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<?xml-stylesheet type="text/xsl" media="screen" href="/~d/styles/atom10full.xsl"?><?xml-stylesheet type="text/css" media="screen" href="http://feeds.feedburner.com/~d/styles/itemcontent.css"?><feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:thr="http://purl.org/syndication/thread/1.0" xmlns:feedburner="http://rssnamespace.org/feedburner/ext/1.0">
    <title>Wax Banks</title>
    
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    <id>tag:typepad.com,2003:weblog-9316</id>
    <updated>2009-12-10T19:44:49-05:00</updated>
    <subtitle>Hair of the blog that bit you</subtitle>
    <generator uri="http://www.typepad.com/">TypePad</generator>
    <atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="self" type="application/atom+xml" href="http://feeds.feedburner.com/typepad/waxbanks/blog" /><atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="hub" href="http://pubsubhubbub.appspot.com" /><entry>
        <title>All of Seinfeld, cheaper than ever, today only.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/NzaDK7T6ELY/all-of-seinfeld-cheaper-than-ever-today-only.html" />
        <link rel="replies" type="text/html" href="http://waxbanks.typepad.com/blog/2009/12/all-of-seinfeld-cheaper-than-ever-today-only.html" thr:count="1" thr:updated="2009-12-10T21:06:06-05:00" />
        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a740cabf970b</id>
        <published>2009-12-10T19:44:49-05:00</published>
        <updated>2009-12-10T19:44:49-05:00</updated>
        <summary>$85. Go get it. Must I do all the damn work here, people?!</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Television" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>$85. <a href="http://www.amazon.com/Seinfeld-Complete-Jerry/dp/B000VECAEE/ref=xs_gb_A1T84OJQ9CKS9P?_encoding=UTF8&amp;m=ATVPDKIKX0DER&amp;pf_rd_p=441937901&amp;pf_rd_s=right-1&amp;pf_rd_t=701&amp;pf_rd_i=20&amp;pf_rd_m=ATVPDKIKX0DER&amp;pf_rd_r=0F1E6BCH72QBDJPBMTET">Go get it.</a> Must I do <a href="http://waxbanks.typepad.com/blog/2009/03/every-episode-of-seinfeld-100.html">all</a> the damn work here, people?!</p></div>
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    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/all-of-seinfeld-cheaper-than-ever-today-only.html</feedburner:origLink></entry>
    <entry>
        <title>More Gygax madness: AD&amp;D 'easier' than D&amp;D?!</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/8jhgN9KPEMU/more-gygax-madness-add-easier-than-dd.html" />
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        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a73db281970b</id>
        <published>2009-12-10T11:06:12-05:00</published>
        <updated>2009-12-10T11:06:12-05:00</updated>
        <summary>[Attention conservation notice: Just don't read this unless you're an obsessive, OK?] Well, no one's ever accused the man of being a clear thinker: The D&amp;D game will always be with us, and that is a good thing. The D&amp;D...</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Games" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Writing" />
        
        
<content type="html" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
&lt;div xmlns="http://www.w3.org/1999/xhtml"&gt;&lt;p&gt;[&lt;strong&gt;Attention conservation notice:&lt;/strong&gt; Just don't read this unless you're an obsessive, OK?]&lt;/p&gt;

&lt;p&gt;Well, no one's ever accused the man of being a clear thinker:&lt;/p&gt;

&lt;blockquote&gt;The D&amp;D game will always be with us, and that is a good thing. The D&amp;D system allows the highly talented, individualistic, and imaginative hobbyist a vehicle for devising and adventure game form which is tailored to him or her and his or her group. One can take great liberties with the game and not be questioned. Likewise, the complicated and "realistic" imitators of the D&amp;D system will always find a following amongst hobby gamers, for there will be those who seek to make adventure gaming a serious undertaking, a way of life, to which all of their thought and energy is directed with fanatical devotion.

&lt;p&gt;At the same time, &lt;strong&gt;AD&amp;D gaming, with its clearer and easier approach&lt;/strong&gt;, is bound to gain more support, for most people &lt;em&gt;play&lt;/em&gt; games, not &lt;em&gt;live&lt;/em&gt; them - and if they can live them while enjoying play, so much the better. This is, of course, what the aD&amp;D game aims to provide. So far it seems we have done it.&lt;/p&gt;

&lt;p&gt;--Gary Gygax, &lt;em&gt;The Dragon&lt;/em&gt; #26, June 1979&lt;/blockquote&gt;&lt;/p&gt;

&lt;p&gt;My emphasis.&lt;/p&gt;

&lt;p&gt;Amazing! Leave aside the fact that the guy sounds like a narcissistic asshole - let's just chalk that up to a lack of fluency with social speech compounded by the problem of trying to blend marketing and hobbyist language. Leave aside, too, the &lt;strong&gt;embarrassing hypocrisy&lt;/strong&gt; of a professional game designer denigrating obsessive fans, implicitly praising 'casual' gamers, then explicitly idealizing obsessives with a sense of humour (i.e. his own self-image). That's a lot of bullshit to pack into one paragraph but he was, as we know, a &lt;em&gt;stylist&lt;/em&gt;.&lt;/p&gt;

&lt;p&gt;What amazes me is Gygax's conception of AD&amp;D as a 'clearer and easier' version of D&amp;D. I imagine this is in part a way of denigrating his OD&amp;D coauthor Dave Arneson (who did not share coauthor credit on AD&amp;D), but it says something a little eerie about Gygax's character that he felt the 500+ page AD&amp;D core books were &lt;em&gt;less taxing&lt;/em&gt; to use than the 32-page D&amp;D rules. Probably he's incorrect as far as other human beings go - the OD&amp;D rules were badly written but the Basic revision (by Dr Holmes) is quite usable.&lt;/p&gt;

