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treasure-mimic · 8 months

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So, let me try and put everything together here, because I really do think it needs to be talked about.

Today, Unity announced that it intends to apply a fee to use its software. Then it got worse.

For those not in the know, Unity is the most popular free to use video game development tool, offering a basic version for individuals who want to learn how to create games or create independently alongside paid versions for corporations or people who want more features. It's decent enough at this job, has issues but for the price point I can't complain, and is the idea entry point into creating in this medium, it's a very important piece of software.

But speaking of tools, the CEO is a massive one. When he was the COO of EA, he advocated for using, what out and out sounds like emotional manipulation to coerce players into microtransactions.

"A consumer gets engaged in a property, they might spend 10, 20, 30, 50 hours on the game and then when they're deep into the game they're well invested in it. We're not gouging, but we're charging and at that point in time the commitment can be pretty high."

He also called game developers who don't discuss monetization early in the planning stages of development, quote, "fucking idiots".

So that sets the stage for what might be one of the most bald-faced greediest moves I've seen from a corporation in a minute. Most at least have the sense of self-preservation to hide it.

A few hours ago, Unity posted this announcement on the official blog.

Effective January 1, 2024, we will introduce a new Unity Runtime Fee that’s based on game installs. We will also add cloud-based asset storage, Unity DevOps tools, and AI at runtime at no extra cost to Unity subscription plans this November. We are introducing a Unity Runtime Fee that is based upon each time a qualifying game is downloaded by an end user. We chose this because each time a game is downloaded, the Unity Runtime is also installed. Also we believe that an initial install-based fee allows creators to keep the ongoing financial gains from player engagement, unlike a revenue share.

Now there are a few red flags to note in this pitch immediately.

Unity is planning on charging a fee on all games which use its engine.

This is a flat fee per number of installs.

They are using an always online runtime function to determine whether a game is downloaded.

There is just so many things wrong with this that it's hard to know where to start, not helped by this FAQ which doubled down on a lot of the major issues people had.

I guess let's start with what people noticed first. Because it's using a system baked into the software itself, Unity would not be differentiating between a "purchase" and a "download". If someone uninstalls and reinstalls a game, that's two downloads. If someone gets a new computer or a new console and downloads a game already purchased from their account, that's two download. If someone pirates the game, the studio will be asked to pay for that download.

Q: How are you going to collect installs? A: We leverage our own proprietary data model. We believe it gives an accurate determination of the number of times the runtime is distributed for a given project. Q: Is software made in unity going to be calling home to unity whenever it's ran, even for enterprice licenses? A: We use a composite model for counting runtime installs that collects data from numerous sources. The Unity Runtime Fee will use data in compliance with GDPR and CCPA. The data being requested is aggregated and is being used for billing purposes. Q: If a user reinstalls/redownloads a game / changes their hardware, will that count as multiple installs? A: Yes. The creator will need to pay for all future installs. The reason is that Unity doesn’t receive end-player information, just aggregate data. Q: What's going to stop us being charged for pirated copies of our games? A: We do already have fraud detection practices in our Ads technology which is solving a similar problem, so we will leverage that know-how as a starting point. We recognize that users will have concerns about this and we will make available a process for them to submit their concerns to our fraud compliance team.

This is potentially related to a new system that will require Unity Personal developers to go online at least once every three days.

Starting in November, Unity Personal users will get a new sign-in and online user experience. Users will need to be signed into the Hub with their Unity ID and connect to the internet to use Unity. If the internet connection is lost, users can continue using Unity for up to 3 days while offline. More details to come, when this change takes effect.

It's unclear whether this requirement will be attached to any and all Unity games, though it would explain how they're theoretically able to track "the number of installs", and why the methodology for tracking these installs is so shit, as we'll discuss later.

Unity claims that it will only leverage this fee to games which surpass a certain threshold of downloads and yearly revenue.

Only games that meet the following thresholds qualify for the Unity Runtime Fee: Unity Personal and Unity Plus: Those that have made $200,000 USD or more in the last 12 months AND have at least 200,000 lifetime game installs. Unity Pro and Unity Enterprise: Those that have made $1,000,000 USD or more in the last 12 months AND have at least 1,000,000 lifetime game installs.

They don't say how they're going to collect information on a game's revenue, likely this is just to say that they're only interested in squeezing larger products (games like Genshin Impact and Honkai: Star Rail, Fate Grand Order, Among Us, and Fall Guys) and not every 2 dollar puzzle platformer that drops on Steam. But also, these larger products have the easiest time porting off of Unity and the most incentives to, meaning realistically those heaviest impacted are going to be the ones who just barely meet this threshold, most of them indie developers.

Aggro Crab Games, one of the first to properly break this story, points out that systems like the Xbox Game Pass, which is already pretty predatory towards smaller developers, will quickly inflate their "lifetime game installs" meaning even skimming the threshold of that 200k revenue, will be asked to pay a fee per install, not a percentage on said revenue.

[IMAGE DESCRIPTION: Hey Gamers!

Today, Unity (the engine we use to make our games) announced that they'll soon be taking a fee from developers for every copy of the game installed over a certain threshold - regardless of how that copy was obtained.

Guess who has a somewhat highly anticipated game coming to Xbox Game Pass in 2024? That's right, it's us and a lot of other developers.

That means Another Crab's Treasure will be free to install for the 25 million Game Pass subscribers. If a fraction of those users download our game, Unity could take a fee that puts an enormous dent in our income and threatens the sustainability of our business.

And that's before we even think about sales on other platforms, or pirated installs of our game, or even multiple installs by the same user!!!

This decision puts us and countless other studios in a position where we might not be able to justify using Unity for our future titles. If these changes aren't rolled back, we'll be heavily considering abandoning our wealth of Unity expertise we've accumulated over the years and starting from scratch in a new engine. Which is really something we'd rather not do.

On behalf of the dev community, we're calling on Unity to reverse the latest in a string of shortsighted decisions that seem to prioritize shareholders over their product's actual users.

I fucking hate it here.

-Aggro Crab - END DESCRIPTION]

That fee, by the way, is a flat fee. Not a percentage, not a royalty. This means that any games made in Unity expecting any kind of success are heavily incentivized to cost as much as possible.

[IMAGE DESCRIPTION: A table listing the various fees by number of Installs over the Install Threshold vs. version of Unity used, ranging from $0.01 to $0.20 per install. END DESCRIPTION]

Basic elementary school math tells us that if a game comes out for $1.99, they will be paying, at maximum, 10% of their revenue to Unity, whereas jacking the price up to $59.99 lowers that percentage to something closer to 0.3%. Obviously any company, especially any company in financial desperation, which a sudden anchor on all your revenue is going to create, is going to choose the latter.

Furthermore, and following the trend of "fuck anyone who doesn't ask for money", Unity helpfully defines what an install is on their main site.

While I'm looking at this page as it exists now, it currently says

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

However, I saw a screenshot saying something different, and utilizing the Wayback Machine we can see that this phrasing was changed at some point in the few hours since this announcement went up. Instead, it reads:

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming or web browser is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

Screenshot for posterity:

That would mean web browser games made in Unity would count towards this install threshold. You could legitimately drive the count up simply by continuously refreshing the page. The FAQ, again, doubles down.

Q: Does this affect WebGL and streamed games? A: Games on all platforms are eligible for the fee but will only incur costs if both the install and revenue thresholds are crossed. Installs - which involves initialization of the runtime on a client device - are counted on all platforms the same way (WebGL and streaming included).

And, what I personally consider to be the most suspect claim in this entire debacle, they claim that "lifetime installs" includes installs prior to this change going into effect.

Will this fee apply to games using Unity Runtime that are already on the market on January 1, 2024? Yes, the fee applies to eligible games currently in market that continue to distribute the runtime. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

Again, again, doubled down in the FAQ.

Q: Are these fees going to apply to games which have been out for years already? If you met the threshold 2 years ago, you'll start owing for any installs monthly from January, no? (in theory). It says they'll use previous installs to determine threshold eligibility & then you'll start owing them for the new ones. A: Yes, assuming the game is eligible and distributing the Unity Runtime then runtime fees will apply. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

That would involve billing companies for using their software before telling them of the existence of a bill. Holding their actions to a contract that they performed before the contract existed!

