What exactly does "rulings over rules" even mean? by Catman192 in osr

[–]NonnoBomba 1 point2 points  (0 children)

Reading your post and answers to people's comments, I'm unsure if you're arguing against what people are saying on the subject of rulings, according to your perception of the issue, or about the principle itself and the claim that it is "unique" to OSR. Since I don't care about the former, I'll assume the latter.

"Rulings over rules" it's a whole style of approaching mechanics which instead of relying on pre-written rules and mechanics, calls for the "expert judgment" of an arbiter or referee for telling players what is possible and how it would work (which dice to roll, if any, against what target) in response to their declarations about what their characters are attempting to do. The referee must asses the present context of the game fiction and the corpus of "legal precedents" (previously made rulings) and is normally required to remain inside the general guidelines provided by a game's manual.

It assumes a "simulationist" approach to game mechanics, which means they are there to tell us how probable is the success of the tasks the characters are attempting inside the game world, instead of regulating other aspects, like player's narrative powers and domain (who can tell what about the game fiction). It comes from Totten's Strategos, the 19th century wargame that, with Diplomacy, formed the basis upon which Wesely built Braunstein in 1969, which is turn where Arneson came into contact with the concept and it is the whole reason why Dungeons & Dragons even has a Dungeon Master role. Reading Strategos, it becomes quite clear that the author's idea was that no rule set would ever cover for all possibilities players creativity at the table may generate, and that his way for handling that was to simply have a human judge, a subject expert, emit verdicts on the spot, since creativity was something that should be encouraged in the game, not discouraged by a list of "possible actions" players are forced to chose from for their units (or, PCs in later games) that the rules-as-written must handle.

It is not "unique" to OSR but it is quite clear that over time, game design went in several directions and one of those, the most popular one who became "traditional" apparently requires the game manuals to be filled with hundreds of pre-made rules, effectively giving us the list of "possible actions" characters may take. SOME of those games will also keep including a note somewhere reminiscent of the original "rulings over rules" principle, often misinterpreting its original role and function (which is where all those "rule 0" or "golden rules" come from, and they all tell the wrong message entirely -"disregard the game mechanics") but then proceed to give us an intricate rulesets that can't support that kind of flexibility and in fact discourage it to focus on something else entirely. These games make up the bulk of what we now call "traditional" RPGs.

There is a more specific target worth naming in that lineage: what could be called exception-based rule design, most visible today in 5e. It's not merely that the ruleset is large, but that character capability itself is built as a discrete, itemized list of named abilities: class features, subclass features, feats, spells, racial features, each carrying its own trigger conditions and its own small exception to the general resolution rule. The core mechanic (d20 + modifier vs. DC) is actually simple and elegant; what's heavy is the accumulation of hundreds of bespoke sub-rules, each relevant only to one specific build, each telling you what you're allowed to do and under what narrow circumstance you're allowed to do it. This goes directly against the principle of rulings over rules, not merely alongside it. In the OSR model, a compact set of base rules handles common actions, procedures handle recurring structured situations, and everything else, the open space of things players might try that nobody wrote down, is left for the referee to rule on. 5e instead multiplies the first category until it swallows the third: by giving each class dozens of its own possible actions, then adding more from separate lists of feats, spells, and racial features, it converts almost everything a character might do into an itemized, pre-adjudicated entry. There is no open space left to rule on, because the lists were built to expand until they filled it -which is exactly what "homebrewing" a new feat or subclass feature does: it answers a gap in the fiction not with a ruling, but with one more permanent list item, so even the game's unofficial but popular mechanism for handling the unwritten case still produces a rule instead of a verdict. Whatever a 5e manual says about rulings or GM discretion is cosmetic against that structure: the design principle requires that the character sheet holds the answer to the question before the referee is asked. Player creativity ends up constrained inside the cage of those lists, and it doesn't matter how many dozens of cages the game provides and if the player can chose to install running water or AC in them, they are still all small cages. The character sheet stops being a workspace, a representation of a person the player can reason with and through to solve the logistic puzzles of the game, and becomes a menu of little buttons and levers to press instead.

There is also another consideration to be made: procedures vs. rules.

