JacobCoffinWrites

A few weeks before Cyberpunk@lemmy.villa-straylight.social vanished, I'd started posting some recommendations for protocyberpunk stories I'd enjoyed:

I have a kind of specific fascination for proto-cyberpunk, generally stories that preceded the cyberpunk genre's start and have most of the elements but aren't quite there for one reason or another. I think it's fascinating to see how these things form, to try to find strands of DNA through fiction. Writers, sometimes decades earlier, voicing the same complaints, identifying the same problems I associate specifically with cyberpunk.

The first one I thought I'd mention is a pretty safe bet: Frederik Pohl and C M. Kornbluth's The Space Merchants

Written in 1952, this book has everything but the 1980s feel of a cyberpunk story: Megacities, corporate-states, corporate espionage, addiction-based-marketing, subscription-based-police, corporate citizenship in layers right down to indentured servitude, ecological collapse and a society that doesn't care. Even the visuals of layered, overcrowded, continent-spanning cities.

But it feels like a 1950s science fiction story. It's great; very slick and steeped in the language of marketing. That works really well for it. But it doesn't feel like a cyberpunk story.

I think that's part of the reason I find looking at these precursor stories so fascinating. Cyberpunk discussions often fold in on 'is this even cyberpunk?' and it can be really interesting to see something that has so many of the elements but is still something else from the start.

Obviously these are all just my opinions, and I'd love to hear anyone else's on this book.

Oh, one last opinion: If you're going to get a paperback, get the 1976 version, it looks great.

I've got a few of these I'd like to share, one more repost then we'll be into new old stuff. And if you have any protocyberpunk stories you'd recommend, I'd love to hear about them!

Cross-posted from: https://slrpnk.net/post/1225991 where I guess federation has preserved ghosts of the old instance.

Another post I made back on Cyberpunk@lemmy.villa-straylight.social and am cross-posting from:https://slrpnk.net/post/963170

I promise I'll write up some new posts soon - but I'd like to resume my weeklyish weird/less-known book recommendations and I'd like that to include these first posts. Hope that's okay.

I'm new to this community but I know we're still trying to work out the kind of content we want here. I really like discussions of cyberpunk settings, technologies, and their implications so I thought I'd submit my recommendation for a(n unfortunately less-well-known) story that has a lot of that. (I've got a few other recommendations if anyone wants to hear them.)

I'm biased here because I'm already a fan of the author, who passed away last year, but it's really, really good and I wanted to recommend it.

The Other Kind of Life is a cyberpunk noir detective story. It's thoughtful, well-built, and it never cheats the audience out of seeing how the protagonist pulls something off. The story and setting are cohesive, take no shortcuts, and build a very distinct world.

The elevator pitch about a con artist solving robot murders sounds pretty trite in summary, so I'll give you the cool parts:

1: It's set in a custom world, fantasy style, with no connection to our world, which gives the author a lot of freedom and neatly exposed how accustomed I am to seeing this in fantasy books with the slightest hint of magic, and how much it throws me when a hard scifi story exists in the same kind of place.

2: Everything about the AIs carefully considers how they would develop, rather than just writing mechanical humans. They're wonderful and alien in small, interesting ways. And the book is saturated with conversations about them, their drives and design challenges. It feels like a successor to Free Radical, one of his earliest books, but more polished.

[Future voice]: I wish Young had lived long enough to see machine learning AI really take off, I'd love to see what he thought of it, and how it influenced his future work. Also, just, like, in general, because he seemed like a really good dude.

3: This book takes no shortcuts. It shows you how the protagonist talks his way past people, plans his heists, and even how he finds and maintains his contacts. (Transmet for example had a habit of letting Spider summon up past contacts whenever he needed a lead, before burning them, making me wonder how he ever made those connections. It worked there, but this stood out in contrast.) I love stories about characters who are smarter than me, and this one shows him being smart. Every step of the investigation feels earned. As trite as the buddy-cop-robot-murder-investigation premise feels... for me, this might be The buddy-cop-robot-murder-investigation book.

Bonus stuff: There's a DM's fascination with how things got the way they are in the setting, from infrastructure to bureaucracy, to technology, to politics. An analyst's perspective that informs pretty much everything else. Young has a real knack for making careful analyses of situations and emotional states almost absurdly engaging, and he has a focus on workable AI designs that I really enjoy. His writing voice shows through in places in the novel's narration and dialogue, but it has the effect of making the characters seem more thoughtful and intelligent than you often get with this genre so I don't mind it. There's not much hacking in this one, which is a shame because he does it well elsewhere, but what's here is solid and believable, and the social engineering probably make up for whatever's missing. I'm probably overselling it, but if you enjoy scifi, I'd say it's worth it for the AIs and the world at the least.