Okay. I think that's everything. So far.

There is one thing that I want to mention before ending this post, unfortunately it's a little conspiratorial, but it's so hard to believe that anyone genuinely thought this was a good idea that it's stuck in my brain as a significant possibility.

A few days ago it was reported that Unity's CEO sold 2,000 shares of his own company.

On September 6, 2023, John Riccitiello, President and CEO of Unity Software Inc (NYSE:U), sold 2,000 shares of the company. This move is part of a larger trend for the insider, who over the past year has sold a total of 50,610 shares and purchased none.

I would not be surprised if this decision gets reversed tomorrow, that it was literally only made for the CEO to short his own goddamn company, because I would sooner believe that this whole thing is some idiotic attempt at committing fraud than a real monetization strategy, even knowing how unfathomably greedy these people can be.

So, with all that said, what do we do now?

Well, in all likelihood you won't need to do anything. As I said, some of the biggest names in the industry would be directly affected by this change, and you can bet your bottom dollar that they're not just going to take it lying down. After all, the only way to stop a greedy CEO is with a greedier CEO, right?

(I fucking hate it here.)

And that's not mentioning the indie devs who are already talking about abandoning the engine.

[Links display tweets from the lead developer of Among Us saying it'd be less costly to hire people to move the game off of Unity and Cult of the Lamb's official twitter saying the game won't be available after January 1st in response to the news.]

That being said, I'm still shaken by all this. The fact that Unity is openly willing to go back and punish its developers for ever having used the engine in the past makes me question my relationship to it.

The news has given rise to the visibility of free, open source alternative Godot, which, if you're interested, is likely a better option than Unity at this point. Mostly, though, I just hope we can get out of this whole, fucking, environment where creatives are treated as an endless mill of free profits that's going to be continuously ratcheted up and up to drive unsustainable infinite corporate growth that our entire economy is based on for some fuckin reason.

Anyways, that's that, I find having these big posts that break everything down to be helpful.

#Unity #Unity3D #Video Games #Game Development #Game Developers #fuckshit #I don't know what to tag news like this

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snejkha · 6 months

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✨Commissions are now open✨

Prices have been adjusted and I added a fullbody as an option too/ Feel free to give it a look under the cut for more information//

And as always feel free to share around/ <3!

Past commissions

Halfbody commissions

Bust commissions

Reference sheet commissions

Character Design Commissions

Fullbody Commissions

If you’re interested in commissioning me, contact me via my email [email protected] (no asks please!)

Email subject must be “ Commission (insert username/url)”

In the email/message clarify the type you want, I work with visual descriptions mainly// (the more of references you send the better/), same goes for preffered poses, and a short description of the character (what are they like, or what show they are from,etc..) I will add a small fee If theres no previous art of your character since it will be a design from me as well// (this doesnt aply for reference sheets though//)

please mention possible deadlines (birthday/christmas gifts, etc.)

I have the right to refuse a request for any reason

All payments are in USD and through Paypal and only via invoice/

After I’m done with the sketch I’ll let you know and you can make changes to the sketch in that time. When you approve the sketch I’ll send you an invoice through your Paypal email. I’ll continue working on the commission after once the price has been paid.

once I’m done with your drawing I will send you a high-res file of the image (usually 200dpi / up to 2000px)

I will probably upload your requested drawing on social media (here on tumblr and on my twitter). if you’re not okay with that, please let me know beforehand! (If you’ll be okay with it please add your URL so I can tag you in the finished picture/)

you can ask for more WIP images of your commission as well //

If you have any specific flowers/details you want to add let me know//

feel free to ask questions//

I will draw:

OC’s, fanart, portraits, nudity

animals, anthros, pokemon

simple backgrounds or transparent background

monsters, body horror (after discussion)

blood (in a smaller amounts)

I will NOT draw:

porn (you can ask for my nsfw prices/), fetishes, hate art/ offensive art (pedophilia, incest, etc.)

robots, vehicles

irl people

gore (srry not in this house..)

No groups of more than three character per picture//

stuff I’m not comfortable with

#Posting this now but will be only able to get to them sometime at the end of next week//#commission info #commissions ref sheet #shutupsnejkha #long post

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olomaya · 5 months

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Get Pumped!

This started as just a simple solution to allow my Sims to work out without a TV, radio or gym equipment present but I’m a fitness nut so I knew I couldn’t stop there. I love working out and am always trying out new workouts or gyms like people try out food or clothes. It’s one of my favorite hobbies IRL so I was happy to try and make more exercise/fitness things for my athletic Sims.

This is the Exercise Mat I previewed a few weeks (months?) ago and I added a few more features like the ability to teach classes and also free weights (dumbbells and kettlebell).

Credit/Thanks: @aroundthesims for the free weights and kettlebell which are hers. I only recategorized them to Sports/Hobbies. Mats and board are EA. Animations by me, Mixamo and EA!

All the info and download link are after the jump, read through it all before downloading!

Exercise Mat:

Sims can do different floor and body weight exercises on the mat, which are skill gated:

Sit ups, squats: Level 2

Push ups, single-leg squats, bicycle crunches: Level 3

Burpees: Level 4

Sims can also stretch which has benefits if you do it before and/or after exercising.

Stretching before: the Feeling Limber moodlet will prevent your Sim from getting fatigued so long as it is active

Stretching after: the Feeling Limber moodlet will remove soreness if you have it

If there is an instructor mat on the lot, you can assign the mat to the instructor mat so Sims will use it for classes

Instructor Mat: This mat lets Sims who have Athletic skill 5 or higher teach exercise classes.

Assign Instructor - sets who the instructor will be for the mat

Schedule Class - self-explanatory; select a time a date to host a class

Start Class - if you don’t want to wait, you can start a class now. Instructors will wait 20 sim minutes (tunable) before starting the class to allow interested Sims to join.

Toggle Stereo - requires IP to work, adds a stereo to the instructor mat so you can play music during class

Free Weights:

You can lift dumbbells or kettlebells. That's pretty much it. These guys look super happy about it.

You only need one dumbbell. The other one is a prop which will be created once your Sim starts lifting.

Gym Board:

Check Scheduled Classes

Sign Up for Class (Note: you can't sign up for classes that have no spots available but you can still show up and try to get a spot if there's a no show)

Cancel Sign Up

Cancel Class

Gym Classes:

Instructors can hold Beginner, Intermediate or Advanced gym classes, the difference in difficulty affects the fat/muscle delta, fatigue level and athletic skill gain. The ability to hold different class levels is skill gated at Levels 5, 6 and 7 respectively.

If you schedule a class, the instructor and any Sims that sign up for the class will be pushed to the lot an hour before the class starts. Sims cannot join a class after it starts but if they leave before the class ends, they still get charged.

The cost per person is based on the class level and the instructor’s athletic skill. If you have NRaas Career and the Instructor is in the Trainer skill-based career, they will also earn extra money and the funds will go towards their career advancement.

If there are no spots available, you can still check what time the class is and get information on the class if you want to show up and see if a spot opens up.

If classes are hosted on a non-park community lot, like a gym, 25% of the class fees will go to the venue (the venue owner will receive this if it’s owned).

You can check and sign up for scheduled classes on the gym board object. Instructors can also cancel classes there.

There are two "rewards" available: Top Trainer and Gym Rat. Top Trainers are Sims that have taught at least 20 classes. After achieving that, their classes are worth more and they also keep a larger percentage of the cost per student. Gym Rats are Sims that have taken at least 10 classes after which they get a discount on any other classes afterwards.

Notes:

My suggestion is to organize the class room like how I have in my photos with the mats horizontal facing the instructor. I'd also space them out more than I did as some of the exercises involve a lot of jumping/moving around but I have small lots so I have to squeeze in as much as I can! With this plus Twin's spin class and yoga mods, I'm going to need a bigger gym!!

The instructor will face whichever mat is first in the list of assigned mats so I would suggest assigning the front center mat first.

