#especially wes's in panel 4

[befuddled-calico-whump]

Riot Kings, page 144

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[deoidesign]

My comic is so pretty...

The hiatus is letting me take a little extra time on these episodes, and I'm definitely putting it to good use!!!

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.

[sskk-manifesto]

!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[spider-man-2o99]

miguel voice Well. guess im an enemy of the state now. shocksake .

[shadowtraveled]

"mithrun is the only real monsterfucker in dungeon meshi" is objectively the funniest bit you can get out of his everything, but in all seriousness i think his attraction to his love interest is deliberately overstated—and that makes sense, because romantic jealousy is a classic and digestible motive, which is explicitly what kabru was aiming for in condensing mithrun's backstory, and also because until chapter 94, mithrun wasn't willing to admit to the true nature of his desires.

but because romantic envy is both classic and digestible, it probably isn’t a unique enough or complicated enough desire to tempt a demon’s appetite. mithrun’s wish, as far as we can figure from kabru’s reduced retelling, was to have a life in which he had never become one of the canaries, and that carries like 3857 implications and desires within it. that’s delicious. his love interest acts as sort of a red herring to his motivation for making it, though. (side note: i'm saying "love interest" here because, keeping in mind that i barely speak japanese on a good day anymore, "想い人" is something i'd usually take as just kind of an old-fashioned and romantic way to refer to a lover, but in context i wonder if both the connotation of yearning and the vagueness are intentional, and i think this phrasing gets those aspects of it more effectively. anyway.)

mithrun considered his love interest to be untrustworthy. there was a minute where i thought that comment might be about a similar-looking elf (yugin, one of his squad members), but comparing the two…

the "sketchy" arrow is definitely referring to the elf we know as his love interest—the bangs go toward her right, she only has the one forehead ornament, and, most notably, her ears aren't notched.

every time she’s given a full-body depiction in his dungeon, she’s drawn as a chimera, with the body of a snake from the waist down. (side note: the “what if a dungeon has chimeras before reaching level 4?”/“then the dungeon lord is unstable” exchange just being mithrun grilling his past self alive is so funny. he’s so. but anyway) there are a couple things about this.

first, the snake part of the chimera appears to be modeled after some species of coral snake mimic

which, in the biology-for-fun manga, i… doubt is a coincidence, especially with the added context of the “untrustworthy” comment. the dungeon’s conjured illusion of mithrun’s love interest was a harmless copycat of a venomous original. for whatever reason, he felt this person was a threat and made up a "safe" version of her to be in a relationship with, and while it’s definitely possible to be attracted to or even love someone you find to be toxic and/or intimidating, when you take that into consideration alongside the configuration of her body, you get some interesting implications.

which brings us to our second point: if we assume that mithrun was not in fact fucking a snake, then sexual attraction, at least, was so far removed from his idea of a relationship with this person that he did not even bother to keep her dungeon copy human enough to maintain the illusion of the option of a sexual relationship. this is somewhat echoed in the depictions of their interactions, which also imply a frankly unexpected romantic distance. she kisses his cheek and he doesn't seem to react; she's at the edge of a narrow bed with only one set of pillows, on top of his blankets while he's underneath them.

the kiss is particularly interesting because it seems to contrast the text. kabru's narration tells us this was everything mithrun could have asked for, but mithrun is there looking unreadable to pensive, likely because this is right before the panel that makes it clear things in the dungeon are beginning to go wrong.

walking through this backwards for a minute, we have the physical barrier of his bedding and the spatial separation inherent in a bed made for one person, the emotional barrier of his mounting anxiety getting in the way of his ability to enjoy the affection he sought, and... the snake, which historically carries the connotation of temptation, yes, but also mistrust, barring physical intimacy. okay. ok. if a dungeon reflects the mentality of its lord, all of this might suggest that mithrun was not able to have any real desire for a relationship with this person. his unwillingness to be vulnerable or let another person in was insurmountable. but in that case, why was she such a focal point that she remained to the end, after his dungeon had stopped creating iterations of his friends to come and visit him? why would he get so upset over her meeting with his brother that he became lord of a dungeon about it?

well. mithrun's brother was also interested in her, probably genuinely. and mithrun had to win.

you have an older brother who your parents completely ignore, probably in part because he is chronically ill/disabled and almost definitely in part because he received a ton of recessive traits that resulted in rumors that he was an illegitimate child. you are aware, most likely because those same parents fucking told you, that you actually are an illegitimate child. but they keep you around because you had the good fortune of looking just like your mother. what can that possibly teach you but that you, like your brother, are disposable?

it's utterly unsurprising that mithrun, under these circumstances, developed a pathological need to be better than everyone around him. people don't keep you otherwise. i'd argue this is also why he says he looked down on everyone he knew while milsiril claims his dungeon reeked of feelings of inferiority—he sought out people's worst traits and prioritized them in his mind to protect his already extremely fragile sense of self-worth, and all the while he tried to be as likable and high-performing as he possibly could be. his parents disposed of him anyway, but even then he tried to keep up the performance. he was kind to everyone. he never once lost to a dungeon.

when he saw his "love interest" meeting up with his brother, what he saw was himself being replaced by a person his parents had always treated as worthless, and if that was what they thought of the child they'd kept, what value could anyone possibly see in the bastard they'd given away to die? mithrun and kabru tell the story like he wanted to win this unnamed elf's heart, but it was never about being with her. it was about cementing his worth, proving that he didn't deserve to be thrown away.

and so it's particularly cruel that his demon discarded him, too. but maybe it's also particularly gentle that, in the end, there was someone who refused to even consider giving up on him.

kui laid it out in three panels better than i could hope to.

yeah. it's love. you wanted to be loved, even when the only way you were able to understand it was through the desire to be wanted, and you wanted that so badly that the idea of being consumed felt like the promise of finally mattering to someone.

