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No one can do good work for people they hold in contempt. Respect for one's audience, constituency, customers, or whomever one is serving is an absolute requirement if one is to achieve excellence.
This is why "next year will be the year of Linux on the desktop" has degenerated into a bad joke over the last twenty years. This is why open-source software is not, and cannot be, successful. The proponents of those movements consciously or unconsciously regard the vastly larger population of non-techies as ignoramus troglodytes for not sharing their priorities and interests. As a result, "usability" is a coat of paint slapped on at the end, not an overriding requirement guiding the entire development process; programmers actively reject the input or even presence of designers.
This is why Microsoft earned a well-deserved reputation for mediocrity, for selling software that was "just good enough"—never mind how many metaphorical gashes users got from its raw edges. To a degree they appear to be learning the lesson; their more recent products, released or announced, seem to pay more attention to the idea that respect is necessary to attract and keep customers.
This is why Apple is wildly successful, and why nearly every competitor (including open-source banner-wavers) seems bewildered or enraged by that success. Those competitors do not understand this basic principle of respect, and generally refuse to accept it even when their faces are shoved into it. Conversely, Apple's entire business model revolves around it; the job of the programmer or engineer is to collaborate with the designer to create a whole that is greater than the sum of its parts.
Of course, this principle is true not only in the electronics and computer industries but across most fields of human endeavor; it simply is more glaringly visible there than elsewhere. Big studios pump out insultingly shallow, formulaic movies; Pixar has an enviable track record of intelligent, well-crafted stories resulting in blockbuster revenues. My Little Pony Friendship Is Magic has spawned an astonishingly large and vital adult fandom because, thanks to sharp writing and painstaking animation, it is of better quality than a goodly share of prime-time television, let alone children's programming—most especially the astoundingly poorly-served young-girls demographic. Consider any profession, any art or craft: the word "respect" comes into it sooner or later.
If you find yourself curling your lip at someone whom you hope to win over, be it a customer, a voter, a fan, whomever, stop and think about what you're doing—and why and how you're doing it.
This is why "next year will be the year of Linux on the desktop" has degenerated into a bad joke over the last twenty years. This is why open-source software is not, and cannot be, successful. The proponents of those movements consciously or unconsciously regard the vastly larger population of non-techies as ignoramus troglodytes for not sharing their priorities and interests. As a result, "usability" is a coat of paint slapped on at the end, not an overriding requirement guiding the entire development process; programmers actively reject the input or even presence of designers.
This is why Microsoft earned a well-deserved reputation for mediocrity, for selling software that was "just good enough"—never mind how many metaphorical gashes users got from its raw edges. To a degree they appear to be learning the lesson; their more recent products, released or announced, seem to pay more attention to the idea that respect is necessary to attract and keep customers.
This is why Apple is wildly successful, and why nearly every competitor (including open-source banner-wavers) seems bewildered or enraged by that success. Those competitors do not understand this basic principle of respect, and generally refuse to accept it even when their faces are shoved into it. Conversely, Apple's entire business model revolves around it; the job of the programmer or engineer is to collaborate with the designer to create a whole that is greater than the sum of its parts.
Of course, this principle is true not only in the electronics and computer industries but across most fields of human endeavor; it simply is more glaringly visible there than elsewhere. Big studios pump out insultingly shallow, formulaic movies; Pixar has an enviable track record of intelligent, well-crafted stories resulting in blockbuster revenues. My Little Pony Friendship Is Magic has spawned an astonishingly large and vital adult fandom because, thanks to sharp writing and painstaking animation, it is of better quality than a goodly share of prime-time television, let alone children's programming—most especially the astoundingly poorly-served young-girls demographic. Consider any profession, any art or craft: the word "respect" comes into it sooner or later.
If you find yourself curling your lip at someone whom you hope to win over, be it a customer, a voter, a fan, whomever, stop and think about what you're doing—and why and how you're doing it.
A note on the magic-items lists
On the list of stock magic items in D&D fifth edition, wondrous items, as a category, outnumber all other types put together! That’s . . . bad organizational practice, very like “other” or “miscellaneous” being more than half of a pie chart. As a possible remedy, I split up wondrous items into new, more useful and manageable, types a DM can use, added them to the list, and generated a new document. Necessarily, of course, this required a fair amount of reformatting and abbreviating, but I believe all the truncations should be obvious in context. (If not, please let me know.) Other folks may disagree with my choices, and may want to lump and split items differently—in which case I encourage them to draw up their own novel item types. However, I do recommend following the apparent precedent established by the extant types, categorizing items by what they normally appear to be. By the numbers There are 378 total items on the stock list. Of these, 196 or 52% are wondrous items, and the
What next?
So what other quick-reference game aids would folks like to see for D&D fifth edition? Might as well continue the streak!
Seeking info: cover artists of vintage video games
The other day I got a most unusual e-mail message from a French collector of video games. He’s looking for information about box-cover artists of various games from the early 1990s, and pinged me because I was art director of Computer Gaming World magazine . . . thirty years ago! I told him I didn’t have any information of that sort, but he was welcome to send the box images he mentioned, and I would see what I could dig up. He did, and I looked them over. Some looked familiar, some didn’t, but as I expected I had nothing. And so I thought I’d reach out to see what I could turn up. Rather than bombard people with image files, however, I compiled a text list of the fifteen games, which follows. Battle Bugs (Sierra) Captain Blood (Infogrames/Mindscape Inc) Cruise for a Corpse (US Gold) Flashback: The Quest for Identity (SSI) Incredible Machine, The (Sierra) Incredible Machine 2, The (Sierra) Jungle Strike (Electronic Arts) King’s Quest VII (Sierra) Mechwarrior (Activision) MegaRace
Pointless ruminations on Sunset's flat
. . . Because I am an architecture nerd. While reconstructing Sunset’s idiosyncratic living space, I realized it actually is laid out quite poorly. In no way, however, should that be considered a negative criticism of the art and animation staff! I have seen equally or more awkward arrangements in the real world, especially in older constructions. So far as I know, no background information has been provided on its history other than Ms. Hadley’s response to my oblique inquiry on Twitter. My best guess is it was built a century or more ago as a workshop of some sort—note the brick walls with retrofitted electrical conduits and switchboxes bracketed to them—but was converted into a studio apartment in more recent decades, with the loft platform and staircase added at that time. Whoever installed the platform and stairs missed a bet. As it stands, the lower flight intrudes on the main room enough to create difficulties for efficient use of space, but is not long enough or best placed
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I can think of a LOT of authors and artists, both pro and fan, who need to read this. (Heck, given your own time in fandom, you can probably tell me some stories.) They are very wise words.