&lt;p&gt;But note what he's doing here: positioning OD&amp;D as a &lt;em&gt;game design toolkit&lt;/em&gt; that's deliberately incomplete, touting its (arguable!) brokenness as a virtue, and then &lt;em&gt;pissing on it&lt;/em&gt; in order to put the shine on his sole-authorship project, AD&amp;D. (If memory serves, Gygax didn't work on D&amp;D or its several increasingly user-friendly revisions after AD&amp;D kicked off.)&lt;/p&gt;

&lt;p&gt;Honestly, I think this is kind of a neat way to think of the two games. I don't believe this explains the comparative commercial success of AD&amp;D - that was a marketing triumph more than anything, what with its mainstream-bookstore distribution scheme and strong PR support from TSR - but Gygax's candor about the work required to actually run a D&amp;D campaign is admirable. Of course it's part of a plan to pimp the new stuff through us-vs-them tribal-rhetoric bullshit, but you can't blame the guy for that. A businessman does business. Why would it be otherwise?&lt;/p&gt;

&lt;p&gt;That said, &lt;a href="http://www.dragonsfoot.org/php4/archive.php?sectioninit=FE&amp;amp;fileid=263&amp;amp;watchfile=0"&gt;Gygax was wrong&lt;/a&gt;. That link goes to a guide to the AD&amp;D combat engine. The summary of the turn sequence takes ten pages, complete with footnotes. The sample of (a short stretch of) play runs another six pages. Gygax's conception of 'clear and easy' was not like other people's, did you notice?&lt;/p&gt;

&lt;p&gt;I shouldn't care about these things. Well. Give a man a fish, he'll eat for a day. Give a man a &lt;em&gt;barrel&lt;/em&gt; of fish and a gun, and...&lt;/p&gt;&lt;/div&gt;
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    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/more-gygax-madness-add-easier-than-dd.html</feedburner:origLink></entry>
    <entry>
        <title>Gygax on critical hits and instant death.</title>
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        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a73d90da970b</id>
        <published>2009-12-10T10:30:21-05:00</published>
        <updated>2009-12-10T10:30:21-05:00</updated>
        <summary>[Attention conservation notice: This is only about D&amp;D, and if you don't care about the game then you absolutely will not care about this post. Luckily it is short.] I get tired of hearing 'old school renaissance' gamers spout off...</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Games" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Writing" />
        
        
<content type="html" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
&lt;div xmlns="http://www.w3.org/1999/xhtml"&gt;&lt;p&gt;[&lt;strong&gt;Attention conservation notice:&lt;/strong&gt; This is only about D&amp;D, and if you don't care about the game then you absolutely will not care about this post. Luckily it is short.]&lt;/p&gt;

&lt;p&gt;I get tired of hearing 'old school renaissance' gamers spout off about the 'true nature' of the game - not just because that kind of talk is always tiresome in itself, but because of a nagging sense that the OSR's consensus vision of 70's/80's gaming culture is historically inaccurate. Here's the creator of D&amp;D saying some things that might surprise devotees of the 'old ways':&lt;/p&gt;

&lt;blockquote&gt;The "critical hit" or "double damage" on a "to hit" die roll of 20 is particularly offensive to the precepts of the D&amp;D game. Two reciprocal rules which go with such a system are seldom, if ever, mentioned: 1) opponents scoring a natural 20 will likewise cause a double-damage hit or critical hit upon player characters; and 2) as a 20 indicates a perfect hit, a 1 must indicate a perfect miss, so that any time a 1 is rolled on the "to hit" die, the attacker must roll to find if he or she has broken his or her weapon, dropped it, or missed so badly as to strike an ally nearby. When these additions are suggested, the matter is usually dropped, but the point must be made that the whole game system is perverted, and the game possibly ruined, by the inclusion of "instant death" rules, be they aimed at monsters or characters. In the former case, they imbalance the play and move the challenge which has been carefully placed into the D&amp;D system. In the latter, "instant death" no longer allows participants to use judgement when playing. Certainly so monsters are capable of delivering death at a single stroke, but players know these monsters and can take precautions. If everything that is faced has an excellent chance to kill characters, they will surely die before long. Then the game loses its continuity and appeal, for lasting character identification cannot be developed.

&lt;p&gt;--Gary Gygax, &lt;em&gt;The Dragon&lt;/em&gt; #16, July 1978&lt;/blockquote&gt;&lt;/p&gt;

&lt;p&gt;Now, I've long maintained that Gygax had no idea what the hell he was doing when he designed D&amp;D. When the game took off, his knack for self-promotion and self-mythologizing kicked in, and you get pieces like the one quoted above. It's an amazingly bad bit of writing and thinking: Gygax manages to simultaneously mischaracterize the workings of what has since become the standard D&amp;D combat system, disparage play styles he himself had previously advocated, grossly mischaracterize his own game ('that challenge which has been carefully placed' is a rich way of talking about a combat/exploration game that relies so heavily on &lt;em&gt;random monster charts&lt;/em&gt;), and whine like a child about how mechanics other than his own 'pervert' and 'ruin' not just the 'to hit' roll but '&lt;em&gt;the whole game system&lt;/em&gt;' - even though the threat of instant death is now considered, and indeed has historically been, one of the central characteristic features of the 'low fantasy' generic D&amp;D setting.&lt;/p&gt;