[azelletown]

im so glad this series got big and now i finally get to read it but also this is going to destroy me by the end of it huh

chapter 38 absolutely fucked me up, this shit is just real, i've been in situations and arguments exactly like this (minus the dragon sister and all) where i've lost what i thought were friendships because i had finally failed one too many social awareness checks

especially these panels had me pause and take a second

like, laios' point of view of their friendship was so nice and sureau, instead of being honest, bottled it up because he applied his assumptions of social awareness onto laios who then couldn't have ever known something was wrong

harmless examples of things i used to do and can talk about here: in middle school i would tap my fingers onto my desk to the rhythm of whatever song was in my head, and at the end of the 4 entire years we spent together, one of my friends lashes out at me about how i'm annoying everyone with it, and then more of my friends and other classmates would start telling me and scolding me about that and all the other habits i had that were annoying them as if those were things i were doing to purposefully piss people off. i even had a teacher yell at me seemingly out of nowhere because i'd lay head on my desk in her class and she apparently always took it as me being rude and "falling asleep" ??? in highschool i mispronounced a guy's name for 2 years until he called me a dick for it even though he never told me how to pronounce it correctly!!!!! i would also stare a lot, all the time, but again people only told me after so much time had passed that they just got mad at me

it got so bad that i started to minmax most of my social interactions, and i still do it with most of my IRLs to this day

i was literally hit with the Laios to Kabru Pipeline

Anyways this manga is peak, the show is also peak, go read/watch the neurodivergent dnd lesbian cooking show, i feel like im going to have a LOT to say about kabru in the future chapters

[tpwrtrmnky]

radicalization

[ID: Six-panel comic. Crudely drawn stick figures represent people.

Panel 1: A child is sitting at their computer. Someone on screen is saying "And so we have come to the conclusion that chromos, especially green people, want to take your video games away. This is the greatest threat you are ever going to have to deal with."

Panel 2: Zoom in on the child, who says: "As a gullible child with unsupervised internet access I see no reason to think this is incorrect. I don't hate chromos but they must be destroyed."

Panel 3: The above two panels are shown to be a thought bubble emerging from an orange person's head, as they are in a conversation with a green person.

Orange: "Yeah I was all kinds of fucked up by the time I realized I wanted to be orange. It's not an excuse but it's an explanation for why I ended up on those websites."

Green: "Oh wow."

Orange: "Yeah I'm sort of terrified of that kind of movement repeating itself."

Panel 4: The two are walking down the street and continue their conversation.

Green: "I mean at least there's more awareness of radicalization pipelines now, so it's less likely to repeat itself."

Orange: "Is there, though? I feel like people generally have so little pattern recognition that you could sell the whole thing again if you just swapped out some details."

Panel 5: As they continue walking, a plain stick figure and a reddish-magenta child are standing further down the street.

Green: "You're so pessimistic about everything. We've been over this, you've got to learn that things can get-"

Reddish-magenta: "Parent, look! It's a greenie!"

Parent: "I don't think that's a word you're supposed to-"

Reddish-magenta: "The internet person said greenies want to take away my microtransactions! They must be destroyed!"

Panel 6: Zoom in on green and orange. Orange is riddled with jpeg compression artifacts.

Green: "Well, fuck."

End ID.]

Start - Previous - Next

[riririnnnn]

Random things in Blue Lock I find endearing:

-> Barou looking after Nagi

This was cute, you know. I mean, Barou was the one who first scolded Nagi for swimming in that bathtub, but he is also the one taking care of him—you getting me? It's a small thing, I know, but it's really cute!

-> Rin accepting Hiori's help

With the way Rin was shown till that point, I was actually scared for Hiori because I thought Rin was going to shook off Hiori by saying, "Fuck off!" Like, it just seems very plausible for his character, but then he surprised me!

Just look at him allowing Hiori to help him up by his arms! I understand that many will think that I've gone crazy, but this is one of those things where if you know, you know.

–> Barou throwing Nagi

I snorted at this panel. Like, before this panel, we can see that Isagi literally has his hand around Barou's nape, but no, Barou has to throw Nagi only, it got to be Nagi—if that doesn't sum up their relation, I don't know what will.

–> IGA-DA-GOAT-GURI and Goatmaru

When Isagi's name was suddenly called and he got startled which cracked them up. I just absolutely loved the above panel—so adorbs‼️

-> Sae being Sae

I really haven't seen anyone talk about what he said above—even I seemed to have overlooked his words. It seems so bittersweet that when Sae gave validation to Isagi, he mentioned Rin too like, "He saw through your instincts too." Almost as if it were some kind of necessary requirement for someone to shine in his eyes.

Like, in simple words, "You looked through my little brother's instinct too? Now that's some good shit!"

It's kinda a subtle way of Sae giving Rin validation too like, "He is a solid player! How I know? Oh because he saw through your gameplay."

Sweet.

