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zarazyana · 8 months ago

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Unlocking Ethereum's Potential with Exploring Layer 2 Scaling Solutions

As the demand for decentralized applications (DApps) and non-fungible tokens (NFTs) continues to soar, the limitations of Ethereum's scalability have become increasingly apparent. Ethereum, the pioneering blockchain platform for smart contracts and DApps, has faced challenges such as high gas fees and network congestion due to its limited transaction throughput. To address these issues and unlock Ethereum's full potential, various Layer 2 scaling solutions have emerged. In this blog, we delve into the significance of Layer 2 solutions, explore different types, and assess their impact on Ethereum's scalability and usability.

Understanding Layer 2 Scaling Solution

Layer 2 scaling solutions are protocols or frameworks built on top of the Ethereum blockchain, designed to enhance its scalability by processing transactions off-chain or through alternative mechanisms. Unlike traditional on-chain transactions, Layer 2 solutions aim to reduce the burden on the Ethereum mainnet, thereby increasing transaction throughput and reducing costs. These solutions facilitate faster and cheaper transactions while maintaining the security guarantees of the Ethereum network.

Types of Layer 2 Scaling Solutions

State Channels: State channels enable participants to conduct off-chain transactions directly with each other, updating the state of their interactions off-chain. Once completed, the final state is then recorded on the Ethereum mainnet, minimizing the number of on-chain transactions required. Projects like Raiden Network and Celer Network utilize state channels to enable instant micropayments and scalable token transfers.

Plasma: Plasma is a framework for building scalable decentralized applications by creating hierarchical tree structures of sidechains, also known as "child chains," anchored to the Ethereum mainnet. These child chains can process transactions independently, with the final state periodically committed to the Ethereum mainnet for security. Projects like OMG Network (formerly OmiseGO) leverage Plasma technology to achieve high transaction throughput and low fees.

Rollups: Rollups are Layer 2 scaling solutions that bundle multiple transactions into a single compressed data structure, known as a "rollup," which is then submitted to the Ethereum mainnet for verification. There are two types of rollups: optimistic rollups and zk-rollups. Optimistic rollups rely on fraud proofs, allowing users to challenge incorrect data submissions, while zk-rollups utilize zero-knowledge proofs for efficient data verification and privacy. Prominent projects such as Arbitrum and zkSync employ rollup technology to significantly enhance Ethereum's scalability without compromising security.

Benefits of Layer 2 Scaling Solutions

Improved Scalability: By offloading transactions from the Ethereum mainnet, Layer 2 solutions dramatically increase the platform's scalability, enabling thousands of transactions per second.

Reduced Gas Fees: With fewer transactions processed on-chain, gas fees are substantially lowered, making Ethereum more accessible for users and developers alike.

Enhanced User Experience: Faster transaction confirmation times and lower costs improve the overall user experience, driving adoption of DApps and NFTs on the Ethereum ecosystem.

Environmental Sustainability: Layer 2 scaling solutions contribute to reducing Ethereum's carbon footprint by minimizing energy-intensive on-chain transactions.

Challenges and Considerations

While Layer 2 scaling solutions offer promising benefits, they also present challenges and considerations that need to be addressed:

Security: Ensuring the security of Layer 2 solutions is paramount, as they rely on off-chain mechanisms and periodic interaction with the Ethereum mainnet.

Interoperability: Achieving interoperability between different Layer 2 solutions and the Ethereum mainnet is essential for seamless user experience and ecosystem growth.

Adoption: Educating users and developers about the benefits and functionalities of Layer 2 solutions is crucial for widespread adoption and integration into decentralized applications.

Regulatory Compliance: Compliance with regulatory requirements and standards may pose challenges for Layer 2 protocols, particularly concerning privacy and data protection.

Future Outlook

As Ethereum continues to evolve, Layer 2 scaling solutions will play a pivotal role in shaping its future scalability and usability. With ongoing research and development efforts, we can expect further innovation in Layer 2 technologies, leading to even greater scalability, efficiency, and decentralization. As the Ethereum ecosystem expands, Layer 2 solutions will empower developers to build scalable DApps and NFT platforms, driving the next wave of blockchain adoption and innovation.

Conclusion

Layer 2 scaling solutions represent a significant milestone in Ethereum's journey towards achieving mass adoption and scalability. By addressing the platform's limitations and enhancing its performance, these solutions pave the way for a more inclusive, efficient, and sustainable blockchain ecosystem. As the Ethereum community embraces Layer 2 technologies, we are witnessing the dawn of a new era of decentralized applications and NFT platforms, ushering in a future where blockchain technology revolutionizes various industries and empowers individuals worldwide.

#Ethereum Layer 2 Scaling Solutions #Ethereum Scaling Solutions Provider #Layer 2 Solutions for Ethereum dApps #Layer 2 Solutions For Ethereum #Ethereum Layer 2 Scalability Solutions

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deoidesign · 11 months ago

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if i may ask, is it difficult at all to re-edit/organize the comic pages from the webtoon format to fit the graphic novel format?

on another note, I'm so happy that your kickstarter was funded!!! I love time and time again, im so excited to see this all happen <3

I'll just turn this ask into something of a guide for the process! Because yes, it is difficult, but there are also many ways I have been preparing from the beginning for this very situation to make things easier for me!

I've worked in both print and scroll in the past, and have done this transition once before for a short story, so I already had familiarity both with my goals for print, and struggles with the transition!

How I prepared from the beginning for this transition:

1: My panels are 2500 pixels wide, so they can span my page (which is 8.3x5.8 inches) at 350 DPI (which is print quality)

2: My layers are organized: Text, FX, Foreground, Characters, Background

3: I draw one very large (twice as big as any panel would be, minimum) background for my major locations, as well as drawing furniture assets in isolation. This not only saves me time when making my actual episodes, but it also offers me INCREDIBLE flexibility when making this transition to print.

These 3 things let me pull the character art to the page by itself, scale it up or down to fit my panel, and then fill in the background behind the character.

So, I read the scroll version, decide how many and which panels I want on the page for the pacing (I also keep page spreads and page turns in mind while I am doing this), and then I pull those panels over from the scroll version to the page.

Then, I make the panel borders/page layout that I want, fit the character art into it, paste in the backgrounds, do any art editing that I need, add FX, and then re-do the text!

