This is really cool. I maintain a lot of systems that have to be worked on from time to time by far less experienced techs than myself (due to our relationship with the business partners that use the systems) and this sort of thing could be amazing for providing a kind of inline user manual.

Seconding this. Itzg’s server is so easy, I taught my 15 year old niece to run one.

I was 50/50 on whether you were going for that, or Murderbot.

Thanks, I didn’t know about that.

I love Seafile, but I’m not sure it really meets OP’s requirements. For example I’m not aware of any way to do upload without a login in Seafile.

The friction of people rubbing off of each other for the first time creates so many wonderful opportunities for storytelling, and forming bonds naturally through play, instead of prescribing them in a clinical session 0 context, tends to make the players much more invested in those bonds, in my experience.

Doesn’t have to be a solo session. If you have the right group for it (big IF there) you can jump back and forth between the individual characters, essentially running four solo sessions in parallel. This relies heavily on your players being the kind of people who are invested in the action even when their character isn’t present, but it can be done.

That said, I think for the most part the “Solo movie” should really be a character’s backstory. This is why I don’t like D&D, or at least the D&D presumption of starting at level 1. It leaves no room for characters to have an interesting history if they’re basically at the level where the average house-cat is a threat. If I run D&D, I start people off at somewhere around level 5 - 10. Give them enough ability that they can actually have done some interesting things already. Get the solo movie out of the way before the game even starts.

No, Obi Wan and Luke found Han through contacts Obi Wan had at Mos Eisley having lived on Tatooine for years and gone to the trouble of maintaining underworld connections knowing he was on the run from the authorities, and they didn’t just rock up and say “Yo, we’re buds now,” they employed Han and Chewie to smuggle them somewhere, that being the job of a pair of smugglers.

I think the idea that Murderbot’s conception of its gender conflicts with its appearance of gender is actually a lot more real, and relatable. If Murderbot is simply genderless because it was designed to be genderless, that flies directly in the face of the story’s underlying themes of breaking your own programming and discovering an identity apart from the one you were assigned by society and your expected place in it. So the notion that this thing was designed to look like a very handsome guy, but thinks of itself as having no concept of gender at all seems to fit that much better to my mind. But I get how it’s difficult when you start with a book, form an image of a character, and then get met with something that runs completely counter to that image.

Yeah, I’m gonna back you up on that one. Sometimes assembling the group in session 0 is what’s right for the story, and sometimes it really, really isn’t. Think about how many movies literally have “Assembling the team” as almost their entire plot. The Avengers hangs two hours of non-stop action on “We need to put a party together.” Every heist movie is basically required to have an “I’m putting a team together…” sequence.

Session 0 is where you lay out the expectations of the game, and your players think about either how their characters have already interacted, or how they will interact when they eventually meet. You give people an idea of what they’re getting into, you pitch the tone and the style of the game, and you help people shape characters around that.

As an example a friend of mine always pitches his games by describing who they would be directed by. I remember vividly his “Lock, Stock and Two Smoking Halflings” game, a Warhammer Fantasy Roleplay If It Was Directed By Guy Ritchie experience. Just setting that sense of tone up front meant that we all knew to make characters who would fit the vibe. I played “Blackhand Seth, The Scummiest Elf You’ve Ever Met,” one part Brad Pitt Pikey, one part Jack Sparrow, and I had a blast.

In my most recent campaign I’m running a Shadowrun game where the group would be assembled in session 1 by a down on his luck fixer. My pitch to the players was simple; make fuck-ups. I wanted characters who were at the end of their rope, lacking in options, either so green no one would trust them or so tainted by past failures that no one wanted them. The kind of people who would take a job from a fixer who had burned every other bridge. They rose to the assignment beautifully, and by four sessions in the group has already formed some absolutely fascinating relationship dynamics. A lot of that has been shaped by their first experiences together, figuring out how to work as a team, sometimes distrusting each other, and slowly discovering reasons to care about each other.

Obviously, I’m probably missing some context here, but reading the way you’ve described this, I don’t think you were at fault here. If the GM’s decision really was to fold that character into the group by just having them stroll up to a smuggler’s ship like “Yo, I’m the jedi, let me in,” that was an incredibly fucking stupid way to handle that character introduction.

If that happened in an actual Star Wars movie or TV show there would be a million youtube videos ripping on how stupid that scene was. Forget “Paranoid smuggler trying to evade the law”, basically anyone working against the empire should have been suspicious as fuck there. That’s not a jedi, that’s an imperial spy, or worse, a sith lord.

Yes, players owe to each other to try to move the story forward in a collaborative way, but the GM also owes it to the players to never demand that their characters act like complete and total morons for the sake of the story. There should have been some kind of framework there for why this group of people would trust this random-ass dude wandering into the docking bay. A message sent ahead by their contact in the resistance saying “This guy is gonna help you out, you can trust him,” something like that. Not just “Yo, I’m a party member, lemme in.” Real life doesn’t work like that, and when games try to work like that it just makes everything feel stupid and pointless, because it’s so obvious that none of it is real or meaningful.

I’m actually a big fan of that decision.

The idea that non-binary people have to visibly appear non-binary is a harmful stereotype. Murderbot’s physical appearance is a part of its design that it has no control over. Why should it look androgynous? Just because it perceives itself as genderless, doesn’t mean it’s creators did.

I hope the show will actually dig into that at some point. I think it’s really important for people to see an agender character who still has a strongly masc appearance.

