an inventory of effects

Pauper Deck Tech: Turbo Fog

[you can see every deck tech here]

Hello & welcome to this weekly deck tech! Since it’s September, I’m doing an all-pauper month because I’ve barely touched the format in the past; last week we’ve seen the Slivers deck, this week we’re going in a completely opposite direction, with a deck that is very much NOT aggro: Turbo Fog. The archetype exists in every single format, even standard at some times. It’s not always viable, but in pauper it’s a pretty solid deck that deals with most of it’s opponents. The format is very reliant on decks that try to just swarm their opponents with creatures; Turbo Fog has great match-ups versus creature-based decks, while struggling vs control decks. The deck is simply separated in three categories: Fogs, Card Draw & a single Win Condition; we’ll go over each of those.

Fog #1

Good old fog, the original card that started all of this. It’s simple, cost efficient and reliable; you don’t really get any other 1cmc fog in green (you have a couple available in white, but that’s another story). Basically all of your fog spells buy you an extra turn to be alive, to dig for your win condition or to drag the game long enough to put your opponent into a lock. Buying yourself an extra turn for 1 mana is just great.

Fog #2

So this one costs 2 mana, which seems bad, but you can cast it again for 3cmc later on; essentially having 8 extra fog effects in your deck instead of 4, which really makes up for it’s cmc. With these you can effectively buy yourself 8 extra turn in the course of the game. That’s a lot of extra turns!

Fog #3

Another 2cmc fog, but this one is pretty interesting since your opponent’s creatures don’t untap on the following turn. So if your opponent’s creatures don’t have vigilance (they rarely do) you’re buying yourself 2 turns/fog with this card, bringing it up to another 8 extra turns during a game. So you got yourself a total of up to 20 extra turns that your fogs can buy you…which is an astonishing amount of turns! Also, I know on the picture it shows the card as uncommon, but a later print made it at common so it is legal in pauper.

Card Draw #1

You don’t get anything better than this (well…besides Ancestral Recall, but yeah) by drawing 3 cards for 1 mana! Granted you have to put 2 cards from your hand on top of your library, turning this into a “draw 1” but you get to really filter out stuff you don’t need. Plus, I’d recommend playing some Evolving Wilds & Terramorphic Expanse to have the option of shuffling away some cards you don’t want or need, making Brainstorm even better.

Card Draw #2

A card very similar to Brainstorm; you get to filter your top 3 and draw a card for 1 mana, again which is great. If you don’t like the cards you can always shuffle away and take a chance at a random card. This card is just a great filter to make sure you get what you need.

Card Draw #3

Yet another 1cmc card draw spell! This one has another very similar effect, but this time scrying 2 then drawing 1 card. This card is often very underrated and is an amazing card filter that makes sure you don’t run out of gas!

Card Draw #4

We’re almost done with the card drawing! Here we have one of my favourite cards that is vastly overlooked. Scrying 1 and drawing 1 for 1 mana is just very efficient and I’m excited to see how it’ll affect modern when Ixalan comes out! With this card we’re now up to 16 cantrips in the deck; really making sure we draw the things we need and we always have a nice hand.

Card Draw #5

I promise this is the last one! Taking it up a notch, now being at 2cmc, this card is pretty average on the first cast, but gets really good over the course of the game. If you can draw 4 cards for 2cmc, I call that efficient. I’ve seen some people play Take Inventory (a card with the same effect but as a sorcery) instead of Opt, which is a fine thing too, that’s rally up to your preferences.

Win Condition

There we have it, the way the deck finishes games. It might seem very very slow, but…well… it is. It’s a very grindy death, but if you can get 2 or 3 on the battlefield it really speeds up the process; casting a Brainstorm would mill your opponent for 9, so that’s not too bad. Since you can buy yourself up to 20 turns with your fogs, you should have plenty of time to mill out your opponent!

Protecting your Plan

You sort of need a counterspell in the deck since any type of disruption to your fogs or win con is most likely going to lead to your defeat. I recommend this card since it also makes you draw some cards, but I’ve also seen some decks play Muddle the Mixture, which can tutor your win con, but again, that’s up to preferences.


