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mareastrorum · 4 months

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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.

#critical role #beacon.tv #don’t trust me I’m a lawyer #I’m not your lawyer #I’m not CR’s lawyer #none of you paid me for shit #I do what I want

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bunny-corp · 7 months

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Hi everyone! I'm looking to hop RIGHT into this whole thing, Excited to share something REALLY cool with you all today! In 2002 Fredbear's Family Diner had gotten so popular that the establishments owners William Afton + Henry Emily wanted to branch out, Celebrate in a more personal way! So they proposed a Sleep-over party! At this party, guests could expect fresh home-made pizza, Ice-cream sundae competitions, Various party games [ Pin the tail on the bunny, Fredbear Sing-along, Hide away], Prize scavenger hunts …AND EXCLUSIVE Once-in-a-lifetime performances from Spring-Bonnie and Fredbear!

These performances were put on record as Story-times and a special lullaby duet! These would have been different with every Sleep-over, but due to the restaurants abrupt closing in 2003, only 3 of these Over-night parties were ever held!

Despite the fact that there were so few of these parties, they were WILDLY popular amongst the children of Hurricane! SO MUCH SO that William and Henry had to make a reservation list for party guests, limiting the available spaces for attendees to about 40 per party seeing as that was the capacity of the building at the time. Tickets to enter these parties cost about $15!

The dates of these parties are the following; 06/14/2002 [FIRST], 07/12/2002, and finally 06/13/2003!

Attached is a scanned poster i found advertising the original event, and the 2 ticket prints you could've gotten from reserving your place at these parties! It's believed Henry Emily is the artist behind these pieces but I haven't found any confirmation of that yet.

~Bunny C.

#Archive Fredbears #fnaf #fredbear #springbonnie

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blueiscoool · 1 year

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The Aztec Death Whistle ‘The Most Terrifying Sound in the World’

For those who want to celebrate Halloween like it’s 1399: Scientists are sending shivers down the internet’s collective spine by recreating an ancient “Aztec Death Whistle” that’s said to emit the “most terrifying sound in the world.”

The macabre kazoo is detailed in a new video produced by the Action Lab, a group of proud internet nerds who specialize in mind-bending experiments.

“The sound that the death whistle makes innately strikes fear into your heart,” intones presenter James J. Orgill in the clip while holding a 3D-printed version of the instrument.

The Brigham Young University engineering grad then plays an audio clip of the scream machine, which evokes a bloodcurdling, bansheelike shriek resembling a sound effect from a haunted house attraction. (We dare you not to jump!)

Orgill points out that this is not a “human scream” but rather the sound emitted by the replica of a skull-shaped artifact originally discovered in Mexico City in 1999 by archaeologists.

It was reportedly found clutched in the hand of a headless skeleton in a temple dedicated to the wind god Ehecatl — one of many sites where the Aztecs conducted human sacrifices.

Initially thinking it was a toy, per Orgill, scientists didn’t blow into it until 15 years later, whereupon it emitted a terrifying sound.

“‘It was a startling discovery because it sounded like a screaming human,” said the burgeoning YouTube star, who dubbed it the “most terrifying sound in the world.”

The Aztecs were able to create this nightmarish noise by modeling the death whistle after the human larynx.

When the user blows into the instrument, the wind divides in two, producing oscillating sound waves that bounce around a large chamber before leaving via a second hole.

While the purpose of the instrument remains unclear, experts have several theories, with some believing this fright flute was used to scare enemies in battle.

Others postulate that the whistle was a defense talisman used to ward off evil spirits during a sacrificial victim’s journey to the afterlife.

In order to resurrect this symphony of screams for our listening “pleasure,” Orgill blew into different Tim Burton-esque whistles that were 3D-printed by US tech firm HeyGears.

All told, they made the raptor larynx from “Jurassic Park” sound like a kazoo.

No 3D printer, no problem: Interested parties can buy their death whistles on Amazon, which offers duplicates made of materials ranging from resin to carbon fiber.

Many advertise how closely their decibels match that of the most bone-chilling human screams.

By Ben Cost.

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mostlysignssomeportents · 2 years

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Even if you're paying for the product, you're still the product

There’s something oddly comforting about the idea that “if you’re not paying for the product, you’re the product,” namely, the corollary: “If you can afford to pay for a product, you won’t be the product.” But it’s bullshit. Companies don’t make you the product because you don’t pay — they make you the product because you can’t stop them.

