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mostlysignssomeportents · 1 year ago

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Kickstarting a book to end enshittification, because Amazon will not carry it

My next book is The Internet Con: How to Seize the Means of Computation: it’s a Big Tech disassembly manual that explains how to disenshittify the web and bring back the old good internet. The hardcover comes from Verso on Sept 5, but the audiobook comes from me — because Amazon refuses to sell my audio:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

Amazon owns Audible, the monopoly audiobook platform that controls >90% of the audio market. They require mandatory DRM for every book sold, locking those books forever to Amazon’s monopoly platform. If you break up with Amazon, you have to throw away your entire audiobook library.

That’s a hell of a lot of leverage to hand to any company, let alone a rapacious monopoly that ran a program targeting small publishers called “Project Gazelle,” where execs were ordered to attack indie publishers “the way a cheetah would pursue a sickly gazelle”:

https://www.businessinsider.com/sadistic-amazon-treated-book-sellers-the-way-a-cheetah-would-pursue-a-sickly-gazelle-2013-10

[Image ID: Journalist and novelist Doctorow (Red Team Blues) details a plan for how to break up Big Tech in this impassioned and perceptive manifesto….Doctorow’s sense of urgency is contagious -Publishers Weekly]

I won’t sell my work with DRM, because DRM is key to the enshittification of the internet. Enshittification is why the old, good internet died and became “five giant websites filled with screenshots of the other four” (h/t Tom Eastman). When a tech company can lock in its users and suppliers, it can drain value from both sides, using DRM and other lock-in gimmicks to keep their business even as they grow ever more miserable on the platform.

Here is how platforms die: first, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

[Image ID: A brilliant barn burner of a book. Cory is one of the sharpest tech critics, and he shows with fierce clarity how our computational future could be otherwise -Kate Crawford, author of The Atlas of AI”]

The Internet Con isn’t just an analysis of where enshittification comes from: it’s a detailed, shovel-ready policy prescription for halting enshittification, throwing it into reverse and bringing back the old, good internet.

How do we do that? With interoperability: the ability to plug new technology into those crapulent, decaying platform. Interop lets you choose which parts of the service you want and block the parts you don’t (think of how an adblocker lets you take the take-it-or-leave “offer” from a website and reply with “How about nah?”):

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

But interop isn’t just about making platforms less terrible — it’s an explosive charge that demolishes walled gardens. With interop, you can leave a social media service, but keep talking to the people who stay. With interop, you can leave your mobile platform, but bring your apps and media with you to a rival’s service. With interop, you can break up with Amazon, and still keep your audiobooks.

So, if interop is so great, why isn’t it everywhere?

Well, it used to be. Interop is how Microsoft became the dominant operating system:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

[Image ID: Nobody gets the internet-both the nuts and bolts that make it hum and the laws that shaped it into the mess it is-quite like Cory, and no one’s better qualified to deliver us a user manual for fixing it. That’s The Internet Con: a rousing, imaginative, and accessible treatise for correcting our curdled online world. If you care about the internet, get ready to dedicate yourself to making interoperability a reality. -Brian Merchant, author of Blood in the Machine]

It’s how Apple saved itself from Microsoft’s vicious campaign to destroy it:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

Every tech giant used interop to grow, and then every tech giant promptly turned around and attacked interoperators. Every pirate wants to be an admiral. When Big Tech did it, that was progress; when you do it back to Big Tech, that’s piracy. The tech giants used their monopoly power to make interop without permission illegal, creating a kind of “felony contempt of business model” (h/t Jay Freeman).

The Internet Con describes how this came to pass, but, more importantly, it tells us how to fix it. It lays out how we can combine different kinds of interop requirements (like the EU’s Digital Markets Act and Massachusetts’s Right to Repair law) with protections for reverse-engineering and other guerrilla tactics to create a system that is strong without being brittle, hard to cheat on and easy to enforce.

What’s more, this book explains how to get these policies: what existing legislative, regulatory and judicial powers can be invoked to make them a reality. Because we are living through the Great Enshittification, and crises erupt every ten seconds, and when those crises occur, the “good ideas lying around” can move from the fringes to the center in an eyeblink:

https://pluralistic.net/2023/06/12/only-a-crisis/#lets-gooooo

[Image ID: Thoughtfully written and patiently presented, The Internet Con explains how the promise of a free and open internet was lost to predatory business practices and the rush to commodify every aspect of our lives. An essential read for anyone that wants to understand how we lost control of our digital spaces and infrastructure to Silicon Valley’s tech giants, and how we can start fighting to get it back. -Tim Maughan, author of INFINITE DETAIL]

After all, we’ve known Big Tech was rotten for years, but we had no idea what to do about it. Every time a Big Tech colossus did something ghastly to millions or billions of people, we tried to fix the tech company. There’s no fixing the tech companies. They need to burn. The way to make users safe from Big Tech predators isn’t to make those predators behave better — it’s to evacuate those users:

https://pluralistic.net/2023/07/18/urban-wildlife-interface/#combustible-walled-gardens

I’ve been campaigning for human rights in the digital world for more than 20 years; I’ve been EFF’s European Director, representing the public interest at the EU, the UN, Westminster, Ottawa and DC. This is the subject I’ve devoted my life to, and I live my principles. I won’t let my books be sold with DRM, which means that Audible won’t carry my audiobooks. My agent tells me that this decision has cost me enough money to pay off my mortgage and put my kid through college. That’s a price I’m willing to pay if it means that my books aren’t enshittification bait.