-> Ubers

Lorenzo especially. Like, just look at him! I don't need to say anything more!

-> Silly Boy

I wanna squeeze his face!!!! AAAAAA!!

And he is supposed to be the ace of the national team???? Like, look at that face, I will never be intimidated by such a cutie patootie. He deserves so many smooches!

-> Little Brother

Aww. Just, awwwwwwww.

Head pats is my own love language too, so seeing this made me melt, and to be honest, Niko is Blue Lock's little brother! It just makes sense to think like that.

.

.

.

Part: 2, 3, 4.

[wickworks]

Lancer Tactics dialogue layout crisis of faith

(from this month's backer update)

Every so often, I'll run into something in development that eats away at me until it pushes me to a crisis of faith and I have a breakdown, burn down a bunch of work, and build something better from the ashes. These are moments of transformation and we're almost always able to come out the other side with something much better than what we started with.

This all sounds very dramatic until you take a step back and see the issue in question is just, like, the layout of a menu. But if medieval priests were able to have schisms over angels on pins I can have strong feelings about graphic design, dammit!

This month's episode revolved around how we're doing character dialogue. For reference the plan was to do a standard 4-slot visual-novel talking heads layout. I call it a 4-slot because there's usually four positions that characters can stand; two on the left, two on the right:

I had it ingame, and it was working. But... something felt off. Do you see the difference between every one of the above examples and this?

It's all about perspective, baby.

Answer: all the character art in those examples are drawn at a slight angle so they can be flipped back and forth to be made like they're looking at each other.

Trying to do this with the perspective we chose early — straight on — makes for a chorus line of weirdos who are looking directly into your soul as they ostensibly chat with each other. Credulity is strained; the illusion of these puppets interacting in the same space is paper-thin.

(I was skeptical of choosing this perspective for this reason, but we ultimately went with it to make the customizable assets in the portrait maker easier to fit together)

We tried a bunch of different layouts, but they all at least one of these problems:

they'd stare into your soul while ostensibly directing comments elsewhere.

they felt like text messages; this would be fine if that's what we were going for, but we wanted something that could represent face-to-face conversations. (Tactical Breach Wizards was able to pull this style off because they had little 3D dioramas to go along with it)

or, most damning of all, they felt like zoom calls.

So, my heart aflutter and spirit in want, I spent a day doing a research dive into various dialogue layouts (bless the Game UI Database!) to see if any other games had managed to pull this character art perspective off. I ended up with this massive non-chronological taxonomic tree:

(fullsize here)

The type of layout that particularly caught my eye was this style where each character had their own little box. These layouts borrow a concept from comic books called "closure" where the space and time between characters are left blank. Freed from the constraints of trying to simulate a single space, these layouts allow the reader to fill in the blanks with something that feels more true-to-life than anything we'd be able to render ourselves.

I was especially impressed with the dynamism of Tales of Symphonia and The World Ends With You; rather than sticking to single slots they would animate the entire panels moving around to indicate motion an relative position of characters.

So we threw out the old code and copied them. Here's what we've come up with:

We'll be able to have portraits interact, like smacking each other (I felt like a kid hitting two action figures together, lol)

We can also apply effects like princess-leia-holograms and full-screen "lighting" effects like warning banners:

Carpenter and I came up with a number of arrangements that the portraits can smoothly transition between:

I've also implemented support for choices during a dialogue, potentially leading to branching paths.

Overall, I feel SO much better about this system than our initial designs. It might feel a little more cartoony, but I think we're making a cartoony game so that's not a problem.

Whew. We bit a lot off to chew with this project. I feel like I just made a second visual novel game engine inside of the first. Fingers crossed that it all ends up worth it.

[mostlysignssomeportents]

How to shatter the class solidarity of the ruling class

I'm touring my new, nationally bestselling novel The Bezzle! Catch me WEDNESDAY (Apr 11) at UCLA, then Chicago (Apr 17), Torino (Apr 21) Marin County (Apr 27), Winnipeg (May 2), Calgary (May 3), Vancouver (May 4), and beyond!

Audre Lorde counsels us that "The Master's Tools Will Never Dismantle the Master's House," while MLK said "the law cannot make a man love me, but it can restrain him from lynching me." Somewhere between replacing the system and using the system lies a pragmatic – if easily derailed – course.

Lorde is telling us that a rotten system can't be redeemed by using its own chosen reform mechanisms. King's telling us that unless we live, we can't fight – so anything within the system that makes it easier for your comrades to fight on can hasten the end of the system.

Take the problems of journalism. One old model of journalism funding involved wealthy newspaper families profiting handsomely by selling local appliance store owners the right to reach the townspeople who wanted to read sports-scores. These families expressed their patrician love of their town by peeling off some of those profits to pay reporters to sit through municipal council meetings or even travel overseas and get shot at.

In retrospect, this wasn't ever going to be a stable arrangement. It relied on both the inconstant generosity of newspaper barons and the absence of a superior way to show washing-machine ads to people who might want to buy washing machines. Neither of these were good long-term bets. Not only were newspaper barons easily distracted from their sense of patrician duty (especially when their own power was called into question), but there were lots of better ways to connect buyers and sellers lurking in potentia.

