they say grief is a well. deep with creeping water that seeps first into your socks. it climbs like ivy, making an abandoned building out of your bones.
i can see it. the well, i mean, the grief and the water and the creeping. i can see it.
i think grief is more like a storm. clouds that hug the horizon, caress the sky with fingers that leave bruises the colour of the skin under your eyes when you haven’t slept for a week.
lightning bolts that illuminate the shapes in the dark for just long enough that you get to see remnants of a normal life, picnic blankets not abandoned to rain, beaches covered with sand and not hail, but the light never lasts.
and thunder. thunder that drowns out the sound of laughter. thunder that only knows how to emphasise the gaps of quiet in between each earth shaking sigh.
they say that grief is a well, it collects in your chest and fills and spills over as the walls wage war with the water. i can see it. i can. but my grief is more like a storm where lightning likes to strike the same place a thousand times each day.
Bunny Rogers’ first museum exhibition in the U.S. opens at the Whitney today! Bunny Rogers: Brig Und Ladder is an installation in two parts. The first resembles a high school auditorium in which an animated video takes the place of a stage. The second, accessed through a curtain, evokes a backstage area and is populated with sculptures that act as props, awaiting use in a theatrical scene that will never occur. Rogers aims to materialize her inner world—a personal constellation of TV shows, movies, Internet forums, and common objects—and to connect emotionally with the viewer. Culling from these sources, she reveals how emblems of youth culture have consumed her identity since childhood, much of which she spent online. Explore the exhibition now in the first-floor John R. Eckel, Jr. Foundation Gallery, which is always free and open to the public.
[Bunny Rogers (b. 1990), still from A Very Special Holiday Performance in Columbine Auditorium, 2017. Video, color, sound. Collection of the artist; courtesy Société, Berlin]
I’m a collector. Some might call me a hoarder and I can’t say they’d be wrong! I have many different things I like to collect: crystals, TY beanies, fairy ornaments, coins, stamps… you get the idea. Nothing brings me greater joy than adding new things to each collection, nothing gives me more of a rush than looking through my collections; all those years of hard work, saving money and hunting through pawn shops, yard sales and the internet to find the objects I most coveted. It brought me immense pride to look upon my work. It’s a hobby that has made my life what it is, and I wouldn’t be without it.
It seems twice or three times a year for the past four or so years, I’ve started collecting something new. Bottle caps and records, I have a fondness for deer and so started collecting knick-knacks of them. I’m a big fan of numerous magical girl series and every time I find a new one to watch, I start adding merchandise for it to my collection.
this is where I put… some things… from some creators that haven’t released (for those valid – yet!) much content (example… less than 20 objects or something like that) but if it earned a separate collection, then I tend to use it like a lot. Or I really like it. or something like that.
Please remember that I don’t play play my game with 99.9% of any of this CC installed, so I have no idea how it might get along with your living, breathing puddings Sims.
Always run any CC you download through the Dashboard and a rigfixer.
Maybe it’s just me, but with large amounts of CC, the Dashboard doesn’t filter corrupted items when you click on the red button - they do get ticked, though. If it has happened to you before, be careful about that!
and always explore! You may not like a creator’s furniture sets but you might love their clutter and vice versa. Or you think that the object looks rather poor in the preview due to different graphics and that puts you off from
downloading when it might actually be quite an awesome creation.
How easy is it for one character to accidentally kill another character in a playful knife fight? I need two of them to be fighting and a third to jump in between, causing one of the first two to trip up and fatally wound the other. How exactly does this work? I don't just want to use logic I've made up.
There’s not really any such thing as a “playful” knife fight, not when it comes to live weapons.
Live weapons are what we call real knives, rather than practice weapons
or fake knives.
It’s also a terrible idea to do this without any sort of
protective gear. Now, there are definitely real world idiots who will
do it and call it “fun”. They are the same real world idiots who often
end up as cautionary tales on the six o’clock news. It’s also how bad
things like stab wounds happen, people get injured, and/or die.
You’ve basically got two idiots actively trying to cut and stab each other. Even if they’ve got some kind of pact to avoid the truly vital areas, someone is going to the hospital when this is over. And that’s just if nothing goes wrong.
Initially, if you know nothing about weapons, you might assume, “Well, that’s not that bad. They do that sometimes with swords, right?”
Knife combat is faster than sword combat, it happens in a range that is much closer to your body than sword combat, and has a lot less margin for error.
You can deflect a sword with a sword.
You deflect a knife with your free hand.
Playing with knives is a lot like playing with guns. While some of the other weapons like swords and staves will give you some room to mess around, knives don’t. All live weapons are deadly, but the major issue with the knife is that there isn’t much blade so it limits your options on what you’re aiming to hit.
While swords have the capacity to block and deflect with the blade itself, all knife strikes directly target the body and the deflection comes from the free hand because knife combat is supplemental to hand to hand. It happens in the same range as a fist fight. If you want to imagine what that’s like, think of your favorite fight scenes with fists.
Now, imagine the same thing happening if they’re holding a knife.
Knives are not toys.