But not selling on Audible has another cost, one that’s more important to me: a lot of readers prefer audiobooks and 9 out of 10 of those readers start and end their searches on Audible. When they don’t find an author there, they assume no audiobook exists, period. It got so bad I put up an audiobook on Amazon — me, reading an essay, explaining how Audible rips off writers and readers. It’s called “Why None of My Audiobooks Are For Sale on Audible”:

https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff

[Image ID: Doctorow has been thinking longer and smarter than anyone else I know about how we create and exchange value in a digital age. -Douglas Rushkoff, author of Present Shock]

To get my audiobooks into readers’ ears, I pre-sell them on Kickstarter. This has been wildly successful, both financially and as a means of getting other prominent authors to break up with Amazon and use crowdfunding to fill the gap. Writers like Brandon Sanderson are doing heroic work, smashing Amazon’s monopoly:

https://www.brandonsanderson.com/guest-editorial-cory-doctorow-is-a-bestselling-author-but-audible-wont-carry-his-audiobooks/

And to be frank, I love audiobooks, too. I swim every day as physio for a chronic pain condition, and I listen to 2–3 books/month on my underwater MP3 player, disappearing into an imaginary world as I scull back and forth in my public pool. I’m able to get those audiobooks on my MP3 player thanks to Libro.fm, a DRM-free store that supports indie booksellers all over the world:

https://blog.libro.fm/a-qa-with-mark-pearson-libro-fm-ceo-and-co-founder/

Producing my own audiobooks has been a dream. Working with Skyboat Media, I’ve gotten narrators like @wilwheaton, Amber Benson, @neil-gaiman and Stefan Rudnicki for my work:

https://craphound.com/shop/

[Image ID: “This book is the instruction manual Big Tech doesn’t want you to read. It deconstructs their crummy products, undemocratic business models, rigged legal regimes, and lies. Crack this book and help build something better. -Astra Taylor, author of Democracy May Not Exist, but We’ll Miss It When Its Gone”]

But for this title, I decided that I would read it myself. After all, I’ve been podcasting since 2006, reading my own work aloud every week or so, even as I traveled the world and gave thousands of speeches about the subject of this book. I was excited (and a little trepedatious) at the prospect, but how could I pass up a chance to work with director Gabrielle de Cuir, who has directed everyone from Anne Hathaway to LeVar Burton to Eric Idle?

Reader, I fucking nailed it. I went back to those daily recordings fully prepared to hate them, but they were good — even great (especially after my engineer John Taylor Williams mastered them). Listen for yourself!

https://archive.org/details/cory_doctorow_internet_con_chapter_01

I hope you’ll consider backing this Kickstarter. If you’ve ever read my free, open access, CC-licensed blog posts and novels, or listened to my podcasts, or come to one of my talks and wished there was a way to say thank you, this is it. These crowdfunders make my DRM-free publishing program viable, even as audiobooks grow more central to a writer’s income and even as a single company takes over nearly the entire audiobook market.

Backers can choose from the DRM-free audiobook, DRM-free ebook (EPUB and MOBI) and a hardcover — including a signed, personalized option, fulfilled through the great LA indie bookstore Book Soup:

https://www.kickstarter.com/projects/doctorow/the-internet-con-how-to-seize-the-means-of-computation

What’s more, these ebooks and audiobooks are unlike any you’ll get anywhere else because they are sold without any terms of service or license agreements. As has been the case since time immemorial, when you buy these books, they’re yours, and you are allowed to do anything with them that copyright law permits — give them away, lend them to friends, or simply read them with any technology you choose.

As with my previous Kickstarters, backers can get their audiobooks delivered with an app (from libro.fm) or as a folder of MP3s. That helps people who struggle with “sideloading,” a process that Apple and Google have made progressively harder, even as they force audiobook and ebook sellers to hand over a 30% app tax on every dollar they make:

https://www.kickstarter.com/projects/doctorow/red-team-blues-another-audiobook-that-amazon-wont-sell/posts/3788112

Enshittification is rotting every layer of the tech stack: mobile, payments, hosting, social, delivery, playback. Every tech company is pulling the rug out from under us, using the chokepoints they built between audiences and speakers, artists and fans, to pick all of our pockets.

The Internet Con isn’t just a lament for the internet we lost — it’s a plan to get it back. I hope you’ll get a copy and share it with the people you love, even as the tech platforms choke off your communities to pad their quarterly numbers.

Next weekend (Aug 4-6), I'll be in Austin for Armadillocon, a science fiction convention, where I'm the Guest of Honor:

https://armadillocon.org/d45/

If you'd like an essay-formatted version of this thread to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/31/seize-the-means-of-computation/#the-internet-con

[Image ID: My forthcoming book 'The Internet Con: How to Seize the Means of Computation' in various editions: Verso hardcover, audiobook displayed on a phone, and ebook displayed on an e-ink reader.]

