games. He worked mainly for Diesel and Dolce & Gabbana but he also worked as a consultant for a variety of brands. Another maybe relevant detail is that he had worked previously with the wipeout developers/marketing team to add diesel adv in the game backgrounds.
Hope my description helps, first time posting here
tytytyty
submitted by roxiixixixixixix to tipofmyjoystick [link] [comments]


2024.05.14 09:29 roxiixixixixixix [Fully Lost] Protokid or ProtoKid

Name: Protokid, Protokyd, ProtoKid
Platform(s): it's one between Sega Saturn (probably) or Dreamcast
Genre: 2d platform (probably) "mario-like"
Estimated year of release: Between 1996 and 2008
Graphics/art style: vibrant and cartoony, Mario-worldy
Notable characters: N/A, I've never played it
Notable gameplay mechanics: N/A, I've never played it
Other details: It was shown (he cant find it anywhere anymore) to me during a convo with Dennis Valle (NewMedia Director and Communication manager – Diesel (May 1995 to June 2000)) recently at my uni; it was brought up during a talk about the presence of fashion advertising in '90-'00 games. He worked mainly for Diesel and Dolce & Gabbana but he also worked as a consultant for a variety of brands. Another maybe relevant detail is that he had worked previously with the Wipeout developers/marketing team to add Diesel adv in the game backgrounds.
Hope my description helps, first time posting here,
tytytyty
submitted by roxiixixixixixix to lostmedia [link] [comments]


2024.05.14 09:18 human_sized_elephant [pc] [2009ish] puzzle game pink/light coloured girls having to match by their hands and according to their colour

okay hello. I've been searching for this game for quite a time and i forget about it on and off. it's a game i played as a kid in 2008-2009ish on my computer and it had windows vista on it
Platform(s): pc
Genre: puzzle
Estimated year of release: 2008-2009
Graphics/art style: kinda for kids animation
Notable characters: girls in different colours
Notable gameplay mechanics: you had to match the girls and they had to hold hands according to their colours
Other details: it was played by mouth and it was installed on my computer, it wasn't online or anything and it was very "girly". i would be super happy if i could find it🥲💙
submitted by human_sized_elephant to tipofmyjoystick [link] [comments]


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submitted by dezzzsxc to RemoteJobs [link] [comments]


2024.05.14 09:14 zlaxy On this day exactly 120 years ago, the New York Times published an article, "The Abolition of History," about the posthumous publication of English historian Edwin Johnson's book

