Oblivion savegame character editor

"There are very few directors, about whom you’d say you automatically have to see everything they do," Stanley Kubrick said in 1966. "I’d put Fellini, Bergman and David Lean at the head of my first list."
Almost sixty years later, I think it's safe to say, Lean does not quite have the same safely canonical status as Fellini or Bergman. (Just four years later, the scathing critical reception of Ryan's Daughter would put a serious dent in Lean's reputation and allegedly, lead to an almost fifteen year-long absence from feature films.)
No David Lean films finished in the top 100 of the 2022 BFI/Sight and Sound Poll (Lawrence of Arabia did finish tied for 62nd in the directors' poll) and only three made the top 1,000 (including Doctor Zhivago in 911th place.)
Despite his influence on generations of filmmakers, from Spaghetti westerns to New Hollywood to Peter Jackson and Denis Villeneuve (and some less obvious names like Spike Lee and John Woo), I think there's a general perception of him as ponderous and old-fashioned, one that is itself decades old. Consider, for instance, the opening of Dave Kehr's review of Lean's last film:

David Lean’s studied, plodding, overanalytic direction manages to kill most of the meaning in E.M. Forster’s haunting novel of cultural collision in colonial India

Or Andrew Sarris on his penultimate film:

David Lean's "Ryan's Daughter" possesses all the antique charm and amiability of a dinosaur ambling (in scenic longshot) down the road to an undeserved oblivion.

One challenge when thinking about David Lean's career as a whole is just how much his last five films -- which made his name synonymous with 'epic cinema' overshadow his first twelve, how Lean is generally known for and judged by his late style.
While his name has not taken an adjectival form à la Felliniesque or Hitchcockian or Lynchian, I think it's safe to say that "David Lean" has also become shorthand for a certain kind of filmmaking.; when filmmakers talk about how Lean influenced them, they almost always talk about his last five films, especially Lawrence.
A critic comparing a new release to the films of David Lean gives you a good idea of what that film will be like, at least on the surface level: epic, vast landscapes, probably involving an epic journey against the backdrop of large-scale sociopolitical conflict. Even though Lean only wrote one of the screenplays in question, I think it's fair to call his last five films true auteur works, films that clearly express a consistent artistic vision. These films, however, are less than a third of his filmography.
If you've been on this subreddit for a while, you've probably seen someone object to the characterization of Martin Scorsese as a mob movie director by pointing out that his filmography includes a much broader range of themes and settings. Something similar can be said of Lean; no one would call Brief Encounter or Blithe Spirit epics. The two films he made before The Bridge on the River Kwai -- Hobson's Choice and Summertime -- are very different from it. And of course the young Lean earned a reputation as cinema's greatest adapter of two very different writers, Noël Coward and Charles Dickens. David Thomson, no fan of the second half of Lean's career, highly praises the first in his New Biographical Dictionary of Film:

Lean before 1952 made eight films in ten years that are lively, stirring, and an inspiration—they make you want to go out and make movies, they are so in love with the screen's power and the combustion in editing.

In other words, Lean's filmography includes much more than 3+ hour roadshow epics with overtures and intermissions; he also directed comedies, and small-scale character-driven stories. Furthermore, his acknowledged mastery of visual spectacle also overshadows how good he could be as a director of actors, with a specially knack for working with younger actors. He directed Peter O'Toole, Omar Sharif, Alec Guinness Trevor Howard, Celia Johnson and Robert Newton in their breakout roles, and I think that that's also a major part of his legacy.
In short, a serious filmmaker, worthy of discussion, and with a much wider range than you might think at first. (If you didn't see the credits, would you ever think that Lawrence and Brief Encounter were directed by the same person?) And someone who perhaps deserves more credit than some people are willing to give him, considering his combination of artistic range, critical success, commercial success and influence on other filmmakers.
What are your thoughts on David Lean and his legacy?

To start this story off, I suppose it's best to talk a little bit about myself and my experience in the TTRPG space. I've been an avid TTRPG enthusiast for almost two decades now. Yes, I'm a bit of an old hat/old fogey. I started my enjoyment of the hobby with Pathfinder 1st edition, eventually transferring over to DnD 5e when it first arrived on the scene, mostly because it was the new hotness, but I ultimately found that it was better suited for the type of games that I enjoy running at my table. While I very adamantly enjoy the structure that a game's mechanical rules bring to the table, 5e provided a rules system that wasn't invasive, and so me and my friends were able to focus on the things about the game that we enjoyed the most - the roleplaying, the storytelling, and (most importantly) the fun.
Many years would go by, as well as a couple of what I would consider to be successful campaigns - basically anything that managed to survive longer than 3 months. Scheduling, right? I digress. Eventually, I arrived at a point where my current circle of friends and I were itching to play a new campaign, and for the shits and giggles of it we decided we would livestream it on Twitch. At the time, we had managed to get affiliated on Twitch, and one or two of us would occasionally have a couple of viewers pop in when we were streaming whatever video game we were playing, and we figured it would be fun to do the same thing with our next campaign. So we did. As you might expect, nothing really ever came out of it. We were just doing it for fun. The campaign only lasted about 3 months or so, and we never set out with the expectation that what we were releasing into the world was anything amazing - we were just four normal dudes having fun playing a game we enjoyed, and if you happened to find yourself on our Twitch channel to see it, awesome! If not, cool. We weren't doing it for you.
So, yeah, that campaign eventually fell off, and we would eventually return to just streaming whatever video game excited us. One of friends got married, and had a kid, and was too busy for DnD. Another friend got a new job, and his schedule just didn't give him the time. Hell, even I managed to land a pretty decent job at the time, and I struggled to make time for our weekly video game nights, but I managed. But ever since that streamed campaign had ended, I had an itch in the back of my mind that I really wanted to scratch. I thoroughly enjoyed everything about livestreaming our campaign. Sure, it was nothing to write home about, but I fell in love with the showmanship of it all. Maybe it was because of the thought of the potential for someone to eventually watch it, but whenever we would stream, I would get in the zone and pretend I was putting on a show for thousands (even though we may have only ever had three or four viewers at max). Basically, I had fallen in love with the idea of putting on a show for others, and I knew I would jump at the chance to do it again in the future. Enter Wayne.
A little over a year ago (at the time of this posting), I was perusing through the /LFG subreddit and not looking for anything in particular, when I stumbled across a post that checked off all the boxes.
I don't like to admit that I'm picky, but that fact that this sub exists should give credence to that fact that one should, at the very least, have a criteria when looking for games to invest yourself in when looking at advertisements. And if my little backstory above should inform you, there were a number of things on my checklist that this post had. For starters, it was longer than a few sentences. Clearly, the person who posted this was meticulous about what they wanted and what they didn't want (I would learn, much later on, that Wayne was not the one who wrote the post, but one of his players). Secondly, the post was very adamant about what was of paramount importance at the table - rich and compelling narratives, deep exploration of characters, and a passion for roleplay. And thirdly, the plan was to turn this into a "production". The post even included a promo video of respectable quality. Clearly, the people involved with this had a plan, much more of a plan than my friends and I had when we streamed. And, I considered myself a pretty decent roleplayer, so I applied. They were only looking for 1 applicant, but I figured I had a decent shot, with my previous livestreaming experience, and the fact that I already owned a (what some would call excessive) microphone and camera. So I shot my shot. If I didn't get picked, no biggie, life goes on. But when I received a discord invite and told that I had made it to the second round of the application process, I was ecstatic.
It is around here that I should introduce you to our cast of characters (names have been changed, of course:

• There is, of course, me, Dave - a guy who fundamentally believes that fun and safety at a table supersedes everything else, who happens to really enjoy hamming it up in character, and telling exciting stories.
  
• Ava - an already confirmed player at the table, with a past experience of playing with Wayne. I would come to find out that Ava was the one who had written the LFG post. Ava was also in charge of Discord moderation, and the second round interview process. She has her own story, which I will allude to here, but is ultimately hers to share.
  
• Jelly - Wayne's significant other. Jelly was supposedly not involved with the upcoming campaign at all, but had a presence on the Discord, and have previously played in Wayne's campaigns.
  Seth - another already confirmed player at the table. Admittedly, Seth plays a minor role in the story, but his inclusion is necessary.
  
  • and Wayne - the lead character of our story. The DM of the upcoming campaign. The visionary. The guy who plans to have the next big thing in the TTRPG actual play space.