That’s it for this week! I hope you guys enjoyed this deck tech as much as I did. The deck is super cheap and very fun if you enjoy grindy games and the look of despair on your opponents face. It has a very hard time vs control decks though, but is very strong against any creature-based decks (most of them). Keep in mind I’m not too well-versed in the pauper format, so if I missed anything let me know. In any case, I’ll see you guys next week for yet another pauper deck tech!

Heartbeat Song

A/N:  Sorry for the delay… I’ve been planning this one for a bit now, and I’ve had some help this time around.  A huge thank you to @magnificentkidstarfish for your input!  Hope y’all enjoy it.  It’s way different than what I’ve normally written.  Will also be really long… so, click on the ‘Keep Reading’ to get into it.

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Art is the graphic translation of a culture.
-Marshall McLuhan, The Medium is the Massage: An Inventory of Effects (1967)

Stencil and brayer cleanup on a map page. Writing by the Fude Ball 1.5.


by Antonin Artaud

“The human face is an empty power, a field of death. The old revolutionary claim to a form that’s never corresponded with its body, goes off to be something other than the body. So it’s absurd to reproach a painter for academically insisting in his time upon still reproducing the featres of the human face such as they are; for such as they are, they haven’t yet found the form they point to and specify to make more than a sketch; but from morning to evening and in the midst of ten thousand dreams they churn as if in the crucible of a never-wearying passional throb. Which means that the human face hasn’t yet found the face and that it’s up to the painter to give it it. But that means the human face, such as it is, is till in quest of itself with two eyes a nose a mouth and the two auricular cavities which correspond to the holes of the sockets like the four openings to the sepulchre of approaching death. The human face in effect carries a kind of perpetual death with it from which it’s really up to the painter to save it by giving back his own peculiar features. In effect after countless thousands of years that the human face has spoken and breathed one still has the impression that it hasn’t even begun to say what it is and what it knows, and I don’t know a painter in the history of art, from Holbein to Ingres, who has succeeded in making the face of man speak. The portraits of Holbein or of Ingres are thick walls revealing nothing of the ancient architecture supporting itself under the arcs of the arches of the eyelids or molding itself in the cylindrical tunnel of the two mural cavities of he ears. Only Van Gogh has extracted from a human head the portrait that is the rocket explosive of the beating of a burst heart. His own. The head of Van Gogh in a soft hat renders null and void all the attempts of abstract painters that could be made, from his time to the end of eternity. 

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Personal Effects

Does your character have any items or symbols specific to them? A character’s possessions can serve as symbolic value in your story that carries emotional weight and helps define who they are. Not every character has to have an item or weapon special to them, and they don’t all have to carry the same amount of importance. But it’s still something you should consider.

Take, for example, Captain America’s shield. It’s a shield, but symbolically it’s more than that. It’s symbolic of how Captain America protects the US. He is a shield for his country against evil. Similarly, Thor’s hammer isn’t just any hammer. It’s Mjölnir, and in the first Thor movie, it’s used to symbolize Thor’s character development over the course of the movie. By the end, he is worthy of the power. He’s grown as a character and is no longer the rash, arrogant man from the beginning.

Common examples:

  • A weapon
  • A favorite book
  • Jewelry from a (deceased) loved one
  • A favorite pair of shoes (or shirt, jeans, other clothing)
  • A tattoo
  • A scar

It can be anything! Once you establish that item’s importance, every time your character interacts with that object, you start to create that emotional connection. There will be emotions and memories associated with that item that draws up feelings of determination, sadness, forgotten dreams, etc, in your character.

Just keep in mind not every character will have some special item that means the world to them. They can be determined or sad about something without an item to draw up those feelings. But symbols like these can add something when used in moderation! Plus, if they’re strong enough, they make good book covers.

You can read a bit more about it here or here.


There is absolutely no inevitability as long as there is a willingness to contemplate what is happening.
-Marshall McLuhan, The Medium is the Massage: An Inventory of Effects (1967)

The background is purple watercolor on a map page, but I’m not sure if that’s black ink or black watercolor or how it was applied. D’oh! :( White Sharpie water-based paint pen.