Sometimes I do need to draw parts that are missing (shoulders or elbows getting cut off is an extremely common one) and sometimes I need to adjust facial expressions, cut panels, or rearrange panels to make things read more clearly. Since it's my comic already, I know how to do these things while maintaining the original intent, but if I were working with someone else's comic I would need to work closely with them to know what can and can't be cut.

(original panel vs an expanded version)

Another common issue is that VERY tall panels will inevitably lose a lot of information when they’re turned to pages. Identify the purpose of the panel (pacing, showing a lot of detail, etc) and then replicate that with your page layout.

examples (in order) are: scene transition, being overwhelmed, suspense, and establishing shot. All of these were a single panel in the scroll version!

Another issue when converting pages is that panel order is a lot less straightforward than when starting from print format. Conversational back and forth that's fine in scroll often messes up the flow of reading in a page (characters facing out, not looking at eachother from panel to panel, etc) and so some creative solutions are necessary to keeping the reading order.

For the first page I had to delete and rearrange some panels, and in the second the dialogue bubbles guide us to read this page in a circle. (dialogue guides through a lot of my pages lol)

And the last really common issue that pops up is that height differences can be really difficult. Usually in print this is solved with clever angles, but I’ve already drawn everything. So, I’ll either resort to vertical shaped panels, panel pop-outs, or editing a character up or down to fit into the panel.

(examples in order)

So, yes, it is difficult! But I have a lot of experience with both formats, and having prepared for this from the beginning I've been able to make the transition a LOT more smoothly than I otherwise could have.

I hope this helps!

And, thank you about the kickstarter! I'm extremely excited I'll be able to print these, the proofs I've received so far look just absolutely stunning and I'm so so so excited to get to send them to people!!!

Obligatory self promo, if you want to see the kickstarter page and get these four books for yourself, then you can check it out here ^^ It's been funded, so at this point we're just reaching stretch goals and placing orders!

#asks #anon #art tips #comic tips #web comics #comic books #comic advice #also this is just my own experience obviously everyone works differently and I cant promise this will work for you too #but doing things this way I've been able to finish about an episode (15 pages or so) every day #so it's been extremely swift (though also of course a ton of work)#thank you past me for making this so easy!!!#it'd easily take 5x as long without the prep I did!!!

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bleachbleachbleach · 2 months ago

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9/22 - 9/29/2024

Aaaaand several months later, Renji 11 is complete (again).

Which brings me to a couple additional milestones:

1) I finished a full draft of my banner!

My idea here is that each chapter would get some little icon that relates to something about the chapter, as well as the narrating POV's division flower. I'm trying to decide whether it matters if the item is, uh, legible. That's supposed to be a baggie of manju but they kind of look like tomatoes. Is it weird that the two images are totally different line weights? And even if it is, do I trust myself to draw 20 different glyphs with the same line weight?? The stamp effect/weathering could probably be more intentional--for now I quickly took a dry media brush to a Layer Mask to see if it could effect what I wanted. It's because I am bothered by the vector-smoothness of the weathering in the font itself when the text is that large.

Apparently I did the low-res mockup for this on December 14, 2023, so at least it's been less than a year?! It also means that I've continued to like this design, even after 10 months. (Here's the partial V2 I didn't move forward with.)

2) It's my first time in the six-figure club! Which is impressive to me, because I don't generally consider myself a longfic person, and I've never written a singular fic of this scale before, for any fandom.

At this point, this project is causing me a lot of cognitive dissonance, ngl. Because this fic represents the majority of my Bleach fandom experience (I've been working on it since 2021, and it's the sequel to my first two Bleach fics, which I wrote before we made this blog). In my mind, it basically IS my Bleach identity. But it's not meaningfully reflected in this blog, which is... well, it's us? B3 IS our Bleach identity? Not that our original posts are what the majority of people follow this blog for, but still. What an identity crisis!

The obvious solution is to post it, and I do feel like I've moved on emotionally enough from Part 1 that I could probably survive that! But I also kind of feel like, don't I already have plenty of things to survive right now? 🫠

I'm undecided on what I want to tackle next. I'd like to finish my revision round for Rukia 7 / Rukia 10 / Renji 11, but that's the kind of thing that requires more unbroken time, and that does not really work with my current "oh god 10 minutes, GO" state of being. So I feel like if I want to try that, I also need an additional place where all I need to do is drop in and write lines. They can't be in Hitsugaya 12, though, because I've written as much of that as I can without knowing how the Hisagi 9 revisions pan out.

I have distinct memories of having very pleasant daydreams about how those revisions should go (very specifically on US 127, in weather non-conducive to daydreaming), but I looked over those scenes last night and HAHAHA. I HOPE I WROTE NOTES FOR THOSE DAYDREAMS because while I do remember writing them as written, I do not have any distinct memories about how they needed to be changed, rip

#stories for the sea

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minimumsky5 · 1 year ago

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So, it turns out, drawing planets is hard....

Anyway, here is the system we will be following as life develops on multiple planets, with the sizes to scale, but the distances obviously not! The system is shown as it would appear 5 billion years into its history. Tidally locked planets are shown with their sub-stellar point pointing at the observer.

Lets start with the star, the energy source for the entire show. Yggdrasil (Norse tree of life, and foundation of the universe) is an M1V BY Dra star, which when translated to English means that the star is a large red dwarf (nearly at the limit of M class), but it is also a BY Draconis variable, meaning that its starspots are so big, that they can significantly reduce it's light output. This star is expected to have a main sequence lifespan of 225 billion years, but as with all red dwarfs, its luminosity will increase significantly more proportionally than Sol's will, so its habitable zone will end covering most of its terrestrial planets for at least some part of it's lifespan.

Hephaestus (Roman god of fire and the forge) and Laki (named after a particularly destructive Icelandic volcano) are the two innermost planets of Yggdrasil. They are both hot, small worlds with large iron cores, similar (though smaller and a little cooler) to Mercury. By 5 billion years into the systems history, Hephaestus's mantle has cooled and solidified, but Laki alternates between a resonance state with Vitrellus and one with Thalia, meaning that it maintains a constant volcanic output driven by tidal forces, even though a planet of it's size should have no primordial heat left. Laki was on the cusp of habitability, but it's high volcanism resulted in a runaway greenhouse event that stripped it of its water early in it's history, leaving it with a roughly 2 bar atmosphere of CO2 and SO2.