There are at least a half dozen other individuals involved in this story, but ultimately play very minor roles. If at some point while I am writing this one of them pop up, I will update the list above to include them.
Back to the story. I was ecstatic to find out I had been selected for an Discord interview and scheduled it at my earliest convenience. This is where I first meet Ava. To be honest, I don't recall much about the interview, but I remember it being pretty standard and what I was expecting an interview to be. Mostly it was just going into detail about some of the stuff I had included in my primary application and talking about expectations and goals. I was told that after the Discord interview, the next step would be a participation in a practice one shot, to get a feel for how I would play at the table. After the interview was over, Wayne hopped into the voice channel, and this would be when I would meet the man, the legend.
I pride myself on being very good at reading people. I can usually pick up on when someone is trying to sell me something, pretty quickly. I tend to over analyze words and expression looking for intent. I have been gaslit and manipulated several times in my past by people very close to me, and so I have developed this defense when meeting people for the first time. Very rarely do I take someone at their word, or completely buy what they are selling when I hardly know them, and even less so to a complete stranger. In this case, when meeting Wayne for the first time, my defenses failed me.
Perhaps it was because it had been over a year since I last ran a campaign. Perhaps it was because it had been even longer than that that I actually got to be a player in a campaign. Perhaps it was because of that itch of wanting to perform again for an audience. Or, perhaps, it was because Wayne was very good at pitching his plans. Whatever the reason, my first impression of Wayne was that this was a guy who had a plan, and had the means to enact that plan, and I wanted to be a part of it in any way that I could.
Wayne, you see, had two big passions in life. The first was DnD. The second, as he would admit, was being an entrepreneur. He owned his own business in New York City. One of several ventures he had pursued, and it afforded him a premium NYC apartment and the time and luxury to spend on his second passion - playing DnD. And so, he thought, why not marry these two passions together? He had a great head for business. And according to him, the last campaign he had run was fantastic. So fantastic, he thought, that surely other people would enjoy listening to it. And so he hatched a plan - he would use his business knowledge and savvy to launch a Youtube channel that would be home to his next great campaign. But he had the foresight, at least, to know of just how saturated the DnD actual play space has become in recent years. If he wanted to be successful at this venture, he would have to stand out from the rest. And he had a solution to that. He wasn't going to put out just any old DnD actual play. He was going to create "DnD Cinema".
To do that, he said, he needed the right people that share in the same core philosophies that he had. Namely, a "pretentious level of hyperfixation on roleplaying and narrative storytelling". Most other actual plays, to him, were playing "beer and pretzels" DnD. You know, the type of game were you sit around with your friends having a good time and a laugh, where you might spend five minutes on an out of character joke, etc. Shit like that wasn't going to fly in this campaign. When you came to the table, you were going to be in character from start to finish. And recording sessions were going to be seven hours long. Could I handle that?
And I admit that I told him I could. Like I said, he had a way with words. He was clearly passionate about it. And he talked a good talk. And he was friendly enough. So he said he would be in touch. And the wait began.
Over the course of the next month or so, I would come to become friends with Ava and Wayne. We would hop into Discord and play games, talk about the upcoming campaign, etc. It was going to be several months before the campaign actually began recording, and so Wayne was still conducting the interview process while also working on worldbuilding for the campaign. He was also spending over $3000 dollars commissioning an animated table for the youtube video. This was clearly something he was very proud of, as he took every and all opportunity to talk about how amazing and innovative it was going to be.
You see, in Wayne's vision of "DnD cinema", the videos that would be put up on youtube would not include the faces of the players. Or battlemaps. Instead, it would be animated table that he could manipulate in editing at various cue points. It would feature portraits of the characters that would light up when they speak. It was the next big thing in the TTRPG space - a (frankly) audio only experience that was accentuated with the occasional fancy animation that cost thousands of dollars. No one else was doing it, he would say, and that would help him stand out even more.
It was also during these more innocent days that I would come to understand Wayne's obsession with Brennan Lee Mulligan. He idolized the guy. In fact, he would brag on multiple occasions that his significant other's job had her 3 or 4 degrees removed from Brennan - basically, she worked for someone who worked for someone who was involved with the Dungeons and Drag Queens season of Dimension 20, and he would often mention how he was hoping to use that connection to someday have a sit down and meet and greet with BLeeM himself. As time would go on, I would eventually find out that Wayne actually considered Brennan Lee Mulligan as his competition.
About a month would past before I would hear anything about my application. I never brought it up during our gaming sessions, as another core tenet of mine is that I don't want my friendship or acquaintance with someone to give me an edge over other candidates. I want my experience and what I bring to the table to stand on its own merit. This will come up later in our story. Eventually, I would get a message from Wayne asking me if I would be interested in participating in a try out one shot for the campaign. Apparently, he had completely forgotten that I had applied, and wanted to schedule in a last minute try out for me. My fellow players during the one shot would be Ava, some other member of the discord community, and Jelly.
I'll be honest, the one shot was nothing to write home about. And even Wayne would admit it was something he threw together last minute so that he could say I had my chance. I immediately found Ava to be a fantastic scene partner, and even for a one shot, put the time and effort into her character and actions. Jelly, on the other hand, was not that good. To be fair to Jelly, my criteria for grading her performance was strictly on the curve that Wayne himself said he was grading people on. I found her to be a very selfish player, who failed to pick up on narrative cues, and was solely focused on her time in the spotlight. But it was a trial one shot that didn't mean anything. My biggest take away from Jelly was that she was a player that I would not enjoy playing with in the future, and that I wouldn't seek out as a player at a table that I was DMing for. Not horror story bad (yet), but not good. Average.
When the application process was done, it would eventually come down to two choices. I was one. Wayne loved my southern twang, and thought it would sound good in a production. And we had become friends. The other was someone with a theater and acting background, who had been to Julliard. I was not selected. And I was okay with that. The decision did not impact my friendship with either Ava or Wayne, and we continued to hang out and play games together. I then learned of Wayne's new plan.
In the original posting ad for the campaign, it had been mentioned that a possibility for guest character appearing in the campaign could happen. The original idea was that, as members of the Discord community would play in one shots, Wayne would then be able to invite stand out performance to appear in an episode or two of the new campaign, as a gift to the community and to give those players a chance to play in a campaign with other players of similar caliber. This all changed as the months got closer to release date. The idea for guests at the table changed completely. Instead, Wayne's plan was to use the guest spots at the table as a networking opportunity. Don't forget - Wayne is an entrepreneur. This was a business venture for him, and successful businesses need to show growth. And he wanted to achieve growth at an accelerated pace. The plan was simple - as the channel grew, Wayne would scour the internet for similar channels with slightly higher subscriber count than his. Well, I say Wayne would do this. Wayne would actually pawn this off on to someone else. A tangent that I will perhaps need to touch on later in this story - Wayne was very good at finding ways of pawning off work on to others, and then taking the credit. He very much believe himself to be a manager, and other members of the Discord that showed any interest in the success of this venture as his employees. He would then engage in communications with these other channels in the hopes of achieving some Quid Pro Quo. You send someone to be a guest on our channel for a few episodes, and we'll shout you out. In return, he would send someone from his channel to theirs, and get a shout out in return. Something to note here - all of this was done without ever including his players in the discussion. He was offering them up to strangers without even asking if they even wanted to do that.
Time passes, and eventually recording for the campaign begins. It would be about two months into recording when Wayne approached me about being the first guest character. (At this point, I had been an active member of the Discord community for over six months now). He wanted me to be the first guest character for two reasons. The first was because I was familiar, and he wanted to test out the format before bringing in strangers. The second was because of my prior livestreaming experience. I was a part of an affiliated Twitch channel that met the criteria of having a slightly higher subscriber count than his. But for the most part, our old Twitch channel was dead. Sure, we still streamed games into the void, but there was practically no engagement. And I told him so when he asked me if I wanted to be introduced as someone from that Twitch channel. I was more involved in his community as that point, anyway. And so, I finally got what I was wanting - to sit down and play quality DnD with like minded individuals for the purposes of entertaining others.
At this point, only a handful of episodes had aired. The recording schedule had them a grace period of a month or so before release, and I admittedly hadn't watched them. Honestly, I wasn't that interested. I don't know if that's bad or not. There are a lot of actual plays out there of varying quality. And each one requires a lot of time commitment to watch. Already I was regularly watching Critical Roll, and I was having a hard time to find time to watch some of the other really good shows I was enjoying, like Dimension 20 and The Glass Cannon. On top of that, it was an game that I wasn't a part of, so yeah, I admit I hadn't watch any of it. But even if I had, it wouldn't have prepared me for what playing at the table was actually like. The released episodes were highly edited, with sound effects and music. It wasn't until I became actually involved at the table that I would find out just how manufactured the game actually was. And I use the word "game" very generously.
For starters, once recording began, all out of character talk and banter was immediately and explicitly forbidden. We were to remain in character at all times. Secondly, I would find out that Wayne had developed a "formula for success" in regards to time spent recording. No scene would ever last longer than ten minutes. If players spent too much time having their characters engaging with each other and the time elapsed, we were moving on the next scene, regardless of if it was a natural conclusion or not. Speaking of the characters, I would come to learn that the characters that the player brought to this campaign were secondary to the story that Wayne wanted to tell. "This campaign isn't character focused, it's story focused" he would say. The campaign simply did not have time for that. I don't like to toss out the word "railroaded" very often, but it quickly became apparent that there was a good bit of railroading being done here. The only character decisions or choices or conversations that would ever make it to the final cut were ones that provided what he thought would be the most interesting while pushing his narrative forward. And for a DnD game, there wasn't a whole lot of game being done here. Sure, the players had character sheets, and classes, but it was all superficial. Combat was a rarity on the level of a shiny Pokemon. I think mostly because Wayne didn't find combat narratively compelling. But in that case, I have to ask, why use DnD as your game system? If all you want to do is roll clicky dice and improv, there are much better systems out there. And speaking of the dice - I'm sad to say that in most cases they were superfluous, as well. The only real purpose the dice served to Wayne was when they could be used to clip epic moments of success or failure. A natural 20 or a natural 1 was gold for him, because then he could clip it into a Youtube or Tiktok Short and grow those subscriber numbers. For a game in which "every decision hung on the roll of a dice", there weren't a lot of dice rolls, there weren't a lot of decisions, and when there were decisions, most of the time, the outcome was predetermined by Wayne. Everything Wayne did in regards to this game was in service to growing his Youtube channel. And the sad part? It worked.
In a shockingly short amount of time, Wayne was able to grow his Youtube channel from just over a 100 subscribers to over a 1000. This was mostly done by his excessive push of Youtube and Tiktok shorts. For a short period of time, I was deemed trustworthy enough to have access to the Youtube channel's admin, and I could view the statistics. The turnover rate for shorts into actual video views was miniscule. Only a tiny fraction were tuning in for the actual show. At this point, he had just become a Youtube Shorts creator.
And I want to mention at this point - I understand and respect the hustle. The world of Youtube is a dog eat dog world, and you have to have to play the game to stay in the game - I get it. I don't have any issue with being proud of what you've created, and pushing it out to people. I really don't. My issue was with how deceptive Wayne was being with it. And how deceptive he was, in general, as I would come to find out.
You see, before the inaugural campaign had even launched, Wayne approached me one day to see if I would be interested in running a campaign on his channel, as I had experience before in it, and had expressed an interest in doing it again. And I will admit, I was excited about the prospect. But before my words of "Yeah, I'd love to talk about" even had a chance to dissipate into the ether, Jelly would hop into the channel, in the middle of the discussion to say, "You know who should run a campaign? Seth." And then immediately log off.
I don't have a lot to say about Seth. I think he is an amazing, caring, friendly guy. He also happens to be an incredible roleplayer and storyteller, and his character is Wayne's campaign is truly phenomenal. I envy how easy it is for Seth to get into and portray the wide arrange of emotions of a character. He also happens to be a great GM. I understand why Jelly would suggest him to run a campaign. What I didn't understand, at the time, were her motives. Wayne, Ava, Jelly, and Seth had all played in a previous campaign together, and Wayne and Jelly had become enamored by just how good Seth was. And even prior to that, Ava and Seth had a past campaign together. Jelly wanted to be a player in a Seth run campaign. And if Wayne was going to have a second campaign on the channel, she wanted it to be Seth's, and she wanted to be a player in it.
And so, immediately, any and all discussion about me running a campaign was ceased, and the legwork was put forth for Seth to run a campaign. Wayne would approach him about it, and he was interested. Seth would already have in mind the players that he wanted for it - two friends of his from outside the server, Ava, and another player from the Wayne campaign. Noticeably missing from that list - Jelly.
Strangely, Wayne would then tell Seth that if he was going to run a campaign on the channel, he would have to have an application process for the players, and open it up so that anyone could apply. After Seth had already stated he already had players in mind - players who already said yes. I don't know about you, but as a DM, I would never let someone dictate to me who I could have at my table. If I have players in mind already, it's because I have a reason. But Wayne demanded an application process be followed, and a second LFG post would appear in LFG for the Seth run campaign - that was noticeably advertising for 4 players. After Seth had chosen his players. The advertisement came with another well edited and narrated youtube promo that was, and still is, the highest viewed video on the channel. And all of it was a sham. Which I knew it was. And I confronted Wayne about it. It was then that I learned some unsavory backstory involving Ava and Jelly and the prior campaign. That is not my story to tell. I have shared my accounts of events with Ava, and she is considering posting an account from her perspective following this. The most I am willing to say on this is that involves situations that should never be okay at a DnD table, and that Wayne would gloss over and sugarcoat these situations as no big deal. It would lead to Ava not being comfortable with being at a table with Jelly which both I, and Seth, would understand.
Wayne, however, found this to be unfair and manipulative on Ava's part. Those past incidents should have had no bearing on Jelly's consideration for the Seth run campaign. Which is why he would demand an application process. He would then confide to me when I questioned the duplicity of the LFG advertisement that it wasn't completely misleading. There would still be someone chosen from the list of applicants - because he was going to make sure that Ava wasn't part of the campaign. After Seth had already told both Wayne and her that she was. After the players for that game had already come together for a session zero. He claimed that Ava had prior incidents of being difficult to work with, and that because he wasn't involved in the campaign, he couldn't be there to handle any situations that might arise of conflicts between players at the table. At the time I thought that was an odd statement to make - if you are trusting enough of another person, like Seth, to run a campaign on your channel shouldn't you be trusting enough in their ability to handle problems between players? Looking back now, I can only assume he made that statement because he was certain that Jelly would be a player at the table, and that problems might arise between Jelly and Ava. He asked that I keep the conversation between us. But that was something I could not do. None of that situation felt right to me. Wayne, Ava, and I had been friends playing games together for nearly a year now. I never saw any inclination of Ava being a "problem player" - she was great at the table, and a great person to hang out with. And I found it weird that Wayne would say those things about her, and not approach her about it. So of course I talked to her. For weeks she had been sharing her excitement of the new campaign with me, often with Wayne in the voice channel with us. Ava would then share with me her past experiences with Wayne and Jelly. Again, it is not my story to tell, but I am a good judge of character. I believed Ava's account of events. It made sense to me, with how Wayne and Jelly acted.
I wish I could say this story had a happy and/or satisfying conclusion. I'm not even really sure if there is a point to it, or even if it will be a good read. It has been clear for some time now that Wayne has been entirely obsessed with the growing of his Youtube channel, damn any and all bridges burned, and walking back some of his initial promises of what he claimed the campaign and the Youtube channel would be. It's also very clear to me that Wayne is someone who absolutely has to have control over everything, especially the narrative (fictional and real life).
There are so many minor grievances to air about Wayne that I haven't already touched on, and I feel like I've already taken up too much of your time already. Here's just a brief overview, I'd be more than happy to go into more details if you want them:

• Multiple players from the Wayne campaign confided in me about some of the problems they had with Wayne and how the game was being run. When Wayne found out, he blew his lid, and said that he was both Manager and HR, and no one should be complaining to anyone outside of the table. If they were going to complain to anyone, it should be him.
  
  • It turns out, Wayne has a prior history of being an asshole. Long before the Youtube channel, and the campaign, even before the previous campaign, he told his then group that they were playing the game wrong. He then found a new group, sang their praises to the old group, and then even brought both groups together to show the old group "the right way to play"
  • In addition to Wayne, he has two editors working for him. One of which he pays. The other one has had no compensation. The one not getting paid is doing the same work as both Wayne and the paid editor combined.
  • I mentioned way early on in the story that Ava was the Discord Administrator for the Discord server. After the Seth campaign incident, Wayne unceremoniously removed Ava as Administrator, told her it was "by mistake", and never put it back. As far as I can tell, there was nothing to warrant this other than control. I suspect it was because there were certain Seth campaign related channels or other channels he didn't want Ava to see.
  • The unceremonious removal of myself and Ava from the Youtube channel admin. Admittedly, we contributed very little to it, but it was removed without a word mentioned.
  • Recently making a post requiring his "talent" to purchase a minimum $5 dollar Patreon subscription. He has admitted to me the reasoning for this was to inflate Patreon subscriber numbers to entice new subscribers. He has since walked that back after much outcry from the "talent"
  • Asking Seth if it wouldn't be too much to convert his envisioned DnD campaign into a Daggerheart campaign, because Daggerheart is the new hotness, and will attract more viewers.

Ultimately, I suppose I feel disheartened and deceived. Deceived because I originally signed up for what I thought was going to be a bunch of friends sitting around and recording themselves playing quality DnD, and it has shifted so far from that original purpose. Wayne is obsessed over subscriber numbers and views, it's all he ever talks about. He claims that his goal is to reach a level of success to which all 10+ people involved will be able to achieve financial freedom (which he claims is roughly $2000 a month). I'm sure you've done the math, just like I have. Even if you believe $2k a month is financial freedom (I certainly don't), that comes out to $240,000 a year. That's an insane level of success to promise your players. Oh, I'm sorry, your "talent".
I feel disheartened because....there's actually good work being done here. Some of the players are some of the best I've ever played with. Wayne can actually be a good storyteller, when he's not pushing for likes or clicks. The editors do a really fantastic job. I have seen and listened to the work being done on the Seth campaign (luckily Wayne is only tangentially involved), and Seth's campaign is turning out to be something really special. There is something good being done here, but it seems so tainted by Wayne and his obsession for Youtube and Tiktok success. So, maybe this is an RPG Horror Story, maybe it's a cautionary tale. I dunno. I have committed to finishing out my run in the campaign, (I was brought back to the table multiple times because the players enjoy playing with me, and also I suspect I was involved in one of his highest viewed shorts), but my hearts not in it. I've told Wayne I've no interest in any of his future projects, and I wish him well on his Youtube journey. But in the pursuit of clicks, and likes, and subscribers, I feel like he has fundamentally lost what attracts people to actually watch and invest in TTRPG actual plays - authenticity.

Fuckers at Ubisoft don’t know how to balance their own game whatsoever, the only thing they’re good at is making the game unfun with unbalanced characters and unbalanced matchmaking along with other shit that’s been wrong with the game, god forbid if I try to block something without getting stunlocked to an oblivion or play medieval call of duty with all of these retarded projectile feats. Hope this piece of shit game dies just like their price gouging, money hungry, shit sniffing, brain dead company.

Hello. I wanted to know what you DS2 enthusiasts do in the game. As for me I know how to use the cheat software so I made myself a SL838 character with everything I'd ever need in inventory. Now I'm going to do like ten more SL155 characters so I can just play Arena matches and do invasions for fun, with adequate soul memory so there's no "unfair" advantage. There's no reason to play the game and grind for items when you can just use the save editor.
Also do you play any other souls games like Dark Souls 3 or Elden Ring or have you truly decided to settle down on Dark Souls 2 SOTFS because it's the best in your eyes?