Leathercraft mini-lesson: texturing

WIP pic of the Wonder Woman greaves that I’m also working on, because I have waaaay too many balls in the air right now. It felt weird to be making a single greave, but if there turned out to be a fatal flaw in my patterning, well, better to find out now than after wasting the leather for both.

I’m very pleased with how the shaping came out – a well-turned calf indeed – though I think next time I’ll be making the shin guards out of one solid piece of leather instead of three pieces layered. I like the depth afforded by the layering, but I don’t really like the line of stitching (we’ll see how it looks after painting), and stitching is so, so time-consuming.

Also for this project I finally developed a faster way of texturing the leather. Roughing up your leather a bit (with indentations, not so much scraping because that compromises the surface integrity) gives a piece personality and adds a touch of realism, because it looks more like something that’s actually been worn and used instead of newly popped out of a box you bought on eBay. And if you’re dry-brushing a metallic pigment over the top, texturing is key for achieving that aged-metal effect.

Some people use straight-up rocks and bang on their leather, which is a valid life choice. If I found the perfect rock I would too, but generally I find rocks sub-optimal – you’ll get too-deep indentations in some places, and wide spaces with no texturing at all in others. I tended to use a backgrounding stamp (M882, as seen on the Loki pauldron above) and just speckle it around:

Unfortunately it has a pretty small surface area, less than a thumbnail, so doing anything larger than a tiara gets very time-consuming very quickly. With more and more of my inventory coming to rely on metal effects (and pieces graduating from surface-area-of-forehead to surface-area-of-legs), I needed a faster way to do it.

Enter a rubber mallet that I’d bought for tooling, and promptly discovered that it performs terribly at tooling because the rubber bounces off the metal stamps.

It was sitting around my workshop unused, so I took a pointy dremel bit to it and added pockmarks to the surface until it was well and truly textured:

Le voila! Much faster. It doesn’t deliver texturing that’s quite as crisp as the stamp does (which means it’s less likely to survive stretching & shaping), so I may try it again with a harder material than rubber, but it’s a step in the right direction.

John Cage:

“One must be disinterested, accept that a sound is a sound and a man is a man, give up illusions about ideas of order, expressions of sentiment, and all the rest of our inherited aesthetic claptrap.”

“The highest purpose is to have no purpose at all. This puts one in accord with nature, in her manner of operation.”

“Everyone is in the best seat.”

“Everything we do is music.”

“Theatre takes place all the time, wherever one is. And art simply facilitates persuading one this is the case.”

“They [I Ching] told me to continue what I was doing, and to spread

—  Marshall McLuhan and Quentin Fiore, The Medium is the Massage: An Inventory of Effects (1967)

oddballwaterfall  asked:

What kind of stuff can mages at the lower tiers do? Does working tire the mage out or could someone hypothetically cast nonstop? Are there schematics that eliminate the need for sleeping and/or eating? Would it be more efficient in some cases to have low tier mages maintain some form of enhancement schematics on multiple non-magi around them? What kind of businesses hire mages outside the military and what applications do they use them in? I love reading the world building you write.

Precision actually increases as you move up the tiers, so lower tier mages typically end up blanketing large areas of their radius with fire (a relatively simple effect to produce.) Accessing faraway inventories is also a very basic and handy skill that virtually all magicians have.

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All media work us over completely. They are so pervasive in their personal, political, economic, aesthetic, psychological, moral, ethical and social consequences that they leave no part of us untouched, unaffected, unaltered. The medium is the massage. Any understanding of social and cultural change is impossible without a knowledge of the way media work as environments.


The wheel
…is an extension of the foot
the book
is an extension of the eye…
clothing, an extension of the skin…
electric circuitry,

an extension of

Media, by altering the environment, evoke in us unique ratios of sense perceptions. The extension of any one sense alters the way we think and act–the way we perceive the world.

men change.

—  Marshall McLuhan and Quentin Fiore, The Medium is the Massage: An Inventory of Effects (1967)