Methuselah (named for the biblical patriarch, said to have lived for 969 years) is our next stop, and unlike Laki this world is the first one to be able to hold onto significant water. However, due to it's proximity to Yggdrasil, its water cycle is very different to Earth. At it's equator, it is too hot for rain to reach the ground, and so it's tropics and mid latitudes are parched deserts with only very rare oasis providing any moisture. At the poles, however, water can condense, and these small seas provide Methuselah with 2 very habitable areas for life. Methuselah is a small planet, twice Mars's mass but much smaller than Earth, but it is locked into a complicated resonance with Thalia and Avalon/Eden, one which will remain indefinitely, and means that Methuselah is capable of sustaining plate tectonics despite it's small size.

Vitrellus (named in reference to Oil of Vitriol, an old name for sulphuric acid) is the most alien of all the worlds in the Yggdrasil system. This world, half the mass of the Earth and nearly the same radius, has a much higher concentration of sulphur and sulphur compounds in its crust, meaning that it's oceans condensed not as water, but as a strong solution of sulphuric acid. Despite this incredibly hostile chemistry and hellish temperatures (regularly reaching 90 degrees Celsius at the equator), Vitrellus has an active and diverse biosphere based on silicon, carbon, and sulphur compounds.

Thalia (named for the Greek Charity of fertility and plants) is a planet somewhat larger then Earth, which due to it's size accreted a large envelope of volatiles onto its surface, forming an ocean nearly 50km deep on average. This layer of volatiles also created a thick atmosphere and a strong greenhouse effect, creating surface temperatures just barely below the critical point of water, where the boundary between the ocean and atmosphere becomes indistinct. No life survives down there, but the cloudtops maintain habitable temperatures despite the torrid conditions below, allowing huge blooms of skyplankton and other attendant organisms to flourish, turning the planet a strong green colour.

Dionysus (named for the Greek god of festivity and insanity) is the closest thing to the traditional picture of a tidally locked world orbiting a red dwarf that Yggdrasil has to offer. It has the traditional swirl of cloud surrounding it's sub stellar point, and at this point in it's history an ice sheet surrounding it's terminator. The planet currently has an active surface biosphere, but this is only a temporary feature. Dionysus goes through regular cycles of huge build ups of carbon dioxide in it's atmosphere, up to 1-2 bar, followed by equally massive drops in CO2 levels down to just a few parts per million, caused by continents passing through it's central collection of storms. Life on Dionysus is one of times of huge plenty, and vast catastrophes.

Avalon/Eden are the jewels of the Yggdrasil system, a pair of habitable superearths locked in orbit of each other. Both of these worlds are ideal candidates for life; large mineral rich oceans, plate tectonics to allow for carbon cycling, and their mutual tidal forces will keep their interiors warm and convecting for billions of years. There is one current difference between themselves and Earth, however; as these planets are currently towards the outer edge of the habitable zone, they have large CO2 dominated atmospheres, nearly 2 bar each, just to keep warm. These planets will be the centre of attention for this project, and along with Methuselah, will maintain life for the longest time.

After the Avalon/Eden system is a rocky asteroid belt, containing twice the mass of Sol's asteroid belt, followed by an interloper from the outer reached of the system. Anguta (named for the Inuit creator god, and god of the underworld) is a waterworld that initially formed outside of the gas giants in the system, before an encounter with Persephone saw it swing into the inner system. A combination of another encounter with Parvati, and drag from the original system asteroid belt (now carved in 2 by Anguta), caused it to settle into a circular orbit. Anguta is currently right at the outer edge of the habitable zone, with it's surface locked in ice and only a thin, nitrogen dominated atmosphere, but as Yggdrasil grows in luminosity, this is unlikely to last.

Our next stop is the queen of the system, the largest planet of Yggdrasil, Parvati (Hindi goddess of power and beauty). Parvati is a large gas giant, 50% more massive than Jupiter, with a large collection of rocky and icy moons, and rings to rival Saturn's.

Odin (Norse god of wisdom and healing) is the second gas giant of the system. It is about half the mass of Jupiter, but due to the effect of gravitational compression, Parvati and Odin are almost the same size, to within a few dozen kilometers. Odin has a thin set of rings, but has 4 major moons locked into a Laplacian resonance.

Amun (Egyptian god of the sky and wind) is the systems only ice giant, an azure gem shining brightly due to methane in it's atmosphere granting it a brilliant blue colour. Occasional clouds of methane occur in it's mid latitudes, and around storms in it's tropics.

Persephone is the final planet, an Eris like object in it's outer system, covered in a homogeneous layer of ice that was deposited from past volcanic paroxysms.

#geology #biology #science #astronomy #speculative evolution #space #art

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pipzeroes · 1 year ago

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Excerpt from the above link:

First thing’s first. If the phrasing in the title feels unfamiliar, it has a purpose: We are eliminating the passive voice from the pandemic. Right now.

Someone INFECTED Neil Gaiman with COVID-19.

And many someones in overlapping layers of responsibility ENABLED this infection.

This linguistic shift from the passive to active voice might seem irrelevant but, instead of just echoing the framing we see in the headlines — that Neil Gaiman got COVID-19— it’s time to own that somebody has infected Neil.

The passive voice has served a macabre purpose in this pandemic. The passive voice, by erasing the subject of the sentence, neatly obscures accountability, and with it our own role in unmitigated infections. Moreover, it has prevented us from identifying the layers of responsibility in enabling infections on a mass scale. This mental block is the first obstacle to advocating for effective mitigations and constructive solutions. It stops us from preventing infections. But that is changing now.

It is time to own the damage that we are causing by infecting others with COVID-19. I believe that we all know, deep inside, that we are causing harm. And many of us are suffering from the cognitive dissonance of pretending that we aren’t. Because, in a pandemic, this is serious and large-scale harm.

This harm that, according to estimates, has killed over 25 million people and disabled at least 65 million and counting. The sooner we face the harm we are causing by infecting other people, the less damage we will cause to ourselves, to our loved ones, to our community, to strangers on the other side of the world. And to people who entertain and inspire us, like speculative fiction author and TV creator Neil Gaiman. And inspiration is necessary when we are facing so many challenges. It’s that simple.

COVID-19 is a serious, multi-system vascular disease that creates severe and cumulative damage.

Reinfections tend to be more severe and Long COVID occurs in 1/10–1/3 infections.

Up to 60% of infections are spread asymptomatically… Wait, let me rephrase that. People, who are asymptomatic, or presymptomatic, are infecting others with COVID-19 in up to 60% of cases.

