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nevinslibrary · 11 months

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Comic Book Saturday

Earlier in the week we had Ben buying a kingdom for a million dollars. On this Comic Book Saturday we have a bunch of kids who build their own fantasy world, all out of cardboard.

This book was so much fun. Everyone always jokes when cats and such make homes out of the cardboard boxes that the toys they’re supposed to play with came in, but, kids do that too. And, so, this big bunch of kids that are all so different creating this awesome world during the summer is so much fun to read about. The characters are all unique and different and I really liked the art as well. And, it’s a series too. I can’t wait to read the next one.

You may like this book If you Liked: Recess Warriors by Marcus Emerson, The Season of Styx Malone by Kekla Magoon, or My Beijing by Nie Jun

The Cardboard Kingdom by Chad Sell

#comicbooksaturday #nmlRA #nevins memorial library #cardboard kingdom #chad sell #the cardboard kingdom

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bardicbramley · 1 year

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'All Time Favourites' of 2022 - Part 2

July

The Wild Robot - Peter Brown

Illustrated Novel - KS2+ - Family, parenthood, friendship, found family, science and technology, environment, animals, death and grief, bullying, differences.

Cici's Journal: The Adventures of a Writer-In-Training - Joris Chamblain, illustrated by Aurélie Neyret

Graphic Novel / Comic - KS2+ - Friendship, intergenerational, mystery, adventure, writing, books, family, letter/scrapbook/journal.

September

That's Not My Name - Anoosha Syed

Picturebook - EYFS+ - Activism, cultures, languages, school, empathy, friendship, self acceptance, self empowerment, family, emotions.

Like A Charm - Elle McNicoll

Novel - UKS2 / KS3 cusp - Disability and Neurodivergency (Dyspraxia), family, fantasy, magic, folklore, Scotland, school, bullying, self acceptance, self empowerment.

The Secret Sunshine Project - Benjamin Dean

Novel - UKS2 / KS3 cusp - LGBT, family, bullying, intergenerational, death and grief, activism, art and music, emotions, self acceptance.

October

Paws - Kate Foster

Novel - KS2+ - Disability and Neurodivergency (Autism), friendship, family, dogs, slice of life, school, Australia, self acceptance, bullying.

Roar of the Beast - Chad Sell

Graphic Novel - KS2+ - LGBT, friendship, family, mystery, dark, adventure, imagination, superheroes, halloween, bullying, emotions.

How To Be More Hedgehog - Anne-Marie Conway

Novel - UKS2 / KS3 cusp - Disability and Neurodivergency (Speech difficulty, Stammer), bullying, self acceptance, family, friendships, environment, activism.

My Shadow is Pink - Scott Stuart

Picturebook - EYFS+ - LGBT (Transgender), gender roles, family, bullying, differences, mental health and emotions.

Arthur and the Golden Rope / Marcy and the Riddle of the Sphinx / Leo and the Gorgon's Curse - Joe Todd-Stanton

Graphic Novels - KS2+ - Historical, mythology, folklore, fantasy, adventure, mystery, family, emotions.

November

Love Your Body - Jessica Sanders, illustrated by Carol Rossetti

Nonfiction - KS2+ - Growing up, body positivity, self acceptance, differences, science and development, empathy, girl power.

Life Size - Sophy Henn

Nonfiction - KS1+ - Animals, interactive, facts, science, environment.

Me and My Dysphoria Monster - Laura Kate Dale, illustrated by Ang Hui Qing

Picturebook - KS1+ - LGBT (Transgender), self acceptance, mental health and emotions, family, friendships.

Timid - Harry Woodgate

Picturebook - KS1+ - LGBT (Nonbinary), anxiety, emotions, friendship, school, self empowerment.

We Want Our Books - Jake Alexander

Picturebook - KS1+ - Activism, community, family, libraries, books, self empowerment.

December

When I see Blue - Lily Bailey

Novel - UKS2 / KS3 cusp - Disability and Neurodivergency (OCD), family, friendship, bullying, school, slice of life, divorce, mental health and emotions, pop culture, positive masculinity.

