#Time Paradox Ghostwriter

[shysheeperz]

I maxed out the answer options so I couldn't squeeze Build King in. I'll include it in the next poll~

#submission #weekly shounen jump #weekly shonen jump #axed series #2020s edition #zipman!! #agravity boys #guardian of the witch #moriking #bone collection #time paradox ghostwriter #magu chan #magu chan: god of destruction #hard-boiled cop and dolphin #phantom seer #our blood oath #manga #shounen #shonen #2020s #2020 #polls

[greatwyrmgold]

Thinking about Time Paradox Ghostwriter, how it showed so much promise yet turned out being a whole bunch of nothing, and how it might have been improved had Kenji Ichima's microwave was struck by lightning and spat out a copy of future manga critics discussing his work.

TL;DR (and boy howdy is it TL)

Plagiarism. This is a common angle of criticism, to the point that it makes people dismiss the series before applying any other criticism. And it's by far the easiest criticism to address; it just feels like the people behind TPGW didn't consider it until too late in production.

Why's White Knight good? A manga about manga needs to be good at explaining manga. A crucial plot point, and arguably the throughline tying all the story's events together, is the unsurpassed genius of Itsuki Aino's White Knight. The reasons why White Knight is good seem like they'd be

Itsuki Aino's death. It's a plot point that's introduced clumsily, resolved worsely, and just feels out of place. Part of that is just the fact that the series was clearly meant to have a bunch of chapters between the introduction and the death reveal, but given that this plot occupies eight out of fourteen TPGW chapters, I can't exactly ignore its problems. I probably should have made this #4, but I'm not restructuring everything now!

Emptiness. A series about manga should say something about manga, and TPGW absolutely says stuff about it. It's just not good, or consistent. And possibly unintentional, especially if we read a bit too much into the statement that stories don't need to have meaning to be good. A lot of people (myself included) read chapter 1 and assumed TPGW would have some interesting stuff to say about the creative process and what makes manga good, but all we got in the end was "Good manga doesn't have to be original or meaningful or have personality, it just needs to be written by a talented mangaka!" Barf.

And to fix as much as possible with as few changes as possible: Start by drastically changing Itsuki Aino's philosophy of "manga just needs to be good" and "personality only reduces a manga's potential audience". Keep her goal the same as Sasaki's—making manga everyone can enjoy—but change her beliefs on what makes manga enjoyable to be something different than Sasaki's.

Then change Aino's role in the story so that she's aware of the time plagiarism and actively brought into the creative process of Sasaki's White Knight, so their now distinct personalities and philosophies can play off each other. Have them actually discuss White Knight in a way that both illuminates their differences and hopefully why one manga is better than another.

Finally, change the hundreds of tiny details that contribute to the series's themes, because the big picture is a fairly small part of the problem.

Problem 1: The plagiarism thing

On one hand, if you overlook the fact that Sasaki basically plagiarizes his manga, TPGW has a lot of interesting things to say about the creative process. On the other hand, the series gives you very few reasons to overlook the fact that Sasaki basically plagiarizes his manga.

This is so bad that I wouldn't be surprised if nobody involved in the production of TPGW considered that its premise was kinda plagiarismy before they saw the response to chapter 1. This impression isn't helped by the way that Aino casually absolves Sasaki of wrongdoing after a brief conversation. It's like everyone involved just wanted to get it out of the way.

Sure, Sasaki assumes that the first chapter of White Knight is just something that came to him in a weird dream and not a literal copy of Shonen Jump from the future that he plagiarized. He's not crazy. But Sasaki never really considers whether he should keep drawing White Knight once he sees another copy of Jump manifest when he's wide awake, and doesn't give much focus on the reasons why he feels like he can't stop publishing his copied work.

Sasaki feels guilty about plagiarizing White Knight, which is good. However, it feels like shallow, unimportant angst, diluted by the angst he feels about realizing that he still doesn't have any good ideas of his own. That latter point is especially bad, because it makes it impossible to tell whether future angst about "not being his" comes from the plagiarism thing or the I-don't-deserve-this-praise thing, or even a pride thing.

The thing is, there are good arguments in favor of continuing to publish. Aside from a general feeling of obligation towards his employers (and the first series he's gotten published), there's the fact that Aino publishing her own White Knight idea would be perceived as plagiarizing Sasaki. But this never gets enough focus.

If I had to point to a solution, I'd have Aino believe Sasaki when he explains how he wrote White Knight. This would give her a good reason not to casually absolve him of a crime she has no reason to think he could commit, which in turn gives Sasaki a good chance to defend himself.