All of this was grossly exacerbated by tech monopolies. Tech barons aren't smarter or more evil than newspaper barons, but they have better tools, and so now they take 51 cents out of every ad dollar and 30 cents out of ever subscriber dollar and they refuse to deliver the news to users who explicitly requested it, unless the news company pays them a bribe to "boost" their posts:

https://www.eff.org/deeplinks/2023/04/saving-news-big-tech

The news is important, and people sign up to make, digest, and discuss the news for many non-economic reasons, which means that the news continues to struggle along, despite all the economic impediments and the vulture capitalists and tech monopolists who fight one another for which one will get to take the biggest bite out of the press. We've got outstanding nonprofit news outlets like Propublica, journalist-owned outlets like 404 Media, and crowdfunded reporters like Molly White (and winner-take-all outlets like the New York Times).

But as Hamilton Nolan points out, "that pot of money…is only large enough to produce a small fraction of the journalism that was being produced in past generations":

https://www.hamiltonnolan.com/p/what-will-replace-advertising-revenue

For Nolan, "public funding of journalism is the only way to fix this…If we accept that journalism is not just a business or a form of entertainment but a public good, then funding it with public money makes perfect sense":

https://www.hamiltonnolan.com/p/public-funding-of-journalism-is-the

Having grown up in Canada – under the CBC – and then lived for a quarter of my life in the UK – under the BBC – I am very enthusiastic about Nolan's solution. There are obvious problems with publicly funded journalism, like the politicization of news coverage:

https://www.theguardian.com/media/2023/jan/24/panel-approving-richard-sharp-as-bbc-chair-included-tory-party-donor

And the transformation of the funding into a cheap political football:

https://www.cbc.ca/news/politics/poilievre-defund-cbc-change-law-1.6810434

But the worst version of those problems is still better than the best version of the private-equity-funded model of news production.

But Nolan notes the emergence of a new form of hedge fund news, one that is awfully promising, and also terribly fraught: Hunterbrook Media, an investigative news outlet owned by short-sellers who pay journalists to research and publish damning reports on companies they hold a short position on:

https://hntrbrk.com/

For those of you who are blissfully distant from the machinations of the financial markets, "short selling" is a wager that a company's stock price will go down. A gambler who takes a short position on a company's stock can make a lot of money if the company stumbles or fails altogether (but if the company does well, the short can suffer literally unlimited losses).

Shorts have historically paid analysts to dig into companies and uncover the sins hidden on their balance-sheets, but as Matt Levine points out, journalists work for a fraction of the price of analysts and are at least as good at uncovering dirt as MBAs are:

https://www.bloomberg.com/opinion/articles/2024-04-02/a-hedge-fund-that-s-also-a-newspaper

What's more, shorts who discover dirt on a company still need to convince journalists to publicize their findings and trigger the sell-off that makes their short position pay off. Shorts who own a muckraking journalistic operation can skip this step: they are the journalists.

There's a way in which this is sheer genius. Well-funded shorts who don't care about the news per se can still be motivated into funding freely available, high-quality investigative journalism about corporate malfeasance (notoriously, one of the least attractive forms of journalism for advertisers). They can pay journalists top dollar – even bid against each other for the most talented journalists – and supply them with all the tools they need to ply their trade. A short won't ever try the kind of bullshit the owners of Vice pulled, paying themselves millions while their journalists lose access to Lexisnexis or the PACER database:

https://pluralistic.net/2024/02/24/anti-posse/#when-you-absolutely-positively-dont-give-a-solitary-single-fuck

The shorts whose journalists are best equipped stand to make the most money. What's not to like?

Well, the issue here is whether the ruling class's sense of solidarity is stronger than its greed. The wealthy have historically oscillated between real solidarity (think of the ultrawealthy lobbying to support bipartisan votes for tax cuts and bailouts) and "war of all against all" (as when wealthy colonizers dragged their countries into WWI after the supply of countries to steal ran out).

After all, the reason companies engage in the scams that shorts reveal is that they are profitable. "Behind every great fortune is a great crime," and that's just great. You don't win the game when you get into heaven, you win it when you get into the Forbes Rich List.

Take monopolies: investors like the upside of backing an upstart company that gobbles up some staid industry's margins – Amazon vs publishing, say, or Uber vs taxis. But while there's a lot of upside in that move, there's also a lot of risk: most companies that set out to "disrupt" an industry sink, taking their investors' capital down with them.

Contrast that with monopolies: backing a company that merges with its rivals and buys every small company that might someday grow large is a sure thing. Shriven of "wasteful competition," a company can lower quality, raise prices, capture its regulators, screw its workers and suppliers and laugh all the way to Davos. A big enough company can ignore the complaints of those workers, customers and regulators. They're not just too big to fail. They're not just too big to jail. They're too big to care:

https://pluralistic.net/2024/04/04/teach-me-how-to-shruggie/#kagi

Would-be monopolists are stuck in a high-stakes Prisoner's Dilemma. If they cooperate, they can screw over everyone else and get unimaginably rich. But if one party defects, they can raid the monopolist's margins, short its stock, and snitch to its regulators.

It's true that there's a clear incentive for hedge-fund managers to fund investigative journalism into other hedge-fund managers' portfolio companies. But it would be even more profitable for both of those hedgies to join forces and collude to screw the rest of us over. So long as they mistrust each other, we might see some benefit from that adversarial relationship. But the point of the 0.1% is that there aren't very many of them. The Aspen Institute can rent a hall that will hold an appreciable fraction of that crowd. They buy their private jets and bespoke suits and powdered rhino horn from the same exclusive sellers. Their kids go to the same elite schools. They know each other, and they have every opportunity to get drunk together at a charity ball or a society wedding and cook up a plan to join forces.