Cross-posting this recommendation I made back on Cyberpunk@lemmy.villa-straylight.social from: https://slrpnk.net/post/1483143 because it's still a good read and I'm not sure how well known it is.

It's an awesome cyberpunk tech-noir tangle of crime and revenge and plots in a very cyberpunk city just loaded with awesome visuals. It's gritty and dark and sometimes funny, and I have no idea how the author is managing the update schedule he's been doing for years now. It's got over 600 pages and just updated three days ago. I have no idea the size of their audience, there aren't often tons of comments on the site itself, maybe a bunch of you are already reading it, but if anyone's missed out, take a look!

One of my hobbies is fixing up old furniture to give away. This one was interesting because I was able to combine two pieces of damaged furniture to produce something decent.

(This is a somewhat challenging one to write up because despite having the thing taking up most of my basement for months, I somehow failed to take any in-progress pictures of the desk itself. This is probably because almost all of the work was done on the desktop instead, but it's still kind of annoying. There's still a bunch of photos of the project in the imgur link though)

So almost a year ago, someone on my local Buy Nothing page offered up a mid-century desk. The kind with two file cabinets, pull-out writing surfaces, a central drawer, and a panel in the back. It even had the feet. The only problem was that it was missing the top.

It seemed like a fun restoration job, so I stated my interest and they let me know where to pick it up.

Once I got all the parts home and took some measurements, I put up a few posts on the page over the next few weeks asking if anyone had an old tabletop with the right dimensions. And someone did. She had the absolutely perfect top for this project. It was an old ikea table of the exact right dimensions, which had been stored in an open-sided garage for years. The finish had weathered off, the wood had bleached silver, birds had dumped on it, and the metal legs had rusted to the point where even I didn’t think they were recoverable. In short, zero guilt for taking the top and redoing it to match the desk (I always hate ruining one thing to make something else, but this wasn’t very fixable as a table).

I spent the next few weeks sanding it down until I just had bare wood, and had removed most of the water damage. Then I stained it, in two coats, of two different shades of brown, trying to hit the sort of medium shade the rest of the desk was made in. All my stains and urethane are also secondhand. The top came out slightly redder that I'd have liked. I’d say the desk has a more yellow-brown tinge, but all in all, I was quite pleased with it.

I applied several coats of polyurethane (using a brush because I’m a furniture refinishing monster). This was somewhat tricky because I was working outside - the local bugs decided to explore it and I had to keep chasing them away/rescuing them.

Once it was dry, I removed the rest of the table hardware (boards that ran width-wise across the underside, and which held the screw-in metal plates for the table legs to attach to). I saved the hardware because it’s always useful eventually, even if I don’t think I can fix the rusted-out galvanized table legs.

Assembly was as simple as putting the desk together, marking my drill bit for depth with some tape, and predrilling holes for some short screws, to attach the metal brackets on the desk cabinets to the underside of the top.

Finding a home for it was a little more difficult but the Buy Nothing page came through. I offered it to a person who was acquiring furniture for their neighbor, who was planning to host refugees in a spare mother-in-law type apartment. They ended up not needing it, leaving her with a pile of disassembled desk stuck in her garage. She was a good sport about that though, and a month and a couple posts later, we found another taker, who was happy to get it all set up. So now a incredibly sturdy, absurdly heavy old desk, and an old ikea tabletop are back in use and hopefully will be for many years to come.

My SO's company handles food. Sometimes that food goes bad. In this case, they got a whole shipment of milk days away from its expiration date (at which point they can't serve it, and local food pantries very sensibly won't accept it). Luckily, they're not committed to dumping it down the drain, and they'll let us take it.

Sometimes it's still okay to drink, but usually we take it so we can make farmer's cheese. This is a soft, mild cheese which makes an awesome dip/spread, or which is useful as an ingredient in other foods. It's super easy, and requires no aging, just heat and vinegar. This was our biggest batch yet.

We normally use this recipe: https://www.olgainthekitchen.com/homemade-farmers-cheese/ though we add additional seasonings depending on how we plan to use the cheese.

Step one is to bring the milk up to temp. The recipe will have more details, but the important thing is to stir it to keep the milk from burning and not to bring it all the way to a boil. We wait until there's a sort of bubble froth along the edge of the pot.

Once it's hot, its time to mix in the vinegar. You want 1/2 cup of vinegar per gallon of milk. Stir it and you'll immediately see the milk separate into clumpy white curds, and the thin yellow whey. If it doesn't separate, hey just add more vinegar.

