#it's guaranteed revenue for them

[selvnite]

Really hoping “the Mandalorian can be anyone” isn’t a way for them to write off Din Djarin as a character because writers/directors/D*sney can’t decide/agree on a coherent story (for him or Mandalore tbh) or compelling character development especially when the show is built on his character (and Grogu) and in subtitles he is still refered to as ‘THE MANDALORIAN’ and known by other characters through that moniker or ‘Mando’ like what???

[bitnest]

In the current rapidly evolving digital currency market, decentralized finance (DeFi) platforms are redefining the shape of financial services with their unique advantages. Bit Loop, as a leading decentralized lending platform, not only provides a safe and transparent lending environment, but also opens up new passive income channels for users through its innovative sharing reward system.

Personal links and permanent ties: Create a stable revenue stream One of the core parts of Bit Loop is its recommendation system, which allows any user to generate a unique sharing link when they join the platform. This link is not only a “key” for users to join the Bit Loop, but also a tool for them to establish an offline network. It is worth noting that offline partners who join through this link are permanently tied to the recommender, ensuring that the sharer can continue to receive rewards from the offline partner’s activities.

Unalterable referral relationships: Ensure fairness and transparency A significant advantage of blockchain technology is the immutability of its data. In Bit Loop, this means that once a referral link and live partnership is established, the relationship is fixed and cannot be changed. This design not only protects the interests of recommenders, but also brings a stable user base and activity to the platform, while ensuring the fairness and transparency of transactions.

Automatically distribute rewards: Simplify the revenue process Another highlight of the Bit Loop platform is the ability for smart contracts to automatically distribute rewards. When the partner completes the circulation cycle, such as investment returns or loan payments, the smart contract automatically calculates and sends the corresponding percentage of rewards directly to the recommender’s wallet. This automatic reward distribution mechanism not only simplifies the process of receiving benefits, but also greatly improves the efficiency of capital circulation.

Privacy protection and security: A security barrier for funds All transactions and money flows are carried out on the blockchain, guaranteeing transparency and traceability of every operation. In addition, the use of smart contracts significantly reduces the risk of fraud and misoperation, providing a solid security barrier for user funds. Users can confidently invest and promote boldly, and enjoy the various conveniences brought by decentralized finance.

conclusion As decentralized finance continues to evolve, Bit Loop offers a new economic model through its unique recommendation system that enables users to enjoy highly secure and transparent financial services while also earning passive income by building and maintaining a personal network. Whether for investors seeking stable passive income or innovators looking to explore new financial possibilities through blockchain technology, Bit Loop provides a platform not to be missed.

[facts-i-just-made-up]

The Downfall of Temu, 1817-2025

Though Temu is best known today as a place to pay low prices for inaccurately represented goods, it was not always so. When it was founded by Oscar "Temu" Temunsson in 1817, it was made to be an auction house for the finest goods like Southernby's or Christianne's.

The downfall began nearly as soon as Temu went online, with "online" in 1817 referring to it being a building on London's wealthy "King's Line" road near Westminster. Buyers were always satisfied with Temu's guarantee, which was included in The Guarantee of Guarantee, signed in Guarantee, London- The first official Guarantee ever to be guaranteed.

But then in 1819, the Cracks began to show. James and Lynda Crack were infamous in the Americas for showing merchandise that did not in the end reflect what the customer would buy. As such, they were banished from the United States, a young country at that time known as "Some States That Don't Yet Hate Each Other." Arriving in London, they forged papers to begin selling at Temu.

The damage to Temu's reputation was bad, but not fatal. Temunsson himself tried to repair the house's image by selling several notorious items, including the world's largest Yorkshire Pudding (At 870 Pounds), the most adopted dog (At 19 Pounds), and the most flattened Matzo ever smashed flat by numerous strikes with a mallet (At 3300 Pounds), all of which sold for over ten thousand pounds sterling. The company lasted as a respectable entity well into the 1900s as a result.

In 1949 though, another blow was blown to Temu, and boy how it blew. Hurricane Pholacio made landfall on the beaches of London and ruined the prized collection of Candy Floss (Known as "Gummy Bear" in Modern English) sculptures that Temu had on display. No insurer would take the job, as you have to get insurers before the disaster happens, and Temu had to sell its physical location to make ends meet.

Disembodied, Temu began to haunt other stores and manufacturers, sucking on their revenues and leaving them desiccated. So it lurked, weakened, for decades until Etsy came along. Etsy was, in past times, a resource where artists could sell their wares. Unfortunately, Temu drop(shipped) upon it and sucked it dry of any chance for legitimate creators to thrive. Temu grew more and more powerful until it became the economic disaster (or "Nosferatemu") it is today.

Oddly enough, Oscar "Temu" Temunsson seems to have predicted this even when he said on his death bed in 1891, "Temu is gonna suck so fuckin' bad in the 2020s with dropshipping and all." He then exploded into confetti, as was the gentlemanly tradition at the time.

[yes-no-maybe-soo]

Reminder that Sylus was released with:

6 4 stars & 6 3 stars, while the OG3 had 18 of each

1 bond, while the OG3 had 2

1 anecdote, while the OG3 had 3

1 free companion, while the OG3 had 3

No photobooth background. He only just got it after 6 months

No full stellactrum, as opposed to the OG3. For the longest time, Sylus was missing yellow and red— now he has 2 yellow and 1 red. Of those, 1 yellow was a promise card, thus locked behind a paywall and now no longer available.

In total, as of right now, Sylus has 34 cards, meaning that he still, after half a year, has less cards than the OG3 had upon release (41). Bear in mind that a number of these 34 cards were limited and thus no longer obtainable, while another portion of them are only obtainable through the Silver/Radiant Galaxy. So for new & F2p players, unless they are very lucky, they'll have to make due with the 17 standard cards available. Which makes real progress impossible. Sylus is not only P2W but basically P2P. If you missed out on his limited 5 stars and especially his second myth? You're fucked. B/c he still doesn't have his green 4 star solar pair.

The discrepancy in number of memories compared to the other LIs also means that the likelihood of pulling Sylus cards is drastically lower than the others — ~11-12% VS ~30% according to calculations made by a number of different players both on the CN and global side.

Presumably because of his puny amount of cards, Sylus' orbits are locked at level 80. That means that he has 70 less floors than the OG3. This, paired with his low number of cards, means that raising affinity becomes extremely difficult after a certain point, especially if you can't afford to spend a lot of money.

In addition, Sylus girlies need to spend twice the amount of stamina as other girlies in order to level up cards. Why? Because, in contrast to the OG3, he does not have a Bounty Boss dedicated to his prime Stellas (in his case Pink and Green). This means that we have to fight both Snoozer and Lemonette if we want to level up the majority of his cards.

Sylus girlies have been reaching out to customer service for months about these issues, and have either been given nothingburger replies or been totally ignored. There have been exactly 0 meaningful communication on Paperfold's side. No one is asking them to give us what we're missing tomorrow, but we are asking for some confirmation that our valid concerns are being heard and that the issue will be rectified. But so far... nothing. All that the CN girlies have received as of yet are attempted gaslighting and subtle threats. Is this how you treat any — much less your objectively highest paying — consumers?

I hope everyone can see how blatantly unfair all of this is, and understand why such a large number of us are angry and upset. We have been called greedy and ungrateful, but tell me, how is asking for fairness, for the bare minimum, greedy or ungrateful? We have never asked for special treatment, only equal treatment. The argument that all of this discrepancy in basic content is due to Sylus being "new" has never been and will never be valid.

To end this post on a somewhat hopeful note, the current boycott by the CN Sylus girlies have resulted in a significant drop in daily revenue. One can only hope that this will finally make Paperfold listen and rectify this mess, or at least communicate with their consumers,

Let me remind you that while this issue currently only affects Sylus mains, it will eventually come to affect all of us. B/c if they can get away with this behaviour with one character, then I guarantee you that the other LIs will be next. In fact, from the look of things, Caleb will receive the same treatment.

If you as a global player wish to help do something about all of this, I'd highly recommend writing an email to the company (loveanddeepspace-en@infoldgames.com). Additionally, there is talk of organizing a petition in support of the CN girlies, the link to which I will post on my blog, should it become a reality. While it might be true that global players unfortunately hold little sway, doing something is still better than doing nothing.

If you're curious to learn more, please refer to my pinned post for links and additional info on the situation.