You can have multiple instructors/instructor mats on the same lot but an instructor can only be assigned to one mat.

Sims cannot take a class if they don't have more than $400 in their family funds. You can change this if you like but I don't want my broke inactives spending money on gym classes (we have gym at home!)

If Sims are not autonomously joining classes or using the mat, it’s probably because you have too many advertising objects on your lot that are competing with it. You can up the advertising for the mat but it’s already quite high so you just have to figure out how to balance it. The Join Class interaction does advertise fun and social in addition to the standard Athletic Game Object advertising so I would suggest upping that in order to get more attention from Sims.

The animation of Sims picking up/dropping the free weight is kind of wonky. I may try to fix it later.

There’s a collection file for all the objects but you will find all of them under Entertainment/Sporting Goods. Nothing is more expensive than 150 simoleons.

This is set for YA+ because a) some of the animations will sink for teens and b) they are always trying to do their fucking homework around each other while I'm holding classes and it drove me crazy. You can change the ITUN if you want teens to use it but you've been warned.

Future updates: I'm already thinking about using a similar system to create dance classes. Making an active Dancer career is something I’ve wanted for a while and I have a Sim that would be perfect to test it.

As always, if you run into any issues, let me know!

Download here | Alt: Simblr

What I originally wanted to name this mod 😭😭

#s3cc #s3cc download #download #sims 3 cc #exerciseMat mod #around town

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asgardian--angels · 6 months

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Izzy Discourse Masterpost

Hey all, given the amount of awful splintering and wank happening in ofmd fandom rn regarding Izzy's death, including the flat-out immature and unacceptable harassment of David Jenkins and Co, I wanted to just make this one all-encompassing post to address the various grievances and complaints I've seen (almost entirely on Twitter). If I've missed anything, please feel free to add on. I'm putting most of this under a read-more for length.

Please be aware, I say all of this as an Izzy fan. I've loved his character since season 1, and while I was sad to see him go, I completely understand and support David & Co's reasons for concluding his arc, and I think it was done respectfully in a way fitting to his character. So let's break down some of the takes I've seen. I am not referencing specific posts or people here, I just want to address the general themes that I keep seeing about why some people are upset.

Izzy's death served no narrative purpose.

Look, this is one that I'm sure fans will debate for the rest of the hiatus. It's completely within your right to disagree with this writing choice, but Izzy's death did serve a narrative purpose in the story that David Jenkins is telling - and he has spoken to this end in several interviews already. I can only summarize here, and fans may find other perspectives in time as well. What we need to remember is that Our Flag Means Death is, at the end of the day, Ed and Stede's love story. That has been made abundantly, explicitly clear. The show has been fantastic at fleshing out the other supporting characters, but that's what they are - supporting characters. They often have their own subplots but ultimately the narrative seeks to move Ed and Stede's story forward and they are tools to spur Ed and Stede's growth or mirror their struggles. Izzy has been a wonderfully complex, multifaceted character but we must remember that all characters are vessels through which stories are told, lessons are imparted, and metaphors are established. He's not a real person who 'deserves' any particular fate. David said he's always intended for Izzy to die at the end of his arc.

Firstly, Izzy (now canonically, through his own dying words) represents part of Blackbeard. He enabled and encouraged Ed's darker side, they were mutually toxic forces to each other. Ed is attempting to cope with and move on from this phase of his life, and like Stede in season 1, set out a free man, unshackled by expectations and loose ends of those he's hurt and been hurt by (though we realize this is an ongoing process that takes time). This lovely gifset sums it up nicely, with Izzy being the Mary parallel, and making s2 mirror s1. Blackbeard is both Ed and Izzy; Ed cannot be free of Blackbeard while Izzy is in his life, and when Izzy is gone he will never truly be Blackbeard again. They are each other's rotting leg!! Yet, they love each other - and David has said that for Ed, this has developed into a mentor and father relationship, and where Ed has previously despised his father figures (his actual father, Hornigold) he does not want to lose Izzy. This time, Izzy brings out Ed, not Blackbeard - and that's where we get the callback to 'there he is', bringing their impact on each other full circle, freeing Ed, getting approval of sorts that he never had, to be soft, to be loved (and there are parallels to Zheng and Auntie here as well that others have made) from that force that drove him to stay in line all this time. David has said in multiple interviews now that he was going for the idea of the mentor/father figure dying and the hero living on and trying to do justice to them.

From Izzy's side, Izzy cannot be free while Edward remains either (Mary cannot find peace while Stede remains). The scar never truly healed, the leg will always be a reminder. At this point the argument becomes 'yes, but why did he have to die? Why not just sail off with the crew of the Revenge?' David has stated that he feels they've done everything they can with, and for, Izzy; he's come leagues from season 1, he's found community, he's found hope, he's found new parts of himself, and he's made good memories. He's found worth outside of what he can be to others. That's more than most pirates could hope for. Where would his character go from there, when the Golden Age of Piracy he belongs to has burned to the ground? Would he stay around and whittle on the Revenge? If he were a real person, yes, that would be lovely, and he'd deserve all the quiet peaceful happiness in the world. But as I explain several points below, he's not interested in being a captain. He's not up for the hard physical labor of regular crew, and he's extremely overqualified for that besides. He has served his narrative purpose, and symbolically, to enter a new age, everything must go. He's connected to the old age of piracy, to the Republic of Pirates, that is now demolished. To him, fighting for what he believes in, for the family he's found, bringing down an army of British twats in the process, is how he should go. It's a pirate's death, and as Izzy's said, he's a pirate - unlike Blackbeard who's succeeding in breaking away from piracy, Izzy never wanted to stop being a pirate, throughout his arc. To me, that's why Izzy remains trapped in the narrative, trapped in history, whereas Ed and Stede will escape history. They leave piracy, and canon, behind, while Izzy was content to remain a pirate and face a pirate's fate.

Burying him on land, right next to Ed and Stede's beach house, shows that his sacrifice was not in vain - they start this new life together, thanks to Izzy's mentorship, his role in their lives that sometimes for worse, sometimes for better, made their love what it was and made their breakaway possible. The new age is built on the foundations of the old age, and is stronger for it.

As we're well aware by now, David tweeted that there's no version of ofmd without Izzy. Whether that's literal or not, symbolically it's true. Izzy's arc of growth affected everyone on the Revenge. Jim fondly remembered fighting for a time when life meant something on that ship; the crew helped give Izzy new meaning in life, and he helped them in return. When he dies, they mourn and have a funeral; that wouldn't have happened under Blackbeard's watch in episode 2. His life meant something to them. He influenced Ed and Stede immensely, and they will take that with them. As David's said, they're all a family, and Izzy was a part of that family, and his loss unites them and brings them closer to continue to fight for that family they've built. It's a tragic, sudden death of someone they've all grown to care for, and that steels their reserve to keep the torch lit. They literally sail off into the sunset to hunt down Ricky to avenge Izzy; he will always be a part of this show. And, of course, with the brief appearance of seagull Buttons, the door is left open for anything.

If this was The Izzy Show, then sure, we'd be content to see him simply engaged in shenanigans every episode. But the plot, and therefore the characters, need to keep moving forward, and Izzy got his growth and development. He got what he needed for his character to have closure, and he served his symbolic narrative purpose in Ed's (and Stede's) story. You may have your own ideas and perspectives, and that's great - that's what fandom is for. But we cannot say his death was pointless when David Jenkins and the writers clearly had a well-defined motive for pushing the narrative in this direction. I actually think the narrative around Ed and Izzy is the most well-developed in the entire show. I for one am so happy we got such an interesting and complex character, and had the brilliant Con O'Neill to portray him.

Izzy's growth & healing arc was rendered pointless by his death.