#pluralistic #trustbusting #big tech #gift guide #kickstarter #the internet con #books #audiobooks #enshitiffication #disenshittification #crowdfunders #seize the means of computation #audible #amazon #verso

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klausinamarink · 9 months ago

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based on this hilarious video with Gianmarco Soresi whom I’ve been watching his comedy work for a few months now

read on ao3

“What do you do?” The standup of the hour - the guy had introduced himself as Eddie - points at Steve.

Flustered at the attention directing every eye in the club to his table, Steve tries not to stammer as he answers, “Well, uh, I make movies.”

“Oh!” Eddie genuinely looks interested. “So you’re a director?”

“Yeah, pretty much. At least I started out as an indie, but I have a big project that’s out and a couple more on the way.” One table nearby claps and Steve tries to wave them off to stop.

“So what was that big project? Was it something we would’ve seen?” Eddie repositions himself so he has one leg up on the stool. Steve stares at how lean they seem with the tight black jeans. He’s got them daddy long legs. His brain suddenly burps out and it nearly makes Steve lose his composure.

“Uh, ha, I did The Final Bat. It’s on Shudder.” Steve shrugs nonchalantly, perfectly hiding his internal cringe. The horror genre is way out of his league and Steve’s already seen The Final Bat being on a few critical lists damning the title as another cliche-filled mess. He only did it because he had finally caved to Dustin’s pleading to make at least one horror movie.

Eddie, on the other hand, seems ecstatic by this revelation. “No way! That’s sick, dude! So the next time you make a horror flick, you’re gonna watch Blumhouse and A24 coming in at each other with steel chairs for distribution rights.”

Everyone laughs, including Robin. She smacks on Steve’s bicep with a wide grin. He smacks her back before he turns back to Eddie and clarifies, “I don’t like horror! I’m not doing it again!”

Aghast, Eddie throws an invisible hat to the ground and stamps on his feet. “Come on! Then what’s the point of watching the studios bite each other’s dicks off when you’re slipping out to watch - I don’t know - the Barbie movie! Now they’re just fighting for the next shitty horror movie to exist!”

Steve covers his mouth but fails to hold back in the laughter. Eddie’s infectious energy is starting to get to him. It makes his chest clench with something other than the usual pains.

Eddie patiently waits for the patrons to quiet down before continuing, still attentive to Steve, “I’m just wondering actually if you ever done theater class.”

“Sure did! Two years in high school,” Steve confirms.

“Let me guess, they did Hamlet?” Eddie raises an eyebrow like it’s meant to be accusatory.

“Yep, soon after I joined.” Steve nods, the memory of that production flashing before his eyes. It had its ups and downs but it was one of the most fun things Steve had ever experienced.

“No wonder they started as soon as your handsome ass walked in the club.” Eddie says low and flirtatiously into the microphone, staring directly into Steve’s eyes. It echoes across the room and back, bringing the howling laughter with it.

Heat crawls behind his face. Steve keeps his hands on the table, forcing down the urge to hide behind them. “I-” He stops to cough, “I wasn’t supposed to play Hamlet.”

Eddie’s eyes go wide, “What do you mean?!”

Robin answers loud enough for everyone to hear, “He was the grave robber, but the other guy who did Hamlet got into a coma a week before the show and Steve knew all the lines.”

“W-Woah, woah, woah!” Eddie holds his hands out, looking scandalous. He throws looks around the club. “Everyone, shut the fuck up right now! This is more important than caring about the rest of you!” Eddie drags the stool over and perches on it like a very much invested gargoyle, almost oblivious to the audience’s reaction.

“Okay, let me go through this.” He points at Steve, still holding eye contact as if Steve’s soul would provide the answer. “You weren’t Hamlet. You were meant to be the guy who gives him the skull to monologue. The OG Hamlet got into a coma for some reason-“

“Car accident.” Robin interjects.

“Yeah, no need to elaborate, ma’am. You, Steve-” Eddie breaks off for a second, holding back a laugh of his own. “You somehow knew all the Hamlet lines because you were waiting to skin OG Hamlet’s head and make his skull yours to do the monologue.”

There’s a scandalous outcry from all tables. Even when they mostly calm down, Steve uses the growing anticipation to ‘think’ about what Eddie just said before he casually shrugs and says, “Sounds about right.”

Eddie drops his face into his arm, letting everyone laugh at him. Steve lets himself break, his laughter bubbling out of him in a way that doesn’t sound so self-deprecating or hollow. If he was in a cynical mood, he would’ve thought it was pathetic that the only person who made him laugh so lightly again was some random standup.

After a moment, Eddie finally looks up, his face broken in disbelieving grin. He chuckles into the mic and looks back at Steve, “Sorry, it’s just I hear some wild stories in the crowd some nights and I think yours takes the cake.”

Steve smiles, “Thanks, man.”

Eddie stands up back, half-leaning onto the stool. “Do you still remember those lines? To be or not to be?”

The whole damn thing. “Uh… some of it?”

Eddie’s grin shifts into something more mischievous. “Let’s see who knows more.”

A collective oooh goes around the room, including Robin. She already has her phone out for recording. Steve rolls his eyes at her and takes a quick sip of his water. He clears his throat and starts, “‘To be or not to be, that is the question.’”

