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chaos-fantazy · 1 year

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The project I teased in my previous post is finished. Here are fan designs I created for a Friday Night Funkin' D-Sides version of the main characters of Mega Man. I'm aware that there aren't really any noteworthy FNF mods based on Mega Man to tap into for a D-Side version of the characters, but I wanted to take a stab at it anyway, because the franchise has historically been very important to me.

(Partial credit goes to @e-clarrissa for helping with these sprites, and also for making the sprites used for the "A-Side" versions of Roll (From Mega Man Maker) and Drs. Light and Wily (From the Mega Man: Infamous Intent public-domain resources.)

Like before, you can find the full story associated with these designs and other details under the cut:

Main Backstory Info

Up-and-coming robotics prodigies, Dr. Thomas Light and Dr. Albert Wily, are making their first forays into the field of robotics together. Despite their camaraderie, however, the two have never exactly agreed on how to improve the standing of robots among humans—Dr. Light believes that robots will only be fully accepted by humans when they become their equals, and diverts much of his research into artificial intelligence accordingly; while the more pragmatic Dr. Wily believes humans will accept robots that prove their usefulness firsthand. To this end, he devises a peripheral known as the Double Gear System, which could divert a robot’s power to extremes, granting them superhero-like strength and speed on demand.

Early prototypes of the Double Gear System prove strenuous, however, with many of the robots Dr. Wily tested on suffering intensive damage. A council is held to discuss the merits and flaws of each doctor’s approach and ultimately decide which of them will receive funding to continue their research.

At this point, the story is consubstantial with the original Mega Man timeline, per the prologue given in Mega Man 11. Where things begin to diverge in this D-Side version of the story, however, is where Wily wins over the council, and they opt to continue supporting his Double Gear initiative in favor of Dr. Light's artificial intelligence research. While this puts some strain on their partnership, it hardly destroys it, and the two continue to work together on developing robots.

To accommodate the Double Gear System's demands, the two work on developing a new prototype robot codenamed "Project Blue" that will set the hardware standards for the industry. However, mistakenly considering this an excellent opportunity to stress-test both of their work, Light goes behind Wily's back and installs an artificial intelligence into the project. The consequences are quick to make themselves known, as Blue quickly deserts the twosome's workshop. Light is deeply guilty about these events, but keeps them a secret from his research partner, for fear that telling him now would jeopardize their work and their relationship.

So despite the major setback, the two work together to maintain their good standing; they eventually produce a "Project Green" and, a bit later, a "Project Red," which make good on Project Blue's original promise (And receive the nicknames “Rock” and “Roll,” a bit incidentally). The doctors quickly garner good publicity from their new machines, and before long, production on the new breed of industrial robots begins.

All seems well for a time, until reports surface of a streak of robots suddenly turning up missing. One by one, the designs created by the doctors disappear until they're left with just Green and Red again, but the cause doesn't make itself known until then—at this point, Blue reveals himself as the perpetrator, having given the other robots his "gift of enlightenment" and encouraging them to stand with him, as he believes that any robot at all not being sentient is morally wrong.

Backed into a corner with the government now breathing down their necks, the doctors have no choice but to put their money where their mouth is and prove Wily’s initial claims that the Double Gear System could grant superhero-like abilities. They upgrade Rock and Roll for the express purpose of taking down Blue and his Robot Sovereigns, most notably granting them the ability to download information on weaponry and fighting style from those they defeat. As the two fight, reporters documenting the events of the robot riots would witness this flashy color-changing, weapon-emulating ability, and christen Projects Green and Red with the sensationalistic name of the Rainbow Warriors—and the rest is history.

Factoids and General Tidbits

Although Project Blue has taken over as the series’ main antagonist, he has not swapped places with Dr. Wily to any capacity. …This might go without saying, but I’m gonna say it anyway.

The “Mega Man/Proto Man” monikers do not exist in this continuity. Blue is only ever known as Blue; similarly, Rock is known as Rock to those who work closely with him, “Project Green” (Or simply “Green”) to the general public, and “a Rainbow Warrior” for his heroic feats (And the same for Roll/”Project Red”).

Only robots that have received artificial intelligence are classifiable as sapient—meaning Rock and Roll would not be sapient, at least at series’ outset. There would likely be an event at some point in the series, towards the end of a specific game (Maybe Mega Man 3?), where Blue grants Rock and Roll sapience in an attempt to sway them to his side and rid him of his greatest enemies in one fell swoop—and is surprised when they continue to fight him anyway because they genuinely believe what he’s doing is wrong. This would have a lot of consequences, namely the invention of Rock and Roll’s “civilian” designs as seen above, as they would have no reason to exist before this point.

I had other additional concepts for a few specific characters/game plots, but I wound up not drafting sprites for them, and at this point, I doubt I ever will.

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mauesartetc · 1 year

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Hi! Hope you’re having a good day!

I’ve seen different discussions about Hazbin/helluva’s worldbuilding, and I was wondering what your input is about the world and what you would change about it?

I’m currently making a webcomic about demons and hell (sorta, it’s mainly set on earth) and I’m trying to plan out my own version and taking inspiration from other iterations. So I’d love to hear your opinions about the hella verse.

I've spoken a bit about this in the past, but my biggest issue with this universe's worldbuilding is... there isn't any.

Alright, that's a slight exaggeration; we do get some unique surface-level features like eyeballs and pentagrams in the environment, as well as some scant information about angelic weapons, the Wrath ring's Harvest Moon Festival, how romance is taboo in the Lust ring, and how lust demons apparently use crystals to transport themselves to the human world (translated from the Norse runes in Stolas' grimoire near the tail end of Helluva Boss episode 201. This raises more questions than answers, though, specifically "Why did Blitzo go to the trouble of stealing the grimoire when he could've just taken a crystal from a lust demon?").