Hi Folks,
after starting the league with Ele Ignite DD, which I felt too weak to clear T17, especially when juiced, I decided to try out other builds. I tried to play Ice Nova of Frostbold Hierophant, which is currently my strongest character and whom I use to farm some currency at the moment. After I recognized I still can not clear T17 comfortably, I went to try SS Trickster which failed horribly due to low budget. So far so god.. its my first league in PoE, hence I thought of trying out something potentially cheaper and went with MoM Crit CoC DD Inquis, which is strong to some extend but is still not even close to my Hierophant.
My target is to have one character being able to easily clear T17 to experience the juiced farming strategies out there. For that I hope you can help me with identifying cheap and quick upgrades to my current build.
https://poe.ninja/builds/necropolis/characte_andrej/EasyToRememberTheName?i=1&search=name%3Deasyto
Please note that I share Mageblood across my hierophant and my Inquis, hence might not be equipped when you check the link.
Edit: I'm following this PoB: https://www.google.com/url?q=https://pobb.in/TRxKie_RV9AC&sa=D&source=editors&ust=1716311209512161&usg=AOvVaw2_mZ3AeMWBtqm0FxzqJP0_ but its increadibly expensive

Today’s one page challenge is for The City in the Clouds by J.B. Williams. Finally, a requested challenge, rather than the usual cycle of me finding a story and the person being triggered that I did so. At 234 pages and a whopping price tag of $20.99 for a paperback, it’s a wonder why it looks untouched. Flip some burgers for an hour to pay for this… whatever it is. I was told the editor is good, so let’s see how he gummed up the works.
The rules of the one page challenge are simple: I go through the first page of the book(about 300 words or 3 paragraphs) and say where the average reader would stop. These reviews are short, sweet, and to the point (unlike most of these books). The main things we look for are things like tension, a hint at the plot existing, good feng shui, a feeling like the blurb is accurate, a lack of obfuscation, and the story fulfilling its role as a story. As we go along, I’ll explain why readers love or hate certain elements and we’ll see what straws break the camel’s back.
The title, The City in the Clouds, makes me think of fantasy, but it’s meant to be sci-fi. Clouds symbolize knowledge beyond our reach or something like daydreaming, treated as water in air(mystery in knowledge). Saying the title this way makes it seem like the focus is the city itself, which would be cool if it was something like a dystopian or utopian story. Maybe a tech noir or detective story, but… it’s not. This story is actually about a woman, and it’s a comedy, completely conflicting with the genre in two ways.
I didn’t want to say this but Huston… we’re already having problems.
The ebook cover is a drawing of curly haired woman staring at the camera like she’s constipated, while the paperback version is of an anime girl holding a gun and looking like she has diarrhea. Both versions have her in a suit, with a giant gas planet behind her. Both have similar fonts for the title and name, but the ebook version is so blurred and darkened that it reads like a secret message; the physical version being slightly less blurry. If I saw this on a shelf, I wouldn’t recognize this as a book or know what it was called. I find it strange because the back of the book is very clear, given a blue box for clarity, and has a sun with a red sky that would have made more sense than these frumpy women.
I guess the title and name are made illegible because we’re supposed to zoom our eyes straight to the blurb:

Robin Alia Brook is considered a loser. She works at customer service for one of the largest companies in humanity's interstellar empire, gets stood up on dates, and accidentally kills people. Then when her ex-online boyfriend gives her the winning vacation lottery ticket to the famed habitat, The City of Clouds, she reluctantly accepts it.
Upon arrival, she is greeted by the massive, beautiful gas giant Bellona, and all the glamour and prospects of expansion for the famous habitat. And it is the beginning of a celebration, too! For the election of the new habitat captain! But the celebration and vacation are ruined when pirates attack, seeking the captain's riches.
They are ruthless, they are bloodthirsty, and they won't stop until they get what they want. Unfortunately for the pirates, Robin is really good at accidentally killing people, and with her is a rag tag team of a pilot recruit, an egotistical journalist, a veteran photographer, and the captain himself.
It will be a long battle for The City of Clouds, and the outcome is unknown, but one thing is certain... This is the worst vacation ever.

Slight grammar issues here and there, but most wouldn’t notice that “ex-online boyfriend” would mean the boyfriend was online and not anymore. The delivery is a little bouncy, almost appropriate, but doesn’t give much tone from how much info it tries to cram in. Something I noticed is that very little sci-fi is mentioned, with the only thing giving a sci-fi vibe being the idea of traveling to another planet. If this was a vacation to an island, very little would change from how it’s described. Like the title and name on the cover, a lot of what makes this book a book is hidden from us, in plain sight.
At this point, the average reader would probably not give it a shot, unless the idea of pirates and an ironic Die Hard premise is their cup of tea.
No prologue, no maps, no glossary, just a simple chapter 1 to greet us. Ok, I’m liking this already. I know this is a small thing, but the simplicity of just starting a story is a blessing that should be the norm, and isn’t. I haven’t read a single word and this is already the best OPC so far. Yes, it’s that easy.
Don’t ruin the experience with all your fancy try-hard nonsense and the reader will be in hog heaven.
We are told the planet, sector, system, and date. Very effective in establishing the sci-fi element in this single aside, which also lets us know it’s 400 years in the future. The planet is named Andromeda, which is a well known galaxy, so if this is in that galaxy, I assume it’s going for a “New York, New York” type of gag. The editor did a good job, with the first page establishing a scene in a restaurant. What he messed up on was… everything that’s not the scene itself, which makes up 90% of the words.
The protagonist, Robin Alia Brook has her day off described as “shot in the face”, being delivered in present tense and this has it come out awkwardly. I say this because the second sentence is past tense, then it shifts back to present, back to past. This is why people stick with past tense to avoid the headache, and present tense is now used as a hipster novelty to act as if things are more important because they’re happening as they’re written. Most readers just find it as a distraction and it causes something niche to become more niche in the process. The first paragraph ends with us being told that she’s in a restaurant that is 500 feet under the sea, of a planet called Andromeda.
She is to be dining, but she is NOT dining because her date didn’t show. Cue the audience gasping, because this is a travesty. The part that really kills this opening is the sentence “She is currently obtaining nutrients through Poseidon's generous supply of free lemons water and cheesy garlic biscuits.” This was the perfect chance for worldbuilding, to express something futuristic and fresh. Instead, it tied itself to Earth, talked about mundane food like lemon water, and it didn’t use any of these for a punchline.
This is meant to be a comedy, but is absent of comedy. We don’t need a bunch of humor in the first paragraph, but we do expect a comedy to present a tone that can lead to humor occurring. Every scene for a comedy is a setup for gags and punchlines. Much like horror, the scene is built around the mood, which is brought to a peak around half way. The introduction of a comedy book is going to hold a joke in relation to the entire book.
I believe the blurb when it says this Robin character can kill things by accident, because this book dies right after she’s introduced, around the second paragraph. The third paragraph changes the subject to be about other people in the restaurant, acting as a distraction that leads to infodumps of Robin’s outfit and such. I understand that the “joke” is that this woman is stood up on her date and we are to feel her anguish, but the reader shouldn’t be suffering through the opening this soon. Starting here is either far too late or far too soon. If anything, this is something I expect in chapter 2 or something we hear about as she’s on her way to Bellona.
A good way to put it is that this scene is a non-sequitur done in order to give fashion statements, with the important exposition ignored for window dressing.
The average reader needs tension to get sunk into a sci-fi story, because this is a planet we don’t know about with a character we’ve never seen before. What is the point of having this restaurant so deep underwater? There is a city underwater? She has a job, but where does she work? At the Krusty Krab?
Non-sequitur is a distraction that removes us from the scene and the plot to explain things that don’t serve a purpose to either. If I changed the first sentence to only hold what was part of the scene, it would be the characters name and nothing more. To strengthen an opening like this, we would have to set it up for a punchline, reinforce the sardonic tone, and tie the scene with the situation. The first sentence would go like:

Five hundred feet below the sea’s surface, Robin could not stop drinking.

This will give the impression that she’s getting drunk, while attaching her drinking to the sea outside, giving the impression that she’s drowning. But even then, I wouldn’t start here, I would begin with a comedic amount of assurance that she’s going to have her date show up, then the next scene is her waiting with this. That, or I would have her doing the walk of shame, allowing the plot to begin sooner when she gets her golden ticket, which would be like:

The ocean floor outside was slowly swallowed by darkness as the elevator pod took Robin away from Poseidon.

Here, we have a moment for her to think back to the situation, and the word “darkness” gives hint to her current feeling about the restaurant. This is a setup for the punchline that follows, already skipping the failed date and able to move forward to the poster she sees in the elevator. Movies tend to do this type of exposition with the main character telling the situation to another person, who is helpless to escape. That can add more humor and make the main character express their personality quirks. The goal is for less opening to be used up for non-sequitur and to focus it on moving forward in relation to the plot.
For a story like this, the rejection comes from a lack of being straightforward. We can always fix up a sentence and how it sounds, but this doesn’t mean much when the bones are disjointed. Thankfully, for this one, a lot of readers are used to openings like this from online serials, so there is hope that a lot of it will get a pass. It’s that first hump that it has to get over in order to shine. Sadly, for little Robin, that hump was not achieved, so her journey through the city in the cloud might as well not exist.

Looking for games with good character customization I basically need the glorified character creation engines that may or may not have gameplay as a bonus.
What I REQUIRE:
A game has many clothing/armor options, preferably in different styles
Many hair options and various accessories, hats, glasses, masks, etc
It is possible to change body shape and height (medium priority)
The clothing items (or at least most of them) are available at once (no paywalls or "kill this dude to get that armor") and I don't have to spend too much time to unlock them
PC only, and preferably something that doesn't weigh 200 GB
Things I DON'T CARE FOR:
A hundred face sliders. Having a good face gen is a bonus, but my main aim is good item variety
Stunning ultra graphics (I mean, the graphics should not be vanilla Minecraft, but if there are good old games with good variety...)
Games/tools I already know about and use:
Champions online (had to buy/grind a few costume parts packs though) - near total hit
City of Heroes - total hit (so many of everything and last time I checked all was available from the start without paywalls because the game is legally dead)
Saints Row series - partial hit (nice in-game shops one has to drive to, unfortunately not all items in one place)
Hero Forge mini figures creator - partial hit (so much stuff deeply customizable and free, but I want normal characters and not minis)
2D stuff like Heromachine, Fabrica de Herois - partial hit (because 2D)
What WON'T DO AT ALL:
Skyrim, Oblivion, Fallout 3/New Vegas - no clothes customization during the character creation and I don't care for 50 facial sliders, better give me 50 kinds of eyes
DC universe online (have to hunt for those costume pieces, the pieces available during character creation are few)
So, thank you for reading this long post, waiting eagerly for your suggestions.
And before you redirect me to an old post Google shows when asked for games with good character creation, I've read it, but it's a bit vague and it's clear its author and I have different goals and therefore not all games from that post will suit me. Thanks in advance and how foolish would I feel if this thing gets deleted for missing some technicality...