On this day exactly 120 years ago, the New York Times published an article,
On this day exactly 120 years ago, the New York Times published an article, “The Abolition of History,” about the posthumous publication of a book by the English historian Edwin Johnson that, in a “scientific, dispassionate, searching method and manner,” total revision of the Christian history of Europe and the history of England in particular.
Abolition of History.
Generations of English schoolboys yet unborn will rise up and call blessed Edwin Johnson, if the contentions of his posthumous book just published here by the Putnams are successfully established. “The Rise of English Culture,” which appears three years after the author’s death, undertakes to abolish all English history before the end of the fifteenth century. There simply is no such thing. It is an invention, not of the devil, as no doubt large numbers of English schoolboys in the past have thought, but of the Benedictine monks. Respect for the powers and industry of this great hierarchy will be vastly enhanced if what Mr. Johnson maintains is true. In their monasteries was manufactured and turned out all the information, or what has hitherto passed for information, in regard to all the English Kings, all the achievements of the English people, nay, even all the history of Europe and all the literature that is supposed to date before that time. “A wall of darkness seems to rise behind the faintly outlined figure of- Henry Tudor and the fiendlike Richard,” says this uncompromising skeptic, “which shuts in the view of the observer and hides from him the earlier past.” The author puts it mildly when he says that this must come upon the unprepared mind with “a shock of surprise.”
Mr. Johnson is perfectly calm about it. His method and his manner are scientific, dispassionate, searching. He scrutinizes, and he gives his reasons. Being accused of having “Benedictines on the brain,” he gravely replies that it is modern history which he has on the brain, and he knows that this subject cannot be understood without attention to the Benedictine system. That system, as he explains it, is of a band of “dishonest fabulists organized and disciplined in the use of the pen,” “taught to agree upon a dogma and a fable.” From their hands came the whole of our Christian literature, the whole of our history, arranged to suit their purposes. Why have these points been so long neglected, and why have they escaped the notice of the most skeptical and thoughtful historians? These fables were founded, to begin with, on “the imagination of the world.” Already during the Revival of Letters there were brought to light expressions of doubt. They were forgotten or suppressed. The fabulists were organized and disciplined, working for self-interest; the critics were not.
The imagination, fertility, and intellectual power of the fabulists at least are worthy of admiration. Not only all the Saxons, the English Kings downward from “William the Conqueror” — so our skeptic designates his mystical character in quotation marks — are phantasmagoria of Benedictine brains, but laws and literature, the bedrock of our ancient belief, are all products of “the forge and writing house of fable” in the monasteries. St. Augustine and St. Jerome and Tertullian and a St. Thomas Aquinas and their works came thence. So did the Venerable Bede, the symbol of the literary activity of a knot of Benedictines, told off to the duty of illustrating the imaginary past of England. John Wiclif is no historic-personality, but a convenient figure of the poor priests at which the monks and friars aimed their polemical arrows. “Chaucer” (and Mr. Johnson mentions with modest pride that he is the first to point it cut) is a name under which masked a group of men of the English renaissance, keen but genial critics of the monastic system; we first hear of the “Chaucer legend” in 1540. Dante is in a similar predicament. Rabelais is another mask, worn by a jesting monk, who poured contempt through it on the whole system of historic fiction then coming into vogue. Roger Bacon is another mythological figure set up, by the Merton friars through the necessity felt for cultivating the little science then current. We may not even keep our Caxton; he is a legend and not the man who first introduced printing Into England. We must even give up Domesday Book and such a safeguard of our liberties as Magna Charta. Both are real, but both are late — and all that about King John and the Barons at Runnymede is fable.
In an introductory chapter, signed by Edward A. Pretherick, the reader is informed that Edwin Johnson was born in 1842 and died in 1901. He was a Congregational minister until he accepted the Professorship of Classical Literature in New College, London, in 1870. He wrote “The Rise of Christendom,” (1889) and translated the “Prolegomena” of Father Hardouin.
Published: May 14, 1904 The New York Times
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Contemporary information about Johnson from the English Wikipedia:
Edwin Johnson) (1842–1901) was an English historian, best known for his radical criticisms of Christian historiography.
Among his works are Antiqua Mater: A Study of Christian Origins (1887, published in London anonymously) and The Pauline Epistles: Re-studied and Explained (1894).
In Antiqua Mater Johnson examines a great variety of sources related to early Christianity “from outside scripture”, coming to the conclusion that there was no reliable documentary evidence to prove the existence of Jesus Christ or the Apostles.
He asserts that Christianity had evolved from a Jewish diaspora movement, he provisionally called the Hagioi. They adhered to a liberal interpretation of the Torah with simpler rites and a more spiritualized outlook. Hagioi is a Greek word meaning “saints”, “holy ones”, “believers”, “loyal followers”, or “God’s people”, and was usually used in reference to members of the early Christian communities. It is a term that was frequently used by Paul in the New Testament, and in a few places in Acts of the Apostles in reference to Paul’s activities.
Both Gnosticism as well as certain Bacchic pagan cults are also mentioned as likely precursors of Christianity.
In The Pauline Epistles and The Rise of English Culture Johnson made the radical claim that the whole of the so-called Dark Ages between 700 and 1400 A. D. had never occurred, but had been invented by Christian writers who created imaginary characters and events. The Church Fathers, the Gospels, St. Paul, the early Christian texts as well as Christianity in general are identified as mere literary creations and attributed to monks (chiefly Benedictines) who drew up the entire Christian mythos in the early 16th century. As one reviewer said, Johnson “undertakes to abolish all English history before the end of the fifteenth century.” Johnson contends that before the “age of publication” and the “revival of letters” there are no reliable registers and logs, and there is a lack of records and documents with verifiable dates.
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2024.05.14 09:14 Zimeo42 [PS1][~2000's] Cartoon racing game

Hello everyone! I'm looking for a video game from my childhood. Excuse my bad english.
Platform(s): Playstation 1
Genre: Racing game
Estimated year of release: late 90s early 2000s
Graphics/art style: 3D (rather top view like micromachine v3) and cartoons
Notable characters: a mad scientist and a Formula 1-style driver, super handsome but I remember a cinematic where his belt breaks and his big belly spills out of his pants.
Notable gameplay mechanics: it was a 3D (rather top view like micromachine v3) cartoon racing game. I don't think there were any power-ups. The races took place in different environments (on the road, underwater, etc...) and each time the style of the vehicles changed a little to match the type of environment (car on the road, underwater, etc...). Sometimes there were even stepping stones. No acceleration track.
Other details:
in the general aesthetic, it looked a bit like wacky races. But I'm pretty sure it wasn't that game for the following reasons:
-The videos and screenshots I've seen remind me of almost nothing.
-One of the cars looks similar but the others don't ring a bell
-There are power ups on some of the maps and I'm sure there weren't any in the game I'm looking for.
-In my memory, it was more of a top view, and on the game videos, it's more of a rear view.
I think the game I'm looking for was strongly inspired by wacky races but they didn't have the rights and it's an ersatz.
I played this game in France (so I assume it was released in Europe), if that helps narrow down the search.
Thank you in advance for your help!
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2024.05.14 09:10 JanaCinnamon How would I go about changing the colour of a texture within a material the right way?