The theory behind “if you’re not paying for the product…” is that old economist’s saw: “incentives matter.” Companies that monetize attention are incentivized to manipulate and spy on you, while companies that you pay just want to make you happy.

This is a theory of corporate behavior grounded in economics, not power, a creature of theory and doctrine that never bothers to check in with the real world to see how that theory and doctrine map to actual events. Reality is a lot uglier.

Apple has blanketed the planet with billboards and print and online ads extolling its privacy-forward system design (e.g. “Privacy. That’s Iphone.”). There’s something to this: in 2020, the company made it very easy to opt out of third-party Ios surveillance, and 96% of its users opted out:

https://arstechnica.com/gadgets/2021/05/96-of-us-users-opt-out-of-app-tracking-in-ios-14-5-analytics-find/

That decision cost Facebook $10 billion in a single year, and the losses keep coming. Facebook launched a campaign that accused Apple of privacywashing an anticompetitive maneuver, claiming that Apple didn’t care about its users’ privacy, they just wanted to eliminate competition for Apple’s own ad brokerage:

https://www.eff.org/deeplinks/2020/12/facebooks-laughable-campaign-against-apple-really-against-users-and-small

Facebook’s campaign poses itself as the true champion of its users, accusing Apple of shamming. It’s laughable. Facebook manifestly despises its users and proves that fact every day in a thousand ways, large and small. Facebook’s true objection to Apple’s privacy tools is that they reduced Facebook’s earnings by $10b. Obviously.

But that doesn’t mean that Facebook is wrong about Apple’s cynicism. Apple exercises enormous control over its users. It’s a direct control. Apple blocks you from installing software of your choosing or from using third-party repair services of your choosing. They pour millions into engineering to make this technically challenging, and lead a coalition of large corporations that kill right to repair legislation whenever it is mooted:

https://doctorow.medium.com/apples-cement-overshoes-329856288d13

Some of Facebook’s critics accuse it of exercising similar control, but via a far more insidious method: they say that Facebook’s voracious surveillance of its users, combined with machine learning, allows Facebook to control its users’ minds, stripping them of their free will and turning them into algorithm-addled zombies who do whatever Facebook directs them to do.

This is an extraordinary claim, given that every previous claim of mind-control turned out to be bullshit, from Mesmer to MK Ultra. The best evidence for these mind-control claims comes from Facebook’s own marketing materials, where the company assures advertisers that they should spend their money on FB’s platform because of its mind-control features.

When FB critics repeat these claims, they’re engaged in “criti-hype,” Lee Vinsel’s useful coinage describing criticism that serves to bolster the target’s own propaganda. If FB are evil geniuses, well, at least they’re still geniuses.

https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5

Some Facebookers doubtless believe their own hype, but that doesn’t mean we have to join them in self-delusion. We can criticize Facebook for seeking control over its users, and for using that control to do things that serve its own interests at the expense of its users’ interests.

https://onezero.medium.com/how-to-destroy-surveillance-capitalism-8135e6744d59

That’s the true sin of Big Tech: using deception and coercion to control users. Companies that gain this control can be reliably expected to use it in whichever ways they can get away with. They are paperclip-maximizing artificial life-forms bent on devouring the human race, not ethical actors.

Apple’s commitment to privacy is best understood as instrumental. Apple thinks that protecting your privacy will attract your business, and they’re right. I would like to have privacy! But while Apple can increase its revenues by telling you they’ll protect your privacy, they can increase them even more by lying about it.

That’s just what they do. Earlier this month, a small security research firm called Mysk released a video revealing that when you tick the box on your Iphone that promises “disable the sharing of Device Analytics altogether,” your Iphone continues to spy on you, and sends the data it collects to Apple:

https://www.youtube.com/watch?v=8JxvH80Rrcw

The data Iphones gather is extraordinarily fine-grained: “what you tapped on, which apps you search for, what ads you saw, and how long you looked at a given app and how you found it.”

https://gizmodo.com/apple-iphone-analytics-tracking-even-when-off-app-store-1849757558

It doesn’t stop there: “The app sent details about you and your device as well, including ID numbers, what kind of phone you’re using, your screen resolution, your keyboard languages, how you’re connected to the internet — notably, the kind of information commonly used for device fingerprinting.”

The researchers had to jailbreak an Iphone in order to find this lie. Apple has gone to extraordinary lengths to make jailbreaking illegal. Apple claims that allowing users to disable the locks on their phones will make them vulnerable to bad actors who will install deceptive, coercive software.