Strain it through a siev or cheesecloth. You can speed things up by squeezing it a bit, but be careful since it'll be hot.

Let it drain a bit and you've got farmer's cheese. You have tons of options from here. You can keep draining it in the fridge if you want it kinda crumbly, or you can run it through the food processor with a bunch of seasonings to make a nice smooth, spreadable dip. We have a cheap jalapeno cilantro mix we really like for making a dip for crackers. You can also use it as a filling for stuffed shells, or mix it into a white sauce for pasta.

Alternatively, leave it unseasoned and use it to make syrniki, a kind of traditional Russian cheese pancake which is really good. (I've posted about this previously here: https://imgur.com/a/vqk4r4B and the recipe is here: https://www.alyonascooking.com/syrniki-recipe-cheese-pancakes/ )

Like I said, this is our biggest batch yet. Five and a half gallons of milk condensed down to one large bag of cheese. Our plan is to portion off enough for any meals that'll use it this week, and then to freeze the rest.

The picture shows a sticker with an orange fox drawn on it, sort of poking up from the bottom left corner. The fox has a green bandana. The fox's speech bubble says "a tasty sandwich will fix me <3"

I've really enjoyed reading about people's ideas for solarpunk cities over the last few months, and even making some designs of my own while working on my photobashes.

I really like how pedestrianized streets look, and I enjoy the art of streets that have been reclaimed by forests, bike paths, and gardens, etc.

One thing I keep wondering about, and which has kept me from doing more extreme designs of my own, is firefighting and other emergency services.

Where I am, firefighters and ambulance crews are heavily dependent on their specialized vehicles, and the ability to drive directly to the site of the emergency, whether that's so they can quickly carry someone out on a stretcher and immediately start treatment, or so they can deploy ladder trucks for rescue, or spray down the fire.

A lot of the scenes I've seen, and honestly probably my own most recent one, would probably interfere with modern day firefighters at the very least.

So basically I'm wondering, are there solutions to this I don't know about? Are these tasks already done differently in some other parts of the world? I know people can cary ladders and hoses can probably be hooked to hydrants, but they added the trucks for a reason right? Or are there future solutions for city buildings that aren't very accessible by vehicle? (I'm from a rural area where if your house wasn't accessible enough the plan was basically to just watch it burn down while getting scolded by a firefighter, if they could even find it in the first place).

Or would solarpunk cities just have to require a certain amount of vehicle-capable street access per building, not just for emergency services but so disabled and elderly people can get around, or for transporting heavy items?

cross-posted from: https://slrpnk.net/post/6072301

Once you get access to a laser cutter, you start to see all kinds of places you can use it in a project. Our local makerspace has one, and the more I use it, the more I find new applications, whether that’s in fabrication of flat parts, or just adding flair to smaller panels of a large project.

Around Christmas, I decided I was going to fix up my dad’s miter saw. It was an older, discontinued Delta 36250. The guard was missing(my grandfather didn’t believe in tools having guards) and the plastic insert in the table, where the saw blade came down, had been shattered for years.

The guard was an easy fix, bought a replacement part from ereplacementparts. But the plastic inserts were out of stock. In fact, even the scam parts websites that all look identical weren’t bold enough to lie and claim to have any of these things. Having examined what was left of the original, here’s my theory for why:

They’re junk. The space they fill is 5mm deep, but they were made to be cast out of plastic about 2mm thick with a lip around the edge to fill in the space. That plastic was super brittle. And then,just to make things better, the slot in the plastic, where the saw blade would go when it cut through the wood, wasn’t wide enough to accommodate the blade when it was rotated to do cuts at a 45 degree angle. Which it was designed to do. So the blade would come down through the wood, hit the brittle plastic at the wrong speed and blade type for cutting plastic, and shatter it. The inventories were out of stock because everyone broke theirs and ordered new ones, and they weren’t worth making in the first place

The obvious answer was to cut something close enough out of plywood and call it a day, but I wanted to get fancy with it. So I took some pictures, removed all the screws, claimed all the shards of plastic, measured the space, and brought the pieces home. Luckily enough pieces of the insert remained to get every measurement except overall length (which I measured while I was there). I used my calipers to get the original slot width, positions of the screw holes, etc. I drew up a vector image with my best guess at the final dimensions, and widened the slot until it slightly exceeded the damage marks from when the saw cut into it at a 45.

To get the curve at the corners I scanned in one of the shards, pasted it into the schematic in inkscape, and adjusted the rounded corners setting on the rectangle until it matched the scan.

On our makerspace night I cut a few cardstock templates, chased the screw holes around the design until they lined up with my plastic shards. And because I like adding some decorative aspect to practical items, I also drew up and cut a stencil of the name of his old military unit surrounded by a hawser rope.