But above all, it lets Sasaki make amends to Aino. Something direct, like Sasaki actively offering to make Aino an assistant and promote her to coauthor as soon as he could get away with it. I get that him stopping Aino from working herself to death is supposed to be that, but it's so far removed from his initial plagiarism and meeting Aino and stuff that it feels less like a response to harm he caused her and more like an unrelated side quest he went on because nobody else could.

(Plus, I personally dislike stories built around big deceptions that nobody is allowed to find out about for fear of disrupting the status quo. Screw the status quo!)

Problem 2: Why is White Knight so good?

White Knight is a super basic but super popular manga series, in both the future where Itsuki Aino wrote it and the present where Teppei Sasaki did. It's so good that the editor-in-chief glances at the manuscript (when Sasaki didn't have an appointment with anyone) and immediately decides it should run in Weekly Shonen Jump, and it breaks all sorts of fan response records, and it inspires despairing wannabe-mangaka to give it another go, and editors cry at the storyboards and call it divine, and Sasaki almost literally isn't allowed to not make it a weekly series. But why?

We don't get much detail about White Knight. Each chapter is better than the last. It looks better when Sasaki stops just copying Aino's linework. We have a broad plot synopsis from chapter 1; endless night, ghost that needs to be killed, generic-sounding nice-guy-tragic-backstory hero. There's also a witch, and a teacher who might know who the ghost is, and a "hanged man of space-time ghost". Oh, and it's super good! People never say anything about it except to say how good its x is, and virtually every possible value of x shows up at least once.

Also the baffling implication in chapter 10 that Sasaki's plagiarized White Knight is Aino's ideal manga because it has no personality to speak of. But, um, let's unpack that later.

While we get a little more information about why Sasaki's original series are bad, but he talks at length about how his version of White Knight is worse than Aino's. Why? The art wasn't good enough?

Normally, this wouldn't matter. When reading Phantom of the Opera, we don't need to understand why Christine and Erik are such good singers; we can just accept that they're talented and had good teachers and move on. It's only a problem if they're played by a talented but inexperienced actress and a disharmonic actor.

But if the play started with Christine failing to land a job at the opera, then she started singing a different song and was immediately made prima donna, and also she spent a lot of page time discussing or pondering what makes a singer good, that would be a different story. Understanding why Christine's performance improved would be important to the plot, and absolutely critical to the themes.

All we're left with is Sasaki's stated belief that manga doesn't have to be original or something unique to the author's vision or anything like that; to be good, manga just has to be good. So I guess manga has an inherent goodness, something that makes them good, and if they don't have that they don't have it.

This is supported by how other characters talk about manga. The manga (plural) that Sasaki submits in chapter 1 mostly receive very vague, shallow criticisms. "Pedestrian premise. Flat characters. Boring. It's not like any one part of it is especially bad. The problem is that nothing about it is good." "This story is completely empty. There's nothing in it at all." The second manga gets a bit more detail, in that Sasaki took the "flat characters" thing to heart and tried to make them quirky, only to fall into new stereotypes.

This feels like it's setting up Sasaki as a competent but cripplingly ordinary mangaka. His manga is just written to appeal to a lot of people, without considering who "a lot of people" is, or what they might find appealing. And to contrast his boring failures, we have White Knight...which is also ordinary, but good instead of bad?

(I can't find a great place to slip this in, but: Sasaki makes a point out of the fact that, for all its popularity, his White Knight didn't have the same explosive success as Aino's. The only difference between the two that we know of is that one was written by Aino and one was written by Sasaki.)

White Knight didn't need to be explained in detail. We don't need half of the manga to just be White Knight panels and synopses. But if you're going to have a manga about a mangaka who ruminates on the creative process, who keeps failing with his own premises but succeeds when the inciting incident gives him a new start, the difference between the success and the failures is kind of important! We should have been given some idea why White Knight succeeded where everything else failed, why it was "good".

The only hints we're given are something about the art and Itsuki Aino just being a good mangaka. Characters praise every aspect of White Knight, not just the art, so I assume the manga isn't focusing on Sasaki's art because that's the only thing that matters for making good manga.

But what is? Why is Aino's manga so much better than Sasaki's? This is an important question that should be answered, as important as asking why Goku can beat up Frieza, because manga is as important to TPGW as martial arts is to Dragon Ball.

The answer should be clear in some difference between Aino and Sasaki. But there isn't one. They are the same, to the point that Aino thinks it's plausible that Sasaki would come up with the exact same idea. They have the same philosophy on creating manga (I'll get to it), the same goals, the same obsessive drive to perfection.

What differences are there? Aino works slightly harder, in that she works herself to death in her 20's while Sasaki only works himself to illness and fainting. Aino is more optimistic, but it seems like Sasaki was the same at age 17 and just had his optimism crushed by several years of failure. Which brings us to the one real difference between the two of them: Aino writes good manga.

I'll get back to that point after I wrap up this section.