“‘Whether 'tis nobler in the mind to suffer, the slings and arrows of outrageous fortune..’” Eddie says without missing a beat.

Oh, he thinks he knows it all. The sense of competition that Steve thought had died out with his future of a sports career reignites in his chest. He sits up even straighter. “‘Or to take arms against a sea of troubles and by opposing end them.’”

“‘To die-to sleep, no more.’” Eddie slowly walks over to the edge of the stage, “‘And by a sleep to say we end the heart-ache and the thousand natural shocks that flesh is heir to.’”

“'tis a consummation devoutly to be wish'd.’” Steve almost shivers as he recites the line, uncertain if it’s from the club’s cooling temperatures or the intense gaze from Eddie’s eyes. “‘To die, to sleep.’”

“‘To sleep, perchance to dream—ay, there's the rub,’” Eddie suggestively rubs a hand on his chest as he squats down. Steve’s eyes flicker to the hand, almost hypnotized by the motion. Nay, he shakes himself out of it. No distractions!

“‘For in that sleep of death what dreams may come, when we have shuffled off this mortal coil.’” It’s getting harder to remember the following lines. That hasn’t happened before. Steve has never forgotten the damn soliloquy in years, even when other people try to challenge him.

Eddie continues, “‘Must give us pause—there's the respect that makes calamity of so long life. For who would bear the whips and scorns of time, the oppressor's wrong, the proud man's contumely.’”

“‘The pangs-’” Steve feels his breath catching in his throat when he realizes, for the first time, what beautiful eyes Eddie has.

Oh.

Eddie suddenly perks up in excitement. For a second, Steve thinks that Eddie has come to the exact same thoughts for him. But then he remembers that he hasn’t completed his line, so Steve feigns defeat.

“I win!” Eddie stands up with a triumphant cry. He spreads his arms out to embrace the cheering whoops and applause. “And I’ve only got to play Hamlet in-” He spins around and crouches down so he can look Steve in the eye again as Eddie’s voice booms into the mic, “-FOURTH GRADE, MOTHERFUCKER!”

Steve’s not even mad. He just throws his head back, laughing and clapping along.

Almost too soon, Eddie moves on to heckle on another table. But he keeps glancing over at Steve, his smile widening every time. And Steve smiles back, feeling a laugh slip out of his slips at every joke. He watches Eddie more closely, feeling his heart pound faster in his chest the more Eddie stays onstage.

By the time Eddie has to depart and thank everyone for being here, Robin announces her need to go home and snuggle with her girlfriend.

“Man, that was the most I’ve ever laughed in this place.” Steve stretches his back, groaning at the little pops. God, being in his early thirties can be a bitch sometimes.

Robin only hums, moving her eyebrows up and down suggestively. Steve pointedly makes no further comment as he pays the tab.

Outside, the crisp night air welcomes him. Steve takes in a whiff, staring up at the light-polluted sky as he bids Robin a goodbye. Then he hears his name being called. He turns around and sees Eddie hurrying out the doors.

Steve feels a smile already on his face, “Hey, Hamlet.”

Eddie grins at him, teeth and all, “Hey, yourself.”

They stare at each other but it lacks the competitive intensity earlier. Steve likes this. But he already has a feeling that this won’t be the first time either one of them would challenge the other.

“Sooo…” Steve says when the silence stretches a little too long. He gestures between himself and Eddie, “Wanna restart our introductions?”

Eddie’s eyes brighten, “Yeah! Right, sorry.” He clears his throat and thrusts a hand out. “My name is Eddie Munson. Self-proclaimed comedian and musician. You may recognize me as the guy who beat you in Hamlet’s famous speech.”

Steve takes his hand. Eddie feels bony and thin, but large enough to fit perfectly into Steve’s palm. He tries not to sound so eager as he says, “Steve Harrington. Film director who doesn’t like horror. Believe it or not, I actually know the whole stupid thing.”

Eddie tilts his head, narrowing his eyes, “Really? Like, no offense, but even if you remember that much-”

“‘And thus the native hue of resolution is sicklied o'er with the pale cast of thought, and enterprises of great pith and moment with this regard their currents turn awry and lose the name of action.’” Steve winks with the Harrington Charm, smile and all.

Eddie stares at him for so long that Steve feels his heart racing for a different reason. And then, Eddie turns around and muffles a loud scream into his free hand. When the man turns back to face him, he’s sporting the widest smile Steve has never seen.

“You knew the whole thing!?” Eddie’s eyes sparkle with utter adoration.

“Yep.” Steve pops the ‘p’, grinning like a little shit.

“But why did you forget that line?”

“Let’s just say,” Steve squeezes Eddie’s hand, intertwining their fingers together, “I got distracted by the pangs of love.”

Eddie bites on his lower lip as he swoons his body over so they are pressing against each other. With half-lidded eyes, Eddie whispers, “You know that part is Hamlet referring to missing his dead dad, right?”

Of course Steve couldn’t help but kiss him.