Heya I'm relatively new to making graphics for unreal engine and have everything done for a small scale character editor with a manga aesthetic. The way I currently let people change their eye colour is by manually recolouring the eyes externally and basically having a texture for each added to the material. I know this isn't optimal performance wise but I haven't been able to make in engine colour changing look that good. My googling skills haven't helped me with this so I hope you don't mind me asking a few questions.
  1. What colour should the part of the texture I am colouring in be originally for the best results?
  2. Which blend mode works best to keep the contours and shading of the original texture?
Thank you all so much for any help in advance!
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2024.05.14 09:07 AsleepLengthiness406 Ethical Considerations in CGI Advertising: Where to Draw the Line

Ethical Considerations in CGI Advertising: Where to Draw the Line
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In the realm of advertising, the line between reality and fiction has become increasingly blurred with the advancement of computer-generated imagery (CGI). While CGI offers advertisers unparalleled creative freedom and the ability to craft visually stunning and captivating narratives, it also raises important ethical considerations regarding transparency, authenticity, and societal impact. In this essay, we will explore the ethical implications of CGI advertising and examine where the line should be drawn to ensure responsible and ethical practices within the industry.
One of the primary ethical concerns surrounding CGI advertising is the issue of transparency. With CGI, advertisers have the power to manipulate images and videos to create seemingly flawless and idealized representations of products, people, and scenarios. However, this ability to alter reality raises questions about the authenticity of the content being presented to consumers. When viewers are unable to distinguish between CGI and real footage, they may be misled into believing exaggerated claims or false representations.
To address this concern, advertisers have a responsibility to clearly disclose when CGI has been used in their advertisements. This transparency enables consumers to make informed decisions and prevents the dissemination of misleading or deceptive content. Additionally, regulatory bodies and industry organizations should establish guidelines for the use of CGI in advertising, requiring advertisers to clearly label and disclose any digitally altered images or videos.
Another ethical consideration in CGI advertising is the potential impact on societal perceptions and expectations. By presenting idealized and unrealistic portrayals of beauty, success, and lifestyle, CGI advertisements can contribute to harmful social norms and standards. For example, airbrushed models and digitally enhanced images may perpetuate unrealistic beauty standards and negatively impact body image and self-esteem, particularly among impressionable audiences such as children and adolescents.
Advertisers must consider the societal implications of their CGI advertisements and strive to promote diversity, inclusivity, and authenticity in their messaging. Instead of relying solely on aspirational imagery, advertisers should embrace diversity and represent a wide range of body types, ethnicities, and backgrounds in their campaigns. By portraying realistic and relatable narratives, advertisers can help challenge stereotypes and promote positive social change.
Furthermore, CGI advertising raises ethical concerns related to intellectual property and copyright infringement. With the ability to create hyper-realistic simulations of products and characters, advertisers must ensure that they have the necessary rights and permissions to use copyrighted material in their advertisements. Failure to obtain proper authorization can result in legal disputes and undermine the integrity of the advertising industry.
To mitigate the risk of copyright infringement, advertisers should collaborate with content creators and rights holders to obtain the necessary licenses and permissions for using copyrighted material in CGI advertisements. Additionally, advertisers should respect the intellectual property rights of others and refrain from creating derivative works that infringe upon existing copyrights.
In addition to transparency, societal impact, and intellectual property considerations, CGI advertising also raises broader ethical questions about the manipulation of reality and the potential for deception. As CGI technology continues to advance, advertisers have the ability to create increasingly convincing and persuasive simulations that blur the line between fact and fiction. This raises concerns about the ethical boundaries of persuasive advertising and the potential for manipulation and coercion.
To address these concerns, advertisers should adhere to ethical principles of honesty, integrity, and respect for the autonomy of consumers. Advertisements should not rely on deceptive tactics or manipulative techniques to influence consumer behavior. Instead, advertisers should focus on providing accurate information, fostering genuine connections with consumers, and respecting their right to make informed choices.
In conclusion, CGI advertising presents unique ethical challenges related to transparency, authenticity, societal impact, and intellectual property. To ensure responsible and ethical practices within the industry, advertisers must prioritize transparency, promote diversity and inclusivity, respect intellectual property rights, and uphold ethical principles of honesty and integrity. By drawing clear lines and establishing ethical guidelines for the use of CGI in advertising, we can foster a more transparent, authentic, and socially responsible advertising landscape.
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2024.05.14 09:06 LactoesIsBad [PC][2010] Top down space RTS

Platform(s): PC
Genre: Sci-fi, RTS, Spaceship battles
Estimated year of release: 2000-2010
Graphics/art style: Either Pixelart or unknown
Notable characters: None that I remember
Notable gameplay mechanics: Space battle RTS
Other details: A game I remember downloading from Gamejolt back around 2010, weird pixel-like artstyle or something similar. Ships consisted of a white dot which was the core of the ship, and from that was constructed into various ships using different shapes and pieces.
You played as green ships, while your allies were light blue, pirates were red and an unknown alien invader was pink.
submitted by LactoesIsBad to tipofmyjoystick [link] [comments]


http://rodzice.org/