This is one of the places the laser cutter really shines. When I was doing spray paint stencils in the past, I always cut them by hand with a scalpel blade(ironically cheaper than xacto knife blades). But this is tedious, takes forever, and certain designs really don’t lend themselves to it, so you find yourself spending lots of time gluing your bridges back together as they tear or bend. With the laser cutter, I had a template literally in minutes, and at least as precise as I could have done it. Some folks feel the art looses something when you make it easy that way, I’m personally more about results, especially when I’m on a timeline.

The makerspace didn’t have any plexi in the thickness I needed for the insert, so I reached out to TAP plastics for a recommendation. They had 4.5mm High Impact Modified plexiglass which they’d ship in custom dimensions, so I could get something small enough to fit inside the cutter. I went ahead and ordered that, and about a week later I had it. Enough material for four tries.

We ran the first cut slow in order to cut the thicker-than-usual plexi. That ended up melting it a bit along the edges and at the holes, so we did the second in two passes. I also redesigned the vector with smaller holes, and sent it again. This one came out better dimensionally, but the cutting fogged the plexiglass (it was the kind protected by sheets of plastic rather than paper, so we had to remove the stuff before running it in the laser). This wouldn’t be a problem except that I was planning to stencil the art onto the back of the plexiglass, so it would look deep and glossy, and would be protected by the plastic itself.

I covered the remaining material in painter’s tape and ran it again. The third one came out great, and I took them home for finishing.

The next step was to chamfer the screw holes on the drill press.This would let the heads of the screws sink down into the plastic where they’d be out of the way of boards sliding across the worktable.

Once I had that done, I peeled the painter’s tape off the back,and for once managed to remember to double check that it was actually the back and oriented correctly and everything. Then I attached the stencil so it was mirrored. I normally use temporary spray adhesive where I can to fasten the stencil down, to minimize the underspray. But a reverse stencil means any glue residue would end up between the plastic and the next coat of paint, so I had to skip it and just use stencil spiders (little metal weights, usually nuts, with paperclip/wire legs, which help you pin down high points).

I got very lucky, the paint went on well and didn’t leave me with any spots I had a problem with. I gave it a couple days to dry before messing with the stencil (this was good graff artist paint, but I’ve had the cheap stuff dry tacky, then when you try to lift the stencil, the paint stretches, snaps, falls onto the work and bonds there. I didn’t think that would happen with this stuff but I wanted to be really sure). Waiting to find out if it came out okay is the worst part, for me.

When that was dry I checked it over, and painted on the background color.

By that point, I was out of time to check it for fit, so I wrapped it and waited until Christmas to find out if it would fit. Later that day, we tested it, and it was overall pretty good - I had to chamfer the holes a bit deeper on his drill press, and used a thin round file to adjust a couple of them just a touch outwards from the center. But it fit and looked quite nice overall. My vector file isn’t perfect, but I’m providing it on my website just in case anyone out there has a compatible saw and also access to a laser cutter, and for some reason wants to follow me down his road.

The saw file is available here as a pdf: https://jacobcoffinwrites.files.wordpress.com/2024/01/saw-insert-great.pdf (apparently wordpress won't host SVG files.)

And here as both pdf and svg: https://mega.nz/folder/CdMwVDQa#yiHp5k_WbOxrNcYCRwWyiA

(Sorry not to show the stencil, I realized partway through writing this that my dad wouldn't appreciate it if I did, but I still like talking about the stencil art process.)

Once you get access to a laser cutter, you start to see all kinds of places you can use it in a project. Our local makerspace has one, and the more I use it, the more I find new applications, whether that’s in fabrication of flat parts, or just adding flair to smaller panels of a large project.

Around Christmas, I decided I was going to fix up my dad’s miter saw. It was an older, discontinued Delta 36250. The guard was missing(my grandfather didn’t believe in tools having guards) and the plastic insert in the table, where the saw blade came down, had been shattered for years.

The guard was an easy fix, bought a replacement part from ereplacementparts. But the plastic inserts were out of stock. In fact, even the scam parts websites that all look identical weren’t bold enough to lie and claim to have any of these things. Having examined what was left of the original, here’s my theory for why:

They’re junk. The space they fill is 5mm deep, but they were made to be cast out of plastic about 2mm thick with a lip around the edge to fill in the space. That plastic was super brittle. And then,just to make things better, the slot in the plastic, where the saw blade would go when it cut through the wood, wasn’t wide enough to accommodate the blade when it was rotated to do cuts at a 45 degree angle. Which it was designed to do. So the blade would come down through the wood, hit the brittle plastic at the wrong speed and blade type for cutting plastic, and shatter it. The inventories were out of stock because everyone broke theirs and ordered new ones, and they weren’t worth making in the first place

The obvious answer was to cut something close enough out of plywood and call it a day, but I wanted to get fancy with it. So I took some pictures, removed all the screws, claimed all the shards of plastic, measured the space, and brought the pieces home. Luckily enough pieces of the insert remained to get every measurement except overall length (which I measured while I was there). I used my calipers to get the original slot width, positions of the screw holes, etc. I drew up a vector image with my best guess at the final dimensions, and widened the slot until it slightly exceeded the damage marks from when the saw cut into it at a 45.