A person who is presymptomatic can transmit a COVID-19 infection up to two days before symptoms arise.

People infect other people with SARS-CoV-2 through aerosols. An infected person expels them just by exhaling. The aerosols accumulate in the air, and spread across large spaces like cigarette smoke. They also remain in the air for hours, so even if a room is empty, if a symptomatic person was there earlier, the aerosols will still be there. Crowded, indoor spaces are high-risk for transmission.

We are currently in a wave caused by a new variant for which a vaccine has yet to be developed. In a crowd of 100, statistically 1-2 people will have active infections.

If we put all of this together, we see that live events in crowded, indoor spaces are particularly dangerous, and that masking only when someone is symptomatic is woefully inadequate to prevent infecting others. So, in order to not infect other people, we need to individually mask at these events, and to collectively apply pressure to venues that are enabling these infections, as well as to lawmakers who have removed protections.

That’s the tl;dr. Now, if you have some time, and feel motivated to prevent further infections, let’s look more systematically at the problem of people infecting other people, especially at live events, and how to constructively address it.

Neil Gaiman requested masking at his events, from both venues and audience members

It’s fucked-up that, three days after Neil Gaiman requested that attendees voluntarily mask at his tour events — because the venues themselves refused to enforce audience masking — Neil announced on social media that he has another COVID-19 infection and “this time it means business.”

This infection — and any COVID-19 infection — is terrible, but unfortunately not surprising. We are in a wave caused by multiple variants, and lawmakers worldwide dropped most COVID-19 public health mitigations earlier this year. So people who are appearing at live events now are at an incredibly high risk of being infected. The risk is also increased due to a swarm of new variants — so many versions of the virus are circulating now, you can get a case in August and another in September

As a fan of Neil Gaiman, I guess I wished that somehow it would miss him. COVID-19 infects the brain, and his brain has created my favorite TV series, Good Omens, a queer love story between an angel and a demon. This series has helped me, and countless others, heal from religious trauma. It also rekindled my appreciation for David Tennant in his role as the demon Crowley, who witnesses everything from Old Testament atrocities to a modern-day armageddon, and seems to be the only one suggesting that God might be a tyrant. With so many of us experiencing a dark night of the soul in the pandemic, it’s much-needed validation.

What also worries, but not surprises, me about Neil’s infection is that, if his statement that “this time it means business” is anything to go by, (especially for someone who can be quite understated), this infection is more severe than any previous ones. This unfortunately is also not surprising, as reinfections tend to be more severe. The damage from these infections is cumulative, and SARS-CoV-2 attacks the immune system, in many cases after a person has recovered from an initial infection. Viral reservoirs continually attacking the body are believed to be the mechanism of Long COVID. However, his more severe course reminds me of other performers who are currently touring, almost without exception at massive, indoor, unmasked events.

Actually, it’s more accurate to say that it scares the hell out of me.

Actors from another TV series beloved by queer fans, Our Flag Means Death, including Rhys Darby, Vico Ortiz and Samson Kayo, will appear at London Comic Con on October 27–29th. The event will have more than 100,000 attendees and does not require masks. And David Tennant, who sparked my motivation to advocate for safer venues, will appear at New York Comic Con October 12-15th. NYCC will have over 200,000 attendees and also does not require masks. I checked.

The math on the likely damage is pretty fucking grim.

It’s estimated that in a crowd of 100, 1–2 people have a COVID-19 infection. So that’s at least 2,000 attendees spreading the virus.

Each person infects 2–3 other people. This is total, so they may not infect people at this event. But because the venue is extremely high risk: indoors, crowded, no mitigations, they may infect more people than averge.

So, from 2,000 people who go to Comic Con with infections, that’s at least 4,000 people that they will infect.

Between ⅓–1/10 infections result in Long COVID, so at least 400 people statistically may develop Long COVID. From one event.

tl;dr 200,000 attendees/100= 2,000 infections x 2= 4,000 newly infected/10 =400 Long COVID cases

And that’s the conservative estimate. The upper-end estimate, based on data, is up to 2%.

You can bet that I’m well-aware that David Tennant has a .2%-2% chance of developing Long COVID from this one event, especially because he’s due to play MacBeth in London this winter. The luckiest person who ever existed would statistically develop Long COVID after their 50th event.

It’s not just headlining performers who need to worry about infections. Any attendee has a .2% chance of developing Long COVID from this one event, and that’s a tragedy in the fan community, but also for people working on staff who don’t choose to be there. I wonder what would happen if the damage were immediately visible, like setting fire to 400 guests, fans, and staff people at the door. What then?

If you have read my first article sounding the alarm on unprecedented numbers of performers becoming seriously ill and dying in the pandemic, you will know that my own fannish devotion to David Tennant inspired me to advocate for COVID-19 mitigations at venues and nourishes me with the love and compassion to do this work. With Neil Gaiman’s infection, it hits home that everyone who is currently doing live events, particularly large ones with no mitigations, are quite likely going to be infected. And in the fourth year of the pandemic, that means reinfected, which means that, like in Neil’s case, it will probably be more severe.

Performers are just my own corner of advocacy, but we all breathe the same air, so these new infections will affect everyone. And people with disabilities, who work in service and customer-facing jobs, or who have inadequate access to medical care, will be the most vulnerable. But most people now have had at least one infection, so we’re all facing danger here.

This is why I want to prevent people from infecting people at events, and by doing so to raise awareness in the wider public that this is an escalating emergency. And I think it’s achievable.

The first step is identifying the causes, both individual and structural. Then to come up with workable interventions at each point of responsbility.

Individual responsibility: someone infected Neil Gaiman with COVID-19

Preventing infections begins at the individual level. As the founder of #FansMASKUP, which is dedicated to raising awareness in the fan community about masking at live events, my first feeling was rage at the person who infected Neil. The incubation period for COVID-19 varies widely, from 2–14 days, though on average 5–6. So, if Neil developed symptoms on October 5th, it’s possible that someone in the audience on the October 2nd event infected him. And if that person is such a fan of Neil that they paid to see him live, I ask: why didn’t they just wear a mask? But even this is not so simple.

From my conversations with other fans who have been diligent about masking, they sometimes experience harassment, and fear for their safety and mental health. And since so many of us are LGBTQIA+, neurodivergent, BIPOC and/or disabled, we are statistically more vulnerable to people harassing us, or even assaulting us, if we are the only ones masking. So as much as I’d like to judge this person for infecting someone who they admire, I have to admit that safety is too often a real concern for our community.