GOOOOOOOOOOD MORNING SUPERSTONKERS! HAHA. It's me again. Yeah, i slipped past the defenses again to drop this off so you can all refresh yourselves on the state of FUD and disinformation in this protracted fight against the legal larcenists doing their best to try and get you to sell. Please spread this amongst the holders, the more people know the less power they have over us holders. We don't sell until we get a call from marge, and that's always been the play.
TLDR: This is a set of tactics used by the Alphabet Boys(CIA, FBI, DEA) to control and manipulate us into drama to collapse our communities and movements. And should be read in full by anyone willing and wanting to learn how these things work.
I've come to notice recently, people keep asking me to repost this for the sake of keeping the new people abreast on what needs to be done to protect the holders of GME. Beneath here will be a detailed account on what you need to be aware of in your online interactions, to avoid being taken for a fool!
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1. COINTELPRO Techniques for dilution, misdirection and control of a internet forum
2. Twenty-Five Rules of Disinformation
3. Eight Traits of the Disinformationalist
4. How to Spot a Spy (Cointelpro Agent)
5. Seventeen Techniques for Truth Suppression

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COINTELPRO Techniques for dilution, misdirection and control of a internet forum..
There are several techniques for the control and manipulation of a internet forum no matter what, or who is on it. We will go over each technique and demonstrate that only a minimal number of operatives can be used to eventually and effectively gain a control of a 'uncontrolled forum.'
Technique #1 - 'FORUM SLIDING'
If a very sensitive posting of a critical nature has been posted on a forum - it can be quickly removed from public view by 'forum sliding.' In this technique a number of unrelated posts are quietly prepositioned on the forum and allowed to 'age.' Each of these misdirectional forum postings can then be called upon at will to trigger a 'forum slide.' The second requirement is that several fake accounts exist, which can be called upon, to ensure that this technique is not exposed to the public. To trigger a 'forum slide' and 'flush' the critical post out of public view it is simply a matter of logging into each account both real and fake and then 'replying' to prepositioned postings with a simple 1 or 2 line comment. This brings the unrelated postings to the top of the forum list, and the critical posting 'slides' down the front page, and quickly out of public view. Although it is difficult or impossible to censor the posting it is now lost in a sea of unrelated and unuseful postings. By this means it becomes effective to keep the readers of the forum reading unrelated and non-issue items.
Technique #2 - 'CONSENSUS CRACKING'
A second highly effective technique (which you can see in operation all the time at www.abovetopsecret.com
) is 'consensus cracking.' To develop a consensus crack, the following technique is used. Under the guise of a fake account a posting is made which looks legitimate and is towards the truth is made - but the critical point is that it has a VERY WEAK PREMISE without substantive proof to back the posting. Once this is done then under alternative fake accounts a very strong position in your favor is slowly introduced over the life of the posting. It is IMPERATIVE that both sides are initially presented, so the uninformed reader cannot determine which side is the truth. As postings and replies are made the stronger 'evidence' or disinformation in your favor is slowly 'seeded in.' Thus the uninformed reader will most like develop the same position as you, and if their position is against you their opposition to your posting will be most likely dropped. However in some cases where the forum members are highly educated and can counter your disinformation with real facts and linked postings, you can then 'abort' the consensus cracking by initiating a 'forum slide.'
Technique #3 - 'TOPIC DILUTION'
Topic dilution is not only effective in forum sliding it is also very useful in keeping the forum readers on unrelated and non-productive issues. This is a critical and useful technique to cause a 'RESOURCE BURN.' By implementing continual and non-related postings that distract and disrupt (trolling ) the forum readers they are more effectively stopped from anything of any real productivity. If the intensity of gradual dilution is intense enough, the readers will effectively stop researching and simply slip into a 'gossip mode.' In this state they can be more easily misdirected away from facts towards uninformed conjecture and opinion. The less informed they are the more effective and easy it becomes to control the entire group in the direction that you would desire the group to go in. It must be stressed that a proper assessment of the psychological capabilities and levels of education is first determined of the group to determine at what level to 'drive in the wedge.' By being too far off topic too quickly it may trigger censorship by a forum moderator.
Technique #4 - 'INFORMATION COLLECTION'
Information collection is also a very effective method to determine the psychological level of the forum members, and to gather intelligence that can be used against them. In this technique in a light and positive environment a 'show you mine so me yours' posting is initiated. From the number of replies and the answers that are provided much statistical information can be gathered. An example is to post your 'favorite weapon' and then encourage other members of the forum to showcase what they have. In this matter it can be determined by reverse proration what percentage of the forum community owns a firearm, and or a illegal weapon. This same method can be used by posing as one of the form members and posting your favorite 'technique of operation.' From the replies various methods that the group utilizes can be studied and effective methods developed to stop them from their activities.
Technique #5 - 'ANGER TROLLING'
Statistically, there is always a percentage of the forum posters who are more inclined to violence. In order to determine who these individuals are, it is a requirement to present a image to the forum to deliberately incite a strong psychological reaction. From this the most violent in the group can be effectively singled out for reverse IP location and possibly local enforcement tracking. To accomplish this only requires posting a link to a video depicting a local police officer massively abusing his power against a very innocent individual. Statistically of the million or so police officers in America there is always one or two being caught abusing there powers and the taping of the activity can be then used for intelligence gathering purposes - without the requirement to 'stage' a fake abuse video. This method is extremely effective, and the more so the more abusive the video can be made to look. Sometimes it is useful to 'lead' the forum by replying to your own posting with your own statement of violent intent, and that you 'do not care what the authorities think!!' inflammation. By doing this and showing no fear it may be more effective in getting the more silent and self-disciplined violent intent members of the forum to slip and post their real intentions. This can be used later in a court of law during prosecution.
Technique #6 - 'GAINING FULL CONTROL'
It is important to also be harvesting and continually maneuvering for a forum moderator position. Once this position is obtained, the forum can then be effectively and quietly controlled by deleting unfavourable postings - and one can eventually steer the forum into complete failure and lack of interest by the general public. This is the 'ultimate victory' as the forum is no longer participated with by the general public and no longer useful in maintaining their freedoms. Depending on the level of control you can obtain, you can deliberately steer a forum into defeat by censoring postings, deleting memberships, flooding, and or accidentally taking the forum offline. By this method the forum can be quickly killed. However it is not always in the interest to kill a forum as it can be converted into a 'honey pot' gathering center to collect and misdirect newcomers and from this point be completely used for your control for your agenda purposes.
CONCLUSION
Remember these techniques are only effective if the forum participants DO NOT KNOW ABOUT THEM. Once they are aware of these techniques the operation can completely fail, and the forum can become uncontrolled. At this point other avenues must be considered such as initiating a false legal precidence to simply have the forum shut down and taken offline. This is not desirable as it then leaves the enforcement agencies unable to track the percentage of those in the population who always resist attempts for control against them. Many other techniques can be utilized and developed by the individual and as you develop further techniques of infiltration and control it is imperative to share then with HQ.
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Twenty-Five Rules of Disinformation
Note: The first rule and last five (or six, depending on situation) rules are generally not directly within the ability of the traditional disinfo artist to apply. These rules are generally used more directly by those at the leadership, key players, or planning level of the criminal conspiracy or conspiracy to cover up.
1. Hear no evil, see no evil, speak no evil. Regardless of what you know, don't discuss it -- especially if you are a public figure, news anchor, etc. If it's not reported, it didn't happen, and you never have to deal with the issues.
2. Become incredulous and indignant. Avoid discussing key issues and instead focus on side issues which can be used show the topic as being critical of some otherwise sacrosanct group or theme. This is also known as the 'How dare you!' gambit.
3. Create rumor mongers. Avoid discussing issues by describing all charges, regardless of venue or evidence, as mere rumors and wild accusations. Other derogatory terms mutually exclusive of truth may work as well. This method which works especially well with a silent press, because the only way the public can learn of the facts are through such 'arguable rumors'. If you can associate the material with the Internet, use this fact to certify it a 'wild rumor' from a 'bunch of kids on the Internet' which can have no basis in fact.
4. Use a straw man. Find or create a seeming element of your opponent's argument which you can easily knock down to make yourself look good and the opponent to look bad. Either make up an issue you may safely imply exists based on your interpretation of the opponent/opponent arguments/situation, or select the weakest aspect of the weakest charges. Amplify their significance and destroy them in a way which appears to debunk all the charges, real and fabricated alike, while actually avoiding discussion of the real issues.
5. Sidetrack opponents with name calling and ridicule. This is also known as the primary 'attack the messenger' ploy, though other methods qualify as variants of that approach. Associate opponents with unpopular titles such as 'kooks', 'right-wing', 'liberal', 'left-wing', 'terrorists', 'conspiracy buffs', 'radicals', 'militia', 'racists', 'religious fanatics', 'sexual deviates', and so forth. This makes others shrink from support out of fear of gaining the same label, and you avoid dealing with issues.
6. Hit and Run. In any public forum, make a brief attack of your opponent or the opponent position and then scamper off before an answer can be fielded, or simply ignore any answer. This works extremely well in Internet and letters-to-the-editor environments where a steady stream of new identities can be called upon without having to explain criticism, reasoning -- simply make an accusation or other attack, never discussing issues, and never answering any subsequent response, for that would dignify the opponent's viewpoint.
7. Question motives. Twist or amplify any fact which could be taken to imply that the opponent operates out of a hidden personal agenda or other bias. This avoids discussing issues and forces the accuser on the defensive.
8. Invoke authority. Claim for yourself or associate yourself with authority and present your argument with enough 'jargon' and 'minutia' to illustrate you are 'one who knows', and simply say it isn't so without discussing issues or demonstrating concretely why or citing sources.
9. Play Dumb. No matter what evidence or logical argument is offered, avoid discussing issues except with denials they have any credibility, make any sense, provide any proof, contain or make a point, have logic, or support a conclusion. Mix well for maximum effect.