To get the curve at the corners I scanned in one of the shards, pasted it into the schematic in inkscape, and adjusted the rounded corners setting on the rectangle until it matched the scan.

On our makerspace night I cut a few cardstock templates, chased the screw holes around the design until they lined up with my plastic shards. And because I like adding some decorative aspect to practical items, I also drew up and cut a stencil of the name of his old military unit surrounded by a hawser rope.

This is one of the places the laser cutter really shines. When I was doing spray paint stencils in the past, I always cut them by hand with a scalpel blade(ironically cheaper than xacto knife blades). But this is tedious, takes forever, and certain designs really don’t lend themselves to it, so you find yourself spending lots of time gluing your bridges back together as they tear or bend. With the laser cutter, I had a template literally in minutes, and at least as precise as I could have done it. Some folks feel the art looses something when you make it easy that way, I’m personally more about results, especially when I’m on a timeline.

The makerspace didn’t have any plexi in the thickness I needed for the insert, so I reached out to TAP plastics for a recommendation. They had 4.5mm High Impact Modified plexiglass which they’d ship in custom dimensions, so I could get something small enough to fit inside the cutter. I went ahead and ordered that, and about a week later I had it. Enough material for four tries.

We ran the first cut slow in order to cut the thicker-than-usual plexi. That ended up melting it a bit along the edges and at the holes, so we did the second in two passes. I also redesigned the vector with smaller holes, and sent it again. This one came out better dimensionally, but the cutting fogged the plexiglass (it was the kind protected by sheets of plastic rather than paper, so we had to remove the stuff before running it in the laser). This wouldn’t be a problem except that I was planning to stencil the art onto the back of the plexiglass, so it would look deep and glossy, and would be protected by the plastic itself.

I covered the remaining material in painter’s tape and ran it again. The third one came out great, and I took them home for finishing.

The next step was to chamfer the screw holes on the drill press.This would let the heads of the screws sink down into the plastic where they’d be out of the way of boards sliding across the worktable.

Once I had that done, I peeled the painter’s tape off the back,and for once managed to remember to double check that it was actually the back and oriented correctly and everything. Then I attached the stencil so it was mirrored. I normally use temporary spray adhesive where I can to fasten the stencil down, to minimize the underspray. But a reverse stencil means any glue residue would end up between the plastic and the next coat of paint, so I had to skip it and just use stencil spiders (little metal weights, usually nuts, with paperclip/wire legs, which help you pin down high points).

I got very lucky, the paint went on well and didn’t leave me with any spots I had a problem with. I gave it a couple days to dry before messing with the stencil (this was good graff artist paint, but I’ve had the cheap stuff dry tacky, then when you try to lift the stencil, the paint stretches, snaps, falls onto the work and bonds there. I didn’t think that would happen with this stuff but I wanted to be really sure). Waiting to find out if it came out okay is the worst part, for me.

When that was dry I checked it over, and painted on the background color.

By that point, I was out of time to check it for fit, so I wrapped it and waited until Christmas to find out if it would fit. Later that day, we tested it, and it was overall pretty good - I had to chamfer the holes a bit deeper on his drill press, and used a thin round file to adjust a couple of them just a touch outwards from the center. But it fit and looked quite nice overall. My vector file isn’t perfect, but I’m providing it on my website just in case anyone out there has a compatible saw and also access to a laser cutter, and for some reason wants to follow me down his road.

The saw file is available here as a pdf: https://jacobcoffinwrites.files.wordpress.com/2024/01/saw-insert-great.pdf (apparently wordpress won't host SVG files.)

And here as both pdf and svg: https://mega.nz/folder/CdMwVDQa#yiHp5k_WbOxrNcYCRwWyiA

(Sorry not to show the stencil, I realized partway through writing this that my dad wouldn't appreciate it if I did, but I still like talking about the stencil art process.)

