[This is a repost of this post I originally made on Cohost on 19 September 2023.]

I've beaten Armored Core VI, all the way through the third loop. I've S-ranked every mission, and then I went back and S-ranked a bunch of them again to get better recordings. I have every piece of equipment, every combat log, every OS upgrade. Although my fingers haven't given up their itch for it, I can't justify playing this game anymore when so many other games are sitting on my virtual shelf, so I'm putting it away. For now.

As I always do with FromSoft titles, I've recorded my major accomplishments. They're available for anyone who's interested in two different playlists:

• My boss fights, including AC fights that felt major enough to be worth including. These are all official story mission victories in the order I did them in my three loops through the game.

• My S ranks, in the order they appear in the game. If you're struggling to S-rank a specific mission, this may help you out.

I had five different Armored Cores I rotated through for the S ranks, largely based on my experimentation during the main game:

FLAUMPTCH Three Time Charmed

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My go-to mech. Double SG-027 ZIMMERMAN shotguns are already a cliché but they're so much fun I can't bring myself to care. They force you to prioritize getting in close, hitting quick, and punishing hard. The digitigrade legs allow for huge quick boosts to get out of dodge fast if the enemy starts a melee attack or an AOE, plus it gives a great kick with a long hitbox—crucial for punishing staggers during this build's long reload windows.

This is a terrific boss-killer and one-on-one battler. Its biggest downsides are the relative lack of long-range options for mob-heavy missions and the low ammunition which makes it ill-suited for long-haul S-ranks.

APOCRITA Plasmatic Surgeon

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A relatively minor variation on FLAUMPTCH, with two Vvc-760PR plasma rifles taking the place of the shotguns and some tweaks to handle the added energy burden and give better long-range tracking. What this lacks in one-on-one stopping power it makes up for in its ability to absolutely mow down MTs and other weak enemies. The plasma rifles have good range and a long-lasting AOE when they land, so they can one-shot all but the toughest mobs.

I use this for missions where the bulk of the fighting is with random smaller enemies, or where I need a good amount of reach. It's great for "tower defense" style missions and some of the trickier "mop up the random MTs" missions where waiting for a shotgun or a missile reload for each enemy is just not practical. It struggles mightily to build up ACS damage against bosses and ACs, so look elsewhere if you want to bring down larger prey.

MAILLARD Cuite à Point

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I'll be honest: when I first saw flamethrowers in AC6, I…

people like to talk up how good babies are at language acquisition but I think they're mostly just stuck with thousands of hours of free time and literally nothing else to do. and even then, if you take me (a 30-something barely-bilingual adult) and stick me in a six-month immersion program for any language under the sun, I guarantee I'll come out able to hold a far more cogent conversation in that language than a six-month-old native speaker

has anyone written a Batman fic where Bruce actually goes to therapy, works through his trauma in a healthy and productive way, starts putting his fortune to work tackling structural issues, eventually realizes that while the Batman persona was borne of trauma and maladaptive coping mechanisms there's a part of it he still loves and identifies with and wants to find a way to embody more positively, and then the punchline is that the whole thing is a prologue to Batman (1966)?

bad art is so critical for being a healthy human being. you gotta see some awful movies or read some dogshit books or play a horrendous video game every now and then. I'm not talking about "I like it despite its flaws" I mean fuckin bad. just to keep your tastes well-calibrated you know?

describing art as "degenerate" because it expresses sexuality is not just classic American Puritanism, it is full-on Nazi shit

It's also quietly racist (as Nazi stuff tends to be when it's not being loudly racist) to frame an archetypically Japanese genre as intrinsically icky. I know present-day Kotaku is even more of a rag than it was historically, but this is particularly disgusting.

it's such a brilliant and hilarious commitment to the bit in Players to write a TV script with approximately two "fuck"s per minute, air it on a streaming network without any censorship, and bleep every single curse anyway

I guess there isn't much about this up anywhere particularly easy to find, is there? Sure, let's get into the history.

It All Starts with Haml

So, before Sass (not SASS), there was Haml. Haml was created way back in the summer of 2006 by Hampton Lintorn-Catlin^[1], when Ruby on Rails had lit the web development world on fire and everyone was rushing to invent cool new ways of writing server-side-rendered web applications with light AJAX support. Rails used YAML for its configuration and Hampton liked the terseness and indentation, so (as he once described to me) he took a template written in ERB (the dominant templating language at the time) and just deleted redundant characters until he got something that felt more DRY. After some tweaks, the result looked essentially like modern Haml:

%section.container
  %h1= post.title
  %h2= post.subtitle
  .content
    = post.content

That fall, just as Haml was released to the public, I was in college taking a Software Design and Development course^[2] in which the instructor encouraged us to get involved with open source projects. Rails being the big thing at the time, I hung out on the mailing list^[3] looking for good opportunities to dip my toes in. When Haml got announced, it was a perfect opportunity: it was still small and easy to understand, and it had a number of clear tasks that needed doing. I started sending patches, and pretty quickly (at least in part by virtue of having a lot more free time between classes than Hampton did with a full-time job), I became the de facto lead developer.

Sass Emerges

Haml quickly becomes quite popular in the Rails world. Writing HTML closing tags by hand kinda sucks, it turns out, and we're not the last to try to solve this in various ways (although we may have been the first). Hampton is a big ideas guy, and he's always excited to find another big thing to dig into. By this point we're working together pretty closely, so at some point in late 2006 he messages me about his idea for "Haml for CSS", which he wants to call "Sass".

That was the original pitch Hampton sold to me: just like Haml was basically just a different syntax for HTML (or more accurately, for ERB, since it did include the ability to inject Ruby code), Sass was going to be just a different syntax for CSS. The first…

I cannot believe they got away with this

if I were in charge of UI design for a text editor, I'd add a context menu item that shows up when text is selected called "Make Poetry". it doesn't change the text at all but the act of selecting it recontextualizes the text for anyone watching so that in that moment it becomes, in a presentational sense, poetry