&lt;p&gt;He also mentions the interesting topic of 'lasting character identification,' which raises the point that Gygax's thinking about the game surely deepened between 1974 and 1978 - yet another reason to discard silly essentialist/primitivist views of the game's (and the hobby's) history. Fascinating that he identifies the game's 'appeal' with character identification. Even allowing for iconic rather than dramatic characters, that's a bit of a break from his early conception by the sound of things.&lt;/p&gt;

&lt;p&gt;Look. Gygax struck gold with the D&amp;D design, no doubt, but pretty much every beloved feature of his creation has been done more skillfully and evocatively in subsequent roleplaying games. You can honour the act of creation without inventing silly fictions about the artifacts that remain.&lt;/p&gt;&lt;/div&gt;
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    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/gygax-on-critical-hits-and-instant-death.html</feedburner:origLink></entry>
    <entry>
        <title>"Good night hoppers. Good night hustlers. Good night to one and all."</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/4ZASuTwen1A/good-night-hoppers-good-night-hustlers-good-night-to-one-and-all.html" />
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        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a7349c23970b</id>
        <published>2009-12-09T01:25:59-05:00</published>
        <updated>2009-12-09T01:25:59-05:00</updated>
        <summary>The other 100 quotes. Spoilers (and pleasant memories) abound.</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Television" />
        
        
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&lt;div xmlns="http://www.w3.org/1999/xhtml"&gt;&lt;center&gt;&lt;object width="425" height="344"&gt;&lt;param name="movie" value="http://www.youtube.com/v/TFh2f7rNAEI&amp;hl=en_US&amp;fs=1&amp;"&gt;&lt;/param&gt;&lt;param name="allowFullScreen" value="true"&gt;&lt;/param&gt;&lt;param name="allowscriptaccess" value="always"&gt;&lt;/param&gt;&lt;embed src="http://www.youtube.com/v/TFh2f7rNAEI&amp;hl=en_US&amp;fs=1&amp;" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"&gt;&lt;/embed&gt;&lt;/object&gt;&lt;/center&gt;

&lt;center&gt;The other 100 quotes. Spoilers (and pleasant memories) abound.&lt;/em&gt;&lt;/div&gt;
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/good-night-hoppers-good-night-hustlers-good-night-to-one-and-all.html</feedburner:origLink></entry>
    <entry>
        <title>Look, look.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/DYB5_4voPts/look-look.html" />
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        <id>tag:typepad.com,2003:post-6a00d83451be5069e2012876370024970c</id>
        <published>2009-12-08T23:09:07-05:00</published>
        <updated>2009-12-08T23:09:07-05:00</updated>
        <summary>Tanaka Tomoyuki found this sentence which consists of exactly three 'T's, ten 'a's, one 'b', six 'c's, four 'd's, forty-one 'e's, fourteen 'f's, three 'g's, thirteen 'h's, twenty-one 'i's, one 'j', three 'k's, five 'l's, four 'm's, twenty-nine 'n's, twenty-four...</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Miscellany" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Tanaka Tomoyuki found this sentence which consists of exactly three 'T's, ten 'a's, one 'b', six 'c's, four 'd's, forty-one 'e's, fourteen 'f's, three 'g's, thirteen 'h's, twenty-one 'i's, one 'j', three 'k's, five 'l's, four 'm's, twenty-nine 'n's, twenty-four 'o's, four 'p's, two 'q's, sixteen 'r's, forty 's's, thirty-one 't's, nine 'u's, five 'v's, eight 'w's, six 'x's, twelve 'y's, one 'z', six hyphens, thirty commas, twenty-seven pairs of single quotes, and a final period.</p></div>
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/look-look.html</feedburner:origLink></entry>
    <entry>
        <title>Lost, all of it, for $73. Not quite a recommendation.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/MDjdXRx8YSk/lost-all-of-it-for-73-not-quite-a-recommendation.html" />
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        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a72d9ce3970b</id>
        <published>2009-12-08T09:43:38-05:00</published>
        <updated>2009-12-08T09:43:38-05:00</updated>
        <summary>I can't recommend the show Lost in good conscience, but if you wish, you can buy the first five seasons on DVD - today only, apparently - at a ludicrous price. The appeal of Lost isn't hard to figure out....</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Television" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Writing" />
        
        
<content type="html" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
&lt;div xmlns="http://www.w3.org/1999/xhtml"&gt;&lt;p&gt;I can't recommend the show &lt;em&gt;Lost&lt;/em&gt; in good conscience, but if you wish, you can buy the &lt;a href="http://www.amazon.com/Lost-The-Complete-Seasons-1-5/dp/B0021L8FO4"&gt;first five seasons on DVD&lt;/a&gt; - today only, apparently - at a ludicrous price.&lt;/p&gt;

&lt;p&gt;The appeal of &lt;em&gt;Lost&lt;/em&gt; isn't hard to figure out. The scenery is fantastic, the acting is largely fine (and many of the actors are physically attractive), there are regular action scenes and lots of explosions and death, and there's a Mystery. Or rather, there's an endless chain of breathless open questions ballooning into hazy life-affirming 'What is the meaning of it all?' dorm-room pseudophilosophy, masquerading as a metaphysically-tinged conspiracy plot about a magical island. The stakes are always high, the exposition is always portentous, the performances are &lt;em&gt;almost without exception&lt;/em&gt; totally humorless, and the plot is Byzantine in its ornateness and complication. If you liked &lt;em&gt;Twin Peaks&lt;/em&gt; (or its more palatable sequel, &lt;em&gt;The X-Files&lt;/em&gt;) then the 'conspiracy arc' on &lt;em&gt;Lost&lt;/em&gt; will feel like coming home; it's an on-the-nose genre mashup in which the writers, over five increasingly silly seasons, have gleefully turned themselves into the real stars.&lt;/p&gt;