Finally, if you've read all of this, thank you 🙏 I appreciate you for taking the time.

[auroravictorium]

how to bug netflix 101

a few ideas/tips to put pressure on netflix to reconsider their decision, given the fact that a select few shows have had their fates reconsidered:

Keep Shadow and Bone & Six of Crows trending! Character names, 'No Mourners, No Funerals', Leigh Bardugo, and other key words might help too! And remember that the threshold to keep stuff trending gets higher the longer that words/phrases trend, meaning we have to keep it active!

Spam the Netflix title request form at https://help.netflix.com/en/titlerequest

with Shadow and Bone, Six of Crows, etc. At the very least, it'll inconvenience them.

Sign the petition at https://www.change.org/p/save-shadow-and-bone-a3b37712-c648-4b87-9bfc-8b8cd685c623

Fill their social medias with calls to renew. Again, at the very least it'll be annoying/inconvenient, but at least our voices will be heard.

If you feel so motivated, you can submit anonymous tips to publications and ask them to pick up the story (though there is no guarantee this will work). IGN, the Hollywood Reporter, Variety, and Deadline all accept anonymous tips without having to register or provide personal information.

UPDATE (16 Nov.) Send emails to the following people and let them know (respectfully) that we're unhappy with their decision and that they will be losing money as a result!

At the very least, Netflix has continually refused to listen to fans, even though we have shown that fandoms have the power to bring in lots of revenue; they seem to have forgotten who pays for their service and gives them the money they need to pay for the shows nobody has asked for.

Even worse, Netflix is holding the work of the writers hostage by owning the scripts yet refusing to produce them. Either Netflix needs to return the scripts to the writers, or they need to give the scripts to a platform who will actually use them and finish the story!

Industry-wide, there has been a repeated pattern of streaming platforms buying the right to a book or a series and then holding onto it without producing it or canceling it without finishing the story. This is similar to what 'patent trolls' do, filing for a patent without any real intent to use it. This is grossly unfair to the authors, not to mention the cast and crew whose livelihoods depend on a show surviving for longer than a season or two.

Leigh Bardugo deserves better. The crew deserves better. The cast deserves better. We the fans deserve better.

No mourners.

[mareastrorum]

These are just initial thoughts, and perhaps I’ll learn something that changes my mind on it, but I’m glad to see Critical Role making the leap to their own subscription service with Beacon.

As a lead in: I’m an attorney that has some background in IP law, though it isn’t what I practice currently. I’ve kept in contact with several active practitioners, particularly those that represent small-time creators either in their own independent practice or via nonprofits. I do not have an extensive Rolodex of IP peers, nor do I spend the money to keep up on IP CLEs. I’m just someone who used to know a ton because I did heavy research and work in that space, and that hasn’t been the case for years.

So here’s my thoughts a bit on the IP angle:

The primary reason I’m happy to see this leap is that CR is taking active steps to keep control over its IP. It’s a boring thing to most people, but when I start paying attention to a specific creator (authors, directors, companies, etc.), I tend to be very attentive to how they use their IP. How freely do they license their marks to partner with other creators to make merch? How often do they allow others to make adaptations or derivatives of their copyrights? What is the quality of those products? What is the supply chain like? Are those third parties objectionable in some way? Were the other parties faithful to the original works or marks? Was this a cash grab or an earnest effort to make something worth the price tag?

Honestly, I like how CR run their business. They have a history of tapping fans and fellow small businesses when making new merch or spinoffs. They embrace the culture of fan-made derivative works, both by featuring fanart/cosplay and by sharing their success. Do you know how rare it is for a company to pay fan artists for their already-made and freely posted work and then sell books of it? Let me be clear: CR bought a limited license from each artist so they could print and sell each work in a physical book, then paid the cost of publishing that book with no guarantee that CR would make that money back, let alone profit. I have a copy of the collector’s edition art books: they’re actually very well made and the packaging definitely cost a pretty penny. That’s not a rainmaker idea, that’s genuinely risking financial loss to sell something people could access for free if they wanted to.

The art books aren’t a one-off either. Darrington Press is CR’s separate LLC for tabletop games. (It’s good business practice to split off companies that handle products in different industries.) CR has also made shows based on those games, and the Candela Obscura series has quite a dedicated audience. Everything about Candela belongs to them: the game itself, the rule book, all the art in the book, the web series based on the game, and merch. It’s so successful that they invested in scheduling a live show for Candela later this month. That’s HUGE.

Contrast that with the distribution of Campaign 1 and the first 19 episodes of Campaign 2. CR cannot host those videos themselves; Geek & Sundry still exists and still holds what I presume to be distribution rights (but I don’t have the contract to review). So G&S gets to host those videos on YouTube and reaps the advertising. I can’t speak to whatever share CR gets from that, but considering that CR is locked out of hosting their own copies of those videos, I doubt it’s much, if any, revenue. (If you’re wondering why CR just didn’t buy those rights back, I ask: what incentive does G&S have to sell something that’s making them money for no cost?)

Knowing that background about G&S, I was wary of CR choosing Amazon to host and distribute The Legend of Vox Machina. Originally, TLOVM was not the plan; CR had a kickstarter for an animated special based on C1. It was only because they blew past the goal that CR was able to make an entire season. The reasonable assumption is that choosing Amazon had to have secured CR additional funding for future seasons of the show, which seems evident from how quickly season 2 was announced, Mighty Nein Animated is also going to be a thing, and that season 3 of TLVOM is scheduled for fall 2024. CR had the option of just doing 1 season and keeping it purely in their control, but going with Amazon meant they could animate more of their works. Animation is expensive. I cannot stress enough how doubtful I am that CR would have been able to afford this many episodes and both campaigns if they had not gone this route. As wary as I was in the start, it paid off, and it’s going well—so far. Hopefully CR doesn’t regret that decision if Amazon tries something sleazy. But, as before, we don’t have the contracts and can’t know how secure CR’s position is if any dispute came up.

CR also partnered with Dark Horse Comics to make Vox Machina comics and Might Nein Origins comics. What’s especially surprising is that each of the cast had a hand in writing the MNO comics for their characters, with Matt listed for multiple. That isn’t very common with comic adaptations. Often times, IP owners let comic companies go ham with minimal oversight. Being listed as one of the authors comes with IP rights that have to be negotiated. That means that Dark Horse had to talk with CR about whether that warrants more or less revenue going to which party in exchange for that—or, alternatively, whether the comic gets made at all. That’s a ballsy move. You think people can just demand to write the comics that a publishing company is going to pay to print? Pffft. CR wanted some creative control, and that is a big ask. However, Dark Horse still has the distribution rights, both digitally and for physical copies. You couldn’t buy the comics from CR until they came out with the library edition, a book bound compilation of 4/8 comics. But the publisher is still Dark Horse; CR is just allowed to sell the book directly from their own site as well.

Contrast that with the novels about CR characters. CR partnered with Penguin Random House to publish novels about Vex and Vax (Kith & Kin), Lucien (The Nine Eyes of Lucien), and Laudna (What Doesn’t Break). Liam and Laura were vocal about having some say in K&K, whereas Madeline Roux said in an interview that she had full control over TNEOL. Both of those novels were narrated with CR voices, but narrating a book doesn’t come with IP rights, it just brings in a paycheck. There’s a lot less IP control in there compared to the comics, but this isn’t abnormal for book publishing. To be blunt, I doubt PRH would have agreed to publish the novels if anyone from CR had been a co-author or had heavy oversight over the author or the editing. I don’t think PRH even considered that as an option. Either an author that has already managed to sell X number of copies or nothing. Creative control over a book a huge ask, asks come with reduced revenue, and switching to books from a web series is already a leap. The fact that Laura and Liam had any say is surprising, really.

That was a long meandering tour of what we’ve seen CR do with its IP. The reason I bring up each of these things is that navigating the way to protect an IP in this space is rife with challenges. Different types of IP warrant different strategies because of the cost involved in creating each medium and the challenges placed by industries that have already sprung up around them. Any time that a third party is tapped to create an IP, it’s usually because they already have the funds and resources to create the work, and CR has to negotiate for revenue, creative control, distribution, and—the big one—who gets to be the owner. These are not easy, quick, or fun conversations, and CR is always going to be the smaller company at the table.