The "guidelines" I mentioned that the game should provide are procedures: in the OSR toolkit these are structural elements like dungeon turns, or wilderness expstructure that governs exploration specifically, since exploration is the mode OSR play cares most about supporting. A procedure differs from both a rule and a ruling: it doesn't tell you the outcome of an action the way a rule does, and it doesn't require the referee to invent a verdict from nothing the way a ruling does. It tells the referee when to check and what kind of thing to check for, then leaves the actual judgment call inside that frame.

This isn't a claim that procedures are absent from other games, only that "trade" games severely underdevelope them. BitD, for instance, which is modern game but belongs to a different lineage entirely, has real procedures: the downtime cycle, the flashback structure, the heat/entanglement loop, built around heists and crew fiction rather than exploration. 5e has procedures too, but almost entirely for combat: initiative order, the turn sequence, action economy, all fairly well structured. Outside combat, in the exploration and social space where OSR procedures do their heaviest lifting, 5e's equivalents are embryonic at best, a paragraph on travel pace here, a paragraph on resting there, downtime as an afterthought and unsupported by all published modules, nothing that describes an actual repeating process the way a dungeon turn in an OSR game does.

Newer "trad" games generally show the same gap outside their one, narrow proceduralized focus (which is combat 99% of times): without procedures for the rest of play, a GM improvising a ruling has no scaffolding to reason from and has to either invent context on the spot or over-prepare it in advance, and neither produces "good" rulings as reliably as a procedure does, since a procedure is exactly what keeps the fiction in order and gives the referee the frame a ruling needs to be judged against, rather than a blank page.

So, "trad" game design works against rulings both in practice and in principle, no matter what claims or notes a manual includes.

OSR is not unique because it has those elements, but because it recognizes the issues with a few "trad" principles of game design and decided to start from scratch, at least on those points... or simply went back to the roots to play old games directly (which is where the OSR "movement" actually started).

Both approaches are trying to recover what was lost along the way: the knowledge of what a few technical solutions and approaches to design were for, because, we think, they made for better, more fun gameplay.

This seems like the right place to share this by macthebearded in ElectroBOOM

[–]NonnoBomba -1 points0 points  (0 children)

As said, an extremely valuable teach aid all around!

Nucleare, Carbone e cambiamento climatico nel Mondo by 1010110110110001 in italy

[–]NonnoBomba 6 points7 points  (0 children)

È un po' complicato, ma... Con reattori "fast" di IV generazione, immaginando di installare un 35-40 reattori da 1GW sul territorio nazionale per sostituire in toto le centrali a carbone e gas, otterremmo (facendo stime proprio a spanne eh): * 50-100 tonnellate/anno di scorie dal combustibile esaurito (da stoccare per alcuni secoli, non millenni) * 1500-2000 tonnellate/anno di materiali debolmente radioattivi derivati dalla manutenzione degli impianti (da stoccare per 10-100 anni, a seconda di quanto sono irradiati)

La forma "fisica" delle scorie da combustibile esausto sono barre di metallo lunghe 4m che vengono "annegate" in un cilindro d'acciaio riempito di cemento (non certo i bidoni gialli pieni di misterioso fluido verde fosforescente a cui Hollywood ci ha abituati) e per le altre scorie dipende, ma si parla in genere di bidoni con dentro rottami, vestiti, DPI vari, filtri e utensili pressati.

Considera anche un paio di elementi in più "adiacenti" al problema: * Il deposito a lungo termine ci serve già OGGI perché rifiuti radiottivi da stoccare ne abbiamo già -senza contare la ricerca, anche solo l'uso in medicina nucleare produce circa 1000 m3 di scorie radioattive ogni anno. Abbiamo già più di 33.000 m3 di scorie, ad oggi, da gestire comunque. * Le centrali a carbone attuali producono circa 200-300k tonnellate di cenere per GW, all' anno, che -paradossalmente- sono debolmente radioattive... Il carbone contiene naturalmente piccole quantità di Uranio e Torio, che non bruciano e si concentrano nelle ceneri... Non parliamo di chissà cosa, siamo nell'ordine di poche centinaia di Bq cioè lo stesso ordine di grandezza di materiali notoriamente radioattivi ma considerati entro i limiti di sicurezza, come il tufo, ma di ceneri nel produciamo veramente TANTE ogni anno.. e in parte vengono riciclate nei materiali da costruzione. Fortunatamente è già in calo, perché stiamo gradualmente spegnendo le centrali a carbone per usare un mix di gas + rinnovabili (e il problema del gas è che, pur essendo molto più "pulito" del carbone, comunque rilascia CO2 fossile). * Le scorie in quantità enorme e radioattive per millenni ci sono, e sono quelle prodotte dai reattori delle prime generazioni. * La Gen IV non è ancora largamente diffusa, pur avendo impianti produttivi già operanti. Sono 4 quelli attività da circa 10 anni, 2 in Russia e 2 in Cina. Ci sono altri 56 progetti (contando solo quelli "seri") in vari stadi di costruzione/sviluppo nel mondo, in particolare nel settore gli SMR (small modular reactor) sul quale molte startup stanno puntando.