&lt;p&gt;The show is, of course, adolescent drivel. Early on it looked like the writers were aiming for a bit of &lt;em&gt;Lord of the Flies&lt;/em&gt; action, but that broad-brush story actually took time to observe small details of human behaviour; &lt;em&gt;Lost&lt;/em&gt; doesn't, indeed can't. Except for a short stretch in Season One, the show's dramatic stakes have never been anything but life and death, and the tone of the thrills'n'chills has veered closer to Saturday-morning cartoons than adult fare like &lt;em&gt;The Sopranos&lt;/em&gt; or &lt;em&gt;Deadwood&lt;/em&gt;. Milch's baroque Western might've been a model for &lt;em&gt;Lost&lt;/em&gt; too, and damned well &lt;em&gt;should&lt;/em&gt; have - '&lt;em&gt;Deadwood&lt;/em&gt; on the beach' was the show I was praying for, an hour a week with a few dozen people learning to live in a hell that looked like Honolulu - but the writers were enamored of their sci-fi plot contrivances, fully engaged by the highwire act of juggling big stupid metaplot and dozens of half-baked individual plots (if not quite 'stories').&lt;/p&gt;

&lt;p&gt;With only a couple of exceptions, they never got around to making the characters into fleshed-out human beings. That task has been left to the actors, alas. Few are up to it.&lt;/p&gt;

&lt;p&gt;There are some swell parts on &lt;em&gt;Lost&lt;/em&gt;: Faraday, Locke, Ben, Juliet, Jin &amp; Sun, even Sawyer, Charlie, Hurley. Yet every single one of these characters (save for Jin, perhaps, and Faraday?) has been reduced to gibbering nonsense at times, in moments of such glaring stupidity and shabby decision-making that only top-flight actors can even render them watchable, never mind 'compelling' or (sigh) 'believable.' The ostensible leads - Jack and Kate - have been badly written and inadequately performed, though both Matthew Fox and Evangeline Lilly were doing swell work with bad material in the show's early days.&lt;/p&gt;

&lt;p&gt;It's the Moments of Stupid that essentially characterize &lt;em&gt;Lost&lt;/em&gt;, I'm afraid. The show isn't really about human beings, but it isn't about big ideas either. It's a flophouse for familiar genre tropes, a grab-bag of narrative gambits meant to produce not wisdom but the &lt;em&gt;Neatest Information Yet!!&lt;/em&gt; When it works - as in the Season One finale, &lt;em&gt;Exodus&lt;/em&gt;, or the sugary yet affecting Desmond/Penny love story 'The Constant' - the show is able to generate excitement on an almost unprecedented scale. Of course the plot payoffs are big; all the writers' (abundant) energy goes into the plot! Never mind that the story, the human referent, is largely nonsense. That plot is an impressive thing, designed to generate Moments of Awesome. When it &lt;em&gt;doesn't&lt;/em&gt; work, you get Moments of Stupid instead. These laughable plot crossroads are as big and audacious as the good bits - Michael shoots ____ because he's crazy, then shoots ____ because he's an idiot! Then he does something else insane! - but they don't actually refer to anything, they have no human-emotional substrate. They're just (obviously and only) plot movement.&lt;/p&gt;

&lt;p&gt;This isn't to say the show is uniformly bad. It's not, not even close - mostly it's stupidly, grandly bad in an enjoyable way. Sometimes it's fine pulp nonsense. Season One was largely fine stuff, never finer than in its early, near-miniaturist phase. The 'origin story' of Locke's 'miracle' remains an affecting and effective episode, courtesy of writer David Fury (formerly of &lt;em&gt;Buffy&lt;/em&gt;, natch). The finale half-dozen episodes of Season One are breathlessly exciting. The early &lt;em&gt;golf course&lt;/em&gt; episode is one of the few hours in which characters consistently act like human beings on a human scale - before the sweeping adventure plot swept up writers and fans and actors alike, &lt;em&gt;Lost&lt;/em&gt; really did have a shot at being a finely-observed human drama.&lt;/p&gt;

&lt;p&gt;After its dimwitted six-episode sub-&lt;em&gt;Prisoner&lt;/em&gt; opening, Season Three is frantic fun (or 'fun') - is it just coincidence that Drew Goddard and Brian K. Vaughan had stepped up in the writers' room at that point in the show's run? Season Four is reasonably consistent in quality, but by then the show was mainly a litany of inscrutable alliances, abstruse motives, and narrative sleights of hand - for the life of me I couldn't figure out what the hell &lt;em&gt;anything&lt;/em&gt; in Season Four was supposed to mean beyond its surface level, and the new characters were interesting mainly for their newness. Some &lt;a href="http://en.wikipedia.org/wiki/Lost_(season_4)"&gt;unintentional comedy&lt;/a&gt; from Wikipedia:&lt;/p&gt;

&lt;blockquote&gt;According to &lt;em&gt;Lost&lt;/em&gt;'s executive producers/writers/show runners Damon Lindelof and Carlton Cuse, there are two main themes in fourth season: "the castaways' relationship to the freighter folk" and "who gets off the island and the fact that they need to get back."&lt;/blockquote&gt;