The easiest way to solve this would be to have characters talk about White Knight, other than when they're praising it. Also to have Aino not just be the schoolgirl prodigy version of Sasaki, having two points of view is important.

Maybe Sasaki and Aino discuss White Knight when she becomes his assistant. They could disagree on why it's a good story, which would mean explaining the reasons each of them thinks it's a good story.

Having Aino help Sasaki with White Knight long-term, or at least having her do more than basic assistant work, would do a lot for the story. It would make White Knight less plagiarismy, since Sasaki is presumably getting credit. It would give Sasaki an insight into why the world and plot of White Knight work the way they do, which he'd find useful and which would characterize both the manga and the mangaka (plural). And it gives the two principal characters reasons to constantly discuss the most important object in the story with one another, especially the aspects most relevant to the series's core themes.

Problem 3: The whole Itsuki Aino dying thing

I don't think the idea of future!Aino dying is, in and of itself, a problem. I can see a version of TPGW which gets more than 14 chapters going through all potential stages of a mangaka's career through Sasaki, future!Aino, and present!Aino once she starts her own series. In the process, it would develop the characters of Sasaki and present!Aino, and maybe even future!Aino through an interview or something published in the magazine.

If that series climaxed with future!Aino karoshi'ing herself, it could be a sensible and powerful climax—especially if the supernatural aspects of its resolution were introduced over time and not rushed into existence because the manga was about to be canceled. Eight chapters would be a decent length for that kind of thing—if anything, a little quick.

But that's not the TPGW we have. In our TPGW, the eight chapters focused on future!Aino's death and preventing present!Aino's are 57% of the series. Everything else is little more than setup to the karoshi arc, yet very little has been done to establish its conflict. Why does future!Aino overwork herself? Well, present!Aino is clearly passionate about her work. Why would Sasaki making a series that's better than hers make Aino not overwork herself? I don't think this question ever gets answered, even though Sasaki asks it himself.

In the end, the time robot does something we had barely any idea it might be able to do, Sasaki spends decades making the perfect manga, and Aino just kinda gives up when she sees that Sasaki made that perfect manga. I'd have thought seeing a better manga than what she could draw would energize her, make her strive to surpass that limit.

You know, like how Goku has this drive to surpass anyone he sees that's stronger than him. Imagine if Goku saw how strong Beerus was and just gave up martial arts on the spot. Wouldn't that suck? It would feel out of character for someone who had been driven by a love of martial arts for the entire series, to the point of risking his own life for a good fight.

But no, Aino just likes drawing for fun, and she didn't realize it until Sasaki showed her how much better he could write manga. My first instinct is to call this sexist, but upon further consideration, there are many other ways to interpret this plot point. They're all bad, but they exist.

There are two solutions. First, you could make a much longer series which establishes all the time magic and character details that would make this turn of events make sense. Second, if your story gets canceled halfway through act 1, don't tack on the second half of act 3 if it relies on details that were supposed to come up in act 2.

Problem 4: What are you saying?

This is a manga about manga. It's one of the few manga that I'd say is more about manga than Bakuman is, mostly by virtue of not having distractingly blunt opinions about women. TPGW is pretty focused on manga. In fourteen chapters of manga about mangaka writing manga, sci-fi twist or no, there should be something about manga said, right?

A lot of people say manga needs to just appeal to people, and the people who disagree aren't given much consideration. Sasaki's editor talks about how manga characters "live off of paper and ink...and they breathe within our hearts!!", and Sasaki says he would have enthusiastically agreed if it wasn't for his "but it's not really mine" funk.

The biggest thing is probably Sasaki and Aino's feelings towards the idea of "something only you can draw". Neither Sasaki not Aino thinks there's anything only they can draw, or that manga needs a "message"; they both just want to make manga that people like—one that the whole world can enjoy. Not just people on every continent, every person in the world.

Considering that one of the characters who espouses this thesis is the protagonist, the thesis is supported by White Knight very obviously being something at least two people can draw, plenty of side characters support this thesis, it never receives any pushback that the narrative considers meaningful, and the other character espousing it wrote an almost supernaturally good manga series, it's probably safe to say that the narrative treats this sentiment as true. That the purpose of manga isn't to be unique or original or interesting, but to be enjoyable. To make people happy.

This ties back into what I said about White Knight being generically "good". Manga that have a lot of good things in them are good, because they make people happy. Why things in manga make people happy, or how they do, or why things might appeal to one person but not another, or even whether things that people find appealing could change between 2020 and 2030? Unimportant.

I don't want to try and divine the opinions of author Kenji Ichima from this, nor about illustrator Tsunehiro Date or the series editor (who is not named on Wikipedia), nor even about Jump's upper management. The world of corporate art is such that stories can, in principle, say things that every single person creating them disagrees with; the people making them are beholden to the bottom line, to shareholder opinions, not to artistic merit.