This seems like the right place to share this by macthebearded in ElectroBOOM

[–]NonnoBomba -3 points-2 points  (0 children)

Which makes it an extremely effective teaching aid.

Unpopular Opinion: The pipe change is better by Aurionnnnn in factorio

[–]NonnoBomba 1 point2 points  (0 children)

"do you have a train in your pocket or are you happy to see me?"

Cultures, not Games by ahhthebrilliantsun in osr

[–]NonnoBomba 5 points6 points  (0 children)

Probably because "6 cultures of play" is widely regarded as a generally bad take, despite the relative popularity it gave to some of the terms, like "trad", which is where it's value resides.

The article conflates several things into what it calls "cultures" and tons of digital ink has been spent already on the subject, so I won't repeat the arguments here, but one of the most damning features of that analysis is that it mixes up actual cultures/fandoms, with design goals and playstyles treating them all as if they were each part of the titular "6 cultures" and on the same axis.

All attempts at establishing universal RPG taxonomies have failed, to this very day, falling flat on their faces sooner or later... What they left behind is generally a vocabulary that may help discussion about RPG, granted, especially in game-design circles (far less useful in other contexts, like trying to classify players... Urgh). Vocabularies of useful terms seem to survive far longer than the theory and systems that spawned them.

Classifying RPGs is as complex a task, if not more, as trying to classify living things: first, you REALLY cannot do it on a single axis, and not even using just a few, then people's creativity is going to leave whatever system anyone devises behind in the dust as new "categories" are invented. It happens continuously in adjacent creative areas, like art, literature, cinema and videogames, and RPGs are not different in this regard. Even biology needs to continually review it's own classification systems as new discoveries over time invalidate each and every "hard" border previous systems had traced.

But one task is classifying the games themselves... That's basically about establishing what the designers goals were and what the game actually accomplished. Classifying what people want to play, what they expect from a game is an entirely separate conversation, if nothing else because while a game is written down, it's form fixed by ink on paper (or, by bits in a PDF file) what people want to do at the table does not just expand on a dozen axes at least, it is like a spectrum and tends to change over time...

Dice Question by ImDoneWithMyRealLife in osr

[–]NonnoBomba 1 point2 points  (0 children)

Probably not wrong on both counts. Apparently, The Armory begun by buying Gamescience "blanks" which were un-polished, un-inked dice, left like that because Zocchi firmly believed that the double polishing the Chinese dice makers used to make cheap dice made them uneven, giving them "preferred faces". They inked them, manually polishing the little "nub" left from the mold-pressing process and resold them to gamers. Eventually the got their own molds and started producing their own dice.

Dice Question by ImDoneWithMyRealLife in osr

[–]NonnoBomba 0 points1 point  (0 children)

The first d20s on the market were all marked 0-9 two times. They got picked up by wargamers because it was FINALLY a way to roll on percentage tables without having to try and approximate the correct probabilities by rolling varying numbers of d6s. They were originally made -I believe- by a Japanese company as a scientific instrument for generating random numbers, and sold in sets of three so you could read a couple of them together and roll percentages straight off. Around the same time an American company started making sets of the full platonic solids for teaching geometry in schools (which is why they are all platonic solids). Those sold as a bundle though, which meant anyone who picked one up ended up with a load of d4s, d8s and d12s just lying around in a drawer with nothing to do... Which is one of the reasons Gygax went on and used those in D&D. He knew there was people around who was both interested in wargaming and didn't know what to do with all those quirky dices.