&lt;p&gt;The 'main themes' are plot elements? What? That makes Cuse and Lindelof sound like idiots, but it's not quite fair. Actually, Lindelof (the big brain behind the show) said this:&lt;/p&gt;

&lt;blockquote&gt;As a result of that, certain thematic elements — the element of fate or supernatural elements as they relate to the monster and Jacob — are certainly in play but not as interesting to us this season as these questions: Why do some of the characters leave? How do they leave? What are the circumstances under which they leave? Why do some stay? Is it a choice? Is it an accident? Both?&lt;/blockquote&gt;

&lt;p&gt;Oh. Um, that &lt;em&gt;also&lt;/em&gt; makes Lindelof sound like an idiot. He can't even phrase The Question of Free Will in a way that makes it interesting, and doesn't even mention a theme more complicated than 'the element of fate or supernatural elements.' That really is the level the show works at, Reader(s): the 'themes' are sketched in at a freshman term-paper level, while the plot is the most overcooked pulp catastrophe this side of the final season of &lt;em&gt;Galactica&lt;/em&gt;. And there aren't even human beings to distract you. This intellectual/emotional poverty is grimmest in Season Two, an impressively bad string of episodes set largely in The Hatch, where the writers set a series of woeful sub-philosophical debates among characters too stupid to know they should simply &lt;em&gt;talk&lt;/em&gt; and too psychologically thin to have anything to say if they did.&lt;/p&gt;

&lt;p&gt;Here's how bad &lt;em&gt;Lost&lt;/em&gt; Season Two is: it makes &lt;em&gt;Lost&lt;/em&gt; Season Three seem streamlined and smart.&lt;/p&gt;

&lt;p&gt;But isn't this unfair? Is it realistic or right to demand heart, soul, or even half a brain from a show that takes Such Impressive Narrative Risks? The question is an admission of defeat. I refer you to &lt;em&gt;The Sopranos&lt;/em&gt;, &lt;em&gt;Buffy&lt;/em&gt;, &lt;em&gt;John From Cincinnati&lt;/em&gt;, &lt;em&gt;Arrested Development&lt;/em&gt;, even &lt;em&gt;Galactica&lt;/em&gt;.&lt;/p&gt;

&lt;p&gt;I've enjoyed &lt;em&gt;Lost&lt;/em&gt; in the past. It's empty calories, all portent and no content; I loved the first year, liked the second, was alternately bored and thrilled by the third, and watched the fourth out of a misplaced sense of obligation. I didn't bother with the fifth season. Of the 80+ episodes I've seen, I've loved a few and enjoyed at least something about almost all of them. (And I did in fact watch the last &lt;em&gt;fourteen episodes&lt;/em&gt; of &lt;em&gt;Lost&lt;/em&gt; Season One in one sitting, as preparation for Season Two. I'm not entirely convinced it was time unwisely spent.)&lt;/p&gt;

&lt;p&gt;That said, I can't recommend the show. It makes a lot of noise and performs some neat tricks, but in the end you have nothing to show for it. There's no plot point worth arguing or speculating about, because there's &lt;em&gt;always&lt;/em&gt; a complicated but morally simplistic answer to each question, and the show never illuminates anything other than itself. Every single episode of &lt;em&gt;The Sopranos&lt;/em&gt; was more morally complex and ambivalent than any dozen episodes of &lt;em&gt;Lost&lt;/em&gt;; every hour of &lt;em&gt;Deadwood&lt;/em&gt;, &lt;em&gt;The Wire&lt;/em&gt;, &lt;em&gt;Mad Men&lt;/em&gt;, or even &lt;em&gt;Buffy&lt;/em&gt; and &lt;em&gt;Firefly&lt;/em&gt; deals more powerfully with the dynamics of community and (constructed, extended) family than &lt;em&gt;Lost&lt;/em&gt; has ever come close to doing. Ultimately, &lt;em&gt;Lost&lt;/em&gt; is about itself.&lt;/p&gt;

&lt;p&gt;As &lt;a href="http://heywriterboy.blogspot.com/2009/10/big-heap-teevee.html"&gt;some wise fellow&lt;/a&gt; put it in a comment over at Denis McGrath's site:&lt;/p&gt;

&lt;blockquote&gt;I didn't stop watching LOST because it turned out the writers had no idea what they were doing at first - I've known that since the end of Season One. Nor does it bother me that 'experiments' (read: unwise indulgences and failures) like Pablo and what's-her-name have stolen time that might've lifted the burden on other, overstuffed episodes. Hell, I stuck it out through S4 despite S2 being the longest, least daring Psych-101-via-cheap-weed dorm-room bullshit session I've ever sat through. You fight through such things.

&lt;p&gt;Nah, the problem is the realization that when the show is over, &lt;em&gt;nothing will have happened&lt;/em&gt;. LOST is all about its own mechanisms, how 'fun' it is to get swept up in a conspiracy-shaped thing...and you look at shows like DEADWOOD and THE SOPRANOS and THE WIRE and, Christ, even BUFFY, and realize that they left you with something to think about, a series of plot movements that summed to something more than themselves.&lt;/p&gt;

&lt;p&gt;The herky-jerky plotting, illogic, and navel-gazing aren't just irritating in themselves, they break the illusion that the show &lt;em&gt;means something&lt;/em&gt;. Which is only bothersome at the craft level but, like, existentially crushing when you turn off the TV. All those hours for a show with nothing to say. I turn off THE OFFICE on Thursday night and I'm disturbed and ambivalent and hopeful. I'd turn off LOST admiring the writers' labours. It's like praising seam placement and not noticing the pants look stupid, y'know?&lt;/p&gt;