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kingsbridgelibraryteens · 2 years

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Teen Review Tuesday: The Cardboard Kingdom by Chad Sell

Here’s a review from Lawer:

The Cardboard Kingdom by Chad Sell is an incredibly charming graphic novel anthology, with stories brimming with the imagination of a bunch of kids with tons of time on their hands. Fans of cartoons like Craig of the Creek and books like Laugh Out Loud as well as any D&D fan will love the imaginative (literally) set pieces, but also grounded and relatable stories. The art style varies slightly throughout the book but is consistently vibrant and pleasant.

The book follows a neighborhood and its growing cardboard civilization, using various medieval tropes and children’s imagination as its basis. The book as a whole shows the neighborhood storybook grow from a few kids with a couple of cardboard boxes, to a sprawling complex world of heroes, villains, capitalism, and cardboard. As the world becomes more interconnected, we get introduced to more and more kids, and we learn more about their lives outside the cardboard realm and how it can affect their lives inside the land of cardboard. The book's many stories tackle themes of identity, acceptance, family, and friendship.

I would recommend this book to any kid wanting to further expand and see ways to apply their imagination. Not just that, but I would also recommend it to those older folks who want to reminisce and relive their days of an overactive imagination, and maybe even be inspired to open it up again.

#Teen Review Tuesday #The Cardboard Kingdom #Chad Sell #virtual submission #Teen Advisory Group #TAG #Kid Lit #graphic novels #Kingsbridge Library #NYPL

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amandabe11man · 2 years

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I love rammstein not only because they only ever make good and epic music and they literally never miss, but ALSO because they’re living proof that the “musicians need to sing in english to be popular outside their own countries”-sentiment is bullshit

#rammstein #the virgin non-english band who sings in english hoping to sell it big #vs the chad rammstein who almost always sing in german 99% of the time and still become one of the most popular bands ever

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mademoiselle-crabaletta · 7 months

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I do NOT understand how the hell instagram can have such an intense creepy tracking system but still somehow constantly show me garbage that I never like or interact with 😭

I literally only click/like/comment on pics/vids of dolls and sometimes art, but this damn app is constantly trying to show me dumbass vids from these tiktok rejects that have nothing to do with anything I've liked...I don't click on or view them so idk why the hell they keep showing them. I thought their algorithm was supposed to be stalker level creepy 🤨

#90% of the time it's losers doing dumbass skits to make fun of a group and feel superior #but they aren't even funny so it's just pathetic #the other 10% of the time it's shills trying to sell an asian beauty product bc it's allegedly what some kpop idol uses #l can only assume it's bc the dolls I follow are mostly asian brands?#and most of the losers making skits are usually white ppl living in asia that think they're better than white tourists #but it's still so annoying their vids take up half my screen I'm trying to look at aesthetic pics of dolls not you uggo chad chad wannabes #the only reason I use the app is to keep up with the latest releases from the doll companies and to look for outfit inpso for them #instagram #meta #bjd

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pablolf · 10 months

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And Keanu says something really interesting to me on the first John Wick. He comes to me and he goes, “Look, just so you know, little bit of advice, when you edit, once a week, you should see the edit on the big screen.” And I’m like, OK, we’ll try. Later, alone with him, I’m going, “Well, why?” He’s like, “I’m a big-screen actor.” And I had no fucking idea what that meant. I thought it meant a movie star. And he’s like, “No, no, no, no.”

And he started talking to me about non-verbal acting, like gestures, motions. And he’s like, “Look, when you see me on a little monitor and I give this little look, it’s one thing. But when you see it on a 40-foot screen, that look’s going to say a lot. That’s what I want to play this guy as. So just please be aware of it, so when we punch in on the closeups, it’s going to mean something.” And it kind of really clicked for me right there.

I’ve always been fascinated by non-verbal gesture, body language. Keanu would go through and strip his dialogue down. It was like, “No, no, nope. I’m just going to cuddle the puppy.” In the first John Wick, he doesn’t talk for 32 minutes. Try to sell that one to a studio: You have Keanu Reeves and you’re not going to let him talk.