This is the problem at the core of "mechanism design" grounded in "rational self-interest." If you try to create a system where people do the right thing because they're selfish assholes, you normalize being a selfish asshole. Eventually, the selfish assholes form a cozy little League of Selfish Assholes and turn on the rest of us.

Appeals to morality don't work on unethical people, but appeals to immorality crowds out ethics. Take the ancient split between "free software" (software that is designed to maximize the freedom of the people who use it) and "open source software" (identical to free software, but promoted as a better way to make robust code through transparency and peer review).

Over the years, open source – an appeal to your own selfish need for better code – triumphed over free software, and its appeal to the ethics of a world of "software freedom." But it turns out that while the difference between "open" and "free" was once mere semantics, it's fully possible to decouple the two. Today, we have lots of "open source": you can see the code that Google, Microsoft, Apple and Facebook uses, and even contribute your labor to it for free. But you can't actually decide how the software you write works, because it all takes a loop through Google, Microsoft, Apple or Facebook's servers, and only those trillion-dollar tech monopolists have the software freedom to determine how those servers work:

https://pluralistic.net/2020/05/04/which-side-are-you-on/#tivoization-and-beyond

That's ruling class solidarity. The Big Tech firms have hidden a myriad of sins beneath their bafflegab and balance-sheets. These (as yet) undiscovered scams constitute a "bezzle," which JK Galbraith defined as "the magic interval when a confidence trickster knows he has the money he has appropriated but the victim does not yet understand that he has lost it."

The purpose of Hunterbrook is to discover and destroy bezzles, hastening the moment of realization that the wealth we all feel in a world of seemingly orderly technology is really an illusion. Hunterbrook certainly has its pick of bezzles to choose from, because we are living in a Golden Age of the Bezzle.

Which is why I titled my new novel The Bezzle. It's a tale of high-tech finance scams, starring my two-fisted forensic accountant Marty Hench, and in this volume, Hench is called upon to unwind a predatory prison-tech scam that victimizes the most vulnerable people in America – our army of prisoners – and their families:

https://us.macmillan.com/books/9781250865878/thebezzle

The scheme I fictionalize in The Bezzle is very real. Prison-tech monopolists like Securus and Viapath bribe prison officials to abolish calls, in-person visits, mail and parcels, then they supply prisoners with "free" tablets where they pay hugely inflated rates to receive mail, speak to their families, and access ebooks, distance education and other electronic media:

https://pluralistic.net/2024/04/02/captive-customers/#guillotine-watch

But a group of activists have cornered these high-tech predators, run them to ground and driven them to the brink of extinction, and they've done it using "the master's tools" – with appeals to regulators and the finance sector itself.

Writing for The Appeal, Dana Floberg and Morgan Duckett describe the campaign they waged with Worth Rises to bankrupt the prison-tech sector:

https://theappeal.org/securus-bankruptcy-prison-telecom-industry/

Here's the headline figure: Securus is $1.8 billion in debt, and it has eight months to find a financier or it will go bust. What's more, all the creditors it might reasonably approach have rejected its overtures, and its bonds have been downrated to junk status. It's a dead duck.

Even better is how this happened. Securus's debt problems started with its acquisition, a leveraged buyout by Platinum Equity, who borrowed heavily against the firm and then looted it with bogus "management fees" that meant that the debt continued to grow, despite Securus's $700m in annual revenue from America's prisoners. Platinum was just the last in a long line of PE companies that loaded up Securus with debt and merged it with its competitors, who were also mortgaged to make profits for other private equity funds.

For years, Securus and Platinum were able to service their debt and roll it over when it came due. But after Worth Rises got NYC to pass a law making jail calls free, creditors started to back away from Securus. It's one thing for Securus to charge $18 for a local call from a prison when it's splitting the money with the city jail system. But when that $18 needs to be paid by the city, they're going to demand much lower prices. To make things worse for Securus, prison reformers got similar laws passed in San Francisco and in Connecticut.

Securus tried to outrun its problems by gobbling up one of its major rivals, Icsolutions, but Worth Rises and its coalition convinced regulators at the FCC to block the merger. Securus abandoned the deal:

https://worthrises.org/blogpost/securusmerger

Then, Worth Rises targeted Platinum Equity, going after the pension funds and other investors whose capital Platinum used to keep Securus going. The massive negative press campaign led to eight-figure disinvestments:

https://www.latimes.com/business/story/2019-09-05/la-fi-tom-gores-securus-prison-phone-mass-incarceration

Now, Securus's debt became "distressed," trading at $0.47 on the dollar. A brief, covid-fueled reprieve gave Securus a temporary lifeline, as prisoners' families were barred from in-person visits and had to pay Securus's rates to talk to their incarcerated loved ones. But after lockdown, Securus's troubles picked up right where they left off.