As this post so eloquently puts it, it's pretty bleak to have the outlook that taking steps to heal and find meaning in life is worthless if it's later lost. Seeking happiness and self-actualization is worthwhile for its own sake; no one knows what's down the road, and we all die eventually. Find meaning in life now. Would you rather have had Izzy not miss with his bullet in ep2? He was given the chance to experience joy, freedom, and hope for the first time in potentially a long time, and when he died he did so with those happy memories. As mentioned, Izzy's death was decided long beforehand given the narrative, and the point of storytelling is to make you feel emotions. We were given impetus to connect and relate to Izzy's character through his process of healing, so when he did die, we felt it keenly. That's how stories work actually! We felt what Ed felt. It moved us. It's not a bad thing that Izzy's arc made him more likeable to fans before his death. It's not a bad thing to lose a beloved character - guess what, it happens constantly in stories - and it's not bad to grieve over it either, but to say that it made his journey pointless is just not true. People saying that Con must be upset that they snatched his character away from him after getting to develop him so much - again I say, would you rather him have died in ep 2 before he had the chance to grow? Or how about in s1, when the crew tried to mutiny? How'd you feel when Stede killed him in his dream, in the very first scene of the season? I think Con's probably glad for the opportunity to have explored this character so much in season 2. Ask him if he thinks it was pointless.

Killing off Izzy was bad for queer rep/burying your gays/"Izzy was the queer heart of the show"

I'm putting 'bury your gays' on the top shelf so people can't use it when it doesn't actually apply. Most of the main cast of characters in this show are queer, and it's a show about pirates with a good amount of violence. Ergo, chances are a queer character will die in the course of Things Happening In Stories. Izzy didn't die because he was queer, and he wasn't the token queer rep. Please turn your attention to the boatloads (literally) of queer characters that are happy and thriving (how about the LuPete wedding immediately afterwards??). As for Izzy being the "queer heart of the show," this is literally the Ed and Stede show. You know, the two queer leads whose queer love the show revolves around, per David Jenkins himself. I'm glad folks connected with and derived joy from Izzy's growth and especially his performance in Calypso's birthday, but he is not the main character of the show. The queer heart of the show is in fact, the entire show, all of their characters and the community & found family they create aboard the Revenge. Not to mention the fan community as well. Izzy was never carrying the show's representation on his back, and frankly that's an absurdly wild take to have (esp when he spent most of s1 actively working against the main queer relationships in the show, attempting to maintain the oppressive status quo of pirate society).

It was bad and irresponsible to have a suicidal character die

Are we forgetting the entire first half of the season where Ed, who was suicidal, kept trying to passively kill himself because he felt he was an unlovable monster, only to be shown that he is in fact loved unconditionally and it gives him the strength to fight for life and triumph against his own self-doubt? The show has spent quite a lot of effort telling viewers that despite feeling damaged or broken you are worthy of love and that you are loved even if it may be hard to see it when you're in a bad place. That you don't need to be fully healed to deserve love and care, and that love and support will help you along your journey. It's incredibly wild to disregard this major plot point and fundamental message of s2 to try and spin this the opposite way for Izzy's character.

Secondly, where are people getting 'Izzy is suicidal' from? Are we going back all the way to episode 2, when he's at his lowest point and fails at his suicide attempt, only to be figuratively reborn after removing the metaphorical rotten leg? By the time of the finale he's shown to be in a good place, thanks to the arc of healing and growth he's gotten, through the support of the Revenge crew and his 'breakup' with Blackbeard allowing him to find his own way in life, realizing he doesn't need a purpose to have value and enjoying his time on the Revenge and the bonds he's made with Stede and the crew. He is, in the words of Ivan, "the most open and available I've ever seen him" by the finale. To take episode 2 as evidence he's suicidal is to erase his whole season of growth, which is an ironic thing to do in the context of these arguments. There's no canon evidence Izzy Hands was suicidal post-'Fun and Games'.

As for 'irresponsible,' once again I say, David Jenkins is not your therapist, he's not 'Dad,' and has no responsibility to tell his story any other way than he intended to tell it. Please find media that gives you what you want or need, and if the death of a fictional character causes you this much distress please seek help. I mean this kindly but seriously.

Killing off Izzy was ableist/bad for disability rep.

I point once again to the rest of the characters, several of which are disabled in varied ways. There are literally multiple other amputee characters specifically. It's not good storytelling to wholly avoid killing off any character that is disabled/queer/poc/female or [insert marginalized group here], especially when a) it makes sense narratively, and b) there's plenty of representation of these groups in the media in question. The answer isn't making such characters invincible and immortal, it's increasing the number of these characters in shows so it's not devastating when some do die in the course of natural storytelling.

OFMD was my comfort show/safe space show, now it's ruined for me

I am not trying to be insensitive here when I say that's a problem that is yours and nobody else's. David Jenkins created this show with a three-season vision and a story in mind, and he is telling that story to the best of his ability the way he wants to. It's already been said that he and the crew did not anticipate the fandom becoming as large and passionate as it has. The plot of the show was never intended to be 'fan service,' and it's ironic that there were people complaining this season that there's been too many fanservice tropes, up until David and the rest of the writers room made a narrative decision they did not like, then the complaints changed to not coddling the fans enough.

We as viewers can derive joy from this show, it can be a comfort to us, it can be important to us. But it was not designed specifically for that purpose, therefore it cannot fail in that respect. We do not have the right to harass writers for not steering the ship in the direction we want - it's their work of art, and we can choose to either come along for the ride or not. It's rare to see creators actually given the chance to tell their story the way they intend (budget cuts aside), so let him do that. He should not cater to fans, or cave and change the story to appease us. Respect his right to create his art, and remember you have the right to create your own. That's what fanfiction is for - write fix-its to your heart's content, but keep these realms separate. David Jenkins and Co hold zero, and I mean zero, responsibility to you. He could not please everyone no matter what he did, it would be fruitless to try, and it would certainly compromise the quality of the story he set out to tell.

You are absolutely allowed to dislike choices made in any show. Curate your media experience. If this show no longer brings you joy, stop watching. But it was never David's purpose nor responsibility to juggle the mental health of millions of fans. Trying to put that on him will only make him less enthusiastic about interacting with fans or continuing to make this show. This isn't rocket science. You're responsible for yourself, not this guy you call 'Dad' that you've developed a parasocial-therapist relationship with.

Izzy should have become captain of the Revenge.

Really?? Firstly, we did actually get that already in s1. He was tyrannical and the crew mutinied. But even if you think 'well after his character arc he'd be better suited to it,' it goes against the point of this arc. He's found value in not having a distinct role or purpose on the ship, decoupling his worth from the job he's expected to perform. He's found his place amongst the crew, not commanding it. There's no narrative reason to put him in charge when he's expressed no further interest in slotting himself back into a role full of pressure and expectations.

Con O'Neill was only told halfway through filming, it's cruel to just kill off the character he loves so much.

Guys, he's an actor. More than that, an actor with a theater background. I think he's used to characters dying. You don't need to look out for him. Con and David spoke one on one about it at length so they were on the same page, and David even said that Con took it well. I'm sure Con had input, just as other members of the cast have influenced their characters' stories, costumes, backstories, etc. Do you really think David Jenkins hurt Con's feelings or something? The writers (remember, it's not just David, it's a whole team of hard-working people coming up with these ideas) gave Con such a chance to shine this season, really developing Izzy beyond what he was given in s1 and letting Con show off his full acting range. Why are you only focusing on the destination rather than the journey? Sure, Con's probably sad to see Izzy go, but please do not project your distress onto him or try and accuse David & Co of being 'cruel' to their cast. That's really ridiculous. It's constantly evident how close they all are.

More importantly, do you actually, seriously think that Con O'Neill would want fans to harass each other or the writers over his character? The man who preaches being kind above all? There is no better way to make an actor uncomfortable about a show and its fanbase than to start treating fictional characters like they're more important than real people. He would not want you to bully people over Izzy Hands, and it's mind-boggling that some of you have convinced yourself otherwise.

Lastly, I just want to talk about the fact that some people are holding OFMD to absurdly high expectations.