So when I say that TPGW has really shitty opinions about manga, that's not meant to reflect on any particular human involved in writing it.

Let's start by pointing out that "manga is supposed to make people happy" is just a fat nothingburger of an opinion and move on to all the other things that get dismissed to support that thesis.

Like, the idea that a series doesn't need to do anything new to be good. This is ridiculous! The rhetorical composite author of TPGW might have had manga like Dragon Ball in mind when saying that, but DB is only so generic because so many other series copied all the new things it did. A generic Shonen Jump series that doesn't do anything new won't look like Dragon Ball, it'll look like Neru: Way of the Martial Artist or Dororo Dororon.

The idea that manga (or art in general) should have a message is a bit less concrete, but personally, I'd argue less that a series must have a message to be good and more that any story is gonna have a message, which can affect series quality the same way that its plot, characters, or art can. But to TPGW, this message isn't even on the same level of unimportance as plot or characters, it's something to be actively dismissed.

All that a manga needs to be is "good". What does it mean to be good? It needs to make people happy, by being good. How do you make a good manga? Judging by the lack of difference between Sasaki and Aino...you need to be a good mangaka. That's it.

Sasaki and Aino do the exact same thing. They both work stupid hard on their manga, with the exact same methods and motive—the same disregard for anything except creating a "good" manga that makes people happy. Even their flaws are the same, most notably the way they rip any work they don't consider good enough to shreds. (Not that I'm confident TPGW thinks this is a flaw...)

One of them uses this method to succeed, one of them is trapped in a loop of failure until he gets a time machine. That's it.

Sasaki is a bad mangaka. Aino is a good mangaka. Aino is a good mangaka because the manga she writes is good, and the reason her manga is good is that it was written by a good mangaka.

This is even directly supported by the text. The time robot attributes Aino's success and doom as coming from being "born with too much talent". (And also her drive, but Sasaki has repeatedly failed to match Aino even when he's given exceptionally strong motivation.)

There are some side issues I have, too.

Chapters 4-5 are almost about how the perfect is the enemy of the good, how hitting deadlines is important and worth making small compromises for. Then the chief assistant finds a compromise, and then Sasaki rips up the compromise because it's still not good enough (wait, didn't they digitally combine the backgrounds and character art?), and then he gets one more chance to redraw everything and makes it better than before so there are no consequences.

The main characters make a big deal about how it's dumb to ask mangaka to make something only they can draw, and this is supported by the fact that White Knight is ultra-popular despite being something at least two people could draw. Yet Sasaki sees a big jump in his White Knight's quality when he stops trying to copy Aino's art, when he makes White Knight his own and draws it in a way only he can. This contradiction isn't really addressed.

A reasonably coherent position is argued in chapter 10. A writer's "personality" leaking in can make it appealing to some people, but can also "make it feel too eccentric". The more personality, the more people who will be turned off by this eccentricity. But the thought terminates there! Thus, personality makes a manga into a niche series, and a lack of personality gives something the potential to be a hit with everyone. The idea that "goodness" or "entertaining-ness" are somehow tied to personality, that a manga truly without personality won't be enjoyed by anyone, never comes up. Conclusion: Aino needs to suppress her personality to make her dream manga.

All of this aside, the core conception of "good manga," or "good storytelling" in general, is a bigger problem. Whatever the flesh authors of TPGW were trying to say, the story they made says that good manga is just good, it's pointless to try and figure out why, all the things people say about how to write good manga are bogus, and talent is all that matters. Bull fucking shit.

The manga doesn't fully commit to the bullshit. The idea of "manga anyone can enjoy," so important to almost every mangaka in the series, is questioned out of nowhere three pages from the end of the series. And the whole climax of the story is about Sasaki the deeply untalented mangaka making a better manga than uber-prodigy Aino. All he needed was (checks notes) roughly 8.7 years of stopped time to finish and polish the last ~150 chapters of White Knight, something like three times as much time per chapter as Aino needed. Plus the first quarter of the series written by the uber-prodigy. So with the tables tilted via supernatural interference, untalented mangaka can surpass talented ones!

But yeah, TPGW is pretty committed to its bullshit.

I could go on about how empty TPGW feels, but at this point I'm just gonna like a Replay Value video on the subject and try to wrap this up.

Right, solutions. Um...start by having Sasaki and present!Aino not have the exact same opinions about what makes manga good. Find some way to imply that both are wrong, and that future!Aino only made her future White Knight so good because her opinions were more nuanced and accurate than either of them. Beyond that...this is the kind of problem that comes from details, not plot points.