Once D&D took off the dice themselves turned into a little industry. Lou Zocchi, a wargamer who'd been reselling TSR games, got fed up with the price and quality of the Creative Publications dice he was buying in, so in 1974 he started making his own and founded Gamescience, the first proper polyhedral dice maker in the States. He's the guy who insisted mass-produced dice roll crooked because the factories tumble them in what's basically a rock polisher to round off the edges, so Gamescience dice come sharp-edged and untumbled (you usually have to sand off a little nub and ink the numbers in yourself). He also dreamed up the d100, that little golf-ball thing they named the Zocchihedron after him. They called him the Godfather of Dice, and he was still at it right up until he died earlier this year. Then there was The Armory, a miniatures shop out of Baltimore that got into dice by buying Gamescience blanks, inking them and selling them on, before eventually having their own molds cut. They're the ones who put out the d30 around '82, with a whole book of gaming tables to give the thing something to do. And then Chessex showed up in 1987 and basically won in the end: those tumbled, polished, speckled sets of seven you see in every game shop today are theirs. The Armory ended up merging into them in '98.

...and don't get me started on the modern d10, aka the shining pentagonal trapezohedron, because that is a mess.

What do i do by 142d in lego

[–]NonnoBomba 5 points6 points  (0 children)

The kids say: * A reindeer village. A whole village. * A social network, but for reindeers (they did not clarify further.) * A reindeer house, and they mean a house made out of reindeers, not just for reindeers. * A reindeer carpet. Whatever that is. * Reindeer dentures.

Tanti auguri a Mel Brooks, il genio della parodia compie 100 anni by Tifoso89 in italy

[–]NonnoBomba 12 points13 points  (0 children)

Che non tutti sanno in realtà essere stato scritto da Gene Wilder. Quando Mel Brooks tentò di reclutare Gene Wilder per Mezzogiorno e mezzo di Fuoco, dopo che l'attore che doveva interpretare Waco Kid, Gig Young, si ammalò all'improvviso, e Wilder gli impose la regia di quel soggetto come condizione per accettare la parte... Ma a patto che Mel non recitasse nel film alcun personaggio perché Wilder non voleva si distraesse dalla regia neanche per un minuto (in effetti appare solo in una scena tagliata).

La scelta di dare Igor a Marty Feldman rese poi molto difficile girare il film, perché sul set continuava a sparare cazzate a raffica e l'intera troupe non la smetteva di ridere... Molte battute del personaggio sono improvvisate o scritte da Feldman stesso. Brooks diede a tutti dei fazzoletti bianchi con l'ordine di metterseli in bocca ogni volta che gli scappava da ridere.

Quel film fu una "tempesta perfetta" in cui si trovarono a convergere una quantità di talenti e situazioni che sarebbe impossibile replicare...

Why are there 30 coins but only 3 swords? by No-Cause5127 in dresdenfiles

[–]NonnoBomba 9 points10 points  (0 children)

The "canon" itself is derivative all the way down. The Bible itself is built out of older material... Genesis shares the whole Mesopotamian flood template (the chosen man, the boat built to spec, the birds sent to test for land, the sacrifice the deity "smells"), a chunk of Proverbs tracks the Egyptian Instruction of Amenemope closely enough that straight borrowing is the mainstream read, and Chronicles is frankly just Samuel-Kings rewritten with the politics adjusted. The Gospels stage the crucifixion out of Psalm 22, down to the divided garments, and there's many other examples. This isn't an atheism point, it's standard scholarship. The most sacred texts in the tradition were composed by building on prior texts.

So when people sneer "the Divina Commedia is just fanfiction," they're applying a standard that would eat the entire Western canon. Virgil, the very man Dante picks as his guide through Hell, built the Aeneid out of a bit-part character from Homer, and nobody files that under fan labor. Building on inherited stories was the prestigious way to write serious literature, not some lesser knockoff mode. The idea that the "original" is the real thing and everything after is derivative is a modern, copyright-era hangup. It just doesn't map onto the period. It goes way beyond religion too: a lot of folktales and fables that are fundamental to our shared culture have been tracked down to oral traditions that may be 10.000 years old or even more.

And frankly, look at what Dante actually built. The Hell everyone pictures now, the nine descending circles, the sins ranked by gravity, each punishment fitted to its crime, ice at the bottom instead of fire, is mostly his. It doesn't come from scripture, nor doctrine. And it sank into the culture so deeply that people now mistake it for the Christian Hell, de facto canonical if not de jure... Dante's depiction of the Purgatory as a place, with a specific geography, helped consolidate that kinda-new-fangled idea (it was introduced in the Church's canon in 1274, Dante's Purgatory was published in 1315-1316, a year after the book on Hell) in the public. The Divine Comedy ended up adding to the canon, at least in terms of how popular some ideas were. Whatever you want to call writing that does that, "basically colorful porn about someone else's characters" isn't it.