One of my hobbies is fixing up ewaste laptops and giving them away. I actually do lots of ewaste electronics, from TVs to space heaters, but the laptops are where I put in the most work. Some are new, intact, and ready to go with nothing more than a OS reset. Others have had parts removed or damaged, and need more work. Most of these computers I give to a local refugee resettlement organization, but some of them are old enough, or otherwise weird enough that I wouldn’t feel right about giving it to someone who already has a lot of problems to deal with. I try to make sure they get fast computers with familiar operating systems whenever possible. So far, I’ve always had enough decent machines to pass along that that hasn’t been an issue.

Through this project I made friends with a guy who works at the local recycling center. He does a similar thing with TVs, though covering even more organizations and moving more equipment than I do. He helped me up my game a lot. He provided some old Windows multi use keys, a ton of cables and USB hubs to give away with each laptop, an almost endless stream of power bricks for any model I needed, and recently he was able to get the management there to agree that he could take laptops too, if he caught the people who dropped them off and asked if they were okay with it. Otherwise the site policy says they need to be securely destroyed.

So suddenly I had two sources of hardware, which was a huge help in providing computers to everyone who needs one. Not all of them are great though – sometimes you get a laptop with a single DDR1 ram slot (can’t go above 1GB), or in this case, a couple chromebooks with expired, insecure OSs. He wasn’t sure I’d be able to do anything with them, and asked me a few times if I was sure I wanted them, but I didn’t feel it was a big risk. I’d try fixing them up and if there was an issue, I could always put them back in recycling. Neither one seemed like a great fit for the refugees, they only had 2 gigs of RAM and 16 gigs of on-board storage space. No hard drives. But the hardware was nice, lightweight, with a nice screen and keyboard, and the batteries were awesome. I hate to throw something like that away.

I started with reading about my options and settled on MrChromeBox’s script for replacing the ChromeOS and firmware with a proper BIOS. The website and instructions were thorough and worked perfectly for me.

Step 1 was removing the hardware write protection. All chrombooks have some kind of write protection that prevents you from paving over their firmware. In some it’s a jumper wire connecting two contacts. On others its a lack of a jumper. Sometimes they use a screw to bridge those contacts, and on some, the battery itself acts as the bridge and you can only reinstall the BIOS when the battery has been disconnected and the laptop is plugged in.

Mine was an easy one, enabled with a screw. The website didn’t have a photo for this model, but it wasn’t hard to find since it looked different than all the rest. (I’ve since sent this photo to MrChromeBox in case he’d like to use it.) Once that was out of the way, I followed their instructions to get to the correct command line interface and entered the commands to run their script. Very satisfying. A great ratio of ‘feeling like a hacker’ to actual effort involved.

Once the script completed, I had basically a regular laptop. Probably closer to an old netbook in terms of hardware. I could install Linux Mint but it would take up most of the storage space. I received a bunch of microSD cards as a gift, so I bought a super low profile microSD to SD adapter and stuffed a 512GB microSD into the SD slot. That’s going to be a pain to get out some day.

The BIOS is happy to boot to the SD slot, so I installed Linux Mint there. Suddenly I had a regular laptop with plenty of storage space, a bit light on RAM, but it’s a perfect little computer for carrying around the city and going to write-ins, etc. Light weight, good keyboard and touchpad, awesome battery.

I know I could have used a lighter weight OS, but Mint is sort of my default, its super convenient, has wonderful compatibility, good community support, and just works well when I want a computer that isn’t itself, a project. Between the web browsers, the preinstalled Libre Office, and the writing tool Wavemaker Cards, I have everything I need for most of my projects.

A few days into using it we had a makerspace night, and since I had access to the laser cutter, I put together a quick solarpunk stencil. I love using the laser cutter to cut stencils. It turns hours of work into minutes, and it can do intricate designs with narrow bridges that I’d often have to glue back together after tearing or accidentally cutting. Plus, it works best when cutting thick cardstock paper or thin cardboard, which makes for better stencils, but is a pain to cut by hand. To reduce waste, I used an old cracker box for my stencil.

Once it was cut out I saved the bits and pieces in case I wanted to do this design as a reverse stencil sometime.

To make sure the size was good I laid out the bits and pieces on the center of the laptop. Eventually I corrected the tilt so it followed a line from the top right to the bottom left corners. Once I had it in the right place, I lightly taped the gear part in place so I could use it to position the actual stencil later on.

With this one there wasn’t any reason not to use some temporary spray adhesive, so I spritzed the cardstock with that, let it dry enough not to leave residue, stuck it down, and peeled up the gear. I usually use old return address stickers, the kind charities send you forever after you donate once, to cover up any gaps on the stencil, and to keep the other masking stuff in place. The stickers are great whenever you need tape but don’t care how it looks.