I don't think the idea of future!Aino dying is, in and of itself, a problem. I can see a version of TPGW which gets more than 14 chapters going through all potential stages of a mangaka's career through Sasaki, future!Aino, and present!Aino once she starts her own series. In the process, it would develop the characters of Sasaki and present!Aino, and maybe even future!Aino through an interview or something published in the magazine.

If that series climaxed with future!Aino karoshi'ing herself, it could be a sensible and powerful climax—especially if the supernatural aspects of its resolution were introduced over time and not rushed into existence because the manga was about to be canceled. Eight chapters would be a decent length for that kind of thing—if anything, a little quick.

But that's not the TPGW we have. In our TPGW, the eight chapters focused on future!Aino's death and preventing present!Aino's are 57% of the series. Everything else is little more than setup to the karoshi arc, yet very little has been done to establish its conflict. Why does future!Aino overwork herself? Well, present!Aino is clearly passionate about her work. Why would Sasaki making a series that's better than hers make Aino not overwork herself? I don't think this question ever gets answered, even though Sasaki asks it himself.

In the end, the time robot does something we had barely any idea it might be able to do, Sasaki spends decades making the perfect manga, and Aino just kinda gives up when she sees that Sasaki made that perfect manga. I'd have thought seeing a better manga than what she could draw would energize her, make her strive to surpass that limit.

You know, like how Goku has this drive to surpass anyone he sees that's stronger than him. Imagine if Goku saw how strong Beerus was and just gave up martial arts on the spot. Wouldn't that suck? It would feel out of character for someone who had been driven by a love of martial arts for the entire series, to the point of risking his own life for a good fight.

But no, Aino just likes drawing for fun, and she didn't realize it until Sasaki showed her how much better he could write manga. My first instinct is to call this sexist, but upon further consideration, there are many other ways to interpret this plot point. They're all bad, but they exist.

There are two solutions. First, you could make a much longer series which establishes all the time magic and character details that would make this turn of events make sense. Second, if your story gets canceled halfway through act 1, don't tack on the second half of act 3 if it relies on details that were supposed to come up in act 2.

Conclusion

Kinda covered it in the TL;DR. Also: I kinda want to write TPGW fanfic now. The kind of fanfiction only I would write.

#manga #time paradox ghostwriter #shonen jump #meta

[oratokyosaigunda]

Time Paradox Ghostwriter series banner

#Time Paradox Ghostwriter #Time Paradox Ghost Writer #Date Tsunehiro #WSJ series banners #series banners

[princess-of-the-corner]

how would the dragons deal with the type of story "Time Paradox Ghostwriter"

ie, author trying to get inspiration falls asleep, wakes up in the middle of the night, finds a story in the microwave, says it's amazing, and then wakes up in bed, story missing.

assumes that it was dream and decides to write it. except whoops, the actall author is pissed that someone else is posting her story/ story building under their name

Honestly it depends on if you can prove any kind of Magic nonsense was involved. Because there's more mundane explanations.

[jcmarchi]

How AI Is Democratizing the Writing Process

New Post has been published on https://thedigitalinsider.com/how-ai-is-democratizing-the-writing-process/

How AI Is Democratizing the Writing Process

The digital age has been a double-edged sword for authors, positioned at the intersection of innovation and preservation. This paradox came to the forefront with the recent news about the unauthorized use of thousands of books for training Meta’s AI language model. While this incident has given rise to legal battles and ignited public discussions, it has also stimulated profound debates about the concept of authorship and the broader impact of AI on our society.

Yet amidst the apprehension, Ian Bogost, presents  a refreshingly unconventional perspective in his recent The Atlantic piece. Bogost challenges the gravity we often attach to authorship by pointing out that all content holds a certain democratic equality, even though the literary world may prioritize published works over Amazon reviews or Subreddit posts.

This discussion unveils the intricate interplay between authors, technology, and the evolving concept of authorship in the digital era. However, this article aims to look at AI, not as a replacement for authors but as an enabler for those who don’t see themselves as writers to ‘better express their thoughts, thereby expanding the pool of public conversation’.

Book authorship – a privilege for a select few?

Throughout history, book authorship has often been the privilege of the most fortunate individuals. In fact, until recent history, even owning books was considered a luxury. After all, even in the contemporary era, where the majority of individuals possess the capability to write and valuable knowledge worth sharing, becoming an author remains a privilege. It’s not just a matter of skills and knowledge; it also entails another important currency: time. Besides, even those who possess the necessary resources confront considerable odds when striving to see their work in print. In fact, in the book publishing industry, it is widely accepted that the likelihood of an author getting their work published typically falls within the range of 1% to 2%.