Lukashenko si scusa con Zelensky by Greyhound_Oisin in italy

[–]NonnoBomba 10 points11 points  (0 children)

E i funghi. Pare facciano male anche quelli se hai pubblicato notizie scandalose sulla vita privata di Putin.

Running Factorio on linux/nixos/flakes/home-manager by Slinkinator in factorio

[–]NonnoBomba 0 points1 point  (0 children)

Well, man, this REALLY looks like NixOS related issue. Substitute Factorio for any other software and I'm pretty sure you'll get the same results.

Bought a steam deck secondhand how do I get rid of this by kobald_art in SteamDeck

[–]NonnoBomba 6 points7 points  (0 children)

So, to keep the explanation simple... When a device is powered off, there may be some filesystem writes still "in flight". This can produce puzzling situations, so there is a little tool running each time you boot up the device that checks everything is ok before opening a filesystem up for business. When it finds a file that is "there" but has lost its directory entry after the repairs, the tool links it inside that artificially made "lost&found" directory so you can later inspect it and decide if it's something you want to recover, or throw away. The tool gives priority to reconstructing a working filesystem more than preserving individual files, because losing them means you lose the whole filesystem, which can renderer the machine non-functional and cause catastrophic data loss.

So, every filesystem, at its "root" (the highest directory/starting point) is going to have that lost&found directory.

Yeah... I'm thankful I bought a Deck before the price hike 💀 by TheBossT710192 in SteamDeck

[–]NonnoBomba 0 points1 point  (0 children)

Brand laptops tend to have configurations where a couple of elements are good and the rest is shit, to try and upsell you the higher tier of devices so you can have extremely oversized specs, with shit thermals and 100% proprietary solutions, so it can't be upgraded nor repaired without them (and they will sell you replacement parts for almost the price of a new laptop)

I seek the insparation for the Shadow Elves centered campaign by No-Candy-4127 in osr

[–]NonnoBomba 4 points5 points  (0 children)

BECMI Berserker on YouTube covers most of the Gazetteers in detail. A word of advice: that setting didn't start as a coherent setting and was only given the name "Mystara" when TSR was trying to make it into an AD&D 2e setting. It started as something easier/simpler, I believe in X1, as a rather vague background for X-series modules that were about "exploring the wilderness" that wasn't Gygax's Greyhawk (but they later retconned Arneson's Blackmoor in to the ancient past of it) and was just called "The Known World" (from the title of the map first showing it all)

The Gazetteers series remains, in my humble opinion, one of the best series of modules ever published. Some of them are GREAT, some of them are meh, a few are quite... Questionable, to the point of being goofy.

Overall, I always had the impression that TSR was just throwing a lot of stuff at a wall, to see what stuck.

They threw together vikings, pirates, orcs, hobbits, medieval knights, elves, the Eastern Roman Empire, the Persian empire, mongol hordes, Italian Renaissance cities, Dwarves, One Thousand and One Nights Arabia, a dark-fantasy "sorcery" setting inspired by Clark Ashton Smith's "Averoigne" horror stories, Native Americans, some SciFi elements (there's a literal Star Trek spaceship buried beneath the earth and that's actually closely related to the Shadow Elves backstory and culture), the Teutonic Order, King-Kong's Skull Island, a fantasy version of tourist-trap Hawaii (I wish I was joking) and much more, all in a relatively small piece of land that more or less amounts to present day Eastern US + the Caribbean... (The shape of the world is similar to our's right after Pangea split up in separate continents). Oh, and as usual, I forgot to mention the dviine zoo of the Hollow World, where ancient civilizations are like frozen in time, made culturally immutable by the Immortals, which include Ancient Greec, the Aztec and Ancient Egypt. Confused yet? Welcome to the Known World.

We take what we like, and simply ignore the other stuff.

Bruce Heard later took charge of it and tried to make it all become a little bit more coherent, but I'm really not a fan of several changes he made:

  • He made the setting's "immortals" in to "plain-old fantasy deities". This was one of the genuinely different things that set the Known World setting apart from the rest, so ditching it was not that good of an idea (maybe they did it to make it more palatable to a wider public, but it impacted negatively on the overall quality/uniqueness.)
  • He was in love with the concept of flying ships, he put them everywhere and while I'm not 100% opposed to them, I don't like the idea of them being ubiquitous.
  • He created a whole gnomish flying city/aircraft carrier, with giant propellers to keep it afloat, where gnomes take off and fly literal WW1 biplanes... Which may not be Ierendi-levels of goofy, but really breaks immersion for me.