What can we do on an individual level to promote safer venues?

If we feel sufficient safety to mask at live events, then we should do so.

If we are going with friends, we can encourage them to mask too.

We can connect on social media and find other fans who are attending and mask together.

Heck, if we have a spare $20 (which not all of us do), we can even give out masks at the event so that we’re not the only one.

Aside from fear and social pressure, people may have stopped masking due to exhaustion, despair and misinformation — we MUST start again. Every masked person can break a chain of transmission and save many, many lives. Maybe even Neil Gaiman’s life, and certainly the lives of your loved ones, including fellow fans.

Institutional responsibility: venues are enabling people to infect other people with COVID-19

It would be a mistake to lay all of the responsibility on the person who infected Neil. There has been systemic neglect, and even malfeasance, at every level of responsibility, and the people who are making these decisions are enabling people to infect others. Though this reaches into the level of policy, let’s begin with the most direct enabler in this instance: the venues.

Remember, Neil said on social media that he requested audience masking at venues, but they refused. Then after his first tour date, he announced that someone had infected with with SARS-CoV-2. We can’t know whether someone infected him at this particular event, though the timing is consistent with the virus’s incubation period. Regardless, the venue has approximately 1,700 seats, and if Neil’s event was sold-out, as most are, that’s: 17 active infections, 51 new infections, 5 cases of Long COVID. So wherever someone infected Neil with COVID, it is worthwhile to advocate for venues to use mitigations.

The mitigations required to significantly reduce people infecting other people at live events are relatively simple and have been proven time-and-again to reduce the the transmission of SARS-CoV-2:

Audience masking and vaccination

Making use of HEPA air purification/filtration.

This is achievable, and venues should have been doing this since 2020. Some venues do it, and it is certainly possible, and not terribly complicated, for more venues to adopt these simple precautions.

Now, the more complex question is: if it’s so simple, why are venues refusing to use mitigations? Some of it is simply greed. It costs money, though not a lot of money, between £300–600 ($370–740) to purchase a HEPA air filter. And for truly cash-strapped venues, vendors likes Smart Air UK are renting out HEPA air filters for events. So there really is no excuse. For those who are unfamiliar with HEPA, here’s a primer from outreach coordinator (and fan herself) for Smart Air UK, Guilia Villanucci.

I’m quoting at length, but tl;dr: HEPA purifiers can remove more than 99.97% of virus particles from the air, and protecting Neil at one of his events would only have cost between $400-$700. And you can’t put a price on his brain, so…

HEPA stands for “high-efficiency particulate air.” HEPA air purifiers are nothing else than a box with a filter and a fan inside. Researchers agree that, based on their efficiency, air purifiers can remove more than 99.97% of virus particles from the air when used continuously. Now, does this extra layer of protection have to be very expensive? It can be, especially if you look only at brand names without paying attention to the technical specifications. I recommend Smart Air products, partly because I work for Smart Air UK, but mostly because these air purifiers are cheaper than most on the market, are highly efficient, and are pretty quiet. NOTE: If you are a performer based in Chicago, USA, you should check out Clean Air Club, they loan air purifiers at no extra cost to artists and touring musicians. If you are a venue or a performer based in the UK, you can rent air purifiers from us, or purchase them to take them on tour with you, just like singer and songwriter The Anchoress does. An investment of between £300 to £600 will probably be enough to keep performers safer in a venue if you purchase from Smart Air UK.

Again, HEPA air purifiers are effective and affordable and I can only think a noxious mix of greed, inertia and denial are preventing most venues from using this basic precaution.

There may be other financial considerations. Requiring masks could lead to lost revenue as people who refuse to mask will not attend. And, as of yet, venues face no financial liability for enabling infections. Though with lawsuits winding their way through courts regarding liability for COVID-19 infections, this may change.

However, like fans, venues may also have legitimate concerns for safety, The far-right has so politicized masking that the people responsible for venues are likely afraid of repercussions, ranging from the awkwardness of barring an unmasked person from attending an event, to someone throwing a brick through the window, or even assaulting a person on staff. These fears are not entirely unreasonable. But we need to make clear that these venues are enabling people to infect their headliners, Neil Gaiman or David Tennent or Taylor Swift. Additionally, lack of mitigations endangers attendees and people on staff, and lawsuits against employers who have exposed employees to COVID-19 infection have had more success. This changes the risk calculation.

What can we do to encourage venues to create safer event spaces?

We can contact the venues themselves, beginning with the ones who likely are not using basic mitigations. These can be any venue where you or one of your favorites will be in attendance.

We can also start with the venues where Neil was scheduled to appear. Here is a list of these venues with the ways to contact them.

Emerson Colonial Theatre (888) 616–0272 [email protected] Twitter-X/IG: @BroadwayBoston

The Westport Library (203) 291–4800 Twitter-X/IG: @WestportLibrary

Cooper Union [email protected] (212) 353–4100 Twitter-X/IG: @cooperunion

Peter J Sharp Theatre (212) 864–5400 [email protected] Twitter-X/IG: @SymphonySpace

Dr. Phillips Center for the Performing Arts [email protected] 407.839.0119 @DrPhillipsCtr

Venice Performing Arts Center [email protected] (941) 218–3779

Zoellner Arts Center at Lehigh University 610–758–2787 [email protected] @LehighU @ZoellnerArts

Frikirkjan i Reykvavik+353 552 [email protected] @iclandnoir

Piggott Theatre (British Library) +44 (0)1937 546060 [email protected] Twitter-X/IG: @BritishLibrary

New Jersey Performing Arts Center 1973–642–8989 [email protected] @NJPAC

If, like me, cold-calling gives you anxiety, here’s a script that you could follow:

“Hello, I am calling to ask what COVID-19 mitigations you use. [If they require audience masking and use HEPA air purification, consider thanking them for their conscientiousness. If they do not, you could say:] Neil Gaiman requested COVID mitigations at venues, but now someone has infected him. To prevent infections at your venue, I am requesting that you require audience masking and purchase a HEPA air purification unit. These are proven to significantly reduce COVID transmissions.”

I know, it’s a bit wooden, so feel free to improvise. But remember: please don’t harass these people, because most likely you will be talking to a staff person and not the person who has made the decision not to use mitigations. And if the person answering the phone is on your side, this has a better chance of success.