But other than that? There's nothing that sets this world apart from the human world in any meaningful way. You could transplant the same characters into a slice-of-life story set in our world (in human disguises, of course) and it wouldn't change much. So the “mainly set on earth” thing wouldn’t require you to do much worldbuilding, as the settings and rules demonstrably exist already. At that point it’s just a matter of researching the settings the story takes place in rather than inventing whole new sets of rules.

I guess my advice would be to consider the kinds of questions your audience will have about how the demon world works, and sprinkle answers to those questions throughout the story rather than infodumping the whole thing in a prologue or something. It does help to have a worldbuilding bible on hand for your own reference, though, which is why I’m creating one for my own revamped version of this universe.

(Also, be careful about which sources you draw inspiration from. Don’t want to steal from anyone, intentionally or not. It’s most preferable to get ideas from real-life experiences. Otherwise, there are plenty of public domain works regarding demons, Dante’s Inferno being a major one and the Ars Goetia being another.)

Hope that helps!

#ask #ghoulishceleste #writing #worldbuilding #helluva boss #helluva critical #hazbin hotel #hazbin hotel critical

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mel-the-pirate-prompt-reblog · 1 year

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Not to bring up "old" stuff, such as the OTW May Signal bit that was removed after some backlash, I wanted to see it. I threw the OTW into the Wayback Machine, went back to May 9th, and was able to see just what they pulled from the Signal after the community backlash to see what they regret adding to this month's Signal.

So I copy-pasted it, since I bet others who didn't read it wanted/want to, too. You can also read it directly from the OTW May Signal on the Wayback Machine here.

Quotes and etc are under the cut. All blue text is a link.

This is what they cut out of May 2023's Signal:

For Fair Use/Fair Dealing Week, the OTW’s Legal Chair, Betsy Rosenblatt, was interviewed about AI legal issues*. Betsy pointed out that having AIs learn from works such as fanfiction meant that they weren’t only using old works from the public domain to learn about the world. “That means that machines will learn how to describe and express a much more contemporary, broad, inclusive, and diverse set of ideas.” What’s more…

"I’m also intrigued by some of the expressive possibilities that AI may create. Will DALL·E or ChatGPT become characters in fan fiction? Surely they will. I want to read the fan-created stories where DALL·E and ChatGPT fall in love with each other (or don’t), get into arguments (or don’t), buy a house together (or don’t), team up to solve (or perpetrate!) crimes….

Will fans will take up this challenge?"

Thought it might be worth noting that the OTW did add this about AI and Data Scraping on the Archive on May 13th.

*The interview is still up, but just in case, I'll be pulling the link from the Wayback Machine instead of the actual link.

I will be highlighting a few important points (imo) in case people don't want to read the entire interview. For longer highlights, I will be adding bold/italics/underline to help people keep from jumping around the text and read out of order (I know I do, and that tends to help me).

Because I'm having Thoughts about AI scraping, I might make a Tumblr-esque essay and put my English major to use looking into some of this interview (If I ever do, I might add a link to this post). Highlighting things and reading through this interview makes me want to pull my stuff from AO3, and I've only just started posting there a year ago.

Highlighting phrases and sentences does not mean I agree with them. It means I think they are important to see and consider.

Here's the interview that Signal links to:

...Betsy Rosenblatt is the legal chair for the Organization for Transformative Works (OTW), a nonprofit dedicated to preserving fan works.... The interview with Betsy follows.

Katherine: When you think about AI technology, fan works, and copyright, what excites you? And, what keeps you up at night?

Betsy: One of the things that excites me—which is probably a bit off to the side of what most people are talking about with AI and copyright—is that AIs are reading fan fiction now. For a long time, machine learning relied almost exclusively on data sources that were known to be in the copyright public domain, such as works published prior to 1927 and public records. The result of that was that machines were often learning archaic ideas—learning to associate certain professions with certain races and genders, for example. Now, machine learning is turning to broader sources from across the internet, including fan works. That means that machines will learn how to describe and express a much more contemporary, broad, inclusive, and diverse set of ideas.

I’m also intrigued by some of the expressive possibilities that AI may create. Will DALL·E or ChatGPT become characters in fan fiction? Surely they will. I want to read the fan-created stories where DALL·E and ChatGPT fall in love with each other (or don’t), get into arguments (or don’t), buy a house together (or don’t), team up to solve (or perpetrate!) crimes….

As for what keeps me up at night, I remain mostly optimistic. I think it would be a very sad turn of events if some of the newly begun litigation about data crawling and scraping ended up preventing machines from building contemporary, inclusive, broad-based data pools to draw on. I think it would be very sad if people turned to AI-created works instead of finding, exploring, and making fan works of their own. But I don’t think either of those things is very likely to happen. Fans make fan works because they love doing it. They feel compelled to tell the stories they imagine, and they want to share those with communities of other fans. They use fan work creation to build skills and find their own voices. I don’t think that the emergence of new technologies will stop them from doing that.

Katherine: Artists have filed a class-action lawsuit alleging that AI companies violate copyright law when they create databases of copyrighted images to “train” their AI image products. At least one of the companies in the suit, Stability AI, says that this is a fair use: “Anyone that believes that this isn’t fair use does not understand the technology and misunderstands the law.” What questions would you like to see a court ask when analyzing whether ingesting copyrighted works to create AI-training databases is a fair use?

Betsy: I tend to agree with Stability AI’s statement. I would like to see courts consider the “training” process separately from the process of generating works. It is, of course, possible that a machine could generate an infringing work. But the process of training that machine involves something very different—turning expressive works into data and creating relationships based on that data collection. We call it machine “learning” for a reason. A well-trained machine won’t generate an infringing work, but it needs as large a pool of data to work from as possible to do that. The mere fact that an AI can create something infringing doesn’t determine whether the gathering of information is infringement. Consider the classic Sony v. Betamax case: The VCR can be used to infringe, but it has noninfringing (fair) uses, and therefore the VCR does not inherently infringe. I recognize that the analogy isn’t perfect, but I find it persuasive. In general, courts have found that “interim” copying isn’t infringement—that is, copying isn’t infringement when it occurs inside a machine and does not, itself, make copyrighted works perceptible to people—and I think courts should continue to follow that logic.