10. Associate opponent charges with old news. A derivative of the straw man -- usually, in any large-scale matter of high visibility, someone will make charges early on which can be or were already easily dealt with - a kind of investment for the future should the matter not be so easily contained.) Where it can be foreseen, have your own side raise a straw man issue and have it dealt with early on as part of the initial contingency plans. Subsequent charges, regardless of validity or new ground uncovered, can usually then be associated with the original charge and dismissed as simply being a rehash without need to address current issues -- so much the better where the opponent is or was involved with the original source.
11. Establish and rely upon fall-back positions. Using a minor matter or element of the facts, take the 'high road' and 'confess' with candor that some innocent mistake, in hindsight, was made -- but that opponents have seized on the opportunity to blow it all out of proportion and imply greater criminalities which, 'just isn't so.' Others can reinforce this on your behalf, later, and even publicly 'call for an end to the nonsense' because you have already 'done the right thing.' Done properly, this can garner sympathy and respect for 'coming clean' and 'owning up' to your mistakes without addressing more serious issues.
12. Enigmas have no solution. Drawing upon the overall umbrella of events surrounding the crime and the multitude of players and events, paint the entire affair as too complex to solve. This causes those otherwise following the matter to begin to lose interest more quickly without having to address the actual issues.
13. Alice in Wonderland Logic. Avoid discussion of the issues by reasoning backwards or with an apparent deductive logic which forbears any actual material fact.
14. Demand complete solutions. Avoid the issues by requiring opponents to solve the crime at hand completely, a ploy which works best with issues qualifying for rule 10.
15. Fit the facts to alternate conclusions. This requires creative thinking unless the crime was planned with contingency conclusions in place.
16. Vanish evidence and witnesses. If it does not exist, it is not fact, and you won't have to address the issue.
17. Change the subject. Usually in connection with one of the other ploys listed here, find a way to side-track the discussion with abrasive or controversial comments in hopes of turning attention to a new, more manageable topic. This works especially well with companions who can 'argue' with you over the new topic and polarize the discussion arena in order to avoid discussing more key issues.
18. Emotionalize, Antagonize, and Goad Opponents. If you can't do anything else, chide and taunt your opponents and draw them into emotional responses which will tend to make them look foolish and overly motivated, and generally render their material somewhat less coherent. Not only will you avoid discussing the issues in the first instance, but even if their emotional response addresses the issue, you can further avoid the issues by then focusing on how 'sensitive they are to criticism.'
19. Ignore proof presented, demand impossible proofs. This is perhaps a variant of the 'play dumb' rule. Regardless of what material may be presented by an opponent in public forums, claim the material irrelevant and demand proof that is impossible for the opponent to come by (it may exist, but not be at his disposal, or it may be something which is known to be safely destroyed or withheld, such as a murder weapon.) In order to completely avoid discussing issues, it may be required that you to categorically deny and be critical of media or books as valid sources, deny that witnesses are acceptable, or even deny that statements made by government or other authorities have any meaning or relevance.
20. False evidence. Whenever possible, introduce new facts or clues designed and manufactured to conflict with opponent presentations -- as useful tools to neutralize sensitive issues or impede resolution. This works best when the crime was designed with contingencies for the purpose, and the facts cannot be easily separated from the fabrications.
21. Call a Grand Jury, Special Prosecutor, or other empowered investigative body. Subvert the (process) to your benefit and effectively neutralize all sensitive issues without open discussion. Once convened, the evidence and testimony are required to be secret when properly handled. For instance, if you own the prosecuting attorney, it can insure a Grand Jury hears no useful evidence and that the evidence is sealed and unavailable to subsequent investigators. Once a favorable verdict is achieved, the matter can be considered officially closed. Usually, this technique is applied to find the guilty innocent, but it can also be used to obtain charges when seeking to frame a victim.
22. Manufacture a new truth. Create your own expert(s), group(s), author(s), leader(s) or influence existing ones willing to forge new ground via scientific, investigative, or social research or testimony which concludes favorably. In this way, if you must actually address issues, you can do so authoritatively.
23. Create bigger distractions. If the above does not seem to be working to distract from sensitive issues, or to prevent unwanted media coverage of unstoppable events such as trials, create bigger news stories (or treat them as such) to distract the multitudes.
24. Silence critics. If the above methods do not prevail, consider removing opponents from circulation by some definitive solution so that the need to address issues is removed entirely. This can be by their death, arrest and detention, blackmail or destruction of their character by release of blackmail information, or merely by destroying them financially, emotionally, or severely damaging their health.
25. Vanish. If you are a key holder of secrets or otherwise overly illuminated and you think the heat is getting too hot, to avoid the issues, vacate the kitchen.
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Eight Traits of the Disinformationalist
1) Avoidance. They never actually discuss issues head-on or provide constructive input, generally avoiding citation of references or credentials. Rather, they merely imply this, that, and the other. Virtually everything about their presentation implies their authority and expert knowledge in the matter without any further justification for credibility.
2) Selectivity. They tend to pick and choose opponents carefully, either applying the hit-and-run approach against mere commentators supportive of opponents, or focusing heavier attacks on key opponents who are known to directly address issues. Should a commentator become argumentative with any success, the focus will shift to include the commentator as well.
3) Coincidental. They tend to surface suddenly and somewhat coincidentally with a new controversial topic with no clear prior record of participation in general discussions in the particular public arena involved. They likewise tend to vanish once the topic is no longer of general concern. They were likely directed or elected to be there for a reason, and vanish with the reason.
4) Teamwork. They tend to operate in self-congratulatory and complementary packs or teams. Of course, this can happen naturally in any public forum, but there will likely be an ongoing pattern of frequent exchanges of this sort where professionals are involved. Sometimes one of the players will infiltrate the opponent camp to become a source for straw man or other tactics designed to dilute opponent presentation strength.
5) Anti-conspiratorial. They almost always have disdain for 'conspiracy theorists' and, usually, for those who in any way believe JFK was not killed by LHO. Ask yourself why, if they hold such disdain for conspiracy theorists, do they focus on defending a single topic discussed in a NG focusing on conspiracies? One might think they would either be trying to make fools of everyone on every topic, or simply ignore the group they hold in such disdain. Or, one might more rightly conclude they have an ulterior motive for their actions in going out of their way to focus as they do.
6) Artificial Emotions. An odd kind of 'artificial' emotionalism and an unusually thick skin -- an ability to persevere and persist even in the face of overwhelming criticism and unacceptance. This likely stems from intelligence community training that, no matter how condemning the evidence, deny everything, and never become emotionally involved or reactive. The net result for a disinfo artist is that emotions can seem artificial.
Most people, if responding in anger, for instance, will express their animosity throughout their rebuttal. But disinfo types usually have trouble maintaining the 'image' and are hot and cold with respect to pretended emotions and their usually more calm or unemotional communications style. It's just a job, and they often seem unable to 'act their role in character' as well in a communications medium as they might be able in a real face-to-face conversation/confrontation. You might have outright rage and indignation one moment, ho-hum the next, and more anger later -- an emotional yo-yo.
With respect to being thick-skinned, no amount of criticism will deter them from doing their job, and they will generally continue their old disinfo patterns without any adjustments to criticisms of how obvious it is that they play that game -- where a more rational individual who truly cares what others think might seek to improve their communications style, substance, and so forth, or simply give up.
7) Inconsistent. There is also a tendency to make mistakes which betray their true self/motives. This may stem from not really knowing their topic, or it may be somewhat 'freudian', so to speak, in that perhaps they really root for the side of truth deep within.
I have noted that often, they will simply cite contradictory information which neutralizes itself and the author. For instance, one such player claimed to be a Navy pilot, but blamed his poor communicating skills (spelling, grammar, incoherent style) on having only a grade-school education. I'm not aware of too many Navy pilots who don't have a college degree. Another claimed no knowledge of a particular topic/situation but later claimed first-hand knowledge of it.
8) Time Constant. Recently discovered, with respect to News Groups, is the response time factor. There are three ways this can be seen to work, especially when the government or other empowered player is involved in a cover up operation:
a) ANY NG posting by a targeted proponent for truth can result in an IMMEDIATE response. The government and other empowered players can afford to pay people to sit there and watch for an opportunity to do some damage. SINCE DISINFO IN A NG ONLY WORKS IF THE READER SEES IT - FAST RESPONSE IS CALLED FOR, or the visitor may be swayed towards truth.
b) When dealing in more direct ways with a disinformationalist, such as email, DELAY IS CALLED FOR - there will usually be a minimum of a 48-72 hour delay. This allows a sit-down team discussion on response strategy for best effect, and even enough time to 'get permission' or instruction from a formal chain of command.
c) In the NG example 1) above, it will often ALSO be seen that bigger guns are drawn and fired after the same 48-72 hours delay - the team approach in play. This is especially true when the targeted truth seeker or their comments are considered more important with respect to potential to reveal truth. Thus, a serious truth sayer will be attacked twice for the same sin.
_______________________________________________________________________
How to Spot a Spy (Cointelpro Agent)
One way to neutralize a potential activist is to get them to be in a group that does all the wrong things. Why?
1) The message doesn't get out.
2) A lot of time is wasted
3) The activist is frustrated and discouraged
4) Nothing good is accomplished.
FBI and Police Informers and Infiltrators will infest any group and they have phoney activist organizations established.
Their purpose is to prevent any real movement for justice or eco-peace from developing in this country.
Agents come in small, medium or large. They can be of any ethnic background. They can be male or female.
The actual size of the group or movement being infiltrated is irrelevant. It is the potential the movement has for becoming large which brings on the spies and saboteurs.
This booklet lists tactics agents use to slow things down, foul things up, destroy the movement and keep tabs on activists.
It is the agent's job to keep the activist from quitting such a group, thus keeping him/her under control.
In some situations, to get control, the agent will tell the activist:

• "You're dividing the movement."