#and now for something silly #as if i don’t always write something silly for steddie #klaus writes #steddie #stranger things

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paper-mario-wiki · 1 year ago

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Ok I usually agree with you on things but even as someone who didn't like tadc, I don't see the issue with selling merch?? Lackadaisy, hazbin/helluva boss, monkeywrench, literally almost every indie project does that, it's how they get a good amount of their funding, why is that itself an issue?

alright this'll be the last question i answer on it because we're officially at the point where people are saying "oh yeah, well what about this?" in reference to stuff i already spoke about, so i'll use this as a summary:

I was asked what I think about The Amazing Digital Circus a few weeks ago, and as a show, I think it's pretty inoffensive. I think the premise and character design is pretty generic, and I think the plot is definitely trend-riding, but ultimately the pilot had some funny jokes and pretty good visuals.

I added an addendum later on to follow up in saying that my perspective has shifted to one of disdain, because I'm sick of seeing it everywhere, and I'm tired of people saying it's already a masterpiece despite the minimal legwork it has put in so far as a story. This is compounded by the fact that the studio company behind it, Glitch Productions, is being unrelentingly commercial with it, to the extent that there was merch designed and available the same day the video itself went live, especially since the pilot itself was never even set to get a sequel, let alone a "series", despite the fact that it is being advertised and sold as a series. This left a bad taste in my mouth, as in my eyes it's become a pretty hollow flavor of the week fandom with a hype culture that people are conflating with actual quality.

Someone asked about the nature of the "no confirmed episode 2", which I later provided some context for in the form of a screenshot from an article where staff of Glitch Productions came forward and said pretty unambiguously that there wouldn't be more episodes unless people bought enough merch. This isn't a horrible sin by itself (Toby Fox famously sold merch for a demo of Deltarune), but the fact that merch sales are being treated like a crowdfunding campaign, with the threat of cancellation very unambiguously behind the "encouragement to buy merch in order to help greenlight the show", is a tactic that feels gross to me. Crowdfunding itself is okay, but the fact that there is no set goal in place, no "if we sell x amount of shirts the show will be get an entire season!" or anything like that, sounds a lot like "if you do not buy enough acrylic charms and tshirts then this show you like will not continue. how many have to be sold? we'll let you know when we reach the goal".

That is, in its entirety, the discourse, AKA my opinion that people kept asking for clarification and justification for. I personally really don't like The Amazing Digital Circus for its lack of depth combined with its ruthless commercialism. I find it repulsive in that way. That's it.

#anon

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kallypsowrites · 3 months ago

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I feel like I've seen so many TV cancellation announcements for stuff that I might've watched but now might not. And it really just emphasizes how much the current system is eating itself.

Binge culture means that people are expected to consume a show right as it drops. Because so many shows are binged now, even weekly shows are held to the same standard. If they don't perform well during the initial release, they are written off because binge numbers are the numbers that matter.

So you get more and more people who are afraid to get invested in shows because it might get canceled on a cliffhanger. Because of that, they don't tune in to watch something until they're sure its going to continue. So the next bingeable show gets less viewers. It gets canceled. More people join the 'I'm not going to watch yet because I'm afraid to get invested' crowd. Less people watch TV.

And it sucks because people like this are often the most ardent fans of a work--the ones who will write fanfiction and make fanart and write long analytical posts convincing people to watch a show. The people who will make a new show their whole personality because that's how hyperfixation works. I am amongst that crowd. I can't let myself get invested in something anymore unless I know that I'm going to get emotional payoff.

TV execs have been continuously breaking trust with fandom spaces for the past several years. They don't give shows a chance to find their legs, to grow an audience, to gain a cult following. They kill something in it's cradle in service to the numbers.

And it's not just the fans who suffer because of this. It's writer's rooms. I'm going to school right now for screenwriting and its BAD out there. So many writers who pour their heart and soul into a concept only to never get to bring it to fruition. There's no room for slow burns. For thoughtful storytelling. For trusting the audience. There's no room for real creativity. So the shows that do get renewed are often competent but uninspired or sequel/franchise content. Cause that's what gets views.

I cannot imagine how disheartening it is as a writer to start so many projects and never get to finish them. Think about your own writing. If you were working on a fanfiction but knew at any moment someone could stop you updating because you aren't getting enough hits/kudos, would you find joy in that anymore? I sure wouldn't.

I believe that a lot of the best storytelling is going to come out of indie spaces in the next few years--writers and artists moving outside of Hollywood and making their own low budget stories. Because it's almost impossible to thrive within the current system.

It's not the writer's fault. It's not the fan's fault. It's the way TV has become. And its going to crash and burn and I'm sure execs will find a way to blame anything but the system they created.

#writing #tv shows #my lady jane #the acolyte #rant post #shadow and bone

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indie-ttrpg-of-the-week · 9 months ago

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Trans made TTRPGs

Due to… recent events that I would rather not talk about, today's post is a highlight of different tabletop games made by trans peeps! These games are fantastic in their own right, of course, but you can also know that they were made by incredibly cool and attractive people

(Also, these are flyover descs of the game, they'll get more in-depth singular posts later, this is because I am lazy)

Perfect Draw is a phenomenal card game TTRPG that was funded in less than a day on backerkit, it's incredibly fun and has simple to learn hard to master rules for creating custom cards, go check it out!