You can also request mitigations through social media and e-mails, although phone calls bring the most attention. But do what’s at your comfort level. Most of us who are aware of the ongoing pandemic are burnt-out and need to conserve our energy.

To sum-up, we need to hold ourselves and other fans accountable, but they face real risks and cannot be held wholly responsible. Same for venues. We need to apply pressure for them to adopt COVID-19 mitigations, but they are not wholly responsible. This brings us to the final level of accountability for people infecting other people with COVID-19.

Structural responsibility: governments are enabling infections by eliminating COVID-19 protections

The highest level of responsibility falls to governments, generally, and public health authorities specifically. It’s alarming how quickly people have reverted to using little-to-no precautions. But, remember, for many places lawmakers only eliminated public health protections within the past few months.

The state of affairs in which we find ourselves is not normal, and I think it is a brief interlude in which politicians and the very wealthy are encouraging us to continue with business-as-usual, but as those around us become sicker and sicker, we know that this is not sustainable. If 10%-30% of COVID-19 infections lead to Long COVID, and we conservatively assume that most people are infected once per year, what will that look like in ten years?

The most wide-reaching change required to stop people from infecting other people is on the level of policy. There is a basic social contract for governments to ensure public health because, in a complex society, individuals cannot carry that entire burden themselves.

In a simpler example: governments are responsible for putting stop signs at intersections. If a government legislated that there should be no more stop signs, people would get seriously injured or die in more car accidents. And we could blame the individuals who cruise their cars through the intersections and t-bone other people in their cars, or the city whose employees removed the stop signs — but the lion’s share of responsibility falls onto the government who legislated that there should be no more stop signs.

In the widest frame, we also need to advocate to our city, county, state, provincial and national lawmakers for a return of COVID-19 protections.

We also need to advocate for improved public health communication. It’s alarming how many people lack the basic facts of how not to infect themselves and each other with COVID-19.

In a nutshell: If you have learned anything new about COVID-19 from this article, that’s a problem.

**A concerned David Tennant fan should not be doing science communication that is the rightful job of public health officials.**

We need to pressure public health authorities to improve communication, and meanwhile to educate ourselves and each other about COVID.

What can we do to bring back COVID-19 protections on a societal level?

1. Call or write to your representative. By mail, if you can. I know, it’s a pain and an archaic throwback to pre-digital times, but this is most likely to be heard. But if it’s not possible, call or e-mail as it does make a difference.

Find your representative: US: https://www.house.gov/representatives/find-your-representative UK: https://members.parliament.uk/FindYourMP

2. Educate yourself and your community The Pandemic Accountability Index maintains a large repository of research on COVID-19 and its effects on the body here:

https://www.panaccindex.info/p/what-covid-does-to-the-body and here: What SARS-CoV-2 Does to the Body (2nd Edition, July 2023)

3. Stay updated on COVID news. Folks on social media have been sounding the alarm on the pandemic, like @1goodtern and performers specifically, like @MeetJess and me, @WaltzTales.

A twitter user has also kindly provided this list of scientists and concerned people worth following: @kprather88 (full credit to efforts to educate about all things covid) @jimrosenthal4 (C-R box, ’nuff said) @linseymarr (MacArthur genius grant https://forbes.com/sites/michaeltnietzel/2023/10/04/macarthur-foundation-names-the-winners-of-its-2023-genius-grants/?sh=6c3c96af4379… ) @joeyfox85 (mitigating airborne spread) @c19vaccinefacts (safe & effective) @scienceupfirst (not just covid!)

The final level of responsibility: the universe

This may sound a bit woo-woo, but if you read my first piece, which started with a loving-kindness meditation, you’ll have clocked that I think attending to ourselves emotionally is necessary for facing this emergency.

I honestly don’t know if there’s anything like a God who has an overview of the situation. And even though my Theology professor said the question of theodicy (“why is there evil in the world?”) isn’t a particularly interesting question, my answer is:

But *gestures broadly at everything.*

If there is a God they have a lot to answer for. But I do think that a real emotional crisis we’re facing is black-pilled misanthropy where we want to let the world burn, and all humans in it. But Neil Gaiman is a human. Whoever inspires us is a human. The feeling of being inspired in this particular way is your human experience. We humans aren’t more special than other animals. We only have the experiences that are unique to us in the landscape of all things, including high-concept science fiction from dynamic minds like Neil Gaiman’s.

I don’t think we should deny or suppress our feelings of despair and rage, or even hate, but to acknowledge and take care of them, and at the same time to nourish those aspects in us which support our joy and thriving.

It is possible to suffer and thrive at the same time. Perhaps if we could come up for a word for it, it would capture an essential strategy for moving forward with this pandemic. What do you think: Suffriving? Thrivering?

Let’s try leaning into some “Thrivering” together by advocating for safer venues, so that people like Neil Gaiman can continue inspiring us.

Special thanks to: Giulia Villanucci, Smart Air UK, Outreach Coordinator Nerdcake78 for the scoop. And for the slow-burn Aziraphale cuddlefic that is keeping me sane.

And everyone who is providing information, amplifying posts, and offering support. I would not be able to do this without the people who are helping out of simple kindness and solidarity.

#should have been more explicitly clear about this but too late to edit as it's been reblogged: this is an excerpt of someone else's article #this is not my own writing I am just quoting the link here #neil gaiman #david tennent #covid is not over #covid is airborne #covid is ongoing #pandemic #mask up #sars-cov-2 #long covid #masks #covid #covid-19 #long post

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we-wouldnt-have-hotdogs · 1 year ago

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Peace and Love on the Planet Earth Analysis

The entire song is allllll about juxtaposition

youtube

Homeworld gems VS the Crystal Gems, Peridot's integration

The sci-fi setting on Homeworld greatly juxtaposes the simplicity of earth, which is the point of the song. The gems on Homeworld are not used to taking breaks, mostly because they physically don’t need to and because of their utilitarian culture. This is why Peridot is so confused when the crystal gems stop working despite not being done, just to stare at the sky and listen to the ambient noises of the countryside, and she's equally as confused about the concept of making music ("What is the point? You're not 'making' anything" "Interest without meaning? Solutions without problems?").