Chad Stahelski on what the John Wick movies owe to Buster Keaton

#chad stahelski #john wick #buster keaton #film #interview #keanu reeves #acting

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doyoulikethissong-poll · 6 months

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Destiny's Child - Jumpin', Jumpin' 2000

"Jumpin', Jumpin'" is a song by American group Destiny's Child as the fourth and final single from their second studio album, The Writing's on the Wall. The song was co-written and co-produced by group member Beyoncé Knowles and Chad Elliott. "Jumpin', Jumpin'" became a commercial success, peaking at number three on the US Billboard Hot 100 and within the top ten in Australia, Canada, Iceland, the Netherlands, New Zealand, and the UK. Chad Elliott was compiling beats for his own rap project and accidentally sent one of his beats (with no lyrics attached) on the same disc to Destiny's Child with potential songs for their second album. Beyoncé heard the song, began writing to it, and sent a rough draft to Elliott, who was impressed with the melodic, syncopated-rap delivery. The completed product would secure a placement on the album The Writing's on the Wall and would ultimately become Elliott's highest-peaking and highest-selling song in multiple global markets, as well as the first song that Beyoncé received a co-production credit. "Jumpin', Jumpin'" peaked at number three on the US Billboard Hot 100 on August 19, 2000, becoming Destiny's Child's fourth top-ten hit, and remained at the position for five non-consecutive weeks. It became one of the biggest radio hits of 2000 and the group's second longest run atop the chart behind "Independent Women Part I", which reigned for nine consecutive weeks. The video for "Jumpin', Jumpin'" was directed by Joseph Kahn, who previously worked with the group on the video for "Say My Name". It recieved a total of 64,1% yes votes!

youtube

#finished #high votes #high yes #high reblog #destiny's child #beyonce #00s

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fob4ever · 5 months

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virgin frank selling a single dirty ass old sweaty glove for like $300 vs chad joe giving away a guitar he used on the first tttyg tour for free

#starting shit just bc im bored

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genericpuff · 1 month

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CHAD ANON-

Alright so I've been meaning to post about this for a couple days, but we gotta talk about what's been going on in the /r/webtoons subreddit the last couple days.

Every now and then, the heavens part and an anonymous creator will descend with their experiences with Webtoons. And they're almost never good. And that's good in the long run, because that means we have more ammunition to support Webtoons being an ass platform that benefits no one :))

Obviously the anons here are risking a lot posting this sort of stuff, so before I go ahead, let it be known that I'm gonna try and keep speculating to a minimum and just touch on what anon has provided. When it comes down to it, this post hasn't been verified in any way, so it might not even be 100% real, though there's a lot of evidence to suggest it is based on the responses from other users that validate many of the points anon makes.

I will also mention that any opinion I have regarding the contract outside of what's been provided by anon is from reading other accounts from creators who have spoken up and just generally being a community member for a long time who's been around the bend and heard a lot of shit from Originals creators. I am not an Originals creator and I have never been offered any of these contracts.

So let's get into this!

The contract 'evolving' over time was definitely something that a lot of us were at least semi-aware of, as it seems that a lot has changed since 2020 as verified by many creators who have spoken up on their contracts (or at least said what they could in light of the NDA's that WT uses to prevent them from saying anything). But I had no idea the extent to how far WT was going with it, how much they were trying to get away with. Automatically having the ability to buy 100% of the creator's IP? That is a huge, massive no-no. I've had some creators heavily imply to me in the past that they've sold off portions of their IP, but WT being given the automatic pass to buy 100% is severely unethical.

For anyone out of the loop, IP means Intellectual Property. It means whatever content is being made, it belongs to the person making it. Lore Olympus is Rachel Smythe's IP. City of Blank is 66's IP. Of course, copyright law gets dicier when it comes to stuff like fair use, trademarking, etc. but for the sake of this topic, IP just means "if you made it, you own it". Webtoons typically buys digital print rights, meaning if you sign on as an Originals, that means you can only post that comic that you sold to the Originals section. It doesn't mean you can't use other platforms for other comics, just that for the comic you sold, you have to post exclusively to Webtoons.

Webtoons is essentially trying to take that from creators by going "if you sign on as an Originals creator, you don't just lose your distribution rights, you lose all of your rights." They might still be able to run Canvas comics separate from Originals, but whatever they sold to Originals is no longer theirs to own. And the kicker is that it's, of course, for a very low fee. Buying out 100% of someone's IP should NOT come cheap, but WT is undoubtedly offering pennies in the hope that someone bites for that 'exclusive' Originals offer.

This. This is a big one. I'm not a lawyer, but I'm pretty sure this is massively ILLEGAL.