For those who lack the time, writing skills, or resources to embark on the traditional path to authorship, AI offers a promising alternative. AI, in this context, is not a replacement for human authors but rather an enabler for those who have valuable knowledge to share but may struggle to articulate it in writing.  For example, many subject-matter experts want to impart their knowledge but lack writing skills or time. Typically, their only recourse would have been to hire a ghostwriter, which is a significant expense often reserved for a select few. AI technology helps bridge this gap by providing a cost-effective and accessible means for experts to transform their knowledge into well-structured written content, thereby fostering inclusivity in the content creation process.

The traditional barriers to becoming an author, such as the requirement of exceptional writing skills, available time, and access to ghostwriters, are no longer insurmountable obstacles. AI technology levels the playing field, allowing a broader spectrum of individuals to participate in the literary world. It brings a sense of democratization to the writing process, ensuring that it is not confined to a select few with the necessary resources.

AI – hero or villain?

Rather than being labeled as a hero or a villain, AI should be seen as a silent co-creator that helps bring ideas to life. AI is not just about generating content but also about making writing more accessible.

One of the significant benefits of AI in writing is its potential to facilitate the engagement of neurodiverse individuals in a wide range of workflows, including the creation of literary content. People with conditions such as ADHD, dyslexia, or autism often possess rich and valuable insights but may struggle with conventionally organizing their thoughts. In this case, AI takes on the role of a silent co-creator, effectively dismantling the barriers that neurodiverse individuals might encounter in the writing process. By aiding individuals in the transformation of their ideas into well-structured manuscripts, AI is providing opportunities for those who, despite their talent and knowledge, might face daunting challenges in their writing journeys.

By leveraging AI’s capabilities, neurodiverse individuals can harness their unique insights and contribute to the literary landscape, challenging established norms and adding diversity to the voices and narratives found in literature. In this way, AI proves to be a powerful tool in making the world of writing more inclusive and allowing neurodiverse individuals to share their knowledge and experiences effectively. Therefore, AI should be appreciated for its capacity to assist, enable, and empower rather than feared for its potential to replace human authors.

Conclusion: The essence of storytelling remains unchanged

Ian Bogost’s argument in his piece for The Atlantic raises important questions about how we define authorship in an era where technology, particularly AI, plays an increasingly significant role in content creation. If writing is an act of sharing knowledge and ideas, then AI should serve to advance this purpose by ensuring that the act of writing is accessible to everyone.

The democratization of writing through AI is not a threat to the essence of storytelling. Instead, it upholds the fundamental purpose of writing by ensuring that knowledge sharing and ideas are accessible to everyone. The digital age and the rise of AI should be viewed as tools that enhance the democratization of knowledge and facilitate the inclusion of a wide range of voices in the ever-evolving conversation of the written word.  As AI technology continues to advance, it becomes an essential partner for individuals who aspire to share their expertise, experiences, and ideas with the world.

The core purpose of writing and storytelling remains unaltered. AI catalyzes achieving this purpose by making the act of writing accessible to all. It does not seek to replace authors but rather to empower them and expand the boundaries of the writing landscape. As technology advances, more and more people from diverse backgrounds have the potential and the chance to share their insights with the world. The democratization of writing through AI ensures that the world of ideas remains open to all, regardless of an individual’s background, abilities, or resources.

#ai #Amazon #Article #autism #background #book #Books #bridge #content creation #democratization #diversity #double #equality #express #Fundamental #gap #gravity #History #how #human #Ideas #incident #inclusion #Industry #Innovation #insights #it #Landscape #language #Legal

[top-smm-panels1]

SAM - The Three-Part Refine of Social Media Marketing

On-line social networking and also social media marketing are the hottest new tools in business promotion armamentarium. These tools are not only exceptionally reliable for "expanding the brand name," but for advancing the reputations as well as professions of executives alike. Customers enjoy the ability to connect straight and directly with these executives. Paradoxically, the singular most common grievance of execs is that online social networking and also social media marketing puts substantial demands on their time Top smm panel. How does an exec or entrepreneur gain the advantages of on-line social networking as well as social media marketing for the minimal investment of time? Smart execs turn to S.A.M. the three-part process for enhancing the effectiveness of the on-line social networking and also social networks marketing process. Meet S.A.M . The trick to effectively reaping the benefits of online social networking as well as social media marketing is to supply authentic communication for customers. This means that the exec must be the actual author of all communications; nonetheless, this is just one-step in the process of performing a successful online social networking/ social media marketing project. It is standard service economics, passing on tasks to release the time of crucial people in the organization creates a bigger return on the time financial investment. S.A.M. consists of Strategic Planning, Authorship and also Mechanics. Strategic Planning An online social networking/ social media marketing project have to belong of the overall public relationships, marketing and advertising prepare for the business. In the very best of scenarios, online social networking/ social media sites marketing can replace component and even all of the traditional advertising and marketing. Entrepreneurs and also execs commonly have review and also oversight of public relations, marketing and advertising plans but seldom if ever before micromanage the advancement and also deployment of these plans. Figuring out where ideal to perform on the internet social networking as well as social media marketing initiatives needs twenty to thirty percent of the time invested every week on an optimal program. Delegating this element of the procedure to a professional or various other highly educated employee conserves the exec considerable time. Authorship This is the part of the process that have to be completely the initial work and also words of the executive. Consumers choosing to join on-line social networking with the monitoring as well as owners of a business anticipate - also demand - that their communications in fact be with the executive. Everyone in the on the internet social networking and also social networks marketing market paid attention to the backlash against Brittany Spears when it was discovered that ghostwriters composed her social networking communications. On the various other hand, numerous stars have learned that adding to their own blogs, Twitters as well as social networking initiatives develops follower loyalty as well as enhanced opportunities. Executives that author their own articles, blog site entries and also speeches locate that the moment called for is little compared to the favorable action got from target markets and also customers. A lot more time can be saved by dictating drafts and letting someone else do the keying. Authorship needs much less than ten percent of the time spent on on-line social networking and also social media marketing each week.