Knowing that, I’m not surprised or worried that CR is creating its own independent subscription service with Beacon. It tells me that they’re being careful with their IP whenever they can. A subscription service means they don’t have to trade away distribution rights or give up ad revenue to a third party. They’re in this for a long term investment, and that requires solid income not tied to third parties that can definitely outspend them in litigation in the event of a dispute. A subscription for bonus content is one of many parts in a diverse revenue stream.

(All that said, this isn’t meant to criticize creators that cant afford to do this type of thing. It took 9 years for CR to get to the point where Beacon is financially feasible and a desirable business decision. They have enough ongoing, popular content to warrant paying for a subscription, and they’ve built sufficient trust with their audience that more will be added. That takes time and an awful lot of money.)

As a final note, I take this step as a sign that CR definitely intends to stick around. This isn’t a move people make when they plan on ending the business after the current campaign. I’m glad to see CR is taking steps to secure their foundation and keep making new content.

I’m sure people will chime in on other issues (cost, content exclusivity, etc.), but I hope my perspective gives an idea of why this sort of thing is good for business generally and why it would be good for CR.

[drdemonprince]

so I totally get that grad school is horrible and expensive and exploitative— but my question is what is the alternative? I have an undergrad degree in anthropology (focusing on language and disability, mostly in the US, in part to flip the script of exploitation and extractivism in anthropology) and have spent some of years outside of academia, which has also not been a great time for me. It also seems like in order to do anything anthropology related you need a PhD; I have also been in the process of applying for PhD programs. If we view grad school + academia as a job, which is all it fundamentally is (given you have funding; my plan is not to go anywhere that will not fund me), what makes this so specially horrible? Isn’t it a gift and a huge privilege to be able to, even if it’s not much money, spend time learning about things and teaching others? And what would you suggest people who are thinking about grad school do instead?

So, the thing is, very few people work in anthropology jobs.

There are very very very few anthropology jobs in the world.

The vast vast majority of people with anthropology degrees do not work in anthropology, including most of the people with Master's in the subject and many of the PhDs. Just like the majority of people with psychology degrees do not work in psychology, the majority of history-degree-havers don't work in history, and on and on.

This is part of what makes academia such a predatory and hierarchical scheme: academic departments require hundreds of new undergraduates to major in their subjects and take their classes each year, in order for them to generate enough revenue to hire instructors, fund research, and continue to operate. A very limited number of teaching staff and researchers are actually needed relative to the number of people who are taking these classes and getting these degrees -- and the number of tenured positions has been on a sharp decline since the 1980s and gets worse literally every year, so the odds of getting a career in one's chosen field of study only worsen over time as more people graduate.

Getting an advanced degree in anthropology is far from a guarantee that you will get a job working in anthropology. The job placement statistics for that field are pretty brutal. Some are worse (say, art history, or english), but it's still pretty bad. You'll likely have to apply to hundreds of jobs and be willing to move anywhere in the world that will have you if you want to ensure you get a job in that field after graduation from your PhD program.

Now, to your point, the only way to have a hope of getting to do the anthropological work you are interested in is by getting that PhD, for the most part. And if you are applying to funded PhD programs, you will get paid (very shittily) and incur no debt (a major plus) along the way.

I generally recommend that someone only consider going to graduate school if they are able to be fully funded in that way. My social psychology PhD was fully funded and that is what has made it possible for me to have the life I have today.

BUT

I was also terribly exploited and overworked along the way, causing me lasting trauma and physical illness and I would not ever do it again.

I'm one of the luckiest people i know, academically speaking -- I have no debt, an advanced degree, and a job in my field of study within academia. And I STILL wouldn't do that shit again. It was horrible for my mental health, social life, physical health, political awareness, and self-concept at every level. I succeeded in doing what academic study trains you to do -- become a professor -- only to realize along the way that I didn't actually want it anymore, it wasn't what i thought it was, and that it wasn't good for me.

And once you have that PhD in a highly specialized field, you generally have very few other career options should you decide that academia is not for you.

Looking at your own life and priorities, you might decide that the only way to get a *chance* of working in anthropology is by pursuing a PhD, and you love the field and long for that chance so strongly that it's worth throwing the dice (and getting some free schooling while you do so).

That's fine! That might be the rightest option for you.

I just want to make sure that you and everyone else knows exactly what a gamble they are taking when they make that decision -- and even more importantly, I wish that all undergraduates who pick majors like psychology, art history, anthropology, sociology, french, etc knew they were being used as a revenue source and studying a field they in all statistical likelihood will never get the chance to ever work in.

It's a pyramid scheme.

[genericpuff]

So Webtoons is getting sued by a bunch of law firms in class action lawsuit. Saw it on reddit. Apparently they lied to shareholders about revenue which is like one of the worst things I could imagine doing to your shareholders. Then their stock dropped again. Wow....wonder how this is gonna effect readers going forward or how they're gonna be more exploitative in the future. Not saying the down of Webtoons has begun but I wonder if it's gonna be the start of it.

Yep, I've been following this since the initial investigations began.

All that said, we likely won't see anything of this for a while, if anything even comes of it. The reality is that Webtoons... really didn't actually lie about being bad at making money. It's literally outlined in their IPO documentation:

So these lawsuits, at least in my opinion (*I AM NOT A LAWYER NOR AM I ANYONE WHO HAS ANY EXPERIENCE PLACING WALL STREET BETS, TAKE WHAT I HAVE TO SAY WITH MOUNTAINS OF SALT) is less about Webtoons 'lying' to shareholders and more so about them kicking the debt down the road which these lawyers want to try and hold them accountable for. It's not uncommon for startups to seek out private and/or public funding to help them stay out of bankruptcy, but such practice is incredibly shitty because if a company was already near the point of bankruptcy to begin with, what exactly is going to change to ensure that they actually make that money back with an additional net gain for those investors?

So in that sense, either something will come of this, or it won't, nothing's really a guarantee as of now. It's just as common for startups seeking public investments to get sued within their first 1-2 years because a company not returning on their initial investments within 3-6 months is a prime cut for lawyers to drool over. Despite their attempts to be honest about their earnings, the vast majority of Wall Street investors are paranoid little fuckers who invest in whatever's new and exciting with the hopes that it'll turn them a profit quickly and without headache. Unfortunately, Webtoons isn't a company that's known for having huge profit margins, which these investors would have realized if they knew anything about this industry or at the very least, bothered to read the fine print that Webtoons was obligated to lay out for them in their documentation. At best the majority of them saw Webtoons' offering that covered buzzwords like "content generation" and "AI" and went "yes please, I love money!" without realizing that webtoons, as a medium, have some of the highest production expenses to lowest-paying demographics out there and therefore companies like Webtoons aren't going to be a short-term gratification. It's more like waiting it out for the "next big thing" that will make that stock valuable again, a massive gamble that isn't guaranteed to payoff. And that's just the game of Wall Street in general.

That said, it's because of how difficult it is to directly monetize digital comics that Webtoons often has to rely on selling merchandise and IP rights in the hopes they'll land a whale - but even their pre-existing whales like Lore Olympus and Let's Play have either nothing to show for themselves, or have left the platform entirely. Of course, they'll vaguely claim that two of Netflix's highest-performing projects came from their platform, but any peek at an aggregated Top 10 list will prove that that is simply not true, and at best, they're referring to True Beauty's live action adaption, which is simply not even close to breaching that list of all-time top-performers (except probably in Korea but this is Goldman Sachs and their American investors they're trying to convince), All of Us are Dead (see above, same situation as True Beauty), and Heartstopper which is... not even an Originals series. Of course, that didn't stop Webtoons and Tapas from boasting about Heartstopper's Netflix adaption and its success on the platform, but literally none of its success is exclusively owed to either of those platforms, Alice Oseman flies solo and if anything, Heartstopper never would have gotten to the point it's at if it were tied down to a Webtoon Originals contract.

So in a sense, until anything comes of these lawsuits, they're more so just lawyers jumping on their own investment opportunity - the opportunity to get settlements from Webtoons for both their clients and themselves by extension. At best what they feasibly have against Webtoons is the company getting way too high on their own supply without anything to feasibly show in terms of profit for their IP's. Considering how many IP's they sold to television and film production studios back in 2019-2022 when they were at their peak over the lockdowns - a peak that is long in the rearview mirror - they are incredibly behind in actually paying off those promises. Even in a recent meeting they held just the other day with Goldman Sachs, they're quoted as saying: "When Rachel Smythe was a graphic designer in New Zealand, 4 or 5 years ago, and she had a story to tell, we enabled her to not just tell it in one part of the world, but globally. She became a NYT Bestselling author, she is rumored to be releasing soon as a major animated release."