Songs for the dusk is fucking good, pardon my language, but it's a damn good post apocalyptic game about building community in a post-capitalist-post-apocalypse-post-whatever world. do yourself a favor and if you only check out one game in this list, check this one out, its a beautiful game.

Flying Circus is set in a WW1 inspired fantasy setting full of witches, weird eldritch fish people (who are chill as hell), cults, dead nobility, and other such things. It's inspired by Porco Rosso primarily but it has other touchstones.

Wanderhome is a game about being cute little guys going on a silly adventure and growing as the seasons change, its GMless and very fun

https://weregazelle.itch.io/armour-astir Armour Astir has been featured in here before but its so damn good I had to post it twice. AA demonstrates a fundamental knowledge of the themes of mech shows in a way that very few other games show, its awesome

Kitchen Knightmares is… more of a LARP but its still really dang cool, its about being a knight serving people in a restaurant, its played using discord so its incredibly accessible

https://grimogre.itch.io/michtim Michtim is a game about being small critters protecting their forest from nasty people who wish to harm it, not via brutal violence (sadly) but via friendship and understanding (which is a good substitute to violence)

ok this technically doesn't count but I'm putting it here anyways cuz its like one of my favorite ttrpgs of all time TSL is a game about baring your heart and dueling away with people who you'll probably kiss 10 minutes later, its very very fanfic-ey and inspired by queer narratives. I put it here because its made by a team, and the expansion has a setting specifically meant to be a trans "allegory", so I'll say it counts, honestly just go check it out its good shit

https://willuhl.itch.io/mystic-lilies

Mystic Lillies is a game inspired by ZUN's Touhou Project about witches dueling powerful foes, each other, and themselves. Mystic Lillies features rapid character creation and a unique diceless form of rolling which instead uses a standard playing card deck.

https://preview.drivethrurpg.com/en/product/141424/nobilis-the-game-of-sovereign-powers-2002-edition I… want to do a more general overview on Jenna K as an important figure in indie RPG design, but for now just know that Nobilis is good

https://temporalhiccup.itch.io/apocalypse-keys Apocalypse Keys is a game inspired by Doom Patrol, Hellboy, X-men, and other comics about monstrousness being an allegory for disenfranchisement. Apocalypse Keys is also here because its published by Evilhat so its very cleaned up and fancy but I love how the second you check out the dev's other stuff you can tell they are a lot more experimental with their stuff, this is not a critique, it is in fact a compliment

Fellowship! I've posted about this game before, but it is again here. Fellowship has a fun concept that it uses very well mostly, its a game about defining your character's culture, and I think that's really really cool

Voidheart Symphony is a really cool game about psychic rebellion in a city that really does not like you, the more you discover for yourself the better

Panic at the Dojo is a phenomenal ttrpg based on what the Brazilian would call "Pancadaria", which basically means, fucking other's people shit up. Character Creation is incredibly open and free, meaning that many character concepts are available

Legacy 2e is a game about controlling an entire faction's choices across time, its very fun

remember to be kind to a trans person today! oh also don't even try to be transphobic in the reblogs or replies, you will be blocked so fast your head will spin

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selfloathingextraordinaire · 9 months ago

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People do not realize how expensive animation is. There is a lot of people needed to make shows/movies and everyone needs to be paid. You make more working a job that pays $7.25/hour than in indie (side note oh my god they never did raise that holy shit no one can live off that). It's incredibly rare to get an indie job that pays well because the small studio making it or the person funding it need a lot of money upfront. I know some people who run indie studios, and it's been getting harder and harder to find jobs that allows them to pay their crew properly. Some fund projects by working overtime at their day job and using what money they have to pay people instead of spending it on themselves. It's not good.

#animation #indie animation #people need to eat and pay bills #i can't really talk about other countries beside the US cuz...I live in the US #the cost of living here has gotten very expensive #and animation is a full time job #it takes a LOT of time and manpower #hard to do on the side without wearing yourself out

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wildwestlyshow · 5 months ago

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Wild Westly - An upcoming indie animated show!

Hey there! I'm Winston (he/him), the creator of Wild Westly and also the one running this blog. I have never used Tumblr before but I am excited to be here!

Why am I here? To introduce you to Wild Westly, an indie animated pilot that (with successful funding) should be coming out by the end of 2024 or the beginning of 2025!

Wild Westly explores an alternate history timeline for the Old West with a diverse and colourful cast of insects. We have already put together a wonderful crew and team of voice actors, including the Gianni Matragrano, who will be voicing Mayor Colt Papillo. With only two VAs left to record, concept art being polished and 3d modelled, and a fight sequence in the works, production for the 25-30 minute pilot is well underway!

The reason we decided to make a Tumblr to promote the show is because of the ask feature, as we believed it would be nice to see what kinds of questions and input people have on the upcoming pilot. We also know that Tumblr has a wonderful community of artists who are interested in seeing indie projects and we wanted to be able to share our progress on the project in places where people were most likely to see it!

If you are interested in helping fund the show, our Kickstarter has 15 days left to reach our 2k goal! We have promises such as giving people the chance to design background characters for the pilot and a Kickstarter-only print that will be available for just this campaign and the campaign we intend to launch closer to the project's completion!

The Wild Westly team would really appreciate your support! Whether it be reblogs, comments, or questions, we look forward to seeing how Tumblr reacts to our show!