That is true, but it’s also true that these locks make it impossible to determine whether Apple’s software is deceptive and coercive. The walled fortress that keeps you safe from third parties is also a walled prison that leaves you at the mercy of the warlord who owns the fortress.

Once a company attains a certain scale, it becomes too big to jail, and then it monetizes you however it can. If you think the future of technology is battle is between Google’s approach and Apple’s, think again. The real fight is between the freedom to decide how technology works for you, and corporate control over technology.

https://locusmag.com/2021/01/cory-doctorow-neofeudalism-and-the-digital-manor/

Apple and Google are like the pigs and the men at the end of Animal Farm: supposed bitter enemies who turn out to be indistinguishable from one another. Google also has “privacy” switches in its preference panels that do nothing:

https://pluralistic.net/2021/06/01/you-are-here/#goog

Indeed, there are so many places in Google’s location privacy settings where you can tick a box that claims to turn off location spying. None of them work. A senior product manager at Google complained to her colleagues that she had turned off three different settings and was still being tracked:

https://twitter.com/jason_kint/status/1398359580275523590

Apple is now the subject of a California class action suit over its deceptive practices, which violate the California Invasion of Privacy Act.

https://www.bloomberglaw.com/public/desktop/document/LibmanvAppleIncDocketNo522cv07069NDCalNov102022CourtDocket

As Gizmodo’s Thomas Germain notes, Apple has a good — if self-serving — reason to spy on its users. It has launched its own ad network, and is selling advertisers the ability to target its customers based on their activities:

https://gizmodo.com/apple-iphone-privacy-analytics-class-action-suit-1849774313

Companies will only protect your privacy to the extent that it is more profitable than not doing so. They can increase those profits by advertising privacy promises to potential customers. They can increase them more by secretly breaking those promises, And they can increase them even more by using privacy claims to block their rivals’ spying, so they’re the sole supplier of your nonconsensually collected personal information.

That’s what’s happening with Google’s endless proposals to “increase privacy” in Chrome that block third parties from spying on users, while letting Google continue to invade our privacy:

https://www.eff.org/deeplinks/2021/03/googles-floc-terrible-idea

If we want our privacy, we need both transparency (so third parties can investigate companies’ claims to protect privacy) and regulation (so cheating companies will face consequences when they’re caught by those third parties).

That’s why it’s so exciting that the FTC has announced its intention to treat privacy invasions as antitrust violations:

https://pluralistic.net/2022/08/12/regulatory-uncapture/#conscious-uncoupling

For so long as corporations can use technology and law to hide their misdeeds and power to avoid consequences for those misdeeds, “voting with your wallet” is as useless as opting out of Ios tracking.

We had advertising-supported media for generations — centuries — without mass surveillance. The problem with advertising isn’t incentives — it’s impunity.

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

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

[Image ID: An Apple 'Privacy. That's iPhone.' ad. The three rear-facing camera lenses have been replaced by the staring, red eye of HAL9000 from 2001: A Space Odyssey.]

#pluralistic

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zahri-melitor · 3 months

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If you want to read comics and you want to test the waters:-

Yes, RCO and clones exist, everyone uses them, I do it weekly too for titles I cannot access any other way (The Warlord) but let me tell you, it’s not the only option, particularly if you want to read reasonably modern comics back issues rather than deliberately suppressed obscure stuff. Plus, don’t you want to look at comics without worrying about getting viruses?

Your Local Library: your library probably has comics as trade paperbacks, and inter library loan will have more. It’s not the most consistent way to find things, but you should definitely look them up, there’s probably something there you’d be interested in reading. Good for having multiple presses, and most take suggestions for their collections, which is a slow but free way to read titles with highly detailed art like Wonder Woman Historia in person.

Digital libraries: my local libraries have ComicsPlus subscriptions, which I can use for free. Now you won’t get DC or Marvel on them, but BOOM!, Dark Horse, Image, Oni Press, Papercutz? All options. A really helpful way to easily sample other presses.

Internet Archive Library: the IA is again going to have an eclectic collection and be difficult to search, but it’s there and it has a lot of stuff and you’re not going to be worrying about computer viruses.

DCUI: if you’re in US, UK, Canada, AU or NZ, you can get a DCUI account. There’s a free trial available of course, and if what you’re interested in trying was published more than 6 months ago, you don’t even need to shell out for Ultra. It costs me less than a Netflix subscription per month, even for Ultra. There’s also a small handful of comics you’ll be able to access for free without ANY subscription - essentially advertising for new runs etc.