When even the company that hosts Lore Olympus as its prize pig can only say that its long-anticipated TV production that both Rachel and Webtoons have been assuring people on repeat that the show is "still happening" and that what they've seen so far "looks amazing" is simply 'rumored to be releasing soon'... I don't even have the words to describe how embarrassing that is for them. Never mind the fact that Lore Olympus has been over for months and both it and its creator, Rachel, have been falling into the pits of irrelevancy. They don't have any other home-runners to bet on, they're just continuing to bank on Rachel as their own example of someone who "got big" even though it was years ago and that fame is now shrinking with the passage of time, you can even see the performance of the series dipping in its own front-end metrics over time. They are trying so hard to convince people that they're worth investing in when the one thing that actually DID have that kind of allure has now come and gone.

Never mind the fact that again, most Wall Street investors probably don't even participate in webtoon culture so the name "Rachel Smythe" isn't some golden ticket to fortune. Lore Olympus might get a bit more of a reaction, but it's going to be a lot more mixed due to how divisive the series became in the end, and general audiences who are new to Webtoons as a public company (and the medium as a whole) are still not so likely to know what the fuck that means or why it's significant. The best time to pull the "we have Rachel Smythe!" card in the public investing pool was, like many other things Webtoons has fallen behind in, years ago. Now it's clear Webtoons thinks that Rachel is their own personal J.K. Rowling, but they forgot the part where Rachel is creating for an incredibly niche and historically unprofitable medium that is nowhere near as big as what Harry Potter was back in its prime, and - personally speaking - that Rowling and Rachel are both, well... terrible at what they do.

Webtoons also has the added burden of not being a startup company. They're not some grassroots Silicon Valley tech startup run by a bunch of friends "with a dream", they're an extension of an industry that thrives overseas but barely has any infrastructure to support it here. They've been bankrolled for years by an overseeing tech company - Naver - but have consistently failed to get out of the red and so of course, now they're turning to public investments to help them out and subsequently, are passing that debt off to the next highest bidder, which is Wall Street. They had nearly a decade to figure their shit out here in the West and while they had their opportunities to thrive, those opportunities have come and gone, a lot of doors have closed and now this all feels like their own attempts to rip those doors back open again.

There is a LOT to insinuate already that Webtoons - a Korean-hosted platform - wasn't ready to enter the Western market and this fumbling of their public stock image is yet another great example of that. Even outside of Webtoons, other Korean-run platforms like Tapas have relied on private investments to keep them afloat (and still do, Tapas is still operating privately) and have routinely struggled to get a real foothold in the greater Western industry despite how much they hyped themselves up as the "next big thing". They're all playing the same game over and over again expecting better scores even though the playing fields are entirely different than what they've come to expect in Korea, where much of the entertainment industry is built around webtoons, much like how our entertainment industry in the West is built around comic giants like Marvel and DC (and even those giants are faltering as we've been seeing over the past several years).

Anyways. I don't know if this lawsuit is gonna go anywhere, there's a lot to the legal process that could lead to a variety of different outcomes, but at the very least, their plummeting stock value and the lawyers circling them from above is yet another notch on their belt of fuck-ups over the past few years. I know it's easy to say this in hindsight and I'm not the kind of guy to say "I told you so", but considering I've been following along with the bullshit of these major platforms for years and knew as soon as Webtoons was rumored to be going forward with an IPO that it would lead to disaster, I'm pretty confident in saying, "No really, I told you so." And I don't entirely blame the investors for that (except for the ones that clearly didn't read the fine print) - I also blame Webtoons for that, because they are a chronically unprofitable company run by a bunch of clowns who manufactured their own demise by getting in WAY over their heads and clearly don't even have a concept of a plan let alone an actionable one.

And that sucks, because the people who stand to get hurt the most are the ones who were made those empty promises years ago, long before the platform entered Wall Street - and that's the creators who were promised that their livelihoods would be secured and their work would be protected.

I will forever bully and make fun of Webtoons for everything they've done in and to this industry. I hope at the very least those investors learned an expensive lesson, and that the damage these lawsuits have already caused to Webtoons' public image - regardless of whether or not these lawsuits win - empowers others who have been screwed over by them to speak up and make their moves. They are not a monolith. They are a brittle business operating from the trunk of a clown car on their way to becoming a penny-stocks sham.

Fuck Webtoons <3

[ineffable-opinions]

BL “Censorship” & Commercialization

Content: 1. ubiquitous censorship - special focus on Japanese BL 2. commercial viability of live action BL & generalizations 3. solutions - special focus on state support of Thai BL 4. [update state-supported production of Love in the Big City series]

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Censorship is a sensitive topic. I have tried my best. Please feel free to comment and critique.

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History of Korean BL is one of censorship and commercialization and Korean fu-people has struggled against both. There have been different victors at different points in time. Aljosa Puzar’s "BL"(Boy Love), "GL"(Girl Love) and Female Communities of Practice and Affect in South Korea chronicles that struggle. (Highly recommended.)

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I have tried to problematize BL commercialization before. But that was in the context of fu-culture and the commodity fetishism associated with the consumption of BL, particularly in live action form which is probably its most capitalist rendition for many many reasons.

Here I would like to look at it from another angle: censorship. This is a continuation of my earlier post (Why so many shonen ai live-action?) motivated by the live action adaptation of ‘조폭인 내가 고등학생이 되었습니다’ (I, A Gangster, Became a High School Student) by 호롤 (Ho Rol).

The live action has jumped genres switching from BL to 판타스틱 휴먼 드라마 (lit. fantasy human drama). This switch got it tagged as ‘Censored Adaptation of Same-sex Original Work’ on My Drama List. I personally don’t like that tag. Almost all BL adaptation is a censored adaptation, with notable exceptions like Sei no Gekiyaku. But no one uses that tag for, say, 25 Ji, Akasaka de (2024) which censored all sexual content, especially from the volume 1 of the manga which was critical to the story and the couple’s development in the original manga series’ and its multiple adaptations’ popularity. Sukiyanen Kedo Do Yaro ka (2024) went as far as removing the more sexual second couple from the live action adaptation all together, yet it does not get a "censored" tag.

An interesting question that the controversy surrounding High School Return of a Gangster (2024) has sparked is that of BL media’s commercial viability, especially in live action form. Here’s what producers told the Korean newspaper, Hankook Ilbo, about the genre-jumping:

"BL 장르는 제작비 투자나 리쿱(제작비 회수)에 한계가 있는 게 사실이다. 그러다 보니 처음부터 ��� 작품은 브로맨스로 해보고 싶었다"

“The BL genre is limited in terms of investment in production costs and recoup (recovery of production costs). So, from the beginning, we planned it as a bromance (beulomaenseu).”

The author of this article cites examples of works that enjoyed success on OTT platforms, namely Watcha’s Semantic Error and TVing's Unintentional Love Story (2023). However, the article also highlights the fact that BL continues to be a niche genre and live action adaptations don’t guarantee success.

이성택 (Lee Seong Taek), the director of High School Return of a Gangster, previously directed the BL Love Class (2022). The producer 넘버쓰리픽쳐스 (Number Three Pictures Co., Ltd.) have BL works like Unintentional Love Story under its belt.

'Unintentional Love Story' Director Jang Eui-soon (장의순) | source

If the producer of one of the two most popular live action BL is admitting to it, then it is not easy to dismiss the issue of commercial viability of live action BL.

Very famous BL publishing houses (starting with JUNE) and hosting platforms with relatively lower expenses have struggled. Some of them are no more. It is also difficult for authors to survive merely on earnings from publishing houses and hosting platforms, especially when those platforms are not very rich. So, it is not difficult to imagine that live action production houses also struggle to survive.

Take GMMTV for example. They are probably one of the most successful BL producers. According to their managing director, BL content (series) is not a profitable business in itself. They rely on khujin (branded pairs) of actors to bring in advertisement revenue, merchandize sales, and pull crowds to concerts and fan-meets. It is not enough for actors to just act. They are expected to sing, dance and perform. Meanwhile, GMMTV is forced to keep working with these actor pairs and stick to templates that suit them. While it works for now, it remains to be seen how long the business model can last.