They targeted Platinum's founder, Tom Gores, who papered over his bloody fortune by styling himself as a philanthropist and sports-team owner. After a campaign by Worth Rises and Color of Change, Gores was kicked off the Los Angeles County Museum of Art board. When Gores tried to flip Securus to a SPAC – the same scam Trump pulled with Truth Social – the negative publicity about Securus's unsound morals and financials killed the deal:

https://twitter.com/WorthRises/status/1578034977828384769

Meanwhile, more states and cities are making prisoners' communications free, further worsening Securus's finances:

https://pluralistic.net/2024/02/14/minnesota-nice/#shitty-technology-adoption-curve

Congress passed the Martha Wright-Reed Just and Reasonable Communications Act, giving the FCC the power to regulate the price of federal prisoners' communications. Securus's debt prices tumbled further:

https://www.govtrack.us/congress/bills/117/s1541

Securus's debts were coming due: it owes $1.3b in 2024, and hundreds of millions more in 2025. Platinum has promised a $400m cash infusion, but that didn't sway S&P Global, a bond-rating agency that re-rated Securus's bonds as "CCC" (compare with "AAA"). Moody's concurred. Now, Securus is stuck selling junk-bonds:

https://www.govtrack.us/congress/bills/117/s1541

The company's creditors have given Securus an eight-month runway to find a new lender before they force it into bankruptcy. The company's debt is trading at $0.08 on the dollar.

Securus's major competitor is Viapath (prison tech is a duopoly). Viapath is also debt-burdened and desperate, thanks to a parallel campaign by Worth Rises, and has tried all of Securus's tricks, and failed:

https://pestakeholder.org/news/american-securities-fails-to-sell-prison-telecom-company-viapath/

Viapath's debts are due next year, and if Securus tanks, no one in their right mind will give Viapath a dime. They're the walking dead.

Worth Rise's brilliant guerrilla warfare against prison-tech and its private equity backers are a master class in using the master's tools to dismantle the master's house. The finance sector isn't a friend of justice or working people, but sometimes it can be used tactically against financialization itself. To paraphrase MLK, "finance can't make a corporation love you, but it can stop a corporation from destroying you."

Yes, the ruling class finds solidarity at the most unexpected moments, and yes, it's easy for appeals to greed to institutionalize greediness. But whether it's funding unbezzling journalism through short selling, or freeing prisons by brandishing their cooked balance-sheets in the faces of bond-rating agencies, there's a lot of good we can do on the way to dismantling the system.

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

https://pluralistic.net/2024/04/08/money-talks/#bullshit-walks

Image: KMJ (modified) https://commons.wikimedia.org/wiki/File:Boerse_01_KMJ.jpg

CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0/deed.en

[batbabydamian]

BATMAN AND ROBIN (2023) #14 by Phillip Kennedy Johnson and Javier Fernandez! rambling about the new team and arc!! a jumping-on point for anyone wanting to read recent Bruce and Damian comics 🦇🐥

setting the stage with action!! mystery and intrigue!! expectations for further character exploration for Damian!!

if that's not enough to pique interest, here's a rendition of one of the many cute grumpy Damian panels

first of all THE OPENING ACTION SCENE OH MY GOD (this splash page hello!!)

i love...the collaborative effort in comics...it shines through right from the start, especially when it involves traditional inks 😭

using this single panel as an example from Fernandez’s ig:

Fernandez lays out most of the groundwork in his inks - the fully inked silhouette of the driver in the foreground, the shading suggesting the lighting, the white ink/paint lined and splattered for the rain!!

then off to colors with Marcelo Maiolo!! he elevates the panel to emphasize how it's a shot from within the vehicle looking out the windshield - the lightly tinted inks, the bright lighting from headlights, and the slight window sheen + bokeh!!

one more similar example, with comparison by the man himself - Fernandez already implying the glare, scraping white against Batman and Robin's silhouettes. then punched up with Maiolo's colors/lighting!! WOW!!

OKAY SORRY ONE MORE along with Steve Wands’ consistently lovely lettering, Fernandez included his own sfx in his inks of this page!! not sure how often he does it past this, but SO cool!! ever since seeing Juni Ba's sfx lettering in his inks, it's such a sick extra detail to me 😭

ANYWAY i can go on about what i love about each panel for this scene but gotta move on from the explosive intro of Batman and Robin to the more grounded side of Bruce and Damian (which ends up being just as explosive)!! 🥺

there's small details carrying over from Williamson's run like Bruce making Damian vegan meals and Damian creating comics; otherwise, we have a much more engaging writing of the two almost reminiscent to Tomasi and Gleason's run!

one example being his attitude towards a fancy event interrupting his and Dick's patrol in Batman and Robin (2009) #20

the first line from Bruce and Damian's disregard for a fundraising event is a bit of head scratcher to me when Damian is plenty compassionate, BUT for the sake of a jumping-on arc for new readers it’s a clear point of reference for Damian’s character - a kid who believes more in Batman and Robin work than what could be done outside of those masks. it becomes a matter of how Damian's perspective might change around this subject and how he'll take action in helping outside of Robin 🤔

another similar Tomasi-esque moment is Damian's snark about his grandfather lol, a sentiment that carries over from Batman and Robin (2011) #1

PKJ references his Ra's al Ghul story from Gotham City Villains Anniversary Giant! especially curious when the final line by Talia is "...you will see my father again", when Ra's is currently dead. a fun lil callback or also a convenient nod to future plans? 👀

NOW THE MYSTERY AND INTRIGUE OF IT ALL...