Katherine: Will the Supreme Court’s 2021 Google v. Oracle decision have any bearing on this case?

Betsy: I hope so. That case highlighted that we shouldn’t be locked into one definition of “transformative” work, and that copying for the purpose of engaging in a different technological use can be transformative copying.

Katherine: What would you say to online creators who might be discouraged by AI technology?

Betsy: You will always make your work better than an AI can. What matters about your work is that it comes from you. That makes your work irreplaceable, and it will always remain so.

#OTW Signal #OTW Signal May 2023 #betsy rosenblatt #ao3 works #archiveofourown #ChatGPT #ai art is theft #ai writing is theft #we write fanfiction because we want to share #but if AI will be scanning/scraping/copying our words #we won't want to share our stories anymore #and let me tell you #while you shouldn't write for an audience #you always like knowing that someone is reading your hard work #scraping ao3 #common crawl #anti ai #mel-the-pirate post

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a-toast-ghost · 2 years

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I've been researching whether Gorgo and Konga are public domain and I think they might be based on how the debuted in novel and comic form prior to the release of their respective films.

Evidence

The comic books I believe are public domain due to a lack of proper copyright notice in the initial issues, at least from people have said (they have notices it's just that I don't know enough to say so), and if they are considered proper then the lack of renewal still puts the printed material in the public domain (at least things that would be renewed prior to 1992)

Both had novels that released in 1960 prior to their films debuting in 1961. Both novels were registered under monarch books, a label used by Charlton who published the comics. Neither novel appears to have been renewed from 1978 onward with only the films having their copyrights renewed

Now there's two major hurdles to these characters potentially being public domain

Whether the derivative nature of the print media means the films take priority in establishing the copyright of the story and characters, in spite of not being the characters public debut

And whether the scripts are still copywritten. I haven't found any evidence that the scripts themselves are copyrighted, but that doesn't mean they aren't and brings things into a legal grey area

So, if anyone who is more well versed in copyright law than me, especially a lawyer, please feel free to clear things up. Honestly it would be cool knowing that some giant monsters are public domain and usable by others

Although if these two aren't public domain there's at least Charlton's legally distinct version of Repitlicus called Reptisaurus, since I beleive those comics never got their copyright renewed

#Gorgo #Konga #kaiju #kaiju comic #copyright #public domain #public domain characters #public domain comics #reptilicus #reptisaurus

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ericmorseblog · 9 months

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For our next profile for Writers in Horror Month 2023 we have Edogawa Ranpo…

Born Tarō Hirai

October 21, 1894

Mie, Empire of Japan

Died July 28, 1965 (aged 70)

Occupation Novelist, literary critic

Language Japanese

Nationality Japanese

Alma mater Waseda University

Genre Mystery, weird fiction, thriller

Tarō Hirai (平井太郎, Hirai Tarō, October 21, 1894 – July 28, 1965), better known by the pen name Edogawa Ranpo (江戸川乱歩)[a] was a Japanese author and critic who played a major role in the development of Japanese mystery and thriller fiction. Many of his novels involve the detective hero Kogoro Akechi, who in later books was the leader of a group of boy detectives known as the "Boy Detectives Club" (少年探偵団, Shōnen tantei dan).

Ranpo was an admirer of Western mystery writers, and especially of Edgar Allan Poe. His pen name is a rendering of Poe's name. Other authors who were special influences on him were Sir Arthur Conan Doyle, whom he attempted to translate into Japanese during his days as a student at Waseda University, and the Japanese mystery writer Ruikō Kuroiwa.

Biography

Before World War II

Tarō Hirai was born in Nabari, Mie Prefecture in 1894, where his grandfather had been a samurai in the service of Tsu Domain. His father was a merchant, who had also practiced law. The family moved to what is now Kameyama, Mie, and from there to Nagoya when he was age two. At the age of 17, he studied economics at Waseda University in Tokyo starting in 1912. After graduating in 1916 with a degree in economics, he worked a series of odd jobs, including newspaper editing, drawing cartoons for magazine publications, selling soba noodles as a street vendor, and working in a used bookstore.

In 1923, he made his literary debut by publishing the mystery story "The Two-Sen Copper Coin" (二銭銅貨, Ni-sen dōka) under the pen name "Edogawa Ranpo" (pronounced quickly, this humorous pseudonym sounds much like the name of the American pioneer of detective fiction, Edgar Allan Poe, whom he admired). The story appeared in the magazine Shin Seinen, a popular magazine written largely for an adolescent audience. Shin Seinen had previously published stories by a variety of Western authors including Poe, Arthur Conan Doyle, and G. K. Chesterton, but this was the first time the magazine published a major piece of mystery fiction by a Japanese author. Some, such as James B. Harris (Ranpo's first translator into English), have erroneously called this the first piece of modern mystery fiction by a Japanese writer,[3] but well before Ranpo entered the literary scene in 1923, a number of other modern Japanese authors such as Ruikō Kuroiwa, Kidō Okamoto, Jun'ichirō Tanizaki, Haruo Satō, and Kaita Murayama had incorporated elements of sleuthing, mystery, and crime within stories involving adventure, intrigue, the bizarre, and the grotesque.[4] What struck critics as new about Ranpo's debut story "The Two-Sen Copper Coin" was that it focused on the logical process of ratiocination used to solve a mystery within a story that is closely related to Japanese culture.[5] The story involves an extensive description of an ingenious code based on a Buddhist chant known as the "nenbutsu" as well as Japanese-language Braille.