Now there is also investment from Mainland China that has migrated to other BL producers following dangai ban. But those who invest already burned themselves pretty bad with all the money they poured in during the short-lived but explosive dangai boom. It is sunk cost at this point. Another crack down could be the death knell for Chinese investments in BL. 

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More generally, it is likely that commercial viability of a live action BL project hinges on the following:

#1 Target demographic

Like all other BL content, live action too is primarily targeted at fu-people (BL audience) – both queer and non-queer. The target demography is further sub-divided based on the type of BL and purchasing power.

Sweeter ones are supposed to appeal to all ages and that’s the area Thailand and GMMTV in particular are focused on. Most of Japanese BL series are sweet. Korea too produces sweet BL. However, they are unlikely to bring in explosive success the way odo BL (those following royal road narrative progression – wherein characters face significant challenges, interpersonal or otherwise, to reach happy ending).

Older and, perhaps more hard-core fans, are likely to support jado works (BL that follow the evil path where neither happy ending nor resolution to challenges are guaranteed) with surprising frequency. This might be partly due to the erotic content in jado works.

Purchasing power of BL fans vary widely. There are those who are

“sending gifts to their actors in Thailand, sending food trucks to their shooting locations, putting up billboard advertisements and doing charity events [as well as] ordering merchandise in bulk.”

They also travel to BL producing nations [on fan pilgrimages] and attend fan meetings, concerts and other events regularly.

(Source: The Print)

The other group of BL fans who are probably younger and/or can’t afford to show support in the above-mentioned ways. BL commercially benefits from being appealing to those with higher purchasing power.

#2 Popularity of original work in case of adaptation  

Popular BL novels, manhwa, etc. bring in a set of fans who are interested in the live action. Longer and more-acclaimed works are likely to ensure success of the live action given decent making and reasonable changes during adaptation. Semantic Error is a case in point. However, missteps during adaptation can have the opposite effect.

#3 Cost of production

It is difficult to get investment in the first place, especially with how niche the genre is. Moreover, higher cost of production sets the bar for success higher too.

On the other hand, high production quality and better cast and crew (likely more expensive too) makes the viewing more pleasurable and increases the likelihood of success.

There are other factors which influence the success of BL producers. The most popular BL live action from China, Addicted, was produced by the author, Chai JiDan, with a tiny budget. Its dangai family drama remake, Stay with Me, also has an interesting producer.

Source | Mame with her Japanese fans

Orawan Vichayawannakul’s MeMindY is another BL author led production company that has enjoyed considerable success.

OP Pictures’ entry into BL genre has also been successful.

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Solutions

#1 Let’s start with the worst

BL as money laundering vehicle. It is probably the most obvious, sort of win-win until it isn’t. Sustainability depends how much skin the ruling class have in the game.

#2 State sponsorship

(or better yet, tax payer supported BL production)

State sponsorship is what Thailand has perfected.

source | 2023 seminar on "Beyond Borders: Exploring the Global Appeal and Diversity of Thailand's Boys' Love Contents" by 9 companies from Thailand organized by Department of International Trade Promotion under Thailand’s Ministry of Trade.

The eleven speakers, including an official from the Office of Commercial Affairs, Royal Thai Embassy in Japan, vigorously pitched partnerships with Japanese content companies [at the above-mentioned seminar.]

Also, several of the companies pitching at the seminar, such as Star Hunter Entertainment […] were plumping for BL not as a niche product but rather a core element of their corporate strategy.

Halo Productions representative Tewarat Supunnium [trumpeted] the vertical integration of his company, from talent representation to contents distribution.

source

Thai BL has been big hits in China, South Korea, Japan, India, Indonesia, the Philippines, and beyond, which has motivated Thailand’s government to ‘deploy Boys Love as its latest soft power weapon to promote the country on the global stage’. In an article published in The Nation, BL director, Bundit Sintanaparadee, explains how that affects production.

He pointed out that the international popularity of Thai shows can boost tourism and generate interest in the featured locations – a vital aspect of soft power. The government can facilitate this process by providing support and streamlining the bureaucratic obstacles to filming in attractive locations like Bangkok’s Chinatown district of Yaowarat.

Filming in iconic places such as Yaowarat can be costly and complicated due to the need to coordinate with multiple government agencies and pay location fees. Bundit said the government could simplify the process to benefit not just filmmakers but also tourist revenue in the locations.

Bundit also cautioned against a top-down approach to soft power, where the government dictates what represents Thailand on the world stage. He emphasises the need for industry professionals to have their say.

source

In a 2022 article, Bangkok Post explores the impact of BL on Thailand’s economy ‘as export products that can draw lucrative revenue streams and foster business opportunities in other areas, including tourism.’

[According to government estimates from 2021,] Thailand's Y content market was worth more than 1 billion baht... In June that year, the Department of International Trade Promotion held an online Y content business matching event to boost the industry, with the participation of 10 Thai content creators. More than 360 million baht was generated from the purchase of the Thai content, with the top three buyers coming from Japan, Taiwan and Vietnam.

Noppharnach Chaiyahwimhon, GMMTV's senior director of content production, said [that the] business ecosystem linked to Y Series in Thailand shows a growth of 30-40% per year. [He also said that] Y Series can also be a boon for other businesses, such as films, artist management and merchandise. [He mentioned] Y Series from Thailand [getting] translated into several languages [and one of their Y Series having received theatrical adaptation in South Korea.]

[According to] Kanokporn Prachayaset, chief commercial officer and country manager of WeTV Thailand, … Y Series from Thailand is one of the most popular content genres on its platform. [Half of all the BL content on the platform was Thai.] WeTV [was] sourcing Y Series from Asia as well as having its own WeTV original shows by working with various local production houses, such as GMMTV, TV Thunder, Dee Hup House, M Choice Studio and All This Entertainment. [She also highlighted the contribution of the fan base, which is] active in organising activities and campaigns for their idols.

Seksan Sripraiwan, director of the Tourism Authority of Thailand's (TAT) Tokyo office, said the TAT and the Royal Thai Embassy have actively promoted the country by using Thai entertainment [and that] Thai BL content is considered one of the most popular recent cultural exports to Japan. Japan's market for Thai BL is around 1 million viewers, of which 20,000-30,000 are heavily active on social media sites for renowned BL actors, led by Bright-Win and Krist-Singto. He said Japanese tour operators already offered tailor-made tour packages which contain elements related to BL TV series, such as shooting locations like universities, cafes, Wat Arun or the Amphawa floating market.

Kanokkittika Kritwutikon, director of the TAT Chengdu office, said Thai BL TV shows have gained popularity in China, such as the coming-of-age series "I Told Sunset About You", which helped drive tourists to Phuket, the main location of the story.

"Most Chinese BL fans are millennial females who can offer long-term support for their favourite actors," Mrs Kanokkittika said. [Recognizing the 3 million strong queer population of Chongqing,] she said the LGBT segment could be categorised as luxury travellers as they are high-income earners, live in key cities, and want to spend more for travel experiences.

source

Earlier this year Ministry of Commerce have partnered with Be On Cloud and Idol Factory to promote ‘Thai products, services, tourism, and culture by incorporating them seamlessly into’ their new series “Shine” and “Pin Phak” aka “The Loyal Pin” respectively.

“This will help create around 2 billion in value for Thailand’s economy,” said Commerce Minister Phumtham.

Deputy Prime Minister and Commerce Minister Phumtham Wechayachai and two actresses, Becky and Freen, witness the signing ceremony between the Ministry of Commerce and Idol Factory Co., Ltd. on February 28, 2024....

According to the Department of International Trade Promotion, the Thai movie and series sector and related industries will generate 8,000 million baht in exports by 2023. In 2024, it will likely reach 10,000 million baht, particularly in the Y-movie and Y-series, which are expected to expand in value from 1,000 million baht to 2,000 million baht as a result of the Ministry of Commerce’s proactive cooperation with the private sector.

source

The Thai government’s efforts are paying off.

Oramon Sapthaweetham, director-general of the Department of Business Development, revealed that the Boys’ Love series had helped revitalise the film production industry, generating substantial profits and extending economic benefits to allied sectors, such as advertising, leveraging actors as influencers, event organisation, and tourism. 