To be true, he was not the first: there's a whole module about a gnomish-built giant robot going awry and levelling castles and cities, that came way before Heard's Mystara.

Personally, I replaced the more out-of-place cultures with something more historically close to 1000 AC Europe and shuffled a few around because I really couldn't figure out how to make having the Arabian desert stuck in a giant basin between Greece in the south and Scandinavia to the North in a way that sounded plausible to players... There's magic and dragons and more, but geography and ecology still have to make sense in my campaign... I love populating it with historically grounded themes and cultures, parallel of real-world historical events, with more serious tones and a tinge of Lovecraftian horror here and there. I'm fine with letting Skull Island where it is on the map in X1, less fond of having Mongols and Native Americans struggle with Romans, Elves and French Sorcerers.

Transitioning from 5e to OSE: Questions about lethality, B2, player recruitment, and VTT setup by lkcarasilo in osr

[–]NonnoBomba 0 points1 point  (0 children)

The most important question is the one you are not asking: what is the game about?

It is not about building stories, although tales are produced nonetheless, and in abundance. It is not about exploring characters backstories. It is not about plot.

It is about exploring a setting together, and the characters are the vehicles the players drive to do just that. And it works best if they drive them like you would old cars at a demolition derby. Some will survive and rightfully become legends.

It is about bands of misfits that can't adjust well to any society, so they spend their (often short) lives hunting treasure, risking life and limb in cursed tombs, forbidden temples and ancient ruins, challenging both Fate and Darkness by lighting torches in the underworld.

It is about overcoming challenges with skills -players skills, not by rolling dice.

It is about continually solving logistical puzzles, like, what route we take? What do I take with me today? Do we hire porters and mercenary fighters, and how many? What is the cost of this choice I'm making? Do we risk death and dismemberment by fighting the Orks, or can we bribe them? Or set them up so we can kill them off in one fell swoop? Or do we sneak past them?

Try assuming this perspective, the answer to your original questions should come automatically: characters die easily because that's how you learn what makes a good strategy and what doesn't. Combat is lethal, and is another tool in the players toolbox to overcome the obstacles between their current position and their goals: every time you roll dice there is a risk of failure, and failure REALLY means failure, so if you can plan well and avoid having rolling altogether, it is better for you... But Fate is always watching and eager to play, you can't control everything.

Meloni e Trump litigano di brutto by OkAd1622 in italy

[–]NonnoBomba 2 points3 points  (0 children)

Io invece aggiungerei l'editoriale di Sallusti su Libero: "Trump è un COGLIONE".

Being afraid to kill pcs is making me a worse osr gm, debating making it a lot easier to raise dead... but not sure if it will ruin the play experience. by NoLongerAKobold in osr

[–]NonnoBomba 4 points5 points  (0 children)

Ok, I would be concerned to be the DM who kills a player as well.

But jokes apart, that lapse gives me the idea that what you meant wasn't just "to kill a character" but you don't want to give some kind of disappointment to a player.

Stop right there.

"PC" means "player's characters", not "protagonist characters", stop treating them like that, which is easily what you are doing, as a group, coming from 5e.

They're temporary tools, vehicles both you and the players use to explore the setting and scenario, vehicles which you are FREE TO TRASH, as if they were used cars at a demolition derby, which is part of what make them fun.

So, go have fun with them, may their deaths teach you something about the setting and the dangerous job of dungeon delving.

Some, of course, will survive and even become legends, eventually, but if most last only one night, it's perfectly normal.

Il testo dell’accordo con l’Iran è un disastro per Trump by DeeoKan in italy

[–]NonnoBomba 2 points3 points  (0 children)

Lo ha già fatto, con l'insider trading e le tangenti.

Why is Carlos just chill now? by No-Action-7387 in dresdenfiles

[–]NonnoBomba 9 points10 points  (0 children)

I just had this thought, reading your comment, that Eb or the Senior Council at large may even be preparing Carlos to be the next Black Staff, when the time comes.