Over the course of the next several years, Edogawa went on to write a number of other stories that focus on crimes and the processes involved in solving them. Among these stories are a number of stories that are now considered classics of early 20th-century Japanese popular literature: "The Case of the Murder on D. Hill" (D坂の殺人事件, D-zaka no satsujin jiken, January 1925), which is about a woman who is killed in the course of a sadomasochistic extramarital affair, "The Stalker in the Attic" (屋根裏の散歩者, Yane-ura no Sanposha, August 1925), which is about a man who kills a neighbor in a Tokyo boarding house by dropping poison through a hole in the attic floor into his mouth, and "The Human Chair" (人間椅子, Ningen Isu, October 1925), which is about a man who hides himself in a chair to feel the bodies on top of him Mirrors, lenses, and other optical devices appear in many of Edogawa's other early stories, such as "The Hell of Mirrors".

Although many of his first stories were primarily about sleuthing and the processes used in solving seemingly insolvable crimes, during the 1930s, he began to turn increasingly to stories that involved a combination of sensibilities often called "ero guro nansensu", from the three words "eroticism, grotesquerie, and the nonsensical" The presence of these sensibilities helped him sell his stories to the public, which was increasingly eager to read his work. One finds in these stories a frequent tendency to incorporate elements of what the Japanese at that time called "abnormal sexuality" (変態性欲, hentai seiyoku). For instance, a major portion of the plot of the novel The Demon of the Lonely Isle (孤島の鬼, Kotō no oni), serialized from January 1929 to February 1930 in the journal Morning Sun (朝日, Asahi), involves a homosexual doctor and his infatuation for another main character.

By the 1930s, Edogawa was writing regularly for a number of major public journals of popular literature, and he had emerged as the foremost voice of Japanese mystery fiction. The detective hero Kogorō Akechi, who had first appeared in the story "The Case of the Murder on D. Hill" became a regular feature in his stories, a number of which pitted him against a dastardly criminal known as the Fiend with Twenty Faces (怪人二十面相, Kaijin ni-jū mensō), who had an incredible ability to disguise himself and move throughout society. (A number of these novels were subsequently made into films.) The 1930 novel introduced the adolescent Kobayashi Yoshio (小林芳雄) as Kogoro's sidekick, and in the period after World War II, Edogawa wrote a number of novels for young readers that involved Kogoro and Kobayashi as the leaders of a group of young sleuths called the "Boy Detectives Club" (少年探偵団, Shōnen tantei dan). These works were wildly popular and are still read by many young Japanese readers, much like the Hardy Boys or Nancy Drew mysteries are popular mysteries for adolescents in the English-speaking world.

During World War II

In 1939, two years after the Marco Polo Bridge Incident and the outbreak of the Second Sino-Japanese War in 1937, Edogawa was ordered by government censors to drop his story "The Caterpillar" (芋虫, Imo Mushi), which he had published without incident a few years before, from a collection of his short stories that the publisher Shun'yōdō was reprinting. "The Caterpillar" is about a veteran who was turned into a quadriplegic and so disfigured by war that he was little more than a human "caterpillar", unable to talk, move, or live by himself. Censors banned the story, apparently believing that the story would detract from the current war effort. This came as a blow to Ranpo, who relied on royalties from reprints for income. (The short story inspired director Kōji Wakamatsu, who drew from it his movie Caterpillar, which competed for the Golden Bear at the 60th Berlin International Film Festival.)

Over the course of World War II, especially during the full-fledged war between Japan and the US that began in 1941, Edogawa was active in his local neighborhood organization, and he wrote a number of stories about young detectives and sleuths that might be seen as in line with the war effort, but he wrote most of these under different pseudonyms as if to disassociate them with his legacy. In February 1945, his family was evacuated from their home in Ikebukuro, Tokyo to Fukushima in northern Japan. Edogawa remained until June, when he was suffering from malnutrition. Much of Ikebukuro was destroyed in Allied air raids and the subsequent fires that broke out in the city, but the thick, earthen-walled warehouse which he used as his studio was spared, and still stands to this day beside the campus of Rikkyo University.

Postwar

In the postwar period, Edogawa dedicated a great deal of energy to promoting mystery fiction, both in terms of the understanding of its history and encouraging the production of new mystery fiction. In 1946, he put his support behind a new journal called Jewels (宝石, Hōseki) dedicated to mystery fiction, and in 1947, he founded the Detective Author's Club (探偵作家クラブ, Tantei sakka kurabu), which changed its name in 1963 to the Mystery Writers of Japan (日本推理作家協会, Nihon Suiri Sakka Kyōkai). In addition, he wrote a large number of articles about the history of Japanese, European, and American mystery fiction. Many of these essays were published in book form. Other than essays, much of his postwar literary production consisted largely of novels for juvenile readers featuring Kogorō Akechi and the Boy Detectives Club.

In the 1950s, he and a bilingual translator collaborated for five years on a translation of Edogawa's works into English, published as Japanese Tales of Mystery and Imagination by Tuttle. Since the translator could speak but not read Japanese, and Edogawa could read but not write English, the translation was done aurally, with Edogawa reading each sentence aloud, then checking the written English.[3]

Another of his interests, especially during the late 1940s and 1950s, was bringing attention to the work of his dear friend Jun'ichi Iwata (1900–1945), an anthropologist who had spent many years researching the history of homosexuality in Japan. During the 1930s, Edogawa and Iwata had engaged in a light-hearted competition to see who could find the most books about erotic desire between men. Edogawa dedicated himself to finding books published in the West and Iwata dedicated himself to finding books having to do with Japan. Iwata died in 1945, with only part of his work published, so Edogawa worked to have the remaining work on queer historiography published

In the postwar period, a large number of Edogawa's books were made into films. The interest in using Edogawa's literature as a departure point for creating films has continued well after his death. Edogawa, who had a variety of health issues, including atherosclerosis and Parkinson's disease, died from a cerebral hemorrhage at his home in 1965. His grave is at the Tama Cemetery in Fuchu, near Tokyo.