"Over the past 10 years, Thailand has produced over 177 Boys’ Love [series], continuously gaining popularity and expanding its customer base, eventually leading to exports to international markets," Oramon added.

The film production industry in Thailand is witnessing substantial growth. In the first four months of 2024, 56 new businesses were registered, marking a 12% increase from 2023. The total registered capital also saw a significant rise of 146.44% to 195.18 million baht. In 2023, the industry grew by 20% with 137 businesses and a capital of 258 million baht. The total revenue in 2022 was 12.895 billion baht, indicating a continuous growth trend.

source

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#3 Diversification

Ok, so this is based on my limited knowledge and imagination. Feel free to skip.

There are two production companies that I have ever been interested in - Bhavana Studios and Mammootty Kampany. Both of them have produced experimental Malayalam movies while managing to remain commercially successful. While is partially attributable to these companies being brands, I think their overall strategy of diversification have worked in their favour.

Mammootty Kampany could produce art-house movie Nanpakal Nerathu Mayakkam for award circuits and with no expectation of commercial performance by banking on their other production Kannur Squad which was action entertainer sure to bring in the big bucks. Their queer family drama Kaathal – The Core and neo-noir psychological thriller Rorschach did exceptionally well in the box office as well as garnered critical acclaim. Bhavana Studios has similar track record of their commercially successful projects kind of cross subsidizing their experimental and unique projects and lifting the heat off in case of flops.

Having production companies which are aspirational in their approach to BL while having the economics sorted out help where government support is not forth coming.

Censorship as No-thing

When sometime is truly censored, we wouldn’t know. Unless we ask. Here’s what Jooyin Saejang learned from asking.

Conclusion

I have a strong preference for live action adaptations that are willing to go the last mile in terms of sexual content, social critiques and addressing real-life issues. That’s the reason why the header image for this BL side blog is from Moothon (2019).

But realistically this isn’t always possible. And I prefer having more production companies offering variety. I don’t want them to sink under the weight of BL that didn’t do well commercially and me being left at the mercy of media conglomerates with seemingly bottomless funds and monopsony over BL authors, original works and the culture that creates them.

Also, there is queer content from Korean that is neither mainstream nor from fu-culture. Support those. Unfortunately, Cheers by Cheers 짠!하면 알 수 있어 has been removed from their YouTube channel which is now called Cheer Up. While the series is gone, there are interviews with English subtitles.

Love in the Big City

Love in the Big City, the series and the movie are based on Park Sang-young's novel of the same name that was published in 2019. In Korea, it sold over 100,000 copies. Ever since, it has been translated into 15 languages, including English. The English translation by Anton Hur was published in 2021. The book has been longlisted for the International Booker Prize in 2022 and the Dublin Literary Award in 2023.

The movie secured an investor early on. The film was produced by Showbox and Tale Farming (고래와유기농). Michigan Venture Capital, a key investor, was responsible for 2 billion won out of the net production cost of about 6 billion won. Plus M Entertainment, a subsidiary of the JoongAng Group took care of its distribution. (source)

State-sponsorship for Korean BL !

The series, on the other hand, faced difficulty attracting investment as well as had trouble finding OTT platforms willing to air the show. It was co-produced by MerryChristmas, a subsidiary of WYSIWYG Studio' a KOSDAQ-listed company, along with Big Stone Studio. Mbrella Films provided production services in Thailand. They have received the state-support through Korea Creative Content Agency under Ministry of Culture, Sports and Tourism amounting to 3 billion won as production costs support aimed at strengthening the global competitiveness of K-content through OTT.

Finally, TVING, a platform that has aired multiple BL projects previously (such as Unintentional Love Story, Jazz for Two, To My Star 2, The Eighth Sense and High School Return of a Gangster), aired the series in South Korea and the streaming platform Rakuten Viki promoted it as a BL.

An iconic scene from bonus chapter 2 of The New Employee aka The New Recruit manhwa adaptation (web novel written by Moscareto and illustrated by Zec) ahead that didn't make it into the live action adaptation.

Gong comes home to find su in a sexy position at the doorway, fingering himself according to gong's instructions over phone.

[dervampireprince]

Do Not Repost My Audios On Spotify

Already made a post about this last year, but it seems no one got the message. And things have gotten worse.

On my own I have found 30 audios of mine reuploaded onto Spotify, all parts of podcasts that are full of stolen audios from other creators. Some say you can contact them and ask them to take it down, but Spotify has no DM function so how am I supposed to do that? Also. You should just not do it in the first place. I can guarantee you no creator is okay with this, none of them. You can get copyright takedowns for this as people's audios do count as their own work that is copyrighted, and you are stealing potential income from these creators by getting people to listen to their work on Spotify instead of on their Youtube where they make ad revenue. But in my case you're stealing more of my income that just that, because like I said, this time it's worse.

So we've got the tier 1 Spotify reuploaders. They rip audios from Youtube and put them on Spotify. There is literally no need to do this. All of my public SFW audios are available on Youtube to listen too for free. If you want to listen to them without ads and be able to turn off your screen you could get Youtube Premium or you could listen to them on soundgasm (if you're 18+). If you want to listen to them without an internet connection you could get Youtube Premium or join my $5 Patreon tier (if you're 18+) and get free HD downloads of all my public audios. Or... you could find some mystical way of creating mp3s from Youtube videos and I won't know you're doing it and I can't stop you and then you'd just have them. And I'm guessing that's what these Spotify reuploader's have done and I'm not gonna call anyone out for doing that... but then just keep those files to yourself, you don't need to reupload them. By reuploading them you're taking away my Youtube views and ad revenue.

Then we've got tier 2 Spotify reuploaders. These guys are ripping full 18+ explicit sexual audios from my soundgasm (18+ only) and putting them onto Spotify. These podcasts are full of 18+ audios from various creators. And for those unaware, Spotify does not allow pornographic or explicit sexual content on their platform. Because of course it doesn't. It's not that sort of platform. These reuploaders are not only stealing content, but putting it on a platform that doesn't allow it. At least one of these podcasts labelled themself as "16+" despite having this explicit sexual content. It doesn't matter if the age of consent in your country/state is 16 or younger, if it's on the internet where people from countries who's age of consent is 18 (the highest of any country) you have to label it as 18+ not a younger age. Having my content stolen, whether it's my audios or art, always feels gross. It feels even grosser when it's sexual content of you.

And the thing that makes this all so much worse this time around, the worst of the worst Spotify reuploader I have seen, the only one in tier 3. Why are they here? Because they have been reuploading my private, behind-a-pay-wall, Patreon exclusive, 18+ sexual audios onto Spotify. They are not only stealing content. They are not only posting explicit sexual content onto Spotify. They are stealing and leaking Patreon exclusive content onto Spotify, directly stealing from my main steam of income, and posting them for free. Have we all watched or listened too pirated content in our lives? Most likely yes. But I hope we all understand the big difference between watching a pirated copy of a Disney movie, a giant corporation who's still going to make money, and leaking a small creator's Patreon content. If all my Patreon audios were public I wouldn't have my main source of income, I wouldn't be able to pay my rent, for food, etc, and I'm not able to do other sorts of work due to mental and physical health problems. Leaking Patreon content is not the same as showing others something you've bought. If you buy a figurine and show a friend they may also want to buy that figurine and woa now two people own that figurine. If you buy one of my audios and show a friend they now aren't going to come and buy an audio they already have free access too, does that make sense? I hope we can all understand the difference it is to leak pay-walled content from a small creator.

Do not send hate to anyone who has reuploaded my work, do not try and find their socials, do not try and harass them or contact them in any way.

If you are a Spotify reuploader please listen to me: stop uploading more audios and delete all the ones you have already uploaded. It is never okay to reupload someone's work without permission. You do not reupload and then say you'll take it down if you ask. You ask first and then wait to get permission, if they say no you don't do it, and if they never answer you don't do it. But I find it extremely unlikely any creator would say yes. I can't believe I'm even slightly appreciating that at least those of you who just stole my Youtube videos at least didn't steal from my Patreon. But that doesn't make it okay. None of this is okay. Never upload my audios onto Spotify. And if you've listened to my audios on Spotify, it wasn't me who uploaded them, please stop listening to them on there.

Like I already said, it's easy to gain access to my audios, even for listening with your phone screen off or offline. Get them however you get them, I can't stop you, but don't reupload them. If you reupload them I am able and willing to report them and have them taken down.