MU: just like DCUI, only Marvel, and available more places. Also runs on a subscription model. MU also has the quirk that you can manage digital ownership of individual issues also through their app (if you buy Marvel floppies there is a mechanism to obtain a legal digital copy within ~6 months of the publication date)

Local Comics Shops: you can also…buy floppies and trade paperbacks for yourself. If you really love a story and it’s out in trade, I highly recommend buying it for yourself to have forever. It just sidesteps so many future problems. An LCS is also more likely to have a back catalogue of titles available - if you’re looking for a trade published 8 years ago, they might have it while an ordinary bookshop won’t. If you’re less certain, events like Free Comic Book Day and Batman Day are largely a marketing exercise more than new original material these days, but they’re also a good way to get to handle and own actual comic books if you’ve never done that before.

Other bookshops: if you don’t have a local bookshop with a specialist comics and manga collection (I do) it’s going to be a bit like trying to find comics at your local library: you’ll see lots of stuff with Batman and Joker in the title, and a random selection of anything else. Sometimes you can get surprisingly good deals from them as collectors are less likely to use them to get titles.

Overstock/Remainder Sellers: always worth a look, particularly if you’re trying to pick up titles printed several years ago. My local one has found some absolute gems for me, at a significant discount (I have picked up parts of Dixon’s Nightwing run, Bennett’s Batwoman run, Rowell’s Runaways, some Wonder Woman trades from Rucka and Perez, Gotham Central, I just managed to get the second n52 Blue Beetle trade…)

EBay/second hand shops/Abebooks/Biblio: a decent way to measure what the actual value of a comic title is on the second hand market. Sometimes you can find that the market value is far lower than you expected (Cassie’s Wonder Girl series is remarkably affordable). In other occasions you realise DC is leaving a LOT of money on the table by not reprinting (look up Red Robin trade prices and weep).

Friends: do you know anyone else who likes comics? They may already own stuff they can loan to you! (Once I lent out my Birds of Prey collection to a friend and he returned it with the first two n52 titles added. Still unsure if that was meant to be a kindness or just letting me store them)

#yes yo ho ho is an option #but there’s also multiple free legal methods #and paid legal options #and sometimes I feel people act like managing to get comics anywhere other than RCO is wildly difficult #it’s not! and depending on what you’re looking for it can be very affordable

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mitchipedia · 8 months

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The Whiskey Trust Hates Her for this Simple Home Remedy! 1905

“The reader has very likely seen in the public prints an alleged picture of Mrs. Margaret Anderson of Hillburn, New York, who "cured her husband of drinking," and wants to tell you how to cure yours, free.

"She has nothing whatever to sell," says the advertisement. True. But the Physicians' Co-operative Association, a quack organization of Chicago, for which Mrs. Anderson is stool-pigeon, has something to sell. That something is Alcola. "The Conqueror of King Alcohol." Mrs. Anderson's correspondents are recommended by her, in a skillful imitation of a hand-written letter, to buy Alcola and be saved. Alcola is the same kind of fake as the rest of the “given in secret” cures.”

Samuel Hopkins Adams, “The Great American Fraud”, 1907

From a subsequent article about Alcola:

“The trial treatment comes swiftly. It is 3 tablets of yellow, chocolate color, and pinkish gray. They can be slipped into a gentleman's coffee when he isn't looking . The "complete treatment" costs $5. If you don't order it in a reasonable time, you get letter after letter from the Physicians Cooperative Association, winding up with a "personal" letter from the "medical director," Dr. Edward F. Stace, urging purchase of the stuff at specially reduced price. Well, the American Medical Association Journal, which prints the foregoing facts in its May 4 1907 number, has been analyzing the-tablets in its laboratory and has found that they contain poison. Says the Journal: Tablets No. 1 and No. 2 contain strychnine, while Tablet No. 3 contains tartar emetic to induce vomiting.”

#vintage advertising

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dsmppinup · 1 year

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DSMP Pin-Up Calendar - Details and FAQ

TIMELINE:

Applications Open: August 11

Applications close: August 25

Invites to artists sent: August 30

Printing: Late October DSMP Pin-Up Calendar is an artistic celebration of the characters of the DSMP, drawing inspiration from the creativity of the fandom community, "hot guy" calendars, action movie posters, classic pin-ups, vintage advertisements, art prints, and more, in the form of a 2024 calendar. FAQ:

Which characters are going to be in the calendar? There are 38 people on the DSMP, so we're not going to be able to fit them all. We're going to attempt to build a portfolio that covers as many characters as possible, but we're not deciding on which characters specifically until we know which artists we have and what ideas for images they have.