I used the same yellow graff paint I had from years ago and recently used on another project. I tried to hit it straight down, mostly to avoid anything slipping in under the edge of the stencil and because I hadn’t masked the rest too well. With such a simple stencil it wasn’t really a big deal. Once it was done I had my traditional moment of panic as I realized I hadn’t really checked that I’d applied the whole thing right-side-up, but it worked out this time, saving me a lot of hassle. As paranoid as I am about other measure-twice-cut-once preparation tasks, you’d think I’d be better at this one.

And that’s about it. The laptop’s working well, I’m actually writing this post up on it at the moment. Overall it’s a good little writing laptop, and I’ll probably set its sibling up the same way soon enough.

I've seen some discussion, mostly over on Mastodon, about whether solarpunk games should include violence. They make the case that we already devote too much headspace to killing, and believe that solarpunk should be held above that, as a space to think about alternatives.

I think that's a good goal, but I'm not sure banishing violence from the setting is a good way to go about it. Solarpunk is very much a genre space for exploring possibilities, and trying out new ways of doing things, but its also often pretty grounded in reality, whether that's technologically, socially, or politically. Maybe I'm pessimistic, but I don't think it's unrealistic to expect conflict and violence in the world's future, and I think its worth it to consider solarpunk answers to how/when to fight as well as to deescalation and conflict resolution.

The 'But why? Section of the 'Combat' page says: "Even if you don’t like running combat (and we’re right with you), having a combat system that is easy for a GM to use raises the stakes when situations get tense. Knowing that a fight is possible and easy for the GM to run in-game makes the risk of violence more present from the metagame perspective of players. This increases the stakes and instills standoffs with a higher urgency to deescalate."

I really like this approach - you don't have to add violence to your game, but you can, and much like in real life, the threat of it is always there if you can't find those other solutions.

I think this is a really good use case, and it reminds me of an article from awhile back that I really liked, about a campaign that went even further. Using an surreally lethal shoot'em'up cowboy miniatures game from the 1970s as the mechanics for a tense campaign of politics, deception, and intrigue.

The gist is that by providing a game where gunfights were, perhaps, realistically lethal for the players and NPCs alike, the GM was able to ramp up the threat of violence to the point where the players found all kinds of clever ways to avoid it, or to minimize risk to themselves when they decided it was necessary. And because it was sparse and high risk, the tension remained tight throughout. To quote Rutskarn (the GM):

'Though a “powerful” character might tend to go first or hit more often, where they hit and how much damage they do has nothing to do with character (or player) skill. All hits debilitate, and a fifth of the time they’ll kill outright with no recourse for the victim.

[...]

Not many games discourage players from pissing off NPCs. The worst thing an aggrieved character can do is fight you, and that’s just where most RPG characters are built to succeed. I know from personal experience that, roleplaying aside, it’s tempting to conclude: “I’m going to fight this douchebag eventually. Why not get it over with now?”

Played ruthlessly, Boot Hill‘s mechanics and milieu produce very different expectations.

[...]

The vicious, tense, and bloody combat made players very afraid of the consequences of mis-stepping. There was a fear, a tension, a thrill every time they even picked up the dice; if they were attacking they knew they were taking a great risk, and if they were being attacked, they knew they may have made their last mistake.'

At a glance, that doesn't sound like something you'd include in a solarpunk game. It's sudden, brutal, and bloody. But this is, I think, a pretty blunt impression of what violence really looks like. There's a reason most of us want to avoid it so badly.

Now his goal was different from ours - his simulated Toombstone was far from aspirational, and the player characters were a ruthless, corrupt pack of murderers. But the game mechanics didn't make them do that, and the ultra-lethal combat was the main reason why they only participated in fights five times in what sounds like a months-long campaign with a plot to otherwise rival Game of Thrones.

Fully Automated's Firefight system isn't this vicious, and it's also packed with less-lethal alternatives to bullets and buckshot. But I think there's a similar chord in the decision to make violence possible, so that the threat is there. What we do in the space around it is up to us.

I’ve been wanting to do some scenes from a library economy for a while now, glad to finally get the chance.

I've mentioned elsewhere that these postcards are a bit earlier in the solarpunk timeline than a lot of other works I know of in the genre. I like seeing the work in progress, the intermediate steps. Most solarpunk stuff I've read has climate disasters, wars, plagues, etc in its backstory. I set my stuff a bit closer to those events because I'm interested in what the earlier days of rebuilding look like.

So I think this photobash is set somewhere in the transition towards a library economy. If you want to see what one of those looks like in full swing, the sort of lived experience, I'd very much recommend AE Marling's Murder in the Tool Library and it's sequel.