Bruce's attention is caught by this man shouting "You sit atop the wheel" which i'm guessing is in reference to the Wheel of Fortune, especially if we're going by a literal interpretation of the rich and poor (depicting the group among tents and carts).

i'm really reaching here, but wondering if Bruce calling himself “Jack” at some point is also related to the arcana. the only relation i could find is the Page of Wands, and the Jack once being referred to as a "knave"

EDIT: an anon reached out to inform me that Bruce called himself “Jack” during his training! seems to be first introduced in Batman: The Knight (2022) #4

THE REVEAL OF THE NEW VILLAIN, MEMENTO...the first page opens on a deceased person's face, and the last dialogue is "We will see your face again." AND OH BOY WE CERTAINLY DO! 😭

the flames casting a harsh light against the plaster (or stone??) of Memento's mask, and how he looms over Bruce...SO EERIE...

FINAL RAMBLY THOUGHTS

Damian being colored with noticeable melanin...🥺 i can only assume this was a deliberate choice made by PKJ since the editors haven't changed, and for the past issues Damian's colors have been independent to the colorists - the only edit being after Rex Lokus gave him green eyes in #5 but were returned to blue in #6 (for consistency ig). along with the classic teen asian haircut, this feels intentional on PKJ's part and i hope Damian will continue to be colored brown here and other books 🥺👉👈

one of the things PKJ teased in an interview was the idea of Damian wondering if he even wants to still be Robin, much less Batman (begging this is where main canon Damian gives the Batman mantle up lol). so presenting Damian here as someone absorbed in that life makes me wonder what triggers those thoughts - is it going to be this incident or later? more currently, will Damian be able to protect the civilians that Bruce entrusted him with? especially after getting familiar with a few, however reluctantly?

anyway, a banger first issue that leaves you with just enough crumbs to know what you're expecting but still beg for more: what's the mysterious new group/villain, and their connection to Bruce? will Dr. Bashar and the Wayne grandparents have more to do with the story? how will this all affect Damian outside of being Robin? Talia and Ra’s?? so many questions!!

[raven-at-the-writing-desk]

may 2024 twst manga updates~

***This includes spoilers for the Episode of Savanaclaw, Episode of Octavinelle, and the 4koma!***

AAHHHHHHHHHHHHHH LILIA SILVER AND SEBEK LOOK SO GOOD HERE 🤡 I love how Silver and Sebek are constantly shown flanking Lilia, it really enhances the bodyguard/knight vibes! Every time Lilia appears, he always looks like he's having so much fun. Lil' guy is living it up in every panel! Especially when he appears upside down to spook Ruggie.

efbiuSIUBDBYypvfW9wpWD THIS SHOT IS SO GOOD??????? ?I'M LIVING FOR CATER MAKING SILVER AND SEBEK LOOK LIGHTLY UNCOMFORTABLE AS HE HANGS ON THEM.............. .... . . . . ....... .. .... .. . . . . .. ..

Ruggie's despair is delicious 🤤 He's thinking about all the events that led up to this point and about how that will now all go to waste. Now that I think about it and I have the visual right in front of me... That's the same thing Leona felt every time he got knocked down for his efforts. The parallels, man...

Well, fellas... Looks like it's probably Overblot Leona time next chapter. A detail I love here is that, from Leona's perspective, all the faces of his dorm members are sorta blotted out... which is interesting seeing as how it was stated that Mrs. Rosehearts' face was intentionally blotted since she is considered the source of Riddle's trauma + the light novel tells us that Leona fears seeing hope and desperation for a better future in others because it might motivate him to try again, thus prompting another failure or rejection... 😭

Palace servants: Young master Leona's magical power is so strong, it's scary!! Leona: Damn, they don't understand me! They judge me before they even get to know me. If I were the older brother, they wouldn't be saying this stuff. Also Leona: [see image above]

MALEWIFE MODE RUGGIE????? 😭 What a contrast to the Ruggie in the Episode of Savanaclaw who is really going through it…

Love the detail of Yuuta and Grim helping out with chores in the background! It shows that they’re trying to pull their weight while they stay over.

Babe, wake up... New Yuuta and Leona reaction images just dropped from the Episode of Octainvelle... (I am Yuuta whenever new TWST content drops and my non-Twstie friends are Leona whenever they're listening to me blab nonstop about the updates--)

Yuuta once again proves to be my favorite of the current Yuu iterations 🫶 He’s just so sweet and hopeful!

We actually get to see the class photo!! Although the resolution here is very grainy. I'm really hoping that we get to see a close-up after Azul's OB!! I'm dying to see what he looked like as a kid!

fbhlavfuoeqy8vevif;fa fai THIS CHAPTER REALLY MADE ME LIKE ACE?????? ??? ? ?? ? It's probably because he gives the same flawless liar (even though the acting is sooo overexaggerated) energy as Jade in book 4. There's a really fun scene where he's distracting the Atlantica Museum guards and really hamming it up. He looks so cute while he's being (fake) upset yet so enthusiastic!!

This was my favorite part!! Ace excitedly talks about how he's always been interested in merfolk since he was little (lie) and how he saved up all his money to come to this museum (also a lie)... THEN BRO HAS THE AUDACITY TO POSE LIKE THIS AND TALK ABOUT WANTING TO BE A PART OF THAT WORLD????? ?? ???? ? ?? ? ?? ARIEL WHO>?????? ?? ??? ?? ? ?I o NLY KNOW TRAPPOLA NOW

One of the 4koma this month is about Octavinelle going on a camping trip! Azul wants to study the stars for money-making ideas/inspiration.