The Edogawa Rampo Prize (江戸川乱歩賞 Edogawa Ranpo Shō?), named after Edogawa Rampo, is a Japanese literary award which has been presented every year by the Mystery Writers of Japan since 1955. The winner is given a prize of ¥10 million with publication rights by Kodansha.

Works in English translation

Books

• Edogawa Rampo (1956), Japanese Tales of Mystery and Imagination, translated by James B. Harris. 14th ed. Rutland, VT: Charles E. Tuttle Company. ISBN 978-0-8048-0319-9.

• Edogawa Ranpo (1988), The Boy Detectives Club, translated by Gavin Frew. Tokyo: Kodansha. ISBN 978-4-0618-6037-7.

• Edogawa Rampo (2006), The Black Lizard and Beast in the Shadows, translated by Ian Hughes. Fukuoka: Kurodahan Press. ISBN 978-4-902075-21-2.

• Edogawa Rampo (2008), The Edogawa Rampo Reader, translated by Seth Jacobowitz. Fukuoka: Kurodahan Press. ISBN 978-4-902075-25-0. Contains many of Rampo's early short stories and essays.

• Edogawa Rampo (2009), Moju: The Blind Beast, translated by Anthony Whyte. Shinbaku Books. ISBN 978-1840683004.

• Edogawa Rampo (2012), The Fiend with Twenty Faces, translated by Dan Luffey. Fukuoka: Kurodahan Press. ISBN 978-4-902075-36-6.

• Edogawa Ranpo (2013), Strange Tale of Panorama Island, translated by Elaine Kazu Gerbert. Honolulu: University of Hawaiʻi Press. ISBN 978-0824837037.

• Edogawa Rampo (2014), The Early Cases of Akechi Kogoro, translated by William Varteresian. Fukuoka: Kurodahan Press. ISBN 978-4-902075-62-5.

• Edogawa Rampo (2019), Gold Mask, translated by William Varteresian. Fukuoka: Kurodahan Press. ISBN 978-4909473066.

Short stories

• Edogawa Ranpo (2008), "The Two-Sen Copper Coin," translated by Jeffrey Angles, Modanizumu: Modernist Fiction from Japan, 1913–1938, ed. William Tyler. Honolulu: University of Hawai'i Press. ISBN 978-0-8248-3242-1. pp. 270–89.

• Edogawa Ranpo (2008), "The Man Traveling with the Brocade Portrait," translated by Michael Tangeman, Modanizumu: Modernist Fiction from Japan, 1913–1938, ed. William Tyler. Honolulu: University of Hawai'i Press. ISBN 978-0-8248-3242-1. pp. 376–393.

• Edogawa Ranpo (2008), "The Caterpillar," translated by Michael Tangeman, Modanizumu: Modernist Fiction from Japan, 1913–1938, ed. William Tyler. Honolulu: University of Hawai'i Press. ISBN 978-0-8248-3242-1. pp. 406–422.

Major works

Private Detective Kogoro Akechi series

Main article: Kogoro Akechi

• Short stories

o "The Case of the Murder on D. Hill" (D坂の殺人事件, D-zaka no satsujin jiken, January 1925)

o "The Psychological Test" (心理試験, Shinri Shiken, February 1925)

o "The Black Hand Gang" (黒手組, Kurote-gumi, March 1925)

o "The Ghost" (幽霊, Yūrei, May 1925)

o "The Stalker in the Attic" (屋根裏の散歩者, Yaneura no Sanposha, August 1925)

o "Who" (何者, Nanimono, November 1929)

o "The Murder Weapon" (兇器, Kyōki, June 1954)

o "Moon and Gloves" (月と手袋, Tsuki to Tebukuro, April 1955)

• Novels

o The Dwarf (一寸法師, Issun-bōshi, 1926)

o The Spider-Man (蜘蛛男, Kumo-Otoko, 1929)

o The Edge of Curiosity-Hunting (猟奇の果, Ryōki no Hate, 1930)

o The Conjurer (魔術師, Majutsu-shi, 1930)

o The Vampire (吸血鬼, Kyūketsuki, 1930) First appearance of Kobayashi

o The Golden Mask (黄金仮面, Ōgon-kamen, 1930)

o The Black Lizard (黒蜥蜴, Kuro-tokage, 1934) Made into a film by Kinji Fukasaku in 1968

o The Human Leopard (人間豹, Ningen-Hyō, 1934)

o The Devil's Crest (悪魔の紋章, Akuma no Monshō, 1937)

o Dark Star (暗黒星, Ankoku-sei, 1939)

o Hell's Clown (地獄の道化師, Jigoku no Dōkeshi, 1939)

o Monster's Trick (化人幻戯, Kenin Gengi, 1954)

o Shadow-Man (影男, Kage-otoko, 1955)

• Juvenile novels

o The Fiend with Twenty Faces (怪人二十面相, Kaijin ni-jū Mensō, 1936)

o The Boy Detectives Club (少年探偵団, Shōnen Tantei-dan, 1937)

Standalone mystery novels and novellas

• Available in English translation

o Strange Tale of Panorama Island (パノラマ島奇談, Panorama-tō Kidan, 1926)

o Beast in the Shadows (陰獣, Injū, 1928)

o The Demon of the Lonely Isle (孤島の鬼, Kotō no Oni, 1929-30)

o Moju: The Blind Beast (盲獣, Mōjū, 1931)