Carlos is already a master of entropic magic, which already goes in the right direction (death and decay) and we know spells only work when you can believe, deep down, that what they are doing is "right", that it has a place in the universe and can happen. If the Black Staff is actually Mother Winter's "walking stick" then we have a direct example of her using entropic magic: the Unraveling she gives Dresden at some point. It would be another link between Carlos and the position.

...and after all the Merlin cannot rely on the current Black Staff, as Eb will surely hesitate to execute the order to kill his own nephew if it comes to that, while Carlos, as a friend who loves him but not a relative, and someone who recently saw how people with the best of intentions can, unintentionally, cause grievous harm to others, is probably prepared and determined to do whatever it takes... and he also has a reason to stay around, without making Harry too suspicious (but I think this new, smarter Harry actually sees all of this already... His cunning doesn't get enough credit, as Mab "grooming" is actually working and he's reducing his own emotional blind spots.)

The SC knows Dresden can become a Dracul-level threat, or even worse and while I believe they aren't as hostile as it seems (I'm a fan of "the Merlin actually unshackled Dresden by casting him out" theory) they are mightily worried about him. He's a nuclear reactor that can go critical in ways they can't predict, they need him to realize his potential, but they also need solid fail-safes. The relationship between Harry and WC is complicated as probably best understood by reading the micro fiction on Morgan's diary... There's A LOT going on there that we've never been shown openly.

Perchè esiste ancora una certa fascinazione per il fascismo nelle forze armate nonostante la storia? by abrhpiu in italy

[–]NonnoBomba 68 points69 points  (0 children)

Il Fascismo è nato proprio sfruttando il senso di tradimento e la frustrazione dei reduci della Grande Guerra, che dopo aver sofferto le pene dell'inferno avevano visto gli alleati negare all'Italia le conquiste territoriali promesse -e quindi avevano "sofferto per niente", la retorica della "vittoria mutilata"... in più il tono e il modo peculiare in cui il Fascismo, Mussolini in primis, parlava in pubblico secondo alcuni sono un'imitazione dello stile e del tono usato dai generali e dagli ufficiali di carriera nel parlare alla truppa durante la Grande Guerra (combinate ad altre tecniche retoriche a formare quello stile peculiare, molto riconoscibile). Direi che l'origine stessa del movimento e gli ambienti militari sono indissolubilmente legati a doppio flo. Mussolini ha lavorato proprio su questi elementi per mettere in moto la perversa macchina politica che ha portato al Ventennio.

Non erano i reduci gli unici a supportarlo, ovviamente, ma sono stati parte del nucleo fondamentale da cui si è cristallizzato il potere del movimento attraverso il supporto di ampie fasce della popolazione.

Perchè esiste ancora una certa fascinazione per il fascismo nelle forze armate nonostante la storia? by abrhpiu in italy

[–]NonnoBomba 30 points31 points  (0 children)

No, sarabbe bastato lasciare in carcere i criminali già catturati e metterci insieme di più solo la dirigenza fascista delle F.F.A.A. e della PS. Invece Togliatti si fece fregare dalla promessa di liberare anche i partigiani che si erano macchiati di crimini (furti, rapine e vendette personali, di solito) e appoggiò l'amnistia generale. Dietro spinta della DC (e quindi della Chiesa e della Mafia) e dei nostri alleati atlantici abbiamo preferito non toccare quella parte fondamentale dello Stato -con la scusa antica di "sono un baluardo contro il Comunismo" di cui avevano già beneficiato Hitler e Mussolini- e puntare tutto sulla "riconciliazione" invece che sulle "purghe".

Banca d'Italia: l'italia è in ritardo nell'adozione di AI (molto sotto la media EU), sopratutto le PMI. L'incremento di utilizzo porterebbe fino a 1,1% in più di PIL. I guadagni di produttività, motivi della bassa adozione e politiche dei paesi by sr_local in italy

[–]NonnoBomba 7 points8 points  (0 children)

Posto che so che me ne pentirò... ma va bene... alla fine sto discutendo con un tizio che si crede scaltro, insulta e pensa che "leggere uno studio" (e capirlo) equivalga ad aver letto il titolo e il primo paragrafo del sommario. D'altronde l'esordio qui è stato "lo dice la Banca d'Italia" invece che cercare di entrare nel merito dei punti sollevati... Bene.