I love the idea of a society with a cultural focus on reuse rather than extraction and production and disposal. A society where the massive logistics arms of government and industry are turned to salvaging, organizing, and repurposing, rather than extracting materials and packing landfills with waste. A society where the wealth of usable product we currently throw away is treated like a natural resource to be found and traded between people in the thousand year cleanup.

This being the earlier days, I thought about how all this stuff gets moved gently into that system, and how society transitions in that direction without ripping ownership of things away from individuals.

The easiest way I could come up with would be to start with a new refuse stream and the infrastructure to handle it. Our society throws away an incredible amount of intact, usable, or fixable stuff. A future society with the organization to catch and sort it, perhaps enabled and supported by a culture that's already been through hard times and has relearned the value of thrift, could stock many common items that way.

Worldbuilding-wise, maybe it's a matter of necessity - maybe supply chains have long been broken, and cheaply exploited labor and imported resources are already a thing of the past. Maybe this represents the organization and formalization of ad-hoc systems like Buy Nothing and the simple act of passing hand-me-downs between relatives. Maybe they’re just trying to do better.

I imagine they’d start by building community stockpiles that probably look like the swap shop at the average dump. But a society needs more organization and reliability that that. So they’d repurpose old warehouses for specialized storage and as workshops so they could sort the incoming stream of appliances, furniture, computers, tools, fish tanks, sports equipment, etc, triage it, assess damage, and make repairs, prioritizing getting the undamaged stuff quickly back into use.

They’d need dedicated libraries and knowledgeable librarians to house and loan each category of items, and I hope they’d partner with local organizations who are already specialized in the right areas. Maybe a makerspace can manage a tool library, perhaps some shops can transition towards loaning out items they receive for free.

At this point in the timeline they probably only loan some items, others are just given away or sold for very cheap, on the condition that, eventually, they get returned to the library rather than destroyed. Perhaps this is how they keep items in circulation that they don’t yet have the means to formally store and curate.

I’ll caveat all this by admitting I’m weak on the economic theory and the logistics – if you want to know more about how library economies could work, better minds than me have put a lot of thought into it. Personally I don’t think loans etc would cover all of society’s needs, and I don’t think I’d want them to. People will still own the things that matter to them. But I think it could be a wonderful way to replace the cheapest (and often most harmful) options in any given market. The kind of thing you buy with the intent to only keep it for a short while anyways.

Take furniture for example - in this setting, if you want something super fancy or new, you probably still go to a small workshop with skilled craftspeople and order to spec or from their catalogue. But if you're a college kid just starting out, instead of going to walmart or amazon and buying something made cheap by massive corporations exploiting their workers and sometimes utilizing slavery overseas, you go to a library and borrow something. This might look a lot like how libraries operate now, or it might look more like Habitat for Humanity's Restore or a municipal recycling center's swap shop where you buy or take the thing with no obligation to return it. Maybe you’d order it from an eBay-like catalogue website and they’d shuffle it to the library closest to you (regardless of its specialty) so you can pick it up.

The process of collections probably varies by location - in some areas they do pickup and delivery, in others maybe they use libraries as collection points. It probably varies by item too.

Either way, here's a scene of a little piece of that process. A team of volunteers taking an electric truck on a route through the city, collecting and/or delivering heavy items.

My goals for the truck were kind of a mix of art goals and worldbuilding goals. Whenever I include a vehicle in a scene, I try to convey visually that this isn't a car-centric future, with everyone just driving around in personal vehicles like they do today. (Electric vehicles are tricky because they look fairly normal and modern.) I wanted it to be clear that this thing fits a specific use case. The homemade back was kind of a mix of wanting to be able to show the contents, and wanting to imply that this truck wasn't fabricated new for the city. Maybe it's like the stuff it's hauling, secondhand but still good enough for the job. Maybe it's been pulled from a junkyard and repaired, missing pieces replaced with scrap materials.

The overhead pantograph rig is borrowed from a bus - I love streetcars and similar simple electric vehicles, but I thought this truck would require more freedom on its route, so I found (I think) a rig that allows for quickly connecting and disconnecting. In real life the buses use gas or diesel when their electricity is disconnected, but I think the truck could just be using a battery that's too small or old or simple to pack enough energy for its full route. That hopefully wouldn't matter since it only needs it for short trips: switching between overhead wires, traversing streets without them, and getting out of the way of streetcars.

As for the plants in the scene (for someone who hates landscaping, I seem to do it fairly often, digitally) in the foreground we've got raspberry bushes (hopefully thornless) on either side and wildflowers for bees in the center, and a blueberry bush, pear tree, and apple tree across the street. I think it's possible for all this to be in season at once around August.