• Novels and novellas which have not been translated into English

o Incident at the Lakeside Inn (湖畔亭事件, Kohan-tei Jiken, 1926)

o Struggle in the Dark (闇に蠢く, Yami ni Ugomeku, 1926-27)

o The White-Haired Demon (白髪鬼, Hakuhatsu-ki, 1931-32)

o A Glimpse Into Hell (地獄風景, Jigoku Fūkei, 1931-32)

o The King of Terror (恐怖王, Kyōfu Ō, 1931-32)

o Phantom Bug (妖虫, Yōchū, 1933-34)[15]

o The Great Dark Room (大暗室, Dai Anshitsu, 1936)

o Ghost Tower (幽霊塔, Yūrei tō, 1936) Based on the adaptation of the Meiji-period adaptation of Alice Muriel Williamson's A Woman in Grey by Ruikō Kuroiwa (黒岩涙香).

o A Dream of Greatness (偉大なる夢, Idainaru Yume, 1943)

o Crossroads (十字路, Jūjiro, 1955)

o Petenshi to Kūki Otoko (ぺてん師と空気男, 1959)

Short stories

• Available in English translation

o "The Two-Sen Copper Coin" (二銭銅貨, Ni-sen Dōka, April 1923)

o "Two Crippled Men" (二癈人, Ni Haijin, June 1924)

o "The Twins" (双生児, Sōseiji, October 1924)

o "The Red Chamber" (赤い部屋, Akai heya, April 1925)

o "The Daydream" (白昼夢, Hakuchūmu, July 1925)

o "Double Role" (一人二役, Hitori Futayaku, September 1925)

o "The Human Chair" (人間椅子, Ningen Isu, October 1925)

o "The Dancing Dwarf" (踊る一寸法師, Odoru Issun-bōshi, January 1926)

o "Poison Weeds" (毒草, Dokusō, January 1926)

o "The Masquerade Ball" (覆面の舞踏者, Fukumen no Butōsha, January–February 1926)

o "The Martian Canals" (火星の運河, Kasei no Unga, April 1926)

o "The Appearance of Osei" (お勢登場, Osei Tōjō, July 1926)

o "The Hell of Mirrors" (鏡地獄, Kagami-jigoku, October 1926)

o "The Caterpillar" (芋虫, Imomushi, January 1929)

o "The Traveler with the Pasted Rag Picture" aka "The Man Traveling with the Brocade Portrait" (押絵と旅する男, Oshie to Tabi-suru Otoko, August 1929)

o "Doctor Mera's Mysterious Crimes" (目羅博士の不思議な犯罪, Mera Hakase no Fushigi na Hanzai, April 1931)

o "The Cliff" (断崖, Dangai, March 1950)

o "The Air Raid Shelter" (防空壕, Bōkūgō, July 1955)

• Short stories which have not been translated into English

o "One Ticket" (一枚の切符, Ichi-mai no Kippu, July 1923)

o "A Frightful Mistake" (恐ろしき錯誤, Osoroshiki Sakugo, November 1923)

o "The Diary" (日記帳, Nikkichō, March 1925)

o "The Abacus Tells a Story of Love" (算盤が恋を語る話, Soroban ga Koi o Kataru Hanashi, March 1925)

o "The Robbery" (盗難, Tōnan, May 1925)

o "The Ring" (指環, Yubiwa, July 1925)

o "The Sleepwalker's Death" (夢遊病者の死, Muyūbyōsha no Shi, July 1925)

o "The Actor of a Hundred Faces" (百面相役者, Hyaku-mensō Yakusha, July 1925)

o "Doubts" (疑惑, Giwaku, September–October 1925)

o "Kiss" (接吻, Seppun, December 1925)

o "Scattering Ashes" (灰神楽, Haikagura, March 1926)

o "Monogram" (モノグラム, Monoguramu, July 1926)

o "A Brute's Love" (人でなしの恋, Hitodenashi no Koi, October 1926)

o "The Rocking-Horse's Canter" (木馬は廻る, Mokuba wa Mawaru, October 1926)

o "Insect" (虫, Mushi, Jun-July 1929)

o "Demon" (鬼, Oni, November 1931-February 1932)

o "Matchlock" (火縄銃, Hinawajū, April 1932)

o "Pomegranate" (石榴, Zakuro, September 1934)

o Horikoshi Sōsa Ikkachō-dono (堀越捜査一課長殿, April 1956)

o "The Wife-Broken Man" (妻に失恋した男, Tsuma ni Shitsuren-shita Otoko, October–November 1957)

o "Finger" (指, Yubi) January 1960

Adaptations of Western mystery novels

• The Demon in Green (緑衣の鬼, Ryokui no Oni, 1936) Adaptation of The Red Redmaynes by Eden Phillpotts

• The Phantom's Tower (幽鬼の塔, Yūki no Tō, 1936) Adaptation of The Hanged Man of Saint-Pholien by Georges Simenon

• Terror in the Triangle-Hall (三角館の恐怖, Sankaku-kan no kyōfu, 1951) Adaptation of Murder among the Angells by Roger Scarlett

Essays

• "The Horrors of Film" (1925)

• "Spectral Voices" (1926)

• "Confessions of Rampo" (1926)

• "The Phantom Lord" (1935)

• "A Fascination with Lenses" (1936)

• "My Love for the Printed Word" (1936)

• "Fingerprint Novels of the Meiji Era" (1950)

• "Dickens vs. Poe" (1951)

• "A Desire for Transformation" (1953)

• "An Eccentric Idea" (1954)

These ten essays are included in The Edogawa Rampo Reader.

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hydralisk98 · 10 months

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Pseudo-historical project about 1912 unit record equipment computation aka the "Symbolic Analyst Processor" full stack!