The short answer is: they’re playing with real weapons and those weapons have a live edge. You never want to play with weapons because, even in the right hands, weapons are dangerous. The difference between someone who knows what they’re doing and someone who doesn’t is the understanding of just how dangerous a weapon can be. All the safety rules still apply with a gun, whether you know how to use it or not. Any mistakes made can end up costly, especially if your characters run around like chickens with their heads cut off afterward because a mistake happened and no one is trained in first aid.
So far as I can tell, there’s a mistaken impression on the internet about dangerous objects and skill sets where people believe that if you reach a certain skill level then mistakes don’t happen to you anymore. It’s the same problem that a lot of very skilled real world people have where they assume that because they know the rules, they can break them. This does or doesn’t apply on a case by case basis and the difference between who is smart and who is dumb often boils down to respect.
The dumb person believes that because they understand how knives work, knives can no longer hurt them.
The smart person understands that no matter their skill level, knives are always dangerous and mistakes can happen even under controlled circumstances.
One becomes reckless while the other cautiously takes risks.
So far, your characters are working in the first category.
Good enough to know what they’re doing, dumb enough to think they’re gods.
This is the perfect headspace for them to be in if you want one of them to die.
When working with live weapons, one behaves under a very strict set of rules because it is very easy to hurt yourself, your partner, or some fool who comes flying in out of nowhere.
I could see your setup actually happening. I know exactly how dumb some people can be.
What’s most important for you to understand if you’re going to do this scenario is that every single character involved made a catastrophic error in judgement and that they are all idiots.
The two who decided to fight with live knives are morons.
The one who decided that the best solution to stopping them was to jump between them and their very real weapons is just as stupid. If they are the one who dies, then they honestly had it coming.
It breaks every single safety rule. It’s very dramatic, but it heightens the danger in the situation. People will do it. Still, it is so dangerous that they usually get hurt and getting stabbed is way worse than a punch in the face.
These two shouldn’t be “playfully” fighting without supervision anyway, but again people are stupid. The less knowledge they have, usually the dumber about it they are.
In an allegorical, real world story, a friend of Starke’s once came home to find his roommates duking it out with a fire axe and one of those cheap dropforged katanas.
My martial arts instructors, who should’ve known better, allowed two underage black belts to spar with the old UFC gauntlets from the early 2000s that had fiberglass inserts to protect the knuckles. The end of that story is my brother nearly lost an eye when the other boy’s punch connected solidly enough to crack open his eye socket.
Starke knew a black belt in karate who told him a story about how two other instructors weren’t paying attention when they let some lower belt levels free spar. The end of that story is they both kicked each other and broke their legs.
My dad once went off a ski jump while buzzed and fractured his leg in seventeen places.
Humans have the capacity to be really stupid, especially the ones who should know better.
You don’t have to stretch that far for a character to do something stupid and that stupid results in someone hurt or dead.
However, when you take this tact, you have to accept is that it’s the result of stupidity. This isn’t some accident that no one could’ve predicted, it isn’t a tragedy that came out of nowhere. It happened because these characters were engaging in unsafe practices and taking unnecessary risks. Everyone in this situation made serious errors, especially the one who decided that jumping between the two characters with weapons was a good idea.
So, yes, it’ll be tragic. However, it’s important to recognize the difference between the tragedy that is unexpected and the one which is predictable. This is the kind of tragedy you can see coming with bells on.
Here’s a different kind of story about media and politics.
It demonstrates how the monstrosity of a crime a century old still divides and scorches the world. And it’s one more example of how digital technology is changing geopolitics at every level, from interfering with other nation’s elections to the current wave of ransomware cyberattacks and even the release of motion pictures.
Last Tuesday, Donald Trump had a chummy meeting with Turkish President Recep Tayyip Erdogan. There was a lot to talk about — NATO, Syria, ISIS. They also discussed the continued presence in the United States of Fethullah Gulen, the Erdogan foe on whom the Turkish leader blames last summer’s failed coup d’etat.
In a Washington Post op-ed just prior to Erdogan’s visit, Gulen wrote, “The Turkey that I once knew as a hope-inspiring country on its way to consolidating its democracy and a moderate form of secularism has become the dominion of a president who is doing everything he can to amass power and subjugate dissent.”
No wonder Erdogan wants Gulen extradited to Turkey, where he would probably face certain death. So far at least, we have refused to do so. Meanwhile, as Erdogan looked on, his security detail viciously beat protesters outside the Turkish ambassador’s residence in Washington.
So given this particular White House, and Trump’s expressed admiration for Erdogan, you know that one topic not up for discussion was Erdogan’s ever-escalating suppression of human rights, especially in the aftermath of the unsuccessful coup and the recent referendum in which he consolidated even more power.
This year, the anniversary of the beginning of the genocide has been marked by the release of two movies, each offering a very different account of what happened. Only one of them is truthful and the response has been both fascinating and troubling. Here’s another forbidden but related subject that wasn’t on the agenda: the horrific Armenian genocide committed a century ago by Turkey’s Ottoman Empire. Between 1915 and 1922, at least 1.5 million were massacred, some 80 percent of the Armenian population.