Just like with the IP rights, creators should not automatically have their printing rights taken from them by a digital publisher. They can make offers, sure, but they can't force creators into giving up their rights for physical publishing when they themselves are not a physical publishing house. Some series do get physical prints through other publishers like Random House (ex. LO) but a digital printing platform should NOT be able to restrict the printing rights of a creator who has only sold their series for the purpose of digital distribution. Especially because, again, printing rights are usually sold for massive gains for the person selling them - not a portion of month's rent for people living in a shitty New York apartment in 2024. That is what Webtoons thinks your printing rights are worth.

This is one that I've been very certain of for the past little while, particularly due to my past discussions regarding LO's merch. Because let's face it... it isn't good.

But I don't hold Rachel accountable for this shit because she's not the one making it, it's almost certainly some in-house designer at Webtoons or some other third party through Random House Worlds. Sure, it says "By Rachel Smythe" but that's more so just for marketing at this point, because no one wants to buy merch made by Chuck the Penguin House merch guy.

Remember when I said LO's partnership with Inklore / Random House Worlds was gonna be purely for cheap merchandise in the realm of cookbooks and card decks?

Yeah.

Point is, it's clear a lot of creators who are part of Webtoons' merch program may not even have any say or choice in the matter. Of course, I don't know what Rachel's contracts specifically are like, so I won't speculate on that too much, but there's a lot of evidence to suggest that she may not own as much of LO as she used to. She was definitely a part of the older contracts from 2018 at one point that didn't have the more predatory tacked on bullshit like the Minimum Revenue Threshold, but... she's renewed her contract since then. So it begs the question of how much LO has suffered not just on her account of being bad at managing a team and writing a long-form story, but at the hands of Webtoons dipping too much of their hands into her work.

Oh look, another highly unethical if not outright illegal thing! Digital print publishers can't be your agent! Repeat after me -digital print publishers CANNOT be your agent! As anon explains here, it would make it far too easy for publishers to steer their creators into directions that only benefit the company. Agents are like lawyers for artists, their job is to protect writers, actors, artists, anyone who's trying to enter some kind of media industry. Most publishing agencies won't take unsolicited manuscripts for publishing, which means writers need agents who are willing to vouch for them and help them connect with publishers. Webtoons being the publisher AND the agent for creators... seriously, that's fucked up. It means Webtoons can direct creators to do whatever benefits the company itself, not the creator. But hey, we already knew that was the case as soon as we saw "Webtoon would be able to automatically buy 100% of your IP" LOL But if you needed more to support the sheer predatory audacity of Webtoons as a company, there it is.

This is the sad reality for a lot of content creators. Comics aren't a new industry, but webcomics are and a lot of the people going into them are either extremely young or just never learned how to navigate the professional world. We talked about this issue last week and now here it is in action - a lot of creators don't even realize they're supposed to hire lawyers for contracts like these, and those who do... can't afford them.

And again, I'm very aware that this reddit post isn't exactly substantiated by anything beyond anon anecdote (such as a copy of the actual contract) but a couple other people in the thread who were offered contracts also came forward to express the similarities - and differences - between what they were offered and what OP was offered.

(these responses are actually gone now but that's why we have the power of screenshotting as the thread was happening LMAO yay me)

This thread is also being discussed on Twitter:

For those who are as old and falling apart as I am (/hj) and remember when Youtube was still coming into its own as a platform, what Webtoons is doing to webcomic creators is very similar to what businesses like MakerStudios did to Youtubers back in the day - signing creators into predatory contracts with the promise of fame and fortune, just to pull the rug out from under them with shit pay, shit management, and less perks than they had just doing it all on their own time and dime.

Webcomics, as a blooming industry, are now going through the same problem as Youtube did back in the late 2000's/early 2010's. No one knows how to navigate the industry. A lot of people and businesses don't even know how to profit off it, at least not sustainably (and for some platforms definitely not ethically). Very few people have come out of this industry with the money and fame they were seeking in the long-term, both because it's easy to burn out quickly but also because there is no long-term yet due to this being such a new industry... and those who have come out with those victories are often people who are still just pursuing the traditional comic publishing ways of glory, by seeking out agents, signing print deals, and doing everything that any other freelance or contracted comic creator would do, because it's safer and offers more structure than what webcomics are offering on their own. There are no regulations, no protections in place looking out for creators, it's basically just a free for all of young people looking to monetize their creations and businesses willing to take advantage of those people for a quick buck.