&lt;p&gt;The show's a cheat. Not because of how it's written but &lt;em&gt;what it's saying&lt;/em&gt;. The latter opens you up to anxiety about the former. The end, baby.&lt;/blockquote&gt;&lt;/p&gt;

&lt;p&gt;The end, Reader(s). &lt;a href="http://www.amazon.com/Lost-The-Complete-Seasons-1-5/dp/B0021L8FO4"&gt;Go buy it&lt;/a&gt;, if you must. But don't say you weren't warned.&lt;/p&gt;&lt;/div&gt;
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/lost-all-of-it-for-73-not-quite-a-recommendation.html</feedburner:origLink></entry>
    <entry>
        <title>Arrested Development entire, $30, "today only."</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/fxEbvZt7J3s/arrested-development-entire-30-today-only.html" />
        <link rel="replies" type="text/html" href="http://waxbanks.typepad.com/blog/2009/12/arrested-development-entire-30-today-only.html" thr:count="1" thr:updated="2009-12-07T21:57:22-05:00" />
        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a721d1f8970b</id>
        <published>2009-12-07T12:54:08-05:00</published>
        <updated>2009-12-07T12:54:08-05:00</updated>
        <summary>Go get it. If you haven't seen Arrested Development, imagine a sitcom combining the surrealism and improbable pace of The Simpsons, the ingenious involution of Seinfeld, the borscht-belt sardonicism of The Golden Girls, and David Cross the cerebral anarch dorking...</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Television" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><a href="http://www.amazon.com/exec/obidos/ASIN/B000JJ3Y78/ref=nosim/0sil8">Go get it.</a></p>

<p>If you haven't seen <em>Arrested Development</em>, imagine a sitcom combining the surrealism and improbable pace of <em>The Simpsons</em>, the ingenious involution of <em>Seinfeld</em>, the borscht-belt sardonicism of <em>The Golden Girls</em>, and David Cross the cerebral anarch dorking his way across the screen every couple of minutes for next to no reason at all. It's the unapologetically intellectual and <em>disdainful</em> answer to network pabulum like <em>Friends</em>, reflective and reflexive in equal measure. Every lesson of the 90's sitcom was internalized and brought to fruition (or/then gleefully discarded) in <em>AD</em>'s three seasons; the truncated final season in particular has few precedents and fewer peers among half-hour shows.</p>

<p>$30 is a great price for this much entertainment.</p></div>
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/arrested-development-entire-30-today-only.html</feedburner:origLink></entry>
    <entry>
        <title>Swell Joss interview with the generally sensible Mo Ryan.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/l0umwNH3sHI/swell-joss-interview-with-the-generally-sensible-mo-ryan.html" />
        <link rel="replies" type="text/html" href="http://waxbanks.typepad.com/blog/2009/12/swell-joss-interview-with-the-generally-sensible-mo-ryan.html" thr:count="2" thr:updated="2009-12-04T16:45:31-05:00" />
        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a707af16970b</id>
        <published>2009-12-03T17:47:35-05:00</published>
        <updated>2009-12-03T17:47:35-05:00</updated>
        <summary>Here ya go. It's Dollhouse-heavy, and Whedon is more frank about his Fox-related frustrations than he's allowed himself to be in any other venue. As usual, his treatment of the show's thematic concerns (prostitution, self-serving fantasy, the inescapable complexities of...</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Television" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p><a href="http://featuresblogs.chicagotribune.com/entertainment_tv/2009/12/dollhouse-fox-joss-whedon.html">Here ya go.</a> It's <em>Dollhouse</em>-heavy, and Whedon is more frank about his Fox-related frustrations than he's allowed himself to be in any other venue. As usual, his treatment of the show's thematic concerns (prostitution, self-serving fantasy, the inescapable complexities of consent, etc.) is a good deal more complex than his critics', so if you're a smart-TV fan, take a look (and then watch <em>Dollhouse</em>, which was <em>vastly</em> better than its detractors realized).</p></div>
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/swell-joss-interview-with-the-generally-sensible-mo-ryan.html</feedburner:origLink></entry>
    <entry>
        <title>Sometimes it's good to be reminded that human beings are goddamn monsters.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/Babx5Hu1xBs/sometimes-its-good-to-be-reminded-that-human-beings-are-goddamn-monsters.html" />
        <link rel="replies" type="text/html" href="http://waxbanks.typepad.com/blog/2009/12/sometimes-its-good-to-be-reminded-that-human-beings-are-goddamn-monsters.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d83451be5069e2012875fbe18e970c</id>
        <published>2009-12-01T19:17:33-05:00</published>
        <updated>2009-12-01T19:17:33-05:00</updated>
        <summary>I have nothing funny (or otherwise) to say about this vile shit.</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Religion" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>I have nothing funny (or otherwise) to say about <a href="http://www.google.com/hostednews/ap/article/ALeqM5gI5T8s7Jsfyll26AEsU1kIV9uzCgD9C8K6FO0">this vile shit</a>.</p></div>
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/sometimes-its-good-to-be-reminded-that-human-beings-are-goddamn-monsters.html</feedburner:origLink></entry>
    <entry>
        <title>McWhorter on the war on drugs: read this.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/adIcuXSe9-o/mcwhorter-on-the-war-on-drugs-read-this.html" />
        <link rel="replies" type="text/html" href="http://waxbanks.typepad.com/blog/2009/12/mcwhorter-on-the-war-on-drugs-read-this.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a6f97ce5970b</id>
        <published>2009-12-01T18:54:20-05:00</published>
        <updated>2009-12-01T18:54:20-05:00</updated>
        <summary>Fans of The Wire should recognize the chord changes here, but McWhorter's latest solo starts beautifully and takes a couple of daring turns on the way home.</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Americana" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Politics" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Fans of <em>The Wire</em> should recognize the chord changes <a href="http://www.tnr.com/blog/john-mcwhorter/murder-the-bronx-business-usual-suggestion-obama-2014">here</a>, but McWhorter's latest solo starts beautifully and takes a couple of daring turns on the way home.</p></div>
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/12/mcwhorter-on-the-war-on-drugs-read-this.html</feedburner:origLink></entry>
    <entry>
        <title>Small piece of rhetorical advice for fools.</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/IA3XYKJyroY/small-piece-of-rhetorical-advice-for-fools.html" />
        <link rel="replies" type="text/html" href="http://waxbanks.typepad.com/blog/2009/11/small-piece-of-rhetorical-advice-for-fools.html" thr:count="0" />
        <id>tag:typepad.com,2003:post-6a00d83451be5069e2012875e694a9970c</id>
        <published>2009-11-28T01:53:46-05:00</published>
        <updated>2009-11-28T01:53:46-05:00</updated>
        <summary>Don't say something like 'I'm not going to engage in amateur psychoanalysis here' and then engage in just that for three paragraphs. More generally, don't make self-justifying declarations that boil down to 'I'm not the sort of awful person who'd...</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Weblogs" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Writing" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>Don't say something like 'I'm not going to engage in amateur psychoanalysis here' and then engage in just that for three paragraphs. More generally, don't make self-justifying declarations that boil down to 'I'm not the sort of <em>awful</em> person who'd do XYZ' as a prelude to XYZ. The kind of person you are is an emergent property of the things you do; not the other goddamn way around.</p>