[Here, I have added the psychological reasons as to WHY this maneuver works to control people]
This invites guilty feelings. Many people can be controlled by guilt. The agents begin relationships with activists behind a well-developed mask of "dedication to the cause." Because of their often declared dedication, (and actions designed to prove this), when they criticize the activist, he or she - being truly dedicated to the movement - becomes convinced that somehow, any issues are THEIR fault. This is because a truly dedicated person tends to believe that everyone has a conscience and that nobody would dissimulate and lie like that "on purpose." It's amazing how far agents can go in manipulating an activist because the activist will constantly make excuses for the agent who regularly declares their dedication to the cause. Even if they do, occasionally, suspect the agent, they will pull the wool over their own eyes by rationalizing: "they did that unconsciously... they didn't really mean it... I can help them by being forgiving and accepting " and so on and so forth.
The agent will tell the activist:

• "You're a leader!"

This is designed to enhance the activist's self-esteem. His or her narcissistic admiration of his/her own activist/altruistic intentions increase as he or she identifies with and consciously admires the altruistic declarations of the agent which are deliberately set up to mirror those of the activist.
This is "malignant pseudo identification." It is the process by which the agent consciously imitates or simulates a certain behavior to foster the activist's identification with him/her, thus increasing the activist's vulnerability to exploitation. The agent will simulate the more subtle self-concepts of the activist.
Activists and those who have altruistic self-concepts are most vulnerable to malignant pseudo identification especially during work with the agent when the interaction includes matter relating to their competency, autonomy, or knowledge.
The goal of the agent is to increase the activist's general empathy for the agent through pseudo-identification with the activist's self-concepts.
The most common example of this is the agent who will compliment the activist for his competency or knowledge or value to the movement. On a more subtle level, the agent will simulate affects and mannerisms of the activist which promotes identification via mirroring and feelings of "twinship". It is not unheard of for activists, enamored by the perceived helpfulness and competence of a good agent, to find themselves considering ethical violations and perhaps, even illegal behavior, in the service of their agent/handler.
The activist's "felt quality of perfection" [self-concept] is enhanced, and a strong empathic bond is developed with the agent through his/her imitation and simulation of the victim's own narcissistic investments. [self-concepts] That is, if the activist knows, deep inside, their own dedication to the cause, they will project that onto the agent who is "mirroring" them.
The activist will be deluded into thinking that the agent shares this feeling of identification and bonding. In an activist/social movement setting, the adversarial roles that activists naturally play vis a vis the establishment/government, fosters ongoing processes of intrapsychic splitting so that "twinship alliances" between activist and agent may render whole sectors or reality testing unavailable to the activist. They literally "lose touch with reality."
Activists who deny their own narcissistic investments [do not have a good idea of their own self-concepts and that they ARE concepts] and consciously perceive themselves (accurately, as it were) to be "helpers" endowed with a special amount of altruism are exceedingly vulnerable to the affective (emotional) simulation of the accomplished agent.
Empathy is fostered in the activist through the expression of quite visible affects. The presentation of tearfulness, sadness, longing, fear, remorse, and guilt, may induce in the helper-oriented activist a strong sense of compassion, while unconsciously enhancing the activist's narcissistic investment in self as the embodiment of goodness.
The agent's expresssion of such simulated affects may be quite compelling to the observer and difficult to distinguish from deep emotion.
It can usually be identified by two events, however:
First, the activist who has analyzed his/her own narcissistic roots and is aware of his/her own potential for being "emotionally hooked," will be able to remain cool and unaffected by such emotional outpourings by the agent.
As a result of this unaffected, cool, attitude, the Second event will occur: The agent will recompensate much too quickly following such an affective expression leaving the activist with the impression that "the play has ended, the curtain has fallen," and the imposture, for the moment, has finished. The agent will then move quickly to another activist/victim.
The fact is, the movement doesn't need leaders, it needs MOVERS. "Follow the leader" is a waste of time.
A good agent will want to meet as often as possible. He or she will talk a lot and say little. One can expect an onslaught of long, unresolved discussions.
Some agents take on a pushy, arrogant, or defensive manner:
1) To disrupt the agenda
2) To side-track the discussion
3) To interrupt repeatedly
4) To feign ignorance
5) To make an unfounded accusation against a person.
Calling someone a racist, for example. This tactic is used to discredit a person in the eyes of all other group members.
Saboteurs
Some saboteurs pretend to be activists. She or he will ....
1) Write encyclopedic flyers (in the present day, websites)
2) Print flyers in English only.
3) Have demonstrations in places where no one cares.
4) Solicit funding from rich people instead of grass roots support
5) Display banners with too many words that are confusing.
6) Confuse issues.
7) Make the wrong demands.
8) Compromise the goal.
9) Have endless discussions that waste everyone's time. The agent may accompany the endless discussions with drinking, pot smoking or other amusement to slow down the activist's work.
Provocateurs
1) Want to establish "leaders" to set them up for a fall in order to stop the movement.
2) Suggest doing foolish, illegal things to get the activists in trouble.
3) Encourage militancy.
4) Want to taunt the authorities.
5) Attempt to make the activist compromise their values.
6) Attempt to instigate violence. Activism ought to always be non-violent.
7) Attempt to provoke revolt among people who are ill-prepared to deal with the reaction of the authorities to such violence.
Informants
1) Want everyone to sign up and sing in and sign everything.
2) Ask a lot of questions (gathering data).
3) Want to know what events the activist is planning to attend.
4) Attempt to make the activist defend him or herself to identify his or her beliefs, goals, and level of commitment.
Recruiting
Legitimate activists do not subject people to hours of persuasive dialog. Their actions, beliefs, and goals speak for themselves.
Groups that DO recruit are missionaries, military, and fake political parties or movements set up by agents.
Surveillance
ALWAYS assume that you are under surveillance.
At this point, if you are NOT under surveillance, you are not a very good activist!
Scare Tactics
They use them.
Such tactics include slander, defamation, threats, getting close to disaffected or minimally committed fellow activists to persuade them (via psychological tactics described above) to turn against the movement and give false testimony against their former compatriots. They will plant illegal substances on the activist and set up an arrest; they will plant false information and set up "exposure," they will send incriminating letters [emails] in the name of the activist; and more; they will do whatever society will allow.
This booklet in no way covers all the ways agents use to sabotage the lives of sincere an dedicated activists.
If an agent is "exposed," he or she will be transferred or replaced.
COINTELPRO is still in operation today under a different code name. It is no longer placed on paper where it can be discovered through the freedom of information act.
The FBI counterintelligence program's stated purpose: To expose, disrupt, misdirect, discredit, and otherwise neutralize individuals who the FBI categorize as opposed to the National Interests. "National Security" means the FBI's security from the people ever finding out the vicious things it does in violation of people's civil liberties.
_______________________________________________________________________
Seventeen Techniques for Truth Suppression
Strong, credible allegations of high-level criminal activity can bring down a government. When the government lacks an effective, fact-based defense, other techniques must be employed. The success of these techniques depends heavily upon a cooperative, compliant press and a mere token opposition party.
1. Dummy up. If it's not reported, if it's not news, it didn't happen.
2. Wax indignant. This is also known as the "How dare you?" gambit.
3. Characterize the charges as "rumors" or, better yet, "wild rumors." If, in spite of the news blackout, the public is still able to learn about the suspicious facts, it can only be through "rumors." (If they tend to believe the "rumors" it must be because they are simply "paranoid" or "hysterical.")
4. Knock down straw men. Deal only with the weakest aspects of the weakest charges. Even better, create your own straw men. Make up wild rumors (or plant false stories) and give them lead play when you appear to debunk all the charges, real and fanciful alike.
5. Call the skeptics names like "conspiracy theorist," "nutcase," "ranter," "kook," "crackpot," and, of course, "rumor monger." Be sure, too, to use heavily loaded verbs and adjectives when characterizing their charges and defending the "more reasonable" government and its defenders. You must then carefully avoid fair and open debate with any of the people you have thus maligned. For insurance, set up your own "skeptics" to shoot down.
6. Impugn motives. Attempt to marginalize the critics by suggesting strongly that they are not really interested in the truth but are simply pursuing a partisan political agenda or are out to make money (compared to over-compensated adherents to the government line who, presumably, are not).
7. Invoke authority. Here the controlled press and the sham opposition can be very useful.
8. Dismiss the charges as "old news."
9. Come half-clean. This is also known as "confession and avoidance" or "taking the limited hangout route." This way, you create the impression of candor and honesty while you admit only to relatively harmless, less-than-criminal "mistakes." This stratagem often requires the embrace of a fall-back position quite different from the one originally taken. With effective damage control, the fall-back position need only be peddled by stooge skeptics to carefully limited markets.
10. Characterize the crimes as impossibly complex and the truth as ultimately unknowable.
11. Reason backward, using the deductive method with a vengeance. With thoroughly rigorous deduction, troublesome evidence is irrelevant. E.g. We have a completely free press. If evidence exists that the Vince Foster "suicide" note was forged, they would have reported it. They haven't reported it so there is no such evidence. Another variation on this theme involves the likelihood of a conspiracy leaker and a press who would report the leak.
12. Require the skeptics to solve the crime completely. E.g. If Foster was murdered, who did it and why?
13. Change the subject. This technique includes creating and/or publicizing distractions.
14. Lightly report incriminating facts, and then make nothing of them. This is sometimes referred to as "bump and run" reporting.
15. Baldly and brazenly lie. A favorite way of doing this is to attribute the "facts" furnished the public to a plausible-sounding, but anonymous, source.
16. Expanding further on numbers 4 and 5, have your own stooges "expose" scandals and champion popular causes. Their job is to pre-empt real opponents and to play 99-yard football. A variation is to pay rich people for the job who will pretend to spend their own money.
17. Flood the Internet with agents. This is the answer to the question, "What could possibly motivate a person to spend hour upon hour on Internet news groups defending the government and/or the press and harassing genuine critics?" Don t the authorities have defenders enough in all the newspapers, magazines, radio, and television? One would think refusing to print critical letters and screening out serious callers or dumping them from radio talk shows would be control enough, but, obviously, it is not.