[waifubuki]

Jump heroines poster by Kentaro Yabuki.

#click for a better quality #mizugi #PHEW #art #yabuki kentaro #Nami's thighs tho #one piece #black clover #dr stone #chainsaw man #jujutsu kaisen #act age #boku no hero academia #yozukara family #ayakashi triangle #Hard-Boiled Cop and Dolphin #Time Paradox Ghostwriter #Bone Collection #Magu-chan: God of Destruction #Undead Unluck #Moriking #Mitama Security: Spirit Busters #Me & Roboco #Agravity Boy #Bokutachi wa benkyō ga dekinai #Mashle: Magic and Muscles

[demifiendrsa]

Weekly Shonen Jump 2020 issue #36/37 heroines poster illustrated by Kentaro Yabuki.

Heroines:

Kohaku (Dr. Stone)

Noelle (Black Clover)

Paira (Bone Collection)

Nami (One Piece)

Mutsumi (Mission: Yozakura Family)

Ochaco (My Hero Academia)

Lemon (Mashle: Magic and Muscles)

Mafuyu (We Never Learn)

Chris (Agravity Boys)

Roboco (Me & Roboco)

Rena (Mitama Security: Spirit Busters)

Shoko (Moriking)

Fuuko (Undead Unluck)

Ruru & Magu (Magu-chan: God of Destruction)

Itsuki (Time Paradox Ghostwriter)

Umi (Hard-Boiled Cop and Dolphin)

Matsuri (Ayakashi Triangle)

Makima (Chainsaw Man)

Nobara (Jujutsu Kaisen)

Kei (Act-Age)

#Kentaro Yabuki #Weekly Shonen Jump #Dr. Stone #Black Clover #Bone Collection #One Piece #Mission Yozakura Family #My Hero Academia #Mashle Magic and Muscles #We Never Learn #Agravity Boys #Me and Roboco #Mitama Security Spirit Busters #Moriking #Undead Unluck #Magu chan God of Destruction #Time Paradox Ghostwriter #Hard Boiled Cop and Dolphin #Ayakashi Triangle #Chainsaw Man #Jujutsu Kaisen #Act Age #manga

[kurapika-r]

Jump into summer | by Kentaro Yabuki 

#boku no hero academia #my hero academia #one piece #onepiece #dr stone #black clover #jujutsu kaisen #chainsaw man #act-age #yozakura family #mashle #bokutachi wa benkyou ga dekinai tanaka seiji #agravity boys #me & roboco #mitama security spirit busters #moriking #undead unluck #magu-chan #time paradox ghostwriter #shakunetsu no niraikanai #ayakashi triangle

[moonofiron]

Time Paradox Ghostwriter, Chapter 1

#fandom #this one is for all the creators #time paradox ghostwriter #Taimu Paradokusu Gōsutoraitā #TimeParadoxGhostWriter #mangacap #manga cap #moiedits #q #shounen

[myvibesonly91]

Eines Tages gehe ich ganz weit weg, wo die Meere zu dem Rhythmus meines Herzens tanzen und der Sommerabend niemals endet. Eines Tages vermischt sich der Traum mit der Realität, und die Küste wird Geschichte schreiben.

MYVIBESONLY | Eines Tages

#poesie #zitate #berlin #poeten #kunst #motivating quotes #basel #poetryslam #blogger #liebestext #rap zitat #rapzitate #rap zitate #rapper #deutschrap #time paradox ghostwriter #lebens zitat #weisheit #kunstmuseum #deutsche poesie #poetin #insta poets #wahre worte

[grimtwin]

I’ve picked up some new manga over the last few days:

Spy x Family Act Age Magu-Chan: God of Destruction Time Paradox Ghostwriter

All amazing manga. If you haven’t checked out any of these, please do. They could use the support, especially with so many of Jump’s current manga coming to an end.