Our Flag Means Death has been a pioneer series for its diverse representation, earnest storytelling, and themes of hope, community, and love. It's fine to discuss aspects of the show with a critical eye, but so much of the discourse has truly felt like folks are trying to find fault in a show that is leagues ahead of the average tv series that we still enjoy. How many fan favorites are killed off all the time? How many plotlines are scrapped, or drawn out without closure, or contradicted the very next season? How many shows are indifferent or actively hostile towards their fanbase? How many have any queer characters, or actually do bury them? The bar's so low, and OFMD has risen above to give us so much. Some are holding the show to astronomical expectations, waiting for it to fall from the pedestal it's been placed on. If something you don't like happens in the show, it's not suddenly ruined or demoted to being ~just as bad as those other shows~. Give them some breathing room, have some perspective on how progressive the show is, and that perfection is impossible, especially meeting every single viewer's idea of it. This is basically a repeat of the recent Good Omens drama, with an absurd number of people harassing Neil Gaiman for breaking up Aziraphale and Crowley and leaving the second of three acts on a very predictable cliffhanger. Let stories be told, let them unfold as they may, and you are free to leave anytime. It's so wonderful that more queer love stories are becoming popular and even mainstream, but let's not shoot ourselves in the foot by tearing them down when they don't go exactly the way you want it, which often seems to mean no drama, no character deaths, and therefore no conflict or even plot!

Just, please be civil human beings, and while this seems to be a difficult thing for so many fandoms to do, just keep your fan opinions in the fan space. Never bring your grievances to the writers, never bully them and persecute them for telling a story that you opted into viewing. That's something that goes entirely against everything this show, and this cast and crew, have imparted onto us - the importance of kindness, support, community, and love. I'll say it again because it bears repeating: the fate of a fictional character is never more important than how you treat real people. Just be kind in real life, which includes the internet. Thanks.

Now please, let's work together to ensure we get a season 3. There's so much more story to be told, and if you want to see Izzy back, whether that's as flashbacks, as a ghost haunting the inn, or in the gravy basket, we'll need more episodes! #RenewAsACrew

#our flag means death #ofmd #ofmd s2 #ofmd s2 spoilers #and after this i will speak of it no more ok #now once we're all calmed down i am really looking forward to meta about izzy's role in the narrative #i truly think izzy's one of the most well written characters on not just this show but on tv lately in general #suicide mention tw #I tried to put a read more under the first bullet point but tumblr's formatting basically deleted it #by automatically overriding it with an Expand #so sorry about the length and such

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autolenaphilia · 9 months

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The main reason to use Firefox and Linux and other free and open source software is that otherwise the big tech monopolies will fuck you as the customer over in search of profits. They will seek to control how you use their products and sell your data. When a company dominates the market, things can only get worse for ordinary people.

Like take Google Chrome for example, which together with its chromium reskins dominate the web browser market. Google makes a lot of money from ads, and consequently the company hates adblockers. They already are planning to move to manifest V3, which will nerf adblockers significantly. The manifest V3 compatible chrome version of Ublock Orgin is a "Lite" version for a reason. Ublock's Github page has an entire page explaining why the addon works best in Firefox.

And Google as we speak are trying to block adblockers from working on Youtube, If you want to continue blocking Youtube ads, and since Youtube ads make the site unuseable you ought to want that, it makes the most sense to not use a browser controlled by Google.

And there is no reason to think things won't get worse. There is for example nothing stopping Google from kicking adblockers off their add-on stores completely. They do regard it as basically piracy if the youtube pop-ups tell us anything, so updating the Chrome extensions terms of service to ban adblocking is a natural step. And so many people seem to think Chrome is the only browser that exists, so they are not going to switch to alternatives, or if they do, they will switch to another chrominum-based browser.

And again, they are fucking chromium itself for adblockers with Manifest V3, so only Firefox remains as a viable alternative. It's the only alternative to letting Google control the internet.

And Microsoft is the same thing. I posted before about their plans to move Windows increasingly into the cloud. This already exists for corporate customers, as Windows 365. And a version for ordinary users is probably not far off. It might not be the only version of Windows for awhile, the lack of solid internet access for a good part of the Earth's population will prevent it. But you'll probably see cheap very low-spec chromebookesque laptops running Windows for sale soon, that gets around Windows 11's obscene system requirements by their Windows being a cloud-based version.

And more and more of Windows will require Internet access or validation for DRM reasons if nothing else. Subscription fees instead of a one-time license are also likely. It will just be Windows moving in the direction Microsoft Office has already gone.

There is nothing preventing this, because again on the desktop/laptop market Windows is effectively a monopoly, or a duopoly with Apple. So there is no competition preventing Microsoft from exercising control over Windows users in the vein of Apple.

For example, Microsoft making Windows a walled garden by only permitting programs to be installed from the Microsoft Store probably isn't far off. This already exists for Win10 and 11, it's called S-mode. There seem to be more and more laptops being sold with Windows S-mode as the default.

Now it's not the only option, and you can turn it off with some tinkering, but there is really nothing stopping Microsoft from making it the only way of using Windows. And customers will probably accept it, because again the main competition is Apple where the walled garden has been the default for decades.

Customers have already accepted all sorts of bad things from Microsoft, because again Windows is a near-monopoly, and Apple and Google are even worse. That’s why there has been no major negative reaction to how Windows has increasingly spies on its users.

Another thing is how the system requirements for Windows seem to grow almost exponentially with each edition, making still perfectly useable computers unable to run the new edition. And Windows 11 is the worst yet. Like it's hard to get the numbers of how many computers running Win10 can't upgrade to Win11, but it's probably the majority of them, at least 55% or maybe even 75%. This has the effect of Windows users abandoning still perfectly useable hardware and buying new computers, creating more e-waste.

For Windows users, the alternative Windows gives them is to buy a new computer or get another operating system, and inertia pushes them towards buying another computer to keep using Windows. This is good for Windows and the hardware manufacturers selling computers with Windows 11 pre-installed, they get to profit off people buying Windows 11 keys and new computers, while the end-users have to pay, as does the environment. It’s planned obsolescence.

And it doesn’t have to be like that. Linux distros prove that you can have a modern operating system that has far lower hardware requirements. Even the most resource taxing Linux distros, like for example Ubuntu running the Gnome desktop, have far more modest system requirements than modern Windows. And you can always install lightweight Linux Distros that often have very low system requirements. One I have used is Antix. The ballooning Windows system requirements comes across as pure bloat on Microsoft’s part.

Now neither Linux or Firefox are perfect. Free and open source software don’t have a lot of the polish that comes with the proprietary products of major corporations. And being in competition with technology monopolies does have its drawbacks. The lacking website compatibility with Firefox and game compatibility with Linux are two obvious examples.

Yet Firefox and Linux have the capacity to grow, to become better. Being open source helps. Even if Firefox falls, developers can create a fork of it. If a Linux distro is not to your taste, there is usually another one. Whereas Windows and Chrome will only get worse as they will continue to abuse their monopolistic powers over the tech market.

#my writings #mozilla firefox #google chrome #microsoft windows #linux #open source #foss

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dapg-otmebytheballs · 2 months

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All or Nothing and lowave records

Strap in because this is gonna be a long one. This post will try to shed some light on how the whole lowave records thing works, how you can use this music, how it is being distributed, and what all a contract with lowave would include. All this and more below the cut!

Let us start with the basics: What is lowave records?

Quite succinctly summed up on their website as follows:

They make and distribute royalty-free music for content creators - specifically video-format content creators like Youtubers and streamers - they share some streaming revenue (30%, we'll get into that) with the creators who are labelled 'co-artists' and get promotion of their music through the content creators.

So, that brings us to the next big question: What is royalty-free music?

This is music that is free to use. Yes, by anyone, by Dan and Phil, by other creators, by you and me, any of us. This is by no means a new thing of course, anyone who has created content online would have come across other such services. just as an example, bensound.com hosts a large library of royalty-free music which you can use in any video by simply crediting the site in your description. Lowave works in a similar fashion. The music is not copyrighted. However, the rights to the music are held by lowave records and there are limitations on its use, which we will get into ahead.

How is the money working (preliminary edition)?

I will add details to this later when I discuss the contract, but let's see the info we get straight away from the FAQs: You do not have to pay them anything to make music for you

The money is coming in from the streaming platforms, depends completely on amount of streams, and is shared between lowave and the creators

Also from the FAQs: how can this music be used?

Anyone can freely use any of the music from lowave records, which means that yes, you can use any music from All or Nothing for your purposes with credit, it will not be taken down

Is this the only music we will hear on dapg now? Will there be more albums?