<p>This isn't rhetorical advice, really, so much as an expression of hope. I hope, Hypothetical Fool, that you find a few minutes to wonder - aloud, if necessary - whether your self-image guides your actions or emerges naturally from them. Hopefully the latter, in future.</p></div>
</content>


    <feedburner:origLink>http://waxbanks.typepad.com/blog/2009/11/small-piece-of-rhetorical-advice-for-fools.html</feedburner:origLink></entry>
    <entry>
        <title>groupmindfulness (the zen of friendships)</title>
        <link rel="alternate" type="text/html" href="http://feedproxy.google.com/~r/typepad/waxbanks/blog/~3/DrhM_AXt7gg/groupmindfulness-the-zen-of-friendships.html" />
        <link rel="replies" type="text/html" href="http://waxbanks.typepad.com/blog/2009/11/groupmindfulness-the-zen-of-friendships.html" thr:count="3" thr:updated="2009-12-01T09:28:13-05:00" />
        <id>tag:typepad.com,2003:post-6a00d83451be5069e20120a6e3a819970b</id>
        <published>2009-11-27T20:32:41-05:00</published>
        <updated>2009-11-27T20:32:41-05:00</updated>
        <summary>[I dedicate this thing, written a little less than a year ago, to Mr Merlin Mann of 43folders.com, the greatest and most productive and most creative and (above all) most uniquely countercultural writer and website in the history of words.]...</summary>
        <author>
            <name>Wally</name>
        </author>
        <category scheme="http://www.sixapart.com/ns/types#category" term="Media" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Weblogs" />
        <category scheme="http://www.sixapart.com/ns/types#category" term="Writing" />
        
        
<content type="xhtml" xml:lang="en-US" xml:base="http://waxbanks.typepad.com/blog/">
<div xmlns="http://www.w3.org/1999/xhtml"><p>[<strong>I dedicate this thing,</strong> written a little less than a year ago, to Mr Merlin Mann of 43folders.com, the greatest and most productive and most creative and (above all) most uniquely countercultural writer and website in the history of words.]</p>

<p>well you’ve accumulated a more or less optimal assortment of really interesting, forward-looking friends: jayde the political science grad student/prostitute (obviously not his real name); cynthya the punk poet/grocery store assistant manager (titles of recent work: “’jesus wept’ is not enough information,” “look at me i am crying you are crying look at you,” “the lonely old ones,” “we are a nation of cunts”) who has more hidden piercings than you have visible fingernails; rands the software project manager and semifamous webblogger, suicidal but in a cool way and no one thinks he’ll really do it, not when he’s so successful, not when he’s just put down the down payment on that amazing place in the castro; graham and molly, who collect vintage german gay dwarf porn but only ironically and who didn’t vote in last year’s (fabulous) american presidential election because “supporting a broken system is soul abjection” as graham put it in a recent webblog post, and who by the way swing but as a matter of principle only with other conscientious nonvoters and only if you’re D/D free and 420 friendly, <em>whatever the christ that means</em>, what is this sex math? and the weird part is they dated during sophomore year of college on-again, off-again, and because “sophomore” is the new “senior” if you’re cool enough to drop out to work at a startup it all felt really mature and put-together, like we’d been through a lot and finally figured things out, and in retrospect (this is the weird part) that time molly was drunk at the big absinthes-of-the-world party that cynthya was having and she (molly) was coming on to you but in a really stylish, elliptical way, the way you secretly wished all your friends would flirt all the time married/single/whatever, just that energy – now that you think of it that was probably a 2-for-1 job, like a molly AND graham thing, which would explain why graham was sullen and quiet on the next angel-investor conference call. well, half-explain anyway: did he think she had blown their cover or something? is swinging the sort of thing you “cover”? even in college, even among one’s fellow liberal arts majors and clever self-directed interdisciplinary-study designer/theorist types? plus at all the other absinthes-of-the-____ party that summer (oh, boring) graham was a little chilly, and it seemed like molly was embarrassed, but – wait – not because she had said something untoward but maybe because she knew you were being totally just a little bit, y’know, weird about it, and you thought she was being some kind of slut, like hey i’m flattered but graham is my friend, etc. etc. posturing etc., when really (1) you were hugely turned on by the whole thing, (2) graham really was being unprofessional on that conference call, and (3) your sense of “mere infidelity is sluttiness” didn’t even begin to cover how actually slutty they were BOTH being but awesome, and inviting you to be in turn. which was kind of a compliment, really – they thought you’d be cool with it. or else molly really was just drunk and not thinking straight, which would explain why she was so relaxed about beauregard ripping the leg of her $700 designer jeans, which everyone else in the room was totally freaked out about, although when you’ve had that much absinthe to drink, one glass for each of the eight or nine continents if you even count australia, who knows how you’re going to react. plus, sidebar: if you were going to respond to a swingers advertisement you’d probably respond to precisely the sort of ad that graham and molly would take out – the crew calls them grahamolly, or in terms of ethnic affectation calls graham “grey-ham” – and the last thing you want to do is send full-body naked pictures with the head censored out to two of your best friends, when probably they’d recognize your sparsely-furnished loft apartment in the background of the photos and have a good laugh and it would be, at best, a little awkward. and that’s at best! you don’t even want to think about “at worst.”</p>