#Spy x Family #Act Age #magu-chan: god of destruction #time paradox ghostwriter #shonen jump

[greatwyrmgold]

I've complained before about how Shonen Jump paces the first chapter of new series, and I'll probably keep complaining.

This week's new series is Ichigoki's Under Control. In the space of three pages, the titular character...

Discovers that Misao, his mad scientist childhood ex-friend, has shrunk herself to the size of an unusually small doll

Listens to her explanation of why she shrunk herself, and insults her for her reason

Agrees to take her to the zoo to collect stuff she needs to unshrink herself

Gets killed by a gorilla (this gets its own splash page)

...he gets better.

Throw in enough backstory to establish Ichigoki and Misao's relationship, and you could fill half the chapter. Instead, it's over before the 25% mark. And while I'm complaining about the pacing, I'd like to point out that more page space is spent on Ichigoki getting beaten by the gorilla (not even getting to the enclosure, just the beating) than on establishing his relationship with Misao.

I like what the series is going for, I mostly like its tone, but the things it chooses to spend its page-space on make the normal pacing issues of Jump's first chapters all the more frustrating on.

And for those who haven't read one of my Shonen Jump debut rants before: I'm sorry. Also, these pacing issues are a direct result of Shonen Jump's editorial policies.

Shonen Jump is famous for how brutally it cuts underperforming series. Look at series cancelled before they had a chance to show their potential, like The Hunter's Guild: Red Hood; or series about the inner workings of Shonen Jump, like Bakuman; or at Time Paradox Ghostwriters, which is a little of both (but not as much either as I'd like).

Where was I? Oh, right, Jump cutting series. Some analysts point to this as part of why so many top manga/anime series come from Jump's pages, from Dragon Ball to Chainsaw Man. But it's also clear that this aggressive cancellation policy affects how Jump's manga writers write manga for Jump.

Think about it from their perspective. It's entirely possible that poor performance in your series's first few chapters will mark it for death before the second volume. So you, the writer, need to make sure your first chapters catch as many fans as possible.

A slow-burn opening won't do; that isn't efficient. You need to cram as much of what makes your series theoretically appealing into the first few chapters. Ideally, you cram all of it into the first chapter. And I can't say I blame them. Under those conditions, I'd do the same. (Or more realistically, lock up until someone force-fed me a deadline.)

Understandable as it is, I still find it frustrating. The inciting incident and its immediate fallout can't even get a whole chapter, because you need to give the audience a taste of what to expect from the main series. It's like chapter 1, or sometimes the whole first volume, is an abridged series of itself.

That analogy feels particularly apt for Ichigoki's Under Control, since a lot of its jokes feel like they came from early DBZA episodes. ("Pointing out how ridiculous the thing someone just said is funny!") I wish it didn't try so hard to make me laugh out loud and focused on the parts that were kinda funny.

It has potential, though! If the jokes had more room to breathe, if the characters got a bit more focus to show how they're different from other inept anime dudes and teenaged man scientists, if if if.

If the author trusted the editor not to cut the series if its first chapter didn't rock the popularity polls.

#ichigoki's under control #shonen jump #pacing #manga #meta

[whythethorny]

Shonen Jump had a very rough 2020

3 of their big series: Kimetsu no Yaiba, Haikyuu!, and The Promised Neverland, ended their runs successfully.

But a few series ended in not so good ways.

Naruto creators new manga Samurai 8 ended in March after not getting many viewers or the cult following like Naruto did.

Time Paradox Ghostwriter ended after only 14 chapters because the Japanese readers did not like a story of the main character being a plagiarist, stealing someone’s manga and becoming famous with it. It was cancelled after low views and many inline complains apparently.

And finally Act-Age was swiftly cancelled after it was found the writer (not the artist) was a p*do. Not only was the series cancelled but the series was taken off the app and all preorders of the physical copies were cancelled. Ouch.

Were there anymore Shonen Jump manga that cancelled and I missed?

#shonen jump #kimitsu no yaiba #haikyuu!! #the promised neverland #samurai 8 #time paradox ghostwriter #Act-age

[shysheeperz]

#time paradox ghostwriter #ichima kenji #date tsunehiro #tpgw #teppei sasaki #mangacap #cap #manga #sasaki teppei #monochrome #black and white

[saw-x]

Time Paradox Ghostwriter is a fantastic new manga that you should all at least give a go. I think in particular if you like Bakuman you will love this.

#manga #shonen #shonen jump #bakuman #time paradox ghostwriter #spy x family #shounen jump #shounen #tpgw