The song follows a call-and-response format which Steven initiates to help Peridot learn about music. This is meant to parallel how she integrates into Earth and the crystal gems, and how Steven welcomes her to the family. He later helps her harmonize with him, paralleling an 'invitation' to the family. Music is an essential part of the show, so it makes sense that this call and response would be used to introduce a new character to the family, as Steven invites her to express herself through singing and even writing her own little verse. We see the crystal gems sing together for fun all the time.

Another thing worth noting is that, after Peridot sings her verse, the crystal gems take turns singing the chorus of the song. Peridot is the one to finish the song, with that last “Is there anything that’s worth more than peace and love on the planet Earth?” She has finally been integrated into the crystal gems. The end of this song marks a new era in her character development.

The juxtaposition between simplicity and complexity

The song starts with the C major scale, then the entire song is in C major. These are the first 2 scales and keys that a beginner would learn when starting an instrument. This is because they are deemed as the easiest to start with (Peridot: "That's exceedingly simple"). However, the song itself is actually pretty difficult and challenging to play on the ukulele even if it doesn't really sound like it. This would especially be the case for a beginner, let alone Peridot, who literally just learned about the concept of music. This is the first technical juxtaposition present in the song.

The instrumentation is also very simple, being just a single ukulele at first. Later on, as Peridot and the crystal gems join in, it gets a little bit of a deeper texture as it adds a layer of bass in the background. This is meant to mirror the storyline and messages of the show getting more complex and layered, as the viewers along with Steven become aware of more characters and situations.

Melody & lyrics

The melody itself is pretty simple and repetitive. This is done to help Peridot understand the concept of music and be able to repeat the melody easily. Steven says it himself; “If it’s a pattern, then just repeat after me”. Later on, he encourages her to write something herself, which, not only does she do, but the melody is different to what Steven has been singing to her. This mirrors her development, as she goes from not knowing anything about the Earth to being fully integrated into and living on it("What do you know about the Earth?" "Apparently more than you, you clod!!!").

Life and death and love and birth ↑ and peace and war on the planet earth ↓. The notes go up, then down. There is a lot of jumping between lower and higher notes present in the song. This juxtaposition is very technical, but it’s meant to mirror the thematic juxtapositions on Steven Universe: Homeworld vs aErth, simplicity vs complexity, as well as the juxtapositions mentioned in the lyrics.

The lyrics are pretty self explanatory. They are clear and total antithetical concepts, like life, love, birth ≠ death, and peace ≠ war. This, and all the above mentioned, mirror the juxtapositions of Earth, how nature is so simple and so complex at the same time and how many opposing concepts coexist and take place at the same time.

Conclusion

Once again, we are reminded of the juxtaposition of Homeworld vs Earth. This juxtaposition is meant to highlight to the viewer how things on Earth can exist and contradict each other for literally no reason other than to exist. This is a common theme in the show. The intention of the creators is to make the audience think about the things they take for granted every day living on Earth, and to appreciate its sheer beauty.

It is also meant to be a criticism to utilitarianism, I'm not saying this randomly, it's a common theme in the show, hence the exaggerated use of it by Homeworld. The slice-of-life aspect of the show, which was largely (and falsely) deemed as 'filler content', is meant to be a showcase of doing things for the sake of doing things, which forms a direct contrast with Homeworld and Homeworld gems and develops the relationships between the crystal gems as a family.

#steven universe #peridot #crystal gems #gems #song analysis #Youtube

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weex-fans · 6 months ago

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WEEX has become the initial CEX collaboration platform for Shibarium and will work together with Shibarium's top-tier projects in the ecosystem on Launchpad

BlockBeats news, on June 11, the crypto trading platform WEEX announced a strategic partnership with the Ethereum L2 project Shibarium, and will select high-quality targets from the thousands of projects on the Shibarium chain for Launchpad and coin listing cooperation to support the development of the Shiba Inu (SHIB) community. Shiba Inu development advocates have agreed to use WEEX as the preferred CEX cooperation platform for Shibarium hackathons and qualified new projects in the global developer community.

In addition, in August this year, WEEX Global VP Andrew Weiner will attend the "Blockchain Futurist Conference" co-hosted by Shiba Inu and K9 Finance DAO. K9 Finance DAO (KNINE) will be the first cooperation project and will be the beginning of their deep partnership.

Shibarium is an Ethereum Layer 2 scaling solution that aims to solve the high gas fees and slow transaction speeds in the Shiba Inu ecosystem. It uses Bone ShibaSwap (BONE) tokens as gas fees and provides faster transaction speeds and lower costs. K9 Finance DAO is the official DeFi protocol of SHIB, which aims to introduce decentralized finance to Shibarium and incentivize developers to build products on Shibarium through rewards. It is expected that up to 1,000 projects will be created on Shibarium in the next 12 months. WEEX Launchpad is one of the important use cases of WEEX platform currency WXT, which will provide exclusive airdrops for popular projects to WXT holders. What is WEEX WXT:

Know WXT: https://markets.businessinsider.com/news/stocks/weex-launches-wxt-presale-affiliates-can-purchase-at-a-30-discount-with-invitation-points-1033442484

#weex #weexwxt #weextoken #weexexchange #wxt #how to buy altcoins #what is altcoin #weex altcloin

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friendsim2 · 1 year ago

Note

Looking back on the game so far is there anything you’d change? Is there a character you would’ve written differently or made more/less important?

(director/lead writer responding)

This is a tricky question to answer, because there's not really any one singular thing that I'd personally want to change in terms of, like, "I really don't like how this came out at all." And with some time for it to marinate, I really enjoy a lot of the elements of what we ended up doing (and there's some aspects coming up that close the loop on a couple things I'm excited for folks to see), although I do have a few things:

More low-end machine testing for the walk-around segments. Especially the Volume 3 style stuff, because there was a solution to the initial issues with control responsiveness and I wish we'd delivered it out of the gate being less frustrating to play. I was actually watching a livestream where someone was using the keyboard and realized just how bad it was. As it stands now, it's actually quite good (I re-wrote the control handler to use PyGame instead of RenPy's control layer), but on release it wasn't great.

Someone mentioned having a Marsti walk-around segment related to Volume 4 and I think that would've been really cool. Volume 4 was already one of our longest routes, so I don't know where we would've stuck it in, but I still think it's a neat concept.

I wish we'd had the resources to put something akin to the Volume 1 trial sequence into Volume 8 - I think it would've been thematically appropriate, but it also would've required a bunch of sprite resources we didn't have and additional time spent on a volume that was already a decently chunky amount of writing.