I don’t like prescribing a characters actions to that degree, but I would certainly work with the player to try to help them come up with an alternate path.

If a player ultimately chooses to commit to a path that puts them at odds with the party, I’ll respect that, but I’ll make it clear to them that this is where that character’s story ends.

My rule on this is very simple; if your character isn’t a part of the group, they’re not part of the story. That goes for lone wolves, people who betray the party, “evil” characters who work against the party’s interests, etc. You make the choices you want to make, you do what seems right for your character, but the moment that means you’re not a part of the group, you either figure out a good story for how we’re going to fix that, or you hand me your character sheet. It’s really that easy.

“But thats just what my character would do!”

OK, let’s unpack that. If that’s truly, genuinely the case, if there’s no way your character could no work against the group or leave them at this point, then this is how your characters story ends. If that comes twenty sessions into a game, well, waking away rather than betray your morals is a pretty good story if you ask me. If it comes two sessions in then we need to figure out why you’re not on the same page as everyone else.

But more often, the player simply thinks its the only possible way their character can act in this situation because they’re not thinking creatively. People are complicated. Consistency is actually the bane of interesting characters. A good character is inconsistent for interesting reasons. “My character would never trust someone in this situation!” OK, but what if they did? Now we’re left with the question of why, and figuring that out is surely going to be interesting.

There’s also the other side of this coin, which is the responsibility on the GM’s shoulders. Yes, your players owe it to each other to try to keep the story moving forward, but you also owe it to them to respect the reality their story takes place in. Don’t run a gritty crime game and then expect your players to just automatically trust some NPC that turns up with no bona fides. You actually have to put the work into crafting scenarios where the players can have their characters react naturally and still drive the story. It’s a bad GM who pisses their pants and cries because they created something that looks like an obvious trap (whether it is or not) and their players refused to walk into it.

I mean, that’s exactly what makes it so “mid” to my mind. It’s not an atrocious disaster like Gollum. It’s not appalling bad, or even moderately bad. It’s just mid. The shooting isn’t dreadful, just dull. The map, the movement, the exploration… None of it is exactly bad, but none of it left any kind of impression on me. Like you said, it scratches that “running around and collecting stuff” itch, the numbers go up, you unlock new powers, etc. But it all just kind of passes straight through you and at the end you’re left with “Well, that sure did kill a few hours.”

Horizon: Zero Dawn suffers from all the usual modern open world hallmarks, the map littered with things to collect, the towers, the grinding to level up abilities, etc, etc. But the story is an absolute banger, and even a lot of the random collectible junk is full of little moments of deeply moving storytelling. I remember collecting every single one of the vantage points because I absolutely needed to hear all of the short story you unlock by doing it. It has zero relevance to the plot, but it’s just a great piece of writing. In comparison Ghost Wire is just, sort of… There.

Honestly, none that are all that great. I tried Kodi in various forms, LibreElec, OSMC, MythTV, Steam Big Picture, and KDE TV (or whatever its called), but you’re just never going to get a great experience with stuff like Netflix and YouTube on Linux.

In the end, I bought myself an Nvidia Shield, switched out the launcher for one without ads, installed Smart Tube Next for ad-free YouTube, and I couldn’t be happier with the results. I’ve got my apps for Nebula and Dropout. I’ve got Kodi and Jellyfin for my home library. It has barely any power consumption, it boots fast, it runs a huge variety of emulators, the included remote works great (plus there’s a remote app for your phone that controls the entire system), and the wife acceptance factor is exceptional.

I’m really big on self-hosting and building all my own stuff; I use lots of repurposed hardware salvaged from companies I and my friends work at and I try to avoid off the shelf products. But I’m genuinely kicking myself for not buying a Shield sooner. It really is the best TV solution for a self hoster.

Ghost Wire: Tokyo.

It sells itself on cool aesthetics, but the moment you get past that you realise it’s just a very, very generic open world shooter with incredibly bland and boring shooting layered over an impressively faithful recreation of Shinjuku. And even the aesthetics wear thin very quickly, being largely just a whole lot of “Hey I know that anime” level stuff cribbed from Japanese culture. The game is mostly just running around a map collecting stuff.

I’m here to say Portal as well, specifically because, once you really look for it, you realise that about 90% of the game is tutorial. Like, seriously, basically everything leading up to “The cake is a lie” is teaching you the skills you need for the final sequence. It’s a massive tutorial followed by one level of actual game, and it’s beautiful, precisely because you don’t even notice that the tutorial hasn’t ended.

It is vitally important to understand that throughout the “potato famine” Ireland was a major exporter of food to the rest of the UK.

Irish farmers were growing all kinds of crops. Grains, carrots, cabbage, lettuce, etc, etc. All of these were sold to pay for the oppressive rents that they were forced to pay to English landlords who had stolen all of their land.

The potatoes the Irish grew were for subsistence, because all of the rest of their crops went to market. Even when the potato crops failed, there was more than enough food for everyone in Ireland, if the English would simply suspend rent collection for a short while, until the crop failures had passed.

Many motions to do so were put before parliament. All of them were rejected.

The Irish famine was not caused by a disease. It was caused by the intentional cruelty of the English.

Yes, the underlying model is the same as Tailscale, Zerotier and Netmaker (also worth checking out, btw). Clients connect to a central host (which can be self-hosted) and use that to exchange information on addresses and open ports, then form direct connections to each other.