<p>sure, but forward-looking or not you can’t actually call or write back to your friends the instant they get in touch with you. that’s not what friends are for. that’s the basic principles, the really 101-level cognitive science. write it down in your moleskine: science beyond the 101 level is basically masturbation, overspecialization, the slippery slope toward “expertise” that’s really just disciplinary co-optation. really smart liberal arts 2.0 types know this; you know this.</p>

<p>the principle of “continuous partial attention” has gained some currency in recent years. what does this phrase mean? irrelevant. what you need to know is, anyone who asks you to be responsible for more than one thing at a time is stepping on the creative freedom, the relaxed vibe, which you digital american hero attended and dropped out of an elite coastal university <em>for!</em> you think that mass communication/visual anthropology degree was, what, vocational? turn to your oppressor, just say it bluntly, put it out there: “you don’t understand the mind, horace.” why does horace insist on bothering you when you’re getting your creative juices flowing, when you’re vitalizing the dry connections between truth/facts and images, between seemingly unrelated areas of knowledge/cool, by e.g. looking at internet web pages full of helpful digital infographics labeled with clean sans-serif fonts – nothing you’ve ever heard of, horace, it’s really only for typography nerds, and why am i reading this at work? THIS IS WORK, horace. anyway it’s my real work. you couldn’t understand, you’re a Suit. admit it. yeah. walk away, jerk.</p>

<p>why are you so mean to horace? well, phrase the question another way: if evolution is real, why was horace able to survive when the club-headed dirt bird of outer mongolia went extinct? if you’ve ever seen a dirt bird tunnel complex you know they’re remarkable creatures who display impressive collective intelligence, burrowing through loose soil, sand, and hard stone alike, building architecturally complex labyrinths of...but goddamn horace can’t even change his own UNIX password without coming to you for help. you’re all like “i’ll email you,” then you write a quick post to your really popular, really carefully layout’ed “design patterns for creativity” webblog to find out how to change a UNIX password, because while you don’t know sort of thing, you definitely don’t want to lose your geek cred over this...</p>

<p>your best bet friend-wise is to lifehack your relationships using very modern personal growth/productivity techniques, some imported from asia, some from websites about lifehacking your office supplies and closet space. the most important guideline for dealing with your very closest friends is only this:</p>

<p>don’t get back to your friends right away when they call – anything that’s really important they’ll post to their facebook pages or broadcast on their webblogs later. indeed “one-to-one” communication is woefully inefficient. the most efficient possible communications strategy is: say everything that comes into your head to everyone you know, and LISTEN TO NOTHING. that way you move with maximum quickness between daredevil info-activities. “stopping to listen” is unacceptably nineties, not so much in a retro-cool way as in an “other than the dot-com renaissance/perfection everything about the nineties was as bad as cancer of the aids” way. the best thing about “continuous partial attention” is that you don’t really have to pay attention to anything at all – which is what frees you up to REALLY LIVE. at last. here’s another thing about when your friends call: if they really loved you they’d call twice, three times. you’re on a cell phone, right? “unlimited nights and weekends” means they have absolutely no excuse for failing to call you multiple times. also, sidebar: it’s rude to call someone more than once. if we’re not answering our phone we DON’T WANT TO BE REACHED, ok?</p>

<p>as you can see it’s very simple, each principle follows naturally from all the others, and yet we are unburdened by “logic.” is that the sort of thing you can condense into a “tip” for easy mass consumption? no it is not. the most important help we can give you is this: any “tip,” any piece of advice short enough to fit in a single sentence, is certainly a lie. that’s the great lesson of the 21st american century; it’ll be the great lesson of the 23rd (japanese) century, though by then we’ll be communicating entirely in digital photographs transmitted between microscopic telephones surgically implanted in our eyeball/souls, and the very concept of the “tip” will have gone the way of the mongolian dirt bird. bad for condom wearers, pen/pencil manufacturers, even digital productivity/wisdom webbloggers; good for you.</p></div>
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