ruxhart

[ruxhart]

#comics #slowly becoming a new fave

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I made something

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This machine kills AI

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DeepLeffen is a Twitter bot trained on r/smashbros and Tweets from professional Smash player Leffen. It randomly generates Tweets based on prompts it is fed.

It’s probably the best account on the site.

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I don't want to put this on that person's post, bc they are in the situation that they're in, they're very clearly advocating for themselves and other people the best they can given truly fucked up circumstances, and they don't need some asshole saying what I'm about to say to them right now. This is not aimed at them.

But: this is the inherent problem with flocking to platforms like webtoon 'for the audience'. Even if you are exactly the right combination of lucky and marketable, even if you successfully tap the market they've created, you don't get to walk away with those eyeballs. All you've done is tie your livelihood to someone else's infrastructure.

This is the nature of the modern web, you are always handing over the keys to your career to some other asshole to some extent. It might be twitch or youtube muting and demonetising your videos, it might be social media purging adult accounts, it might be patreon changing a policy overnight and decimating your income. Every time you buy into one of these marketplaces you HAVE TO do so with the knowledge that they could flip the table at any moment. You have to be aware of what you could lose by making their service a point of failure. Please please please please at least build a website.

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Oh.

To call WT's actions "antics" would be reducing the severity of what they're doing to creators. This is unacceptable behavior and it should be all the more reason for creators to start exploring other career paths outside of WT. For years they've been meticulously crafting an environment where people believe that WT is the only path to success, where WT controls the degree of success creators can achieve, from the manipulation of the promotional system to the lack of tagging and proper search functions on the app. Now that they've boiled the frog to this point, they're cashing out by flooding the platform with cheap imports, implementing AI tools, and of course, trying to use their contracts as a way to trap creators and keep them from owning their own IP's and maximizing on their own success.

I said it before and I'll say it again - Webtoons is planning to go public with their IPO this summer, so it would be a real shame if creators spoke up about the underhanded tactics used by WT to keep them from finding success in their own works. At the very least, it should serve as a reminder to all of us that companies like these can't amass billions without exploiting people along the way.

We can't even use "they're creating jobs for comic creators" as a reason to want to see WT succeed in spite of their flaws anymore because they're literally ruining people's careers, cutting them off before they've even started. That's not the platform being "flawed", that's the platform and the system it's built on being broken, full stop.

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enough about taylor swift already. reblog and tag the smallest, least known artist you listen to

#elpa #rapping teen that used to be one of my students

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Do you happen to know the origin of the fantasy trope in which a deity's power directly corresponds to the number of their believers / the strength of their believers' faith?

I only know it from places like Discworld and DnD that I'm fairly confident are referencing some earlier source, but outside of Tinkerbell in Peter Pan, I can't think of of any specific work it might've come from, 20th-c fantasy really not being my wheelhouse.

Thank you!

That's an interesting question. In terms of immediate sources, I suspect, but cannot prove, that the trope's early appearances in both Dungeons & Dragons and Discworld are most immediately influenced by the oeuvre of Harlan Ellison – his best-known work on the topic, the short story collection Deathbird Stories, was published in 1975, which places it very slightly into the post-D&D era, though most of the stories it contains were published individually earlier – but Ellison certainly isn't the trope's originator. L Sprague de Camp and Fritz Leiber also play with the idea in various forms, as does Roger Zelazny, though only Zelazny's earliest work is properly pre-D&D.

Hm. Off the top of my head, the earliest piece of fantasy fiction I can think of that makes substantial use of the trope in its recognisably modern form is A E van Vogt's The Book of Ptath; it was first serialised in 1943, though no collected edition was published until 1947. I'm confident that someone who's more versed in early 20th Century speculative fiction than I am could push it back even earlier, though. Maybe one of this blog's better-read followers will chime in!

(Non-experts are welcome to offer examples as well, of course, but please double-check the publication date and make sure the work you have in mind was actually published prior to 1974.)

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if you want

a magical girl series that isn't an ecchi comedy or a hyperviolent melodrama

a magical girl series where 99% of the cast are 20 and older

a magical girl series about... uh, the dangers of deregulation

great art

cool deliquent tracksuit-wearing senpai magical girl who makes big yowly grins

you owe it to yourself to give Magilumiere Co. Ltd. a shot

#everything said here is true #magilumiere co. ltd.

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guess who made a wargame with thirteen thousand seven hundred and ninety-nine unit statblocks

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https://wiiu.hacks.guide/#/

https://3ds.hacks.guide/get-started

https://pretendo.network/

#reblogging for reference

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Tales from the Mana Crypt #96 - Mounting Okos

Within Magic's complex mechanics, we can rewrite stories the way we wish they could be.

#comics #magic the gathering

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art comic

#comics

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