Are the characters played by minors involved? There are no current minors involved with the DSMP, but we understand that the creators being underage for much of the server's run puts a bit of a damper on enjoying more salacious images of the characters. In cases where artists decide they want to draw a character who was underage for a significant period of time of the DSMP, we'll ask that their images tend closer to "action movie poster" or "vintage advertisement" than "pin up".

Is NSFW allowed? We want this calendar to be fun and a bit cheeky, and we want to allow the artists creative liberty, but we also want you to be able to display this without your parents going "what the hell"? No actual NSFW will be part of the calendar.

I want to draw [x] character, can I draw them? During the application and planning process, we'll ask artists to indicate which characters they want to draw. We will then draw up a plan for the calendar, and artists will be assigned a character or characters based on the ones they selected.

Do the images have to stay canon-compliant? Can I draw my own design for a character? We encourage you to bring your own designs to the table, and feel free to set the characters within a canon setting OR an au.

How will I get the calendar? We will be printing a bound calendar through a central source, probably Mixbox, and we will also be making a PDF version that you can print yourself locally, if you have a different print source in mind or if the website doesn't ship to your country.

How much money are you making from this? We are not making any money from this project. If you buy the calendar through a source that asks you to pay for it, it will be priced at-cost, so you will only be paying for the cost of the printing and shipping. The mod team will see no profit from it.

How does the process work? We are going to open the calendar up to applications, and then we're going to go through the apps and select artists that can draw a wide variety of characters. Once in the discord, we're going to ask artists to pitch us a variety of ideas, and then the mod team is going to select pitches to make sure we, ideally, get a variety of different images and characters represented. We will then go through sketches, final, layout, and then release it for you all to buy or print!

#DSMP Pinup Calendar #Fandom Calendar #DSMP #DSMPblr #mcyt #mcytblr

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blogdays · 1 year

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Fastdtftransfer - Devasa+ (2)

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adagencychennai · 2 years

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marrogerson · 6 months

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Hi Margaret,

I absolutely adore Sorcery of Thorns. As an aspiring writer, I wanted to ask you how you started worldbuilding? The world just seemed so lively and detailed, just as if it was real. While reading I imagined it like in the Victorian era, were there special things you researched? Worldbuilding just seems so daunting to me.

Sending you all the best wishes, and I‘m waiting patiently and excited for new stories from you :)

Hi anon,

Thank you for the lovely ask. I was also daunted by worldbuilding when I started trying to write books. (Key word, trying... my attempts didn't work out too well for the first few years.) Since this is turning out to be a longer post, I'll put the rest under a cut.

Initially, the thing I struggled with the most was having a great idea for a world, fleshing it out, and then trying to populate it with characters and an interesting plot. This worldbuilding-first strategy works for some writers I think, but it didn't for me. I personally had a breakthrough when I started instead focusing on creating the main characters/their central conflict first, and then constructing the worldbuilding around them to support the story's needs. For example, the premise of the magic system in Sorcery of Thorns (sorcerers who summon demon servants at great personal cost) was one that I created specifically to facilitate the angst between Nathaniel and Silas.

I always say that I don't consider myself much of a researcher, but then I glance across my desk and see the stack of books that I ordered secondhand from Ebay because they're no longer in print. If you're writing in a similar time period, I highly recommend The Victorian City by Judith Flanders (this one is still in print and easy to find). The most curious one (to me at least) is probably The Victorian Bathroom Catalogue which is a book full of historical advertisements including illustrations of old bathroom fixtures.

My best advice when it comes to research—if it's something you struggle with—is to try reading things that are fun, which you would enjoy reading anyway even if you didn't have a reason. The most useful research I've ever done was just-for-fun reading that I did not realize was important research until much later. Forgive my weird analogy, but all that reading turns into sort of a yeast culture in the fridge of your brain, which you can draw from when needed instead of having to go searching for yeast every time you need it. And the yeast culture will also creep into your bedroom at four in the morning, and whisper tantalizing ideas into your ear... ok, let's stop there.

The nice thing about writing fantasy is that you don't need to sweat the small stuff. Just worry about writing a fun story first.

Some of my favorite specific topics that I've researched online lately include elevators in the first half of the 1800s, and whether gunpowder would have been used to demolish a large building just prior to the invention of dynamite.

Best of luck!

#writing #ask

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