(above pictures emulate the looks of what this tech stack documentation and actual use may look like, still very early in the process though)

It is still coming together by my head as I write infodump notes and research various aspects of the whole time, (including the WIMP & MERN/MEAN stack) but yk, things are coming together nicely to give some milestone project mid-way between my current phase in life and the next where I go develop a fully alternative INTJ lively stack of tools. Explanations, history dives, lively reaction studies and a couple more content suggestions related to it are on the way.

Behold, the infodumps

"Top-bottom and back up workflow" 1910 / 1912 Unit Record Equipment Tabulator Computation "Bundle" Project (Pflaumen & Utalics' SymbolicAnalystProcessor)

Information Processing Language / LISP 1.5 / Bel, A-BASIC / DIBOL, Spreadsheets, Cellular Automaton, COS-310, magnetic tape storage too, TECO / VIM, Assembly, Wirebox, Tabulator, Alphanumeric Interpreter, Printer, RTTY device, Data Recording, Bulk Data Processing Indexed Cards, 60-64 entries Deque, 4K Direct-use RAM, 12K * 24 storage devices, Phonebook, Timeclock, DateTime Calendar, Programmable, Statistics, Demographics, Voting, Ledger, Journal, Logging, Rolodex, 12 Generic-use Registers & 4 Special Registers, Catalog, ~16 Keys Pad, Customized Hexadecimal Numeric Representation for "MachineCode" Hexdumps, 4*12 bits per page of data, Macros, Paracosm, may be useful for Military & Civilian Uses, Electrical Energy (and possibly incorporates some mechanical energy too), Nouns & Verbs, "Vector" XY plotter, Lambda Calculus / Panini Grammar / Universal Turing Machine Thesis, Rotors, Ural TriodeVaccumTube "Mainframe", Interactive-Use, Hypertext Interactive Video Terminal, Memex, Modem, Electric + Radio Telegraphy, Document-processing, Word-processing, Orange Plasma Touchscreen Terminal, Time-sharing, Cash Register, Bank, Automatic Teller Machine, Vending Machine, Oracle, Typewriter / Selectric, IBM 701, IBM 1440, IBM 403, IBM System/360, OpenPOWER, F#, IBM Tellum, MUD, TextWorld, solo text-adventures, Email, AIX, z/OS, Linux for IBM mainframes, Symbolic Processing System, Autocoder, modular, IBM Lotus Suite, interface with KDE or CDE, paper handling equipment, Addventure, 12-bit basic data unit as designated word, Distributed Interactive System, VeneraFS (cladogram Parade+DolDoc), GNU Hurd / MINIX3-style Microkernel, either permissive FLOSS license or public domain waiver, extensive documentation, printed illustrated booklets, music-playback, emulator / compiler / bytecode / interpreter, analog media-friendly, mostly for didactic tinkering educational uses, multilingual reconfigurable programming, HTML+CSS, Markdown, Argdown, DMA, hardware-friendly, software development environment for direct-access programmers and aesthetic designers, sub-version control system like Git, various hardware & software implementations, museum / observatory Toymaker story, constructed languages / imaginative paracosm influences around the immersive in-world lore of the "16^12" pseudo-historical setting…

Back to the point

The list is far from exhaustive or finished, as life is so much more than meets the eye. But this should be a good start to remind myself what I am working towards, a full revamp of the last ~120 years of history with much attention and care put into making it as satisfying to me as possible, despite the very probable scenario where people take the ideas and incorporate only some of such "modules" in their own workflows. Which is fine but not taking the whole package (and only specific modules) is eventually gonna be a major learning experience for me considering the reason I revamp it all beyond control freak stuff is literally to provide less exclusive / less invasive tools that anyone can learn and customize despite being very... idiosyncratic yk.

Still welcoming suggestions and constructive criticism for such big time, I hope those textual infodumps I do every so often don't bother you too much... Cya soon!

#maskoch #maskutchew #16^12 #aesthetic #history #infodump

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morlock-holmes · 2 years

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hi, pragerU anon here. i was indeed not using capitalism as a snarl word but as the source that drives the current development in art.

a big example for movies would be the fact that all sequels/live action remakes are created for marketability/brand recognition but also very much copyright renewal! which is very capitalist in structure and motivation imo, creating media with maximum mass appeal for maximum profit etc. aaaaaaand in a different system this might not be the case at all, in fact, we might have all the current franchises be part of the public domain maybe, or maybe they would never have had a copyright in the first place! :)

like yeah, disney having a film monopoly is bad, but its very much capitalism that is the reason WHY disney has a film monopoly in the first place! and why it consolidates all its characters in its crossover multiverses (profit incentive), and why it makes a billion bland brainrotting superhero movies (profit incentive), and why it gives "representation" but not so much that it could conceivably upset any homophobe/transphobe (profit incentive) and why it makes movies that kinda "critique capitalism" but not to the point where anyone would want to do anything about it, and why it makes perfectly timed mediocre remakes for copyright renewals (copyright...incentive?).

thus, all creative choices and all content/story choices for any given film are lovingly permeated by the tendrils of the capitalist beast <3 and we know it's not the first time either! vertical integration in the film industry was considered a large enough problem before, to the point where the United Stated actually sued Paramount for example. not sure how common knowledge that is? nowadays the monopolies are horizontally integrated, so it's "fine" i guess....

anyway sorry for the wall of text, just wanted to clarify i didn't just jumble random buzzwords together in the first ask, the words do have purpose ^^

Sure, I get you.

There is one misconception here, (I am not a lawyer, but) under US law Disney doesn't need to renew a lot of their copyrights, copyrighted works in the US created after 1978 automatically get their full term. For earlier works, there's no requirement that they be published.

The Berne Convention, which the vast, vast majority of countries in the world are signatories to, means that, essentially, Disney's works receive the same protection in all the nations that they would in the US, so they don't have to renew in foreign countries either.

You are likely thinking of Trademarks, which do in fact expire if not consistently used.