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Thanks for reading, and we hope you like Wild Westly!! You can additionally follow us on TikTok and Twitter for additional updates!

Sincerely,

Winston, Topaz Animation

#animators on tumblr #character animation #digital animation #animation #indie #indie animation #indie animated series #cowboy #wild west #old west #insects #entomology #Youtube #kickstarter #indie animator

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jediwizard · 10 months ago

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It's crazy how Alice creates the most diverse but also relatable characters. There are characters of different sexual orientations, different races, genders, mental illnesses, family life and eating disorders. They're all so different??? but there's something that binds them all together. For example, I relate to Tao and his love for films but I also relate to Georgia with her loyalty to her friends, and I relate to Tori but I relate to Frances and her obsession to do well in school and not be a disappointment, but I relate to Lister but I... They're all different, but there's something so familiar about them and you can see similar traits in each of them in yourself. you're never just one character, but a perfect mix of a bunch of them. I feel like a collage or mosaic of my favourite characters. Not just the four of them, but all the characters, like Aled Last, Micheal Holden and Elle Argent.

Alice Oseman's characters radiate comfort and warmth. Her books give the same vibes as curling up in you're cozy messy bed after an exhausting day at school or work, buried under a mountain of blankets when it rains or snows outside. The months between September and February when the sun sets early and you get to wear extra layers of clothes like that oversized black hoodie to cover your face from the unfamiliar or jean jacket covered in fandom pins. Returning to your room filled with artifacts from your childhood, old middle-grade fantasy books you haven't touched in like four years but wouldn't sell or donate because they mean too much, book reports and DIY science projects from 3rd grade and that movie poster filled haven where you could leave the stresses of the real world behind.

All the lights are off, except for those fairy string lights above your bed. You're sipping a hot cup of tea or hot chocolate, rereading your old favourite books you loved as a teenager and watching that old favourite film that you've seen so many times that you can remember all the dialogue to, but you watch it anyway. Listening to that carefully curated 90s indie rock playlist from 2019 to drown out and forget the world outside. listening to artists like cavetown, girl in red, the 1975, Arctic monkeys, phoebe bridgers and the smiths. staying up wayyyy too late, the only light being the screen of your laptop or phone, reading fan fiction on AO3 while your whole family's asleep. That warmth and authenticity that you don't find much in modern media. The nostalgia. How she accurately portrays what actual teenagers are like, both the good and the bad. and every other feeling in between. confusion and the odd feelings of growing up, especially how characters like georgia and Nick never realized their sexualities until later (it can be nerve-wracking to figure something out), but also people who have known who they are since forever like frances and charlie. knowing yourself but also feeling like a complete stranger in your body. i don't know how, but even if you're reading it for the first time, @chronicintrovert books have the feeling of returning home.

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theliterarywolf · 2 months ago

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Uhh… context for that?

Anonymous asked: Feel free not to answer if it'll kick a hornets nest but which indy dev is doing that?

So last year an artist by the name of Keath Ósk launched a musical/narrative indie project called Yaelokre: centering around a group of fictional minstrels known as "The Lark".

Kind of trying to do what bands like The Gorillaz do but more whimsical and fantasy-core.

The project became hyper-popular online when people discovered their song "Harpy Hare"

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Which prompted animatics, OC tributes, fanart, fanfiction -- the whole kit and kaboodle.

Hell, even I was considering making promo material for Speak Not to the Gilded Dragons using the song.

The first bit of wank I actually encountered with the fandom was people on sites like TikTok and Instagram vocally admitting 'oh yeah, I don't even like Yaelokre; I'm just making content for it to game the algorithm' which causes some spats that I was just watching like a nosy neighbor peeking through their curtains.

However, a few days ago, the artist behind the project made a tweet where they introduced a Google form for fans to fill out if they encounter any smut content online relating to their project or their characters so that they can go and DMCA the content in question.

They did also mention that it could also be used in case anyone was selling merch of the project without official permission, but the prior point is what the most weight seemed to be focused on.

And, look: as a creator you are MORE than in your right to tell people 'hey, I don't feel comfortable seeing NSFW content of my IP; please keep it away from me'. That's something that I wish both fans and creators would realize.

However, it's the whole making a whole-ass Google form for people to Narc to... As well as the fact that a large portion of the Yaelokre fanbase are minors... That had some people going '...Hah?'

(Especially that latter point because it's almost like you're encouraging minors to engage with NSFW material for the sake of reporting back to you, and that's... No good.)

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thebibliosphere · 1 year ago

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I saw your post about ingram, and out of curiosity, is there some advantage to going through the whole self-publishing thing with retailers when you're just starting out? like I mean the way that fandom zines work is that they don't even bother going through ingram or amazon or whatever. they just set up a social media site (usually twitter) to gain followers, open preorders (usually 1-2 months in length) to generate the costs of printing upfront, and then sell anywhere from a few dozen to several hundred copies of their books (usually artbooks, but anthologies exist too). I've seen some zines generate over a thousand orders. they're kind of like pop-up shops, except for books. maybe the sales numbers aren't so impressive to a real author, but the profit generated is typically waaaay more than the $75+ apparently needed for Ingram Spark, so I still feel like new authors could benefit from this method too, especially if they just need some start-up cash to eventually move to ingram if they want to for subsequent runs of their book. I think authors would also have to set aside some of the pre-order money to buy an ISBN number to have printed on their book, and I'm not really sure what other differences there are, but I just wanted to ask about it in case there's some huge disadvantage I'm missing!