Not necessarily! This isn't an exclusive deal, DnP can use any music they want on the channel. As for new albums, seems like it depends on how this one does (and it seems to be doing quite well!) which will unlock future avenues for more collabs with lowave

Okay BASICS DONE if you're still reading you're probably here for the real meat so let us get into it

How is the money working (director's cut)?

Let us start with the terms on the partner agreement:

Content Creators get 30% of the 'remaining income'. This basically means any costs that streaming platforms are deducting, any processing fees, taxes etc will be deducted before the 30% share is calculated. The second point there basically means that the deductions here do not include business expenses of the label itself, ie when the label calculates its own profit production costs and various other expenses are deducted from the income, but these costs will not affect the revenue received by the content creators (You are probably already thinking 'how is this company earning enough to keep going?' and I will touch on that later as well)

Payment installments are simple enough but here we see a third party enter the chat: DistroKid. Who is DistroKid and why are payments going through them, Hazel? I hear you ask. Well I'll tell you dear readers:

It is basically a service that takes a yearly fee for putting your music on streaming platforms efficiently and then pockets 0% of the royalties. The royalties go from the streaming services (eg Spotify) to DistroKid who then send it to the rights-holders (in this case, lowave records). lowave records is using this service for a yearly fee to upload all their music through.

But wait! If DistroKid is working with lowave, and lowave owns all the rights, why is DistroKid making direct payments to the content creators?

Well, over the years they have offered a bunch of services:

I am guessing lowave is making use of the teams feature to send royalties owed to content creators ("collaborators") directly from Diskworld, which makes sense, the less people money goes through the less chances of mishandling.

People have of course been talking about what percentage Spotify even pays for many many years. The short answer: we don't know for sure because it is confidential, Spotify won't tell and artists aren't allowed to. The longer answer: people have estimated from a bunch of publically available data that the share seems to be 70-30 (rights-holders- spotify).

However spotify is not paying per stream anymore so that makes these figures harder to pin down. they are using a 'streamshare' system which is much more convoluted:

That was all about the money, now let's talk Licensing

Creators can use this music in any capacity, and do not have to share any of the revenue from their own content with lowave. They have put a stipulation that it may not be used in a way that is "illegal, immoral, discriminatory or derogatory to [lowave]" but what constitutes 'immoral' and 'discriminatory' is not really defined.

The other limitation applies to the contracted Content Creators only as far as I can tell: they are not allowed to remix, sample, or edit these songs without prior permission. This probably only applies to altering the songs and playing under the same name, so fan remixes should not run into issues here, as long as they are not monetised. (thanks kate @goldenpinof for making me think about this part a bit more, I think it should be safe, but even royalty free music cannot be transformed without permission at least in a commercial capacity)

They will also make more music free of cost if the streaming targets they set are being met by the albums produced. The process:

Other services they provide will be handling the creator's account which they set up (DanAndPhilBeats in this case) on streaming platforms and making changes as required, so the Cheeky Banter -> Project X thing was probably done from their end, possibly an older change that they forgot to update?

Also below are promotional obligations:

The promotion wasn't a one-time thing, it is expected to be ongoing, so we will probably be hearing about this in future videos as well. However, later in the partner agreement it is added that this has to be done as often as possible in a way that is "natural and appealing to their audience" which again, is pretty vague wording

Also the licensing goes both ways, so lowave can also use segments of the content DnP make that has the music in the background to promote their music:

Additional stuff from the contract:

lowave takes the guarantee of creating original works that it has the rights to and which do not infringe on copyrights, and the creators likewise take the guarantee not use the songs in content which infringes copyright. If there are any disputes regarding such infringement in the future the record and the creators have to back each other up (including sharing legal fees)

I mentioned before some parts of the agreement being written in vague language. There is also a clause that says if any provision ends up being illegal/not possible to enforce by a court (eg if a court were to it's impossible to say whether content featuring the songs was 'immoral') then only that provision will be removed, the rest of the contract stands.

The waiver part basically means that if any of the parties decide to not sue or forgo a complaint about breach of contract, that does not mean that those provisions are now unavailable, they can still sue later on or for some other breach if they wish.

That's the contracts done. Some of the framing there makes it seem to me like it's a pretty small company. The revenue they hope to generate does not seem to be very sustainable, especially since the revenue is being shared with content creators but the cost is not and they are additionally paying for other services like DistroKid.

So I looked more into this record label: they started business in 2022. If you go to their socials though, twitter and instagram they have followers in double digits and post very sparsely. Their tiktok seems to have nothing on it at all (thanks @lesbiandanhowell for the screenshot) and you may have noticed, Dan did not tag the lowave account at all when he announced the album on twitter

The agreement never mentions creators promoting lowave's social channels or tagging them either (and it is quite odd, I have worked with a bunch of organisations in their infancy and this is, now more than ever, a common requirement from collaborators). lowave records does not seem to be actively working towards promoting themselves on social media or building an online presence, even though they have been operational two years producing music throughout.

There are three people involved with the company on public record:

Benjamin Johnson listed as 'Head of Production' is probably the 'Ben' Dan has been talking about who made the songs. Seems like their scale of operations is not very big and possibly not a lot of producers in the records at all (despite the spotify page saying they have 'producers' plural, but that doesn't have to mean a lot many lol). Anyway, that would solve the mystery of 'how are they playing their employees?' if there aren't many employees to begin with (not even an intern to manage their social media it seems).

Look at the last person in the screenshots though: Robin. I looked at what other companies Robin is associated with and several of them - yeah several different operations that he's involved in - have the same correspondence address of '60 Thorpe Road...', so probably operating out of a ghost office (just to have a registered address and receive mail at etc). And one of these businesses that Robin is associated with is RWD, the business that made lowave records' website for them:

The no-cost production of royalty-free music, little attention to social media presence, vaguely written contract, seemingly small scale of operations with technical assistance like website design coming from an affiliated organisation makes me think that lowave records might be a side project. A labour of love, possibly, hoping to sustain itself enough to keep putting out royalty-free music in a time of extreme crackdown on copyrighted music use.

It makes sense to use content creators for promotion, gets you way more streaming than making your own music and putting it out. And the incentive of unique but guaranteed royalty free music at no cost is great for content creators of all sizes. It is far from sustainable on its own though, especially with streaming revenue being basically peanuts, and I do not think there's much interest in gaining a following or putting in that effort either, so it's probably a very small business by a few people. How long it manages to sustain itself as a project I am not sure, but it certainly isn't looking like something particularly geared towards profit and growth in its current state.

We are at an end! If you read this far, leave me like an A+ or a star for my essay so I can have academic validation from this please. Of course I probably have not covered everything possible in connection to this so if anyone has more info feel free to add on! And if this was all very long and there's something particular you wanted to know you can drop an ask into the inbox about it!

Thank you for coming with me on this journey! Back to the important things, which was your favourite song from the album? I think mine is Arcade Admission

#dnp #dan and phil #dnpgames #dan and phil games #meta #?#all or nothing #lowave records #dan howell #phil lester

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kcamberart · 8 months

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Development going forward

So in case anyone hasn't heard, Unity announced this morning that they're going to be making some pretty major (baffling) changes to their licensing plans and monetization. TLDR regarding the pertinent info (from what I understand. The company hasn't made another statement at the time of writing, and the FAQ is very vague):

They've removed the cheapest paid subscription tier (Unity Plus) completely, and are altering Unity Personal (the free one) so that the editor needs an internet connection in order to function. If you're offline for 3 days, it kicks you out until you reconnect to the internet again for the software to phone home. This is apparently not an issue if you subscribe to Unity Pro, the $2,000/yr plan.

If you publish a game made using the Unity engine, once it passes a certain threshold of installations and revenue, Unity will charge you a fee for every subsequent installation of your game on a per-month basis (and it's not per-purchase, it's per-installation. So (allegedly) if someone on Steam buys, installs, uninstalls and then reinstalls your game, or if they need to update the game, that's considered multiple different instances of installation and Unity will (allegedly) charge the developer as such). This will go into effect in January of 2024, but will seemingly retroactively apply to all games published before then as well.