I don't think any of this means that webcomics have to be exclusively relegated to being a "stepping stone" for traditional print comics or grander media like film and television. They're a medium in and of themselves, a very accessible medium to boot, that welcomes anyone regardless of their status, technical skills, or background. They're wonderful for that and I think more people should be willing to give webcomics a try as a medium if they want to express themselves on their own terms.

But as I've talked about in the past time and time again, there's still going to be a separation between doing webcomics as a passion project or a hobby, and doing them as a profession. When it comes to the latter, you have to be willing to treat it professionally. You have to recognize that there will be those out there who will take advantage of you for money, because that's what the professional world is all about. This is unfortunately something a lot of creators just don't realize, because we're going through those same growing pains a lot of Youtubers have gone through (and still go through) - learning how to navigate our passion as a job, with all of the legal mess, dotted lines, and legal stipulations that come with it. And we're in the midst of that learning now, by seeing the actions of companies like Webtoons that only seek to exploit creators rather than foster them. It unfortunately will take more creators getting screwed over before anything changes. But we have to be willing to talk about it, every single time. We have to be willing to separate the creator and their own faults from the faults of the platform that's hosting them - a creator can be both lacking in their own skills as a creator as well as lacking in support which makes it impossible for them to hone those skills.

And yes, I say all of this because it concerns the criticisms I make of creators like Rachel Smythe. I think there are a lot of things she does that are indicative of her as a creator and her inability to act professionally in this industry, from LO's rampant misogyny and objectification of women to her own misfires when interacting with her fandom. But there are also just as many things that can be potentially traced back to the platform - it's hard to make better content when you're constantly being exploited and hung out to dry.

Like anon, I too hope that more creators will be willing to stand up and speak on behalf of themselves and their peers, to push back against these contracts. It's gonna suck. It's gonna be hard to want to make those moves when just about every creator is just trying to put food on the table. But for every anonymous creator who stands up and speaks, for every person who isn't willing to sign those contracts and talk about the reasons why, for every storyteller who uses their skills to spread the message, the power they have grows. We have to make it impossible for Webtoons to continue to ignore.

After all, it would be a real shame for more of these stories to come to light just as Webtoons is seeking an initial public offering in the stock market. Wouldn't that just be so unfortunate for them? :)

#webtoon #webtoon critical #fuck webtoons #support small platforms

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sunforgrace · 3 months

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one day chad lindberg woke up logged onto twitter and decided he was desperate for some of that sweet sweet supernatural fan clout through which to his sell crystal jewelry and that live roleplaying was the way to go roped samantha ferris into it and now dean and castiel have been bonded in holy matrimony for 3 years

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especiallyhaytham · 2 months

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You know what really sucks about art history and AI?

These days, I can't go on Google and look up "Renaissance" or "Rococo" or "Baroque" art without the results being absolutely littered with shitty, modernized AI pictures. If I'm studying 18th-century portraiture, I'm looking for themes and motifs specific to the period (composition, shape, emotionality, emphasis, etc), so I can better understand the cultural values of an era, and then deconstruct and experiment with them in my own art. I don't want to see some generic hot girl in an inaccurate Marie Antoinette dress, or a Chad Napoleon that's even more ridiculous than the Jacques-Louis David propaganda. Jesus Christ. This garbage isn't even comparable in how awful it is, and it's infecting everything.

For reference, on the left is the work of Artemisia Gentileschi, an actual Baroque artist (click for full size), up against "Baroque Style" from a website selling AI prints. Ew. I won't even explain how Not Baroque the image on the right is, it's so bad it's actually criminal.

Examining historical art periods in modern works is one thing, but this shit isn't even trying. This is another reason why AI isn't art. You can click a button and make something aesthetically pleasing, but you learn nothing. You evoke nothing. You say nothing. There is not a single ounce of value to be had here, other than demonstrating our culture's most superficial ideals, your complete lack of personality, and absolutely no foundational knowledge or intuition. It's a joke is what it is. Artists are trying to do actual work over here, you're just a waste of air.

#//personal #vent #art history #shaming ai users is morally correct #ai is for the shallow and simple-minded #even growing artists have more to offer than this contrived shit

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