If anyone finds more that I haven't already found and listed here please do let me know.

[qqueenofhades]

JSYK the OP of the Crab Day post is a self-identified conservative Christian. Can't speak to anything she may have done or said, but I do know that Crab Day wouldn't actually fix Tumblr - the site is running a 30mil *deficit,* which is different from debt. All Crab Day would do would be telling staff that their current policies get users to send them more money, which doesn't actually change anything. Corporations change only when their business strategy is losing the shareholders money.

Gotta be honest, my friend, I'm... not sure what you're trying to do here? Warn me that the original post was made by a Problematic Person (tm) and therefore that must mean it's all wrong, or.... what?

We know that Tumblr badly needs money, because they have told us that and openly admitted that the unpopular new changes were spurred by a need for increasing revenue. I logged on just now on desktop and got a suggestion that I could purchase an ad-free browsing subscription to help support the hellsite (which is the word they used, because they have very much embraced the joke). I have in fact already bought an ad-free subscription, both because I like the product Tumblr provides and want to keep using it in its current form, and because it makes my mobile experience immeasurably nicer. I am well aware that especially in this era of social media sites dropping like flies, the continued existence of a platform that is 30-million-dollars underwater (however you want to split hairs about exactly how) is not a guarantee. And we all complain about Tumblr, but we have all been here a long time (me, uh, over 10 years), we have a solid community, there's no other alternative that's really ever come up or gotten the same kind of uptake, and if it went under, we would be uh, screwed.

Tumblr is kind of a mess, it's the antithesis of every social media site, and it doesn't (for now) have the crap that makes The Artist Formerly Known As Twitter, Facebook, and Instagram so utterly unusable, or if it does, you can (mostly) turn it off. That's why we all like it and why, even if we are resolutely anti-capitalist gremlins who resist being marketed to with every fiber of our being, it doesn't change the fact that servers, staff, and all the rest cost real human-people money which the site, by their own frank admission, is struggling to raise. Even if staff does often make crappy updates, they generally at least TRY to listen to us and include a feature to make it optional or roll it back, unlike certain unnamed idiot billionaires. Their mockery of other social media sites can sometimes be a little much, but for now, Tumblr is pretty much the last place on the internet that does what it does, and I like it that way. If it went under and took my blog of 10+ years and all my friends with it, I would be incredibly sad.

That being the case, and basic financial realities being what they are, encouraging people to toss a few bucks at a TOTALLY OPTIONAL and fun gimmick that increases functionality for a product we like is actually not a bad thing. TumblrMart has crabs, checkmarks, Ea-Nasir merchandise (seriously), ad-free browsing, etc., and if our choice is voluntarily supporting the site through fun (and again, OPTIONAL) purchases versus having us all be involuntarily subject to some horrible data-scraping mechanism or forced off altogether because they couldn't keep the lights on, that is fine with me. Nobody is making anybody do or buy anything. But if you like the product Tumblr provides and want a fun material way to show your appreciation, then I don't think it's some Great Transgression to participate in that.

[jmtorres]

tags from @lierdumoa

#but they wanna "boycott" voting because nobody explained to them the difference between a citizen of a government vs. a netflix subscriber #"if we don't vote they'll have to listen!" no! they won't! that's the opposite of how reality works; not voting guarantees they ignore you #politicians ONLY listen to voters

yeah these are different paradigms! but you made me thinky thoughts so i'm expanding on this

corporations are already primed to think about negative space as space they could have claimed but have not, eg "we lost $15 million to piracy!" when there's no guarantee any of those eyeballs would have subscribed to netflix if not for torrenting, but presumptively they think you should be giving them your money. So if you tell a company "I'm not giving you my money because I disagree with your political donations to X" for example, that makes sense to them, their reputation and public perception of their viewpoints is affecting their bottom line

because for a corporation, bottom line--profit--is the biggest consideration. Market share is important but fundamentally if you don't generate more revenue than costs, you (eventually) have to go under. Individual sales do matter.

but voting.

like i understand the temptation to view your vote as currency, but it's not. You can't save it up for later. You can't exchange it for goods or services. And most crucially, a candidate doesn't need an amount of votes. They need a proportion of votes.

They don't want more votes like a corporation wants more money; for the corporation, more money is the final goal. For a candidate, more votes only matters in the context of more than the other guy. The competition is more important than the scale. If only 10 people vote but 6 of them vote for you, who cares about voter apathy, you won! A candidate is not threatened when you withhold your vote, because that doesn't change the proportion of votes they receive. A candidate is only threatened when you vote for the other candidate in an election, because that changes the proportion of votes.

the fact that different parties practice voter suppression or "rock the vote" stuff muddies people's understanding of this, I think. the thing you have to understand is that demographically, the bloc of voters affected most by these efforts will tend to vote Democrat. So when Republicans try to make it more difficult for a predominantly black district to vote, they're trying to shift the proportion of votes. There may have been Republican votes in there suppressed too, but they're outnumbered by the Democratic votes prevented. And when a liberal org runs a voter registration drive to help more people vote, they don't ask who you're going to vote for. They understand they're registering some Republicans voters too, but statistically they're registering more Democrats, so the effort is overall shifting the proportion of available votes. These efforts seem like they're about the amount of votes but it's never about the amount, only the proportion.

[xiao-erlang]

I think a lot about Yang Cheng’s confession on what actually happened behind the massacre of Zhongbo. I’ve reread this story many times and I still feel like these were the scariest paragraphs of the book. I remember getting chills the first time I read it, because at the same time that I couldn’t comprehend the inhumanity of such an act, I also felt like I should have seen this coming because it wasn’t farfetched at all.

"That year, Juexi faced a locust plague, and not a single grain was reaped from the thirteen cities. […] The state treasury was empty at that time, and Juexi had faced a calamity. Libei and Bianjun Commandery still had to deal with the Biansha Cavalry. The harvest of Hezhou further down was dismal too. People from the various areas were already starving to death at the beginning of the year. The Ministry of Revenue was forced into a corner, but they had no way to provide aid reliefs to the various areas because the state treasury had already been emptied out. […] It was at this juncture that the Biansha Cavalry suddenly launched an assault at Chashi River. Duanzhou's garrison troops suffered a crushing defeat, and Shen Wei withdrew and holed himself up like a tortoise, leading to Zhongbo's defeat one after another. […] Although the homeland was reclaimed, the massacred cities had already turned into deserted ones. And Juexi's subsequent resupply of relief grains were precisely the grains of the Six Prefectures of Zhongbo.”

Who could have dared to think of doing such a thing? That was more than a hundred thousand people dead in the blink of an eye. And it does not stop there. In the following years, people live in extreme poverty and the increase in bandits further exacerbates the suffering of the common people. People sold their own children for food. Women were abducted from their families to be sold and raped. So many lives were sacrificed just so the noble clans can continue living in luxury. And the punchline in the horror story was that this crime did not involve only one or two people. Such a monstrous act requires the tacit cooperation of multiple parties, with all of them being aware that they were doing a horrible sin and still committed to it regardless. Hua Siqian could not be corrupt and embezzle funds for years alone. But until Yang Cheng, did anyone feel terrified enough to come clean?

Was Wei Huaigu feeling guilty after Xiao Chiye and Shen Zechuan talked to him in the Imperial Prison? Did he feel any shame for greedily appropriating military provisions? Or did he feel like it was only natural, he simply took the opportunity that was presented to him? He thought the Xiao clan was just like him anyway; Xiao Fangxu came from humble backgrounds, and yet after he gained his title, the Xiao clan began monopolizing military power in Libei. Wei Huaigu’s mindset is that there was no such thing as a clean person in this world; given the chance, all of them would have held onto power the same way he did. This was how he justified his own crime. After all, they are only humans, so who could guarantee that they themselves wouldn’t become corrupt once they’ve tasted power?

On the other hand, there was also Yang Cheng. He came from a humble background and worked hard to become an official. He was surrounded by corrupt officials and had to come up with bribe money. He knew what he did was wrong, but he simply had no other choice. This was how Yang Cheng’s crime becomes justified as well. Everyone else was doing the same thing too anyway. It’s simply human nature to save oneself in desperate situations.