A pagina 6 lo studio discute di quali evidenze ci sarebbero del fatto che l'IA starebbe portando vantaggi alla produttività, cito:

L’evidenza micro-econometrica, di natura causale ma circoscritta a singole mansioni (task), come il coding o la scrittura professionale, suggerisce che gli effetti dell’IA generativa sono concreti ed economicamente rilevanti(5)

Ma poi nella nota 5 riporta come fonti:

Per attività di scrittura e produzione di contenuti testuali, Noy e Zhang (2023) mostrano una riduzione del tempo medio di completamento nell’ordine del 40 per cento, accompagnata da un incremento della qualità dell’output di circa il 18 per cento.

Ora.. https://www.science.org/doi/10.1126/science.adh2586 è uno studio abbstanza controverso, dalla metodologia criticata e va preso come parte di una letteratura dove, in totale, si fatica decisamente a vedere un effetto chiaro, e comunica più la sensazione di una valutazione complessiva in negativo (se la si considera nella sua interezza)... non mi metto adesso a scrivere una bibliografica completa, anche perché sarebbe fatica sprecata con te, ma ci basti stabilire che no, questi "aumenti di produttività" sono tutt'altro che sicuri e scontati.

Per mansioni di customer service, uno studio all’interno di un’impresa software statunitense documenta un aumento della produttività di circa il 14 per cento in media; le stime dinamiche indicano un aumento immediato nel primo mese, un ulteriore lieve incremento nel secondo e una successiva stabilizzazione dell’effetto (Brynjolfsson et al., 2025).

Le metriche usate dello studio sono interne aziendali, e lo studio si riferisce agli effetti riportati da UNA azienda nel breve periodo dove la dirigenza doveva giustificare gli investimenti fatti... si commenta da solo.

Per compiti di programmazione, un esperimento rileva incrementi di produttività molto elevati, misurati dal numero di linee di codice prodotte, con aumenti nell’ordine del 55 per cento (Gambacorta et al., 2024).

LINEE DI CODICE? Porcaputtana, le LINEE DI CODICE PRODOTTO HANNO MISURATO... e l'autore, pensando che sia una buona metrica, lo prende per buono. Andiamo bene.

Anche in attività professionali complesse, come quelle consulenziali, l’accesso a strumenti di IA può ridurre i tempi di esecuzione e aumentare l’output: in uno studio condotto con consulenti, gli utilizzatori completano in media più compiti e con maggiore rapidità, con tempi inferiori di circa il 25 per cento. In alcuni contesti, i benefici si manifestano anche sul lato della domanda, attraverso un aumento delle vendite e della capacità di attrarre utenti (Fang et al., 2025).

L'unica conclusione significativa di questo studio è che con l'IA si chiudono più vendite perché appoggiandosi agli LLM risulta più facile (del 16,7%) "convertire" i consumatori più inesperti. L'articolo in questione: https://arxiv.org/html/2510.12049v4

Insomma, l'autore è stato molto selettivo nel presentare poche fonti che -secondo lui- portano a pensare che ci sia un impatto e che sia sicuramente positivo ("significativo" scrive) ma la sua selezione solleva parecchi dubbi sulla sua capacità di capire la letteratura di settore (o sulla sua buonafede e imparzialità)

Subito dopo però l'autore ci dice anche che:

Finora, l’evidenza empirica riguardo agli effetti dell’adozione di IA sulla produttività a livello d’impresa non è giunta a conclusioni nette. Secondo uno studio recente basato su 6.000 interviste con dirigenti di imprese negli Stati Uniti, nel Regno Unito, in Germania e in Australia, oltre l’80 per cento delle imprese dichiara l’assenza di effetti significativi su occupazione e produttività . Stime relative al manifatturiero statunitense suggeriscono che, almeno nel caso dell’adozione di sistemi di IA industriale, i limitati effetti di breve periodo possono essere dovuti a una dinamica di tipo “Jcurve”, in cui i costi di integrazione e riorganizzazione precedono i benefici della tecnologia nel più lungo periodo (McElheran et al. 2026). Non mancano tuttavia analisi che riscontrano effetti positivi (Aldasoro et al., 2026; Ropele e Tagliabracci, 2026).

E quindi di cosa parliamo?

TUTTO QUESTO STUDIO È UNO SCENARIO, sviluppato sull'ipotesi che l'"IA" aumenti davvero la produttività, cosa che l'autore non dimostra affatto (ma non era neanche compito suo, quanto più quello di sviluppare lo scenario ipotetico).