When talking about auroras, they're reminded of the Diasomnia students and think about making an aurora-colored drink to sell to them. The Octatrio also star-gaze and talk about aliens + selling octopus to them. They discuss the idea of filling a space suit with water and fish to they can walk in space too.

The other 4koma is about Trey brushing the mouths of his mandrake (as they have no teeth but dirt). He insists that everyone should have a clean oral cavity.

You can even tell which mandrake is Trey’s because it has a bunch of toothbrushes stuck in its pot 🪥

Jamil was planning on using his own mandrake to make an ancient remedy for relieving toothache. Trey is uh… interested… and attempts to test out the healing toothpaste for himself (Jamil of course stops him).

Trey… you’re the most NORMAL one, why are you like this OTL

[lxgentlefolkcomic]

First page || Previous page || Next page

Start reading Episode 1

Dialogue transcripts:

Panel 1

(n/a)

Panel 2

Godfrey: You said he’s never had an attack like this before?

Jack: I said I’d never seen it. However, he did suffer a protracted brain fever some time ago, and Mrs. Harker wrote of him having night terrors in the wake of his…his ordeal with that Count we spoke of.

Panel 3

Godfrey: Good God…

Jack: Dr. Van Helsing said the malady was caused primarily by self-doubt over the veracity of his experiences, and he became well again the moment their truth was confirmed. I don’t see why he would relapse now.

Panel 4

(n/a)

Panel 5

Godfrey: I never considered how your experiences would have affected you all…especially one so young as Mr. Harker.

Panel 6

Jack: Do you think I was too…harsh?

Godfrey: What?

Jack: Earlier, when I—when he was panicking.

Panel 7

Godfrey (offscreen): I’m sure you knew what you were doing. After all, you’re a doctor.

Jack: …At times I wonder if I shouldn’t be.

[narutouzumakiarchive]

There are certainly gothic elements in Naruto and Sasuke's dynamic, particularly in Part 1, and there is one image that really highlighted this aspect.

Now, the sublime, according to Edmund Burke, is the attractive, "delightful horror" caused by the experience of pain and terror. Though I best like how it's described by John Dennis as the mingling of pleasure and horror. So there's a sharp emotional juxtaposition that's central to the modern conception of the sublime, and in Naruto, juxtaposition is a motif that has significant prominence in Naruto and Sasuke's relationship (especially given their function as foils).

In the lead up to VOTE 1, Kishimoto blends Sasuke's experiences of horror and terror because of Naruto. There's an increasing sense of astonishment and fear at the great magnitude of power that Naruto displays but there's also significant apprehension at what's to come — an apprehension characterized by Sasuke's constant questions about who, or what Naruto is. And things come to a head during VOTE 1, when Sasuke is so shaken by Naruto that he experiences a level of terror similar to what he felt during the massacre and his confrontation with Orochimaru.

That said, this particular post isn't about VOTE 1. In the image that caught my eye I noticed there was something interesting about Sasuke's expression.

Now the onomatopoeia used in that panel (zoku) of the first image that I posted has been used before. In Example 2 below we see it used to represent Sasuke's clear cut excitement at being able to fight Gaara, whereas in Examples 1, 3, 4, and 5 we see it used to represent a range of obvious negative emotions ranging from fear to terror.

But the image of Sasuke reacting to Naruto summoning Gamabunta evades simple classification. Sure there's that typical fear and incredulity that Sasuke felt towards Naruto, reflected in Sasuke's single sweat drop and thoughts. But his facial expressions don't neatly align with Sasuke's more obvious expressions of negative emotions (eyebrows thoroughly furrowed, mouth agape AND downturned, increased number of sweat drops, etc.) In fact, his expression was a near exact parallel to that of Orochimaru's throughly excited face after he saw Sasuke defeat his opponent in the Chunin Exam Preliminaries.

This image encapsulates the paradoxical nature of Sasuke's feelings about Naruto's strength that stretches throughout the Part 1. There's certainly an attraction to the Naruto's physical strength that had been present as early as the bell exam, but as the manga progressed, we also see how Naruto's strength generated a myriad of different emotions in Sasuke: anger, confusion, anxiety, incredulity, apprehension and fear.

And we also see this representation of the tension between the positive and the negative in Naruto's reactions to Sasuke as well, with the most significantly being Naruto's physiological response of "tingles" at hearing Sasuke acknowledge him, despite the fact Sasuke lashed out at him during a negative moment after being traumatized by Itachi.

The Orochimaru issue image really captures both sides of this contradiction at once. It perfectly represents the delightful horror that Burke called "the most genuine effect and truest test of the sublime."

Part 1 was really about building up the beautiful and complex tragedy between Naruto and Sasuke while Part 2 emphasized healing and progress, though we still see some of those tensions at play (ex. fighting violently with their fists to read eachother's hearts).

[genericpuff]

LORE | REKINDLED EPISODE 23 - AIDONEUS

< Previous episode | Next episode > Everyone give a big thanks to @banshriek for helping me with this week's episode, they made my life so much easier this week, especially with the Rhea panels! From this point forward, they'll be helping me with flatting and shading, so if they've contributed to an episode, you'll find their name listed at the end :' ) <3

Thank you all so much for reading! This is officially the first episode release without an LO episode to follow due to the 4 month hiatus, so I hope we can keep you sufficiently entertained with LO-adjacent content until LO returns. See you next week! <3