Who wants to be like Jiang Qingshan? What kind of person would be willing to sacrifice themselves to save the lives of countless people? The act of upholding justice becomes abnormal while the act of selfishly plundering others for one’s own gain becomes the human thing to do. The antithesis of people like Wei Huaigu and Yang Cheng are Jiang Qingshan, but Jiang Qingshan himself has become an anomaly amongst normal people.

[strawberryamanita]

Y'all I'm sorry but this is making me freak the fuck out

I know this is gonna probably cause people to call me a terrible person, but I'm just gonna risk it anyhow because this is getting really scary.

If you are a USAmerican,

Please vote for Biden this year.

I am 1000% aware that the genocide in Gaza is being perpetuated by Biden's administration. It's not good at all. I don't like the guy either, and like every President the US has ever had, he will burn in Hell, guaranteed.

But if we don't vote, then Trump is gonna win. This sounds rhetorical, but I ask genuinely: do you think Trump is gonna stop the genocide?

Has Trump ever shown that he cares about a single human being besides himself? The level of misanthropy that idiot is on is remarkable. I personally cannot see him slowing the flow of genocide in any direction; if anything, he might redouble the effort.

I think it was Warren who is tryna warn people that if Trump gets elected again, he'll never leave. I think back to a time during his first term where he said there might one day be a "forever President", and that makes me sick to my fucking stomach. That's not a presidency, that's a monarchy or a dictatorship. That would be the de-facto end of having a say in who's in control until he finally fucking dies -- and not even then, because then the mantle will be passed down to one of his children.

I know the US shouldn't exist in the first place. I am 100% aware of that. They say that empires fall after 250 years, and the US is gonna be 248 years old in July. But unfortunately, it exists right now, and it's full of people who will not survive another four years of Trump.

Again -- I will say it as many times as I need to -- I don't like Biden. I don't like him. He's done some beneficial things, but using his executive powers to speed up a genocide tips the scale completely over back towards hating him.

But Biden will step down when his term is done. I know the bar is in the fucking Mariana Trench, but for the love of God I do not wanna be under Trump for even a minute more. I hate Biden, but I hate Trump more, and that is fueling me, personally, to show up to vote.

At the end of the day, the problem is systemic. Every single authority over the US, since even before Washington, has only cared about hurting people of color and churning up the earth to make money. Our taxes could help improve the lives of US civilians, but instead they are funneled into the trillion-dollar War Machine aimed in every direction, including the US itself. The US commonwealth doesn't matter to the US government. We are human livestock who generate revenue; no matter how many changes of hands our money makes for hopes of a better cause inside the US, every last penny will find its way back into the War Machine or under the dirty ass of a billionaire who should be tarred and feathered in oil and their own paper money.

With all that said. There are US citizens who are enthusiastically pro-Biden right now, and siding with them might just keep us from living in Trump Hell all over again. The bigots have gotten too proud around here, and it makes my blood run cold. My mother doesn't show enthusiasm for ANYTHING the way she shows it for her freedom to hate people loudly and proudly. It makes her come ALIVE. And I know I'm not the only one who's been subjected to this kind of horror show for the last 9 years. Every state of mind curated by the US is a cult, and there is no escape outside of moving away.

Please. Vote. For Biden.

[transcendence-au]

TAU Wiki 2.0!

TL;DR The TAU wiki has moved!

Hey everyone! Mod F here to talk about a project we're working on regarding the Transcendence AU wiki. As many of you may know, the TAU Wiki is hosted on Wikia/FANDOM, an extremely popular free wiki farm. They've hosted us for years, and using them has been an easy and convenient way to get information about TAU out to people who are looking for it.

However, especially as time has gone on, we (and FANDOM users at large) have had more and more issues with the way the site is run. FANDOM is a for-profit company, and they profit off of the free labor of its editors through advertising. Advertising that is generally very large and obnoxious on every page on the wiki. That's the biggest of our concerns, although there are others: they control the platform, so they can control the content if they want, and they give limited options for wiki customizability.

Because of this, we have decided to start our own wiki, off of FANDOM. This way, we can be in control of the presentation, and we can own our own work. The new wiki has already been set up, and pages from the old wiki have already been moved over (although images need to be migrated manually). There's a little migration guide I've been working on, for anyone interested in helping. Of note: the new wiki is hosted on my own web server, and it is guaranteed to be ad-free forever.

FANDOM does not like it when communities move away. They don't allow deleting the old wiki, because they want to continue to make advertising revenue from it, and they ban administrators if they promote the new wiki. On top of that, they will usually appear much higher in search results than wikis on any other platform. These things make this project difficult, but not, I believe, impossible.

Despite all of that, we still want to do whatever we can to make our new wiki the best it can be. We'd love it if you could sign up and contribute information about your favourite TAU topics! If you have any questions, you can send us an ask, or join the TAU discord to talk about it.

[derxwnakapsyla]

Hello there! My name is Derxwna Kapsyla, and you might know me as the mastermind behind projects such as "Yitria Resurrection", "Touhouon Asteria", "Touhou Pupet Play ~ The Adventures of Ayaka", "Chronicles of the Omniverse"- Wait, you don't know that last one? Never mind it then! Today I'm here to talk about something I am extremely passionate about- map design!

It is easily my favorite aspect of game development, and I feel like I'm pretty proficient at it. So, I would like to open up map making commissions to help people out on their own projects! I've got well over 10 years of experience, getting my start back in the ancient days of Binary ROM Hacking with Advance Map being the hottest tool on the block. I like to make sure the maps I make are of the highest standards I can possibly muster, so I have a fairly sharp eye for detail.

I also love communicating ideas with people and helping them reach a desired solution (If I'm able to)! If you're interested in taking a shot on me, I welcome you to message me on here, or DM me on Discord! I look forward to getting a chance to work with you! I promise, I don't bite- I'd much rather use an Ion Cannon. Also I just lost my job recently so I could really use some supplementary income while I try and find a new job...

Things to know about Derxwna:

I've been working with game development as a hobbyist for over 10 years, with an exceptional passion for map design.

I like to make sure that anything I make is the best quality I can possibly produce.

I do have a degree (of sorts) in Game Design, Programming, and Animation.

Spent a good majority of my time playing Wind Waker just trying to compare terrain to Ocarina of Time.

You will not find a person more offended by the tile errors in vanilla Pokemon games, I guarantee it.

What I am offering:

Map design for 2D environment based games.

Map critique and feedback. (This is free!)

Eventing on a small scale.

Redesigning your own maps.

What I am not offering:

A whole game made from scratch (Unless you're paying massive $Revenue).

Complex scripting maneuvers.

Unique tilesets. If you have a unique tileset you want me to use, send it- but I will check if you are allowed to use it.

Trainer battles.

Advice on how to spend your FSA. I answer those questions enough at my previous workplace.

Examples of my work:

-- Touhoumon Asteria -- https://imgur.com/a/hsAjnuk

-- Yitria Resurrection -- https://imgur.com/a/fveRkMc

-- Adventures of Ayaka -- https://imgur.com/a/tYAV8u7

-- Other Map Creations -- https://imgur.com/a/ZzqvrdV

Prices

-- Map Size --

Small map (30x30 or smaller): $10

Medium map (60x60 or smaller): $35

Large Map (100x100 or smaller): $60

Extra Large Map (100x100 or greater): $90

I am willing to take on a multi-map endeavor. Prices will be discounted for bulk purchases. I am also willing to very slightly haggle on the tiers above Small Map, but prices will not go below $10 above the previously listed tier.

-- Eventing --

Depending on event complexity and quantity, additional fees may be incurred.

-- Additional Pricing --

Gen 4 or 5 theme: +$40. I am not comfortable mapping in this style. I can attempt it, but only if you provide a tileset of the exact tiles you want.

When it comes to payments, I am flexible with how I receive them. I understand that people are not comfortable giving an entire lump sum for commissions. If you'd like, we can work out a payment plan of sorts, or you can pay a portion up front and pay the rest upon completion. If I do not or am unable to finish the map, I will refund the amount paid up front. As a note, if you are looking for a rush order, an additional fees may be incurred.

Contact Information

The best ways to reach me if you are looking for a commission, or if you have any additional questions are as follows:

The Eevee Expo Forums

Discord: DerxwnaKapsyla

Tumblr

This is where I would put my Twitter account- if it was unsuspended.

Bluesky: https://bsky.app/profile/derxwnakapsyla.bsky.social

The best times to reach me are between 12 PM and 12 AM PST (GMT-7).