Hey y'all!
I had a little excitement on my Candela Obscura mystery writing journey - I just hit my 5,000th download! That's way, way more players than I expected when I set out writing a couple months back.
Folks have been telling me how the stories play out at their tables, which delights me to hear - it's kind of like co-writing a story, GMs and players add their own twists and turns, with new relationships or personalities for a familiar cast of characters.
Some of the player twists, I totally use for when I run the investigations - like, the abandoned bunker radio in Listening Post Echo being haunted with the voices of trapped soldiers, in a death loop sort of situation? That's genius, way spookier than what I had in mind! And some player-written details just delight me, so I run those, too - Dr. Hux having a hunk boyfriend, that certainly sparks joy, that went straight into my head canon for the character.
It's fun to see the different directions players take the characters. I play Ashley from The Beast in the Binding as a sympathetic, heart-broken sort of character. One GM made her the villainess for their next assignment. At my tables, Ariadne the witch has been an ally, an antagonist, and (with remarkable consistency) a love interest XD. Folks keep falling for Ariadne, I didn't expect that at all when I wrote her!
Here are the links to each individual assignment/resource, in case you'd like to take a look :)
Hope ya have fun! Oh, and stay tuned, we'll be doing a benefit for famine aid in Palestine in a sec here.
Single Player Assignments:
Play Candela Obscura in single-player mode with these choose-your-own-adventure style modules.
The Descent, Solo Edition - you accompany a rag-tag expedition to the ancient Oldfairen ruins beneath the city, and discover the secrets of Dig Site #347!
Here's the Community Version (free): https://nostromosreliquary.itch.io/the-descent-solo-edition-community-version
Here's the Unabridged Version (paid): https://nostromosreliquary.itch.io/the-descent-solo-edition-unabridged-version
Editor's Choice Assignments:
Classic assignments that are good for beginners - if you're not sure where to start, start here!
The Beast in the Binding - an investigation where you track down a missing arcane tome: https://nostromosreliquary.itch.io/the-beast-in-the-binding
The In-Between - an interdimensional investigation where you discover where a dead man came from: https://nostromosreliquary.itch.io/the-in-between
The Descent - an investigation where you join an archaeological expedition deep beneath the city: https://nostromosreliquary.itch.io/the-descent
The Second Circle - a haunted house investigation: https://nostromosreliquary.itch.io/the-second-circle
Full Length Assignments:
Your standard Candela Obscura assignments - fully realized and ready-to-run!
The Train Job - an investigation where you chase a stolen tome in a series of high-stakes heists:
https://nostromosreliquary.itch.io/the-train-job
If It Bleeds, It Leads - an investigation into the murder of a prominent surgeon that reveals a dark secret: https://nostromosreliquary.itch.io/if-it-bleeds-it-leads
The Temple of Nepenthe - an investigation where you rescue a missing novelist: https://nostromosreliquary.itch.io/the-temple-of-nepenthe
The Paper Trail - an investigation where you find the culprit in a theft from the Briarbank College library: https://nostromosreliquary.itch.io/the-paper-trail
Lost in Dreams - a missing person's case where you track down a young student: https://nostromosreliquary.itch.io/lost-in-dreams
The Heaven-Sent Stranger - a horror story of isolation in the rural Fairelands: https://nostromosreliquary.itch.io/the-heaven-sent-stranger
Single Page Assignments:
Simple little ditties that you can roll out with zero prep!
Listening Post Echo - an abandoned bunker from the Last Great War with a terrible secret: https://nostromosreliquary.itch.io/listening-post-echo
The Score - your task is as simple as it is treacherous: intercept a package before anyone else can: https://nostromosreliquary.itch.io/the-score
Resources and Guides:
One-pagers for your investigators and lore for you, dearest GM!
Here's the "Arcane Compendium" with tomes of arcane lore: https://nostromosreliquary.itch.io/the-arcane-compendium
Here's the "How to Play" one-pager for easy printing: https://nostromosreliquary.itch.io/how-to-play-candela-one-page-guide
Here's the "Setting Guide" one-pager for easy distribution: https://nostromosreliquary.itch.io/candela-setting-guide

I basically need the glorified character creation engines that may or may not have gameplay as a bonus.
What I REQUIRE:
A game has many clothing/armor options, preferably in different styles
Many hair options and various accessories, hats, glasses, masks, etc
It is possible to change body shape and height (medium priority)
The clothing items (or at least most of them) are available at once (no paywalls or "kill this dude to get that armor") and I don't have to spend too much time to unlock them
PC only, and preferably something that doesn't weigh 200 GB
Things I DON'T CARE FOR:
A hundred face sliders. Having a good face gen is a bonus, but my main aim is good item variety
Stunning ultra graphics (I mean, the graphics should not be vanilla Minecraft, but if there are good old games with good variety...)
Games/tools I already know about and use:
Champions online (had to buy/grind a few costume parts packs though) - near total hit
City of Heroes - total hit (so many of everything and last time I checked all was available from the start without paywalls because the game is legally dead)
Saints Row series - partial hit (nice in-game shops one has to drive to, unfortunately not all items in one place)
Hero Forge mini figures creator - partial hit (so much stuff deeply customizable and free, but I want normal characters and not minis)
2D stuff like Heromachine, Fabrica de Herois - partial hit (because 2D)
What WON'T DO AT ALL:
Skyrim, Oblivion, Fallout 3/New Vegas - no clothes customization during the character creation and I don't care for 50 facial sliders, better give me 50 kinds of eyes
DC universe online (have to hunt for those costume pieces, the pieces available during character creation are few)
So, thank you for reading this long post, waiting eagerly for your suggestions.
And before you redirect me to an old post Google shows when asked for games with good character creation, I've read it, but it's a bit vague and it's clear its author and I have different goals and therefore not all games from that post will suit me. Thanks in advance and how foolish would I feel if this thing gets deleted for missing some technicality...

i've really been wanting to try being a beta readeeditojust someone you can ask about in writing and overall ask opinions and stuff about about your writing, and i'd LOVE to give this a try with someone. i've been writing for, like, 4 years now and have had quite the amount of WIPs, just, i'm bad at finishing them. i just adore reading others stories and hearing about their plots, and i also love plotting and making characters and everything. if anyone's interested, please, hmu.

So first of, I'm really glad they changed stuff in the new beta version. It makes both Jade and Firefly way better, and I'm glad bc I plan to pull both.
What I want to talk about is the fudging relic changes.
The first obvious one is the Break Effect set changes, making it exclusive to characters played with one other specific character (HMC).
That means that: 1. Any future BE based character will need to have huge amount of Break Efficiency.

1. Any current BE character that doesn't do that will be powercrept to oblivion, so bye bye Xueyi, Sushang, Luka.
   
2. If you don't have Ruan Mei, this set will be a waste to farm. Why's that? Well, because of the changes on the other relic set.
   

The other relic set changes are just, horrendous. We go from it being BiS for Clara, Jade, and probably Topaz, to it being useless on everyone.
All these changes have me worried about the future of the game. It's not even about the set not being good with Boothill, I'm just worried this might sign the start of Hoyo burning the food they cooked so well.

I want to open by saying that I completely understand how finding typos in a book you're reading can range from annoying to ruining the reading experience entirely. It used to drive me up the wall, and I still come across books that I DNF because of edit quality. So, I'm not saying this to diminish anyone's frustration in anyway. I get it, but I do want to put things into perspective:
My first book in my current series comes in at 342 pages in paperback (around 94,000 words). That equals (according to my final draft in Word) 496,584 characters with spaces (405,163 without). That's 496,584 things that have to be perfect for a flawless book, and that's just the technical side of it.
Story quality is a whole different animal.
For that book, I edited it six times in three different programs, hired a line editor and two proofreaders, and did a final readthrough on my ereader after formatting. A week after release, I had a reader email me and point out four typos that slipped past all of us. {{facepalm}}
In my experience, most of my fellow self published authors care a great deal about the quality of work they put out in the world. As a reader, I feel your pain, but it's not always as simple as "just do a better job of editing" or "hire an editor".

Sorry but why should we care about any of Doran's plans regarding Arianne, Quentyn, Trystane, the Sand Snakes, etc.? Are any of Doran's plots going to come to fruition, versus fizzling out in unintended ways? Why do we need to see their plot up close via random POV characters? IMO the inclusion of Quentyn, Arianne, Arys Oakheart, even Areo Hotah don't add significant commentary or insight into the nuances of society on Planetos.
But I could be convinced otherwise. Basically I need it explained to me why all of that is included and what we the reader are supposed to take away from the story of Dorne, because it very much feels like filler and I'm not sure what the point is. I'd rather spend time with Euron Greyjoy because that whole thing feels ominously unresolved.
Edit: Adding a follow-up question/discussion point. A few themes emerging from the responses are worldbuilding, plot mechanics, Dorne will play a bigger role later, adding new characters to replace the ones being killed off, etc. All make sense and are worth discussing. But... I still feel like all of that could have been seeded as "indirect evidence" (e.g. conversations and rumors being traded in King's Landing about the happenings in Dorne and overseas), instead of "direct evidence" / witnessing the events firsthand by way of POV. You could add the POV of the Dornish characters later on, when they're actually in a position to play a role in the ultimate saga. I mean, the series is called A Song of Ice and Fire. Are the Dornish meant to tie in with the "Ice"? With the "Fire"? Neither? Both? Where is this even going? Shouldn't it be more obvious on its face what GRRM intends to do with these random new POVs? Couldn't there have been more symbolism and foreshadowing to make it interesting? Are any of these events going to matter later?
TL;DR I feel like all this Dornish POV nonsense should have been moved to its own spinoff book(s) and just referenced indirectly up until it actually starts to matter. If I were GRRM's editor I would have told him to put it in an appendix.