Character-wise, I'm pretty happy with the balance of how folks were written. I know some people were disappointed we didn't focus more on certain characters - and I'll readily admit that "I like writing this character" plays a role in how to prioritize stuff (which, to be fair, it did in the original game too). But also, I think even the characters that're less of a focal point still got some decent development (and yeah, you'll see more Vikare/Zebede coming up as supporting characters). I wouldn't have minded having a bit more Folykl and Kuprum since they were a lot of fun to write. Kinda wish that I'd wrapped Lanque back into Volume 6 and 7 a little bit more.

I feel like the prologue volume probably could've used another pass of editing. It's the first thing I wrote for the game, so you can definitely see where the tone of the original Friendsim and Pesterquest is more of an inspiration, and the game's unique voice hasn't quite started to shine through yet. Which I suppose would be considered a high point if you really wanted "Friendsim, but again" but also I feel like the differentiation for "this is going to be a sequel, not a repeat" doesn't really start to hit until Volume 1 starts. I'm not unhappy with the writing, but I can't help but feel a little so-so about it, especially since I'm really happy with Volume 1 as folks' first major experience with the game and its writing.

This is so incredibly out of scope, but I think it would've been neat to make the entire game a full-on Act 2 style adventure game merged with visual novel elements for literally every volume. It would've been a huge amount of work, required a different engine (or significant work to make the Volume 7 walk-around engine scale up better), and cost a bunch more money but can you imagine how cool it would be!

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robialamin · 7 months ago

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Arista 7050X3 Series

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Highly dynamic cloud and enterprise data center networks continue to grow, leading to ever-increasing bandwidth requirements. , the need for high-density 25 and 100 Gigabit Ethernet switching is accelerating. In both areas, the sheet layer and back layer of the network. The Arista 7050X3 is a member of the Arista 7050X series and is a key component of the Arista portfolio of data center switches. The Arista 7050X series is a purpose-built data center switch in a compact, power-efficient form factor that combines wire-speed Layer 2 and Layer 3 functionality with low latency and advanced EOS features for software-defined cloud networking. Masu. When combined with the

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The 7050X3 supports many EOS features already supported by other Arista X-series systems. Consistency of operations and functionality reduces time to certification. Improvements include the addition of single-path VXLAN routing for network segmentation, dynamic load balancing (DLB) for optimized path selection, and network address translation (NAT).

#business

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rhan-hastur · 1 year ago

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Hi! @velvetcloak asked me to do some kind of lineart tutorial/step-by-step, I'm by no means an expert so don't hesitate to ask if you need some things clarified! Always glad to help.

I use three different methods that are pretty much trial and error, depending on what works best for the artwork but I'll do my best to explain with screenshots - these were taken on photoshop, I draw with procreate, but I'm guessing the layer modes are similar on other softwares. (Also mine are set in french, sorry in advance for the confusion.)

If you're already familiar with digital lineart and softwares, this probably won't be of much use, it's very basic stuff.

Otherwise, more below the cut! (It got a bit long.)

I. Solid black lineart, with this illustration used as reference.

I used the basic gesinski ink brush in procreate, 100% opacity in normal mode to get pure black. Very basic, it's set on top of the colour layers, everything above that is just additional effects and filters + textures. Note that I always draw separate elements on different layers and fuse them later, it's easier to deal with details this way. The isolated layer looks like this (I changed the colour of a disappearing hair lock, more on this later):

And the colours without it, like this (my style relies heavily on lineart, lol):

Both:

Good! It's a bit harsh though, I like to add a second layer to soften things up, set in 45% opacity multiply mode right under that. I duplicate the main lineart, and add a gaussian blur to the copied layer (between 3 and 5px, values vary from one artwork to another, same with the layer modes.)

Not done yet! I use the blured lineart as a colour filter by locking it to pixels only and filling it with the tone I want. In this case, red. Isolated layer:

And the end result:

The second method, I tend to use more on sketches and loose drawings to get a better blend of lineart and colours:

II. Semi-transparent lineart, with one of these sketches.

Basic 6B brush in procreate (my fav), quite thin here but you can get great results with a larger brush. It's not really obvious looking at this scale, so here's a comparison between a black solid lineart (1 layer, normal 100% - the scars are on a separate layer because of the colour, otherwise it's the same setting) and a semi-transparent one (2 layers), especially visible in lighter areas, note how the second one lets hues show through. I find this to look a bit less stiff.

Now for the method! Since this relies on the layers underneath, you want your colours to a bit more precise than the previous example. Without lineart:

TBH it's also a two layers solution, super easy. Once you're statisfied with your basic lineart, set the layer to overlay 100%. You'll get something like this:

Then duplicate this layer, put the copied layer above the overlay one and set it to normal 70% (or whatever looks best, this is 67%) and you'll get the final result as previously shown! In this particuliar case, I erased the black circle around the iris in the normal mode layer to keep the blue of the overlay one. You could also skip step two depending on the desired rendering.

The third method is a blend of the other two result-wise:

III. Coloured lineart, with this illustration. (tw: a bit of gore and blood in the full artwork, I'll crop it out of the screenshots. Poor guy can't get a break. It's the only file in this style with a semblant of organization, don't be like me, rename your layers and use folders.)

Fountain pen toothy brush, from the MaxPack watercolor set. It has a bit of a texture to it, and isn't entirely opaque so it blends nicely with the layers below. The lineart is set to normal 100%, for this method it's preferable to have separate layers for each elements, since you'll be recolouring them individually. Here, the hands, skull and additional details are all on individual layers.

Just like the blurred layer in the first method, you need to lock your pixels (the little grid to the left on photoshop):

And either fill you layer with colour, or paint on it with an opaque round brush/a soft one depending on the desired outcome. (Some zones might need a gradient, or various colours.) You can also use another normal layer on top of a black lineart and set it as a clipping mask, same result, different method. But I prefer to keep the layers count to a minimum when possible. With the layers below, it will look like this:

You can notice a bit of lineart transparency over the skull colour layer, cool stuff. (The shading of the skin is set on top for some reason, I don't remember why but surely there was a reason.) However! In this illustration, I need a yellow glow for the fire so let's create yet another layer, shall we? This affects the whole rendering. I painted a diffuse light source using a soft gradient brush, and set the layer to hard light. Isolated layer:

End result:

All done!

Now go create!

#hope this was at least a bit helpful :')#digital line art

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