So, popup zines work well for some people, and I know some authors who kickstart their work successfully. But for a lot, it's just not feasible as a long-term stratedy. Or even as a means to get off the ground.

Fanzines succeed primarily because an existing fanbase is willing and ready to throw money at something they love. They’ve got a favorite writer or artist they want to support. Supporting all the others is just a happy by-product. They also take a HUGE amount of short-term but intense planning that just doesn’t always jive with how some of us work.

I, for one, would never offer to organize a fanzine. I’ll take part in them as a creator, but I’d rather throw myself off a cliff than subject myself to wrangling that many people and dealing with the legal logistics.

When it comes to authors doing anthologies, it'svery much the same. The success of the funding often hinges on having other big-name authors involved whose existing fans will prop up the project. Or having a huge marketing budget.

Most self-pub authors have zero marketing budget. I’m one of them, and I’m under no illusions that my work would not be as popular and self-sustaining as it is if I didn’t have a large Tumblr blog.

When I thank Tumblr in my forewards, I am utterly sincere. Tumblr brought fandom levels of enthusiasm to an unknown work and broke the Amazon algorithm so hard, that Amazon thought I was bot sniping my way to multiple #1 spots and froze my sales rankings.

That’s not the norm. And while I could probably kickstart my own work as an indie creator, that’s because I’ve put literal decades into building up a readership. I’ve been doing this since I was 16 and realized people thought I was funny. I didn’t know what to do with it or if I’d ever actually write anything, but it meant the groundwork was already there (thank you, past-me). I basically fell upward into my success by virtue of never being able to shut the fuck up and wanting to make people laugh. Clown instincts too strong.

New or first-time authors trying to sell their work without that will find it infinitely harder.

All of that aside, even if an unknown author somehow gets lucky and manages to fund their work, there’s still the question of shipping and distribution logistics. Are you shipping everything yourself? Better hope you’re able-bodied and have the time for it. (for reference, it took me months to ship out 300 patreon hardbacks because of my disabilites. It damaged my back and hands. I couldn’t type for several weeks after I was done.)

Are you going to sell primarily at conventions? Better hope you’re able-bodied, have the time and don’t have cripling anxiety about being in large groups...

Also, will selling a dozen to a few thousand copies in one burst be sustainable in the long run as a career? Not for me. Doing things via Ingram and Amazon means I earn a steady trickle of sales for the rest of my life provided the platforms remain and so long as I keep working and can generate interest in the series, not just when I have funds to pay for physical copies to sell. The one-time (in theory) cost of $75 to distribute through Ingram gets paid off pretty quick that way. And it doesn't require the same logistics as doing the popup/crowdfund.

Ultimately, it comes down to what you are capable of but also the type of work you’re doing. If you’ve got an extended network of fellow creatives who will back you or you’ve got a large following elsewhere, doing it like a popup might work for you.

If you’re an exhausted burnout who can’t fathom the short but intense amount of organization that sort of thing requires, not to mention doing it over and over and over... Ehhhhh. No thank you.

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edelfie · 3 months ago

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#𝓣𝗔𝗦𝗧𝗘! who’s that girl?

Y/N L/N is a nobody. well, maybe that’s a stretch, but it’s nothing compared to the other words the media uses to describe you. washed up, irrelevant, talentless—any cruel word or insult has or will be thrown your way. but 10 years in the game has forced you to grow thick skin, even if the supposed quality of your music doesn’t suit it. so why is it that today, of all the days, you awake to the worst news imaginable—worse than all the name-calling and jeers?

or, you open twitter. it doesn’t go well.

BLIND ITEMS! —

## this millionaire’s daughter influencer is known for buying many of her followers across all platforms. however, brands and colleagues ignore it because of the fat check lining her pockets.

## this one-of-a-duo A-list model is having business disputes with his other half and sibling. apparently, he wants more creative control over their projects despite having been in the industry for less time. it’s so serious that legal litigation is in the works. [revealed: lev haiba, alisa haiba]

## the not-so-indie band’s newest album is rumored to be about a controversial figure in the industry. this figure has already produced an album about the lead singer years ago, however it failed to garner any publicity.

## off-the-charts wannabe pop star is postponing her next album because her team knows her career is over if she doesn’t chart well. after nearly a decade in the industry and without a single long-lasting, cultural hit, she’s better off waiting tables than writing music. [revealed: Y/N L/N]

gracetheestallion. the haiba twins fighting ?? i can’t believe, like actually

colormeshocked. if y/n doesn’t clutch up rq then i’m gonna be so sad for her — underdawg. honestly, it’s just not fair how she’s treated by the industry — garagoesgaga. it’s “unfair”? she literally only makes trash songs and hooks up with men in relationships, girl bye — underdawg. your misogyny is showing, ugly <3 — garagoesgaga. wowwwww insults, so mature. average iq of a y/n fan