If I've misunderstood any of this, please feel free to correct me.

I would not be surprised if they heavily walk back some of this (i.e., "the last time we announced something bad everyone got mad about it, so this time we'll announce something unbelievable and then say that we changed our minds so people will be more willing to accept the slightly less bad thing we wanted to do in the first place"), but it's setting a very bad precedent for using Unity for any future projects.

I'm currently weighing my options on whether to finish Vollema in Unity and then migrate to a new engine for future projects (Godot gets better every day, from what I've heard), or to just take what I've made so far and start over using different software. Honestly, it's early enough in development that the vast majority of what I have finished and ready to implement is visual assets, dialogue, narrative stuff and audio, so I'm leaning heavily towards testing the waters with a different engine. I likely also will not be able to work on or release any smaller games in the coming months for the time being (RIP 2023 Halloween Game, I'll make it up to you) while I make some decisions. Regardless, I'll keep you all in the loop.

TLDR: I'm likely going to be changing game engines, which will definitely set Vollema's development time back a bit (along with my other projects), but development in general will continue regardless.

Hopefully I'll have more positive news to share with you soon! I'm gonna miss my add-ons, though. Oh man, am I gonna miss my add-ons.

#not art #vollema #gamedev #i'll have to update my software recommendations list to remove Unity regardless because I'm not about to pretend this is a good thing lmao #long post

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uroboros-if · 2 months

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Fade to Black Macro

Demo

I have finally turned my fade to black transitions into a somewhat easy to use macro!! :) I am not sure if this has been done before!

Customizable fade times

Built to be compatible with backward and forward buttons (mostly!)

Works across all screen sizes

Note: This is only for SugarCube.

Setup

Copy and paste this Pastebin to your Story JavaScript.

Copy and paste this Pastebin to your Story Stylesheet.

Make a new passage titled exactly as "black_fade". Add the passage tag, "black-fade". Inside, write <div id="black"></div>. Super important! Copy below identically.

After this, your installment of the macro should be complete!

Usage

In the passages where you will be fading from and where you will be fading to, tag it as "passage-fade". For example, I want to transition from "p1" to "p2" with a black fade. Thus, both p1 and p2 should have the tag.

In the passage where you will be fading from, write <<fadestart>>.

Use the <<link>> macro to link to your destination. Inside the link macro, use <<passagefade "[passage name]" [fade time]>> where [passage name] is the passage you want to go to, and fade time is how long the black fade will be in miliseconds. (1000ms = 1s). However, do NOT put the passage you will be going to in the <> macro itself. See below:

Here, I want to go to the passage "p2". Do NOT write <<link "Next passage" "p2">><</link>>. Do not provide the destination passage in the link macro itself. The macro <<passagefade>> will handle it for you if you specify the passage name in the first argument.

Once you do all this, you should be able to sit back and happily use it as you please!

Problems?

Make sure you have the passage "black_fade" titled exactly like that.

Also make sure it has <div id="black"></div> and nothing more!

Make sure "black_fade" is tagged with "black-fade".

Make sure you used <<fadestart>> in the passage you are transitioning from.

Make sure you are correctly using the macro <<passagefade>>. You specify time in miliseconds; it should not have "ms" or "s" included in the argument. It should just be the number (e.g. 4000 for 4 seconds).

Make sure the passages you are fading from and to are tagged with "passage-fade".

There may be CSS/HTML that is interfering with the look of the fade!

There may be other JavaScript code interering with the current code.

If you are having problems, please let me take a look at your Stylesheet or let me know what template you are using! However, I highly recommend looking at the playable and downloadable demo.

(This macro is free to use, free to copy for all commercial and non-commercial projects with no additional fees. Credit is appreciated!)

#interactive fiction #twine #sugarcube #twine coding #sugarcube coding #sugarcube resources #twine coding resources #fade to black macro #ftb macro #coding resources

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atrueneutral · 1 month

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Feel free to just ignore this if the prompt is too horny but uh...

Mephistopheles having some fiends deliver a present to the boudoir (for Raphael or Haarlep). That present is a very confused, but also very naked, Tav who is all tied up with silk and has a collar and chain on her neck. (for her part, Tav isn't opposed to being in this... ah... position, but she'd have preferred Raphael or Haarlep be the one to have brought her here via invitation rather than... whatever this is)

I hope you don't mind a little humor! ---

Of all the strange situations Tav had found herself in (including the entire tadpole debacle), it was safe to say that this was the one of the strangest.

How it happened - well, frankly she’d been kidnapped!

It all started when she’d received a message from Helsik by way of a Scroll of Sending; the message wasn’t very descriptive outside of ‘please come to the Devil’s Fee at your earliest convenience’, and, thinking it was a job to add more (needed) coin to her pocket, Tav had gone immediately.

Into the Devil’s Fee she walked without a care in the world, only to have Helsik give her an empty smile and an emptier apology. Tav had no idea what the apology was for until two fiends burst forth from nowhere. They quickly rendered her immobile with a spell (before she could even think to defend herself), and she was subsequently blindfolded and spirited away.

By the time the blindfold had come off, Tav was naked.

Naked on a bed.

A bed in a boudoir.

A boudoir in a House of Hope.

Above her, a golden horned devil head was laughing at her predicament from where it was centered at the top of the velvet tufted headboard her back rested against. A lengthy piece of red silk hung fastened around its neck, and at each end were her bound hands. Her feet were in a similar state, ankles tied together by another piece of silk, and she was annoyed to feel a leather collar against the skin of her neck. Attached to the collar was a weighty chain that messily decorated the silk bedding.

It was an added frustration to see an unattainable, sealed note at the foot of the bed. She assumed it likely wrote out an explanation on why she’d been plucked and placed in Raphael’s gaudy boudoir.

For a split second, Tav thought to call out to Haarlep; the boudoir was mostly their domain, and maybe they would come and help her. But she wisened up and remembered that Haarlep’s definition of ‘helping’ was wildly different from that of a morally inclined person; she’d be inviting the incubus to tease her, grope her, and use her.

Which would be fine on a day where she’d been told in advance and had some semblance of knowing what-the-fuck-was-going-on.

It was probably in her best interest to call for Raphael, as embarrassing as the situation was. She expected he’d be equally perplexed by why she was in his House, naked, tied up, and in his bed.

“Uh, Raphael?” she called out meekly into the ether, thinking he could somehow magically hear her from wherever he was. “You, uh, around?”

After about a minute of getting nothing in response, Tav cleared her throat.

“RAPHAEL! You bastard! I’ll loot this place dry once I figure out how to untie myself!”

It took about fifteen seconds, but there was a burst of fire and embers - signifying the arrival of-

“What have we here!” trilled a voice that sounded vaguely like Raphael but assuredly wasn’t Raphael. “I thought I heard a guest yelling in the boudoir! And yelling without me?”

They tutted, and Tav inwardly cursed the gods.

“Not you…” she bemoaned.

“Now why do you say it like that, little thief?” Haarlep faked a frown as they sauntered over to the end of the bed. The frown didn’t last; it flipped into a fiendish smile when they devoured the wickedly risque picture she made. “Have you gifted yourself to us? It’s good to see some results after master’s constant planning…”

“Aha! So it’s his fault I’m here!” Tav shouted like she’d deduced the perpetrator for a murder, but as Haarlep’s words further registered, the perpetrator suddenly looked like Raphael and the person murdered was her. “Wait - what do you mean ‘constant planning’?”

Haarlep continued to smile with mischief dancing brightly in their infernal eyes. They scooped up the note and slid a clawed finger under the folded flap, breaking the wax seal. Their gaze shifted from Tav to the words on the parchment.

The incubus grimaced. “And here I hoped you’d already signed yourself away to us.”

“Not today, I’m afraid,” Tav said. She awkwardly readjusted in her bindings. “What does it say? Who is it from?”

To her horror, Haarlep decided to join her on the bed with the note in hand. They crawled over, mattress dipping with each knee they took, and they situated themself over her so that their legs braced either side of her thighs - giving Tav a bird’s eye view of their barely clothed erection.

Haarlep (thankfully) shoved the note in front of her face rather than their crotch.

”I can’t read it,” she said dryly.

“Poor thing.”

To help, Haarlep read it out loud.

“Haarlep,

This mortal is a much better distraction to my son’s ambitions than you.

I suggest tempting her into a contract with your persuasive talents.

Lord Mephistopheles”

Tav swallowed. “This is a joke, right?”

Haarlep folded the letter and tossed it aside on the sheets. The back of their fingers came to caress her cheek. “Mm - no, little thief. It’s very real, as are you… here, tied up… helpless…”

“While that may be true…” Tav was beginning to feel nervous, and she resisted the urge to wriggle underneath them lest it provoke them. “Unfortunately, this situation isn’t as much of a turn on as it would be if I was here of my own volition.”

“It’s a turn on for me regardless.”

“Sure…” Tav officially hated the gods. She did not know how she was going to talk herself out of this with an incubus who was hovering over her restrained body with a hard-on, a lust-filled gaze, and an order to get her to ‘sign a contract’. She lowered her voice to a throaty whisper. “But you know what really gets me wet and wild, Haarlep?”

“Do tell…”

She raised herself up an inch by pulling on her bindings and stared at them with budding (pretend) lust.

“Not signing a contract.”

Was that jingling bells she heard entering the boudoir?

“Do you not want to stay here with me?” Haarlep purred, their hand trailed down to grip her chin while the other found and her collar’s chain. “You’d get to be master’s pet - my pet…”

They tugged up on the chain and Haarlep’s head moved in for the kill - intent on giving her an intoxicating kiss that would turn her to putty in their hands.

Shit.

“Ra-” Tav attempted to shout, but the cambion’s name was cut short by Haarlep’s smiling lips pressing against hers. The chain was given a light tug to force her closer, and their hot, forked tongue slid across the seam of her locked mouth…

She did not know how long she could hold out; her lips were tingling in a pleasant way, her blood was racing, and the promise of pleasure was right there if only she would give in…

The lust she felt was no longer the pretend kind.

“Haarlep, pray tell, who is your wayward plaything?”

Tav mentally and woozily cheered; it was Raphael!

“Was my warning not explicit enough? I will not tolerate you inviting in stray visitors because you’re bored,” continued her maybe savior.

Tav could not see Raphael, as she was too busy being lip locked with a younger version of himself, and she wasn’t sure if he could see her with Haarlep’s wings and body in the way.

The chain went slack as Haarlep broke away. They relinquished their hold on her leash and discreetly swapped the chain for the nearby note. Between their bodies, the piece of parchment combusted into flames - destroying the proof of Mephistophele’s intentions.

Tav hissed as the melted seal dripped hot wax onto her chest.

Haarlep winked at her, and she responded with a glare.

Meanwhile, jingling boots arrived somewhere around the foot of the bed.

“Look who is here, Master!” The incubus said suddenly, removing themself from her body and moving over enough to reveal Tav in all her naked, restrained glory. “I wrapped her up like a little present! Just for you - specifically as she instructed…”

Heat crept up her body and flared in her loins.

Raphael, a talkative fiend who often talked too much, was rendered speechless and slack jawed. His brow furrowed and his nose scrunched while his mind worked to process what and who was in his bed.

It was a reaction that almost made up for being kidnapped.

His confusion cleared when his mouth snapped closed, and the look in his orange and yellow eyes turned insanely desirous.

“Uh, hello,” Tav said, giving him a polite wave while also trying to ignore the wetness that rapidly continued to pool between her thighs.

Her lips still tingled from Haarlep’s kiss, and the scene wasn’t too far off from a fantasy she’d had more than once.

“What are you doing here, Little Mouse?”

“Isn’t it obvious?” Haarlep unhelpfully supplied. “She’s here to have fun with us!”

She was grateful that Raphael looked somewhat skeptical. “Is this true, my dear?”

“It’s kind of a long story…” Tav replied.

Raphael glanced at her silk bindings.

“Forgive me - I don’t see you going anywhere anytime soon?”

“Ah, yes. Touché,” she conceded.

“I want to hear it from you,” Raphael said, a warning threading into his tone. “Why are you here?”

She looked to Haarlep, and they seemed all-too-curious in what answer she would give. It was anyone’s guess as to why they destroyed the note from Mephistopheles, and Tav wondered if they would feel at all indebted to her for not spilling the beans.

“Korrilla told me it was your Name Day last week. I realize I’m a little late, but I wanted to do something extra special since it was your… wait, how old are you exactly?”

“Funny.” Raphael’s thin smile did not reach his eyes. “Try again.”

“I was kidnapped?”

Why did it come out as a question?

“Haarlep, do get the mouse’s lips moving, won’t you? I think I will get comfortable and watch…”

The incubus happily motioned to return to his previous position over her.

“Alright - hold on!” Tav yelled, causing an amused Haarlep to stop. “I’ll tell you the truth - under one condition.”

Raphael barked a laugh.

“Again you show up in my House uninvited, this time naked and fettered to my bed, and you think you have the right to demand conditions?” His gaze turned stormy. “You are lucky that my fondness for you extended into forgiveness the first time.”

“You’ll forgive me for this second time as well, I think.” Tav smiled mischievously and parted her legs to give both cambion and incubus a better view of her sex. “I’ll give you the truth, Raphael; what I’m asking for is that I be returned home, safe and sound after we… reacquaint ourselves - without the talk or the signing of any contract.”

“You’ve already honored your contract, and I have not yet come knocking at your door with another.”

She shrugged with a shoulder. “I’ve learned you can never play it too safe with devils.”

Raphael turned suspicious. “What are you up to?”

“Just agree, Master,” Haarlep said. They licked their lips. “I’m tired of waiting.”

Judging by Raphael’s dark expression and the stiffness in his breeches, he was also tired of waiting.

“Very well; I will return you to your home, safe and sound - albeit sore. No contract will be signed during this visit. Now, the truth.”

The words easily left her.

“The truth is I want you to fuck me, Raphael. I’ve wanted you undiluted and raw since meeting you, and imagine my disappointment stumbling upon Haarlep on my first visit. You should know they said some very scandalous things about your… performance.”

The (undiluted and raw) darkness that overtook Raphael’s features would have frightened her… if she weren’t so turned on by it. It was a dangerous mix of desire and fury; desire for her, fury for Haarlep.

“What did you tell the mouse, Haarlep?” he asked, head canting with a piercing stare directed at the incubus. “About my performance.”

Haarlep did not immediately respond; Tav could tell they were frantically plotting how to navigate a floor covered in eggshells.

“The mouse asked if you were good in bed...”

“And you told her?”

It was Haarlep’s turn to be nervous, and Tav savored every second.

“And I said, jokingly, of course, that you… weren’t. A-ha!”

“I see,” Raphael said flatly. “Well, since I am not ‘good in bed’ your participation privileges for this bed have been revoked.” The cambion’s unblinking, penetrative stare turned to her as he stalked over to the side of the bed.

“It was nothing but a joke, Master! At least allow me the opportunity to watch you fuck and fill the mouse?”

“No.” Raphael picked up the end of the chain and wrapped it once around his hand. “She’s mine...”

Sinfully wet after such a declaration, Tav turned her head to throw a secretive wink at a pouting Haarlep before they resentfully disappeared with a burst.

There was a snap of fingers, and Raphael came to be instantly naked and was very, very aroused. A second snap followed, causing a flash of heat to singe her skin as her silk bindings went up in a puff of smoke.

The cat gave the chain a tug.

“Come to me, my little mouse.”

Before her mind could be overrun by sex and pleasure, Tav thought of a note to (never) send back to Mephistopheles.

Lord Mephistopheles,

No need for a kidnapping; all you have to do is ask. I’ll be more than happy to return to your son’s bed, no contracts necessary.

Sincerely,

The Better Distraction

#thanks for the prompt!#this became longer than expected #bg3 #raphael bg3 #raphael x tav #raphael x tav fanfiction #my writing #answered #haarlep bg3 #haarlep #baldur’s gate 3 fanfiction

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