The extreme length of copyright in the US (life of the author plus an additional 70 years. For an anonymous work, a pseudonymous work, or a work made for hire, the copyright endures for a term of 95 years from the year of its first publication or a term of 120 years from the year of its creation, whichever expires first.) is absolutely rooted in economic motives.

It took a while for businesses to really understand this, but building loyalty to an IP is very good for business. If people are big fans of Steven Spielberg movies, well, that gives Spielberg leverage to extract things from Disney or threaten to move somewhere else. If people are big fans of dinosaur movies, any studio can make those. But if people are big fans of Jurassic Park movies, Disney has a monopoly on those and nobody can pry that away from them until around 2088 at which point much of its vitality and relevance will have disappeared anyway.

So Disney has an economic incentive to treat Jurassic Park as a brand, and artistic decisions are going to be made with long-term brand management in mind.

It's not just profit motive: It's how the owners of an artwork make money off of it in a specific capitalist milieu with the presence of extraordinarily long copyright duration, easily distributed mass media and a high tolerance for monopoly.

But the fact that we live in a capitalist society is not at all incidental to the decisions being made here.

#capitalism #copyright #copyright reform #art #disney #ask #jurassic park

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sweaterkittensahoy · 1 year

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Got reminded of when I worked at the comic shop way back when, so here's a story:

I was the only female employee at the shop. It wasn't on purpose given where I lived at the time and the time I was there, but it was, in general, considered an anomaly. There were people who were a bit shocked (or worse) to see a femme* behind the counter.

A few different stories that I recall with fondness:

The ladies who read comics including Tarot: Witch of the Black Rose and Witchblade and were CERTAIN I'd love them, too because they DID love them but had no female comic fans to talk to about them, so they'd recommend them with a deep intensity that I have never forgotten. I had zero interest. Mostly naked "empowered" female protags have never been my bag, but I always replied with something along the line of "I read a few issues, but not my bag. But I've talked to several women who love it," and that always made them happy. And the truth was, I HAD talked to several female regulars who loved it. I just didn't. (Although, shout-out to Tarot: WotBR for writing the greatest line of dialogue ever: "You have to get out of here! Your vagina is haunted!!")

The car salesman (hand to god) who LOVED Tony Stark and even had the special-cut goatee to prove it. Let me tell you, that fucker pulled it off like a champ. He also had his suits tailored and was just a very sweet, funny guy. Like, in the midst of the Civil War comics event, he and I had a sincere conversation about signing the accords (he was on Tony's side) versus not signing (I was on Cap's side), and in the end, we agreed that Mark Millar was not a great writer and that the event as a whole was a mess, but The Bendis one-shot where Tony talks to Steve's corpse is a fucking heartbreaker. He also picked up a couple of comics I recommended that he said, "I'm not sure it's my thing, but I like you," and they got added to his pull list the moment he finished the trades.

Every single woman who came in with a well-meaning boyfriend who loudly announced to me, "SHE AGREED TO TRY COMICS!"

Me: Cool. What are we starting with?

Guy: A MAJOR EVENT THAT ABSOLUTELY DOES NOT STAND UP ON ITS OWN WITHOUT READING A YEARS WORTH OF THREE DIFFERENT BOOKS.

Me: Oh, absolutely fucking not. Go to the back of the shop while I talk with her.

Guy: "...What? But she--"

Me: "Name me everything you need to read to understand EVENT."

Guy: HERE IS THE LIST.

Me: BACK OF THE SHOP.

He'd go to the back of the shop. I'd approach the friend/girlfriend/wife. "Hey, I'm Gayle. I'm sure he said it was an event you could pick up and understand, but he's blinded by his love for it. Tell me, what do you usually read? Sci-fi? Fantasy? Got a superhero you like from cartoons?"

She'd respond with details, and I'd narrow it down. "Oh, okay, so you're up for a group book and find the overall idea of the Green Lanterns interesting. This is "Recharge." It's the restart of the Green Lantern Corps as a whole. Very easy to jump in on, and if you have questions, you can ask that guy you know or check wikipedia."

"Oh, okay, you like fantasy and fairy tales. "Fables" is really popular for that. It's all the public domain fairy tales hiding in modern-day New York."

"Standalone stories you can just read as they are? Here's the original graphic novel section. They're all one and done. Or maybe two and done. The point is, they're very contained stories."

*I was using female pronouns and identifying as a woman at the time and as femme as I am now as an enby (femby)

#comics #i miss that job sometimes #but also i don't have to talk to assholes #and unfortunately we had our share

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ufohio · 1 year

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Subplots & Adoptables: Two Days Until Earth Day 🌎🌻

Let's take on some storylines today. On Kaleidoscope World, we're going to try and give you as many narrative and plotting opportunities as possible—from on-site plotters to an on-server plotting channel, want ads, idea pools, idea tags, writing prompts, and member-submitted group subplots and free adoptables.

Here, take a look!

You should recognize a few of these already! I will always keep the major group-related documents pinned—but look underneath... I've submitted two other group-based story opportunities—and you can, too!

Member-submitted subplots and/or group-based ideas don't have to be in any particular format or fulfill any particular expectations.

We also have a space for character concepts with our free adoptables!

Adoptables are donated character ideas that live in the public domain, meaning writers can do absolutely anything with them they want. Unlike want ads, they're not specific—and members who submit adoptables relinquish their ownership and control of an idea, so you can feel totally free to work with that inspiration in any way you'd like. I don't know how many of you know me. I figure it's totally possible I've met some of you before. If you do know me, then you know all about my bullshit already. But to the uninitiated, FYI, JSYK, I go crazy with these things.

I hope some of you will consider making and sharing some adoptable character ideas of your own! No matter what, I will always keep this cupboard stocked.

#subplots #plots #group plots #adoptables #member-submitted #spaceship races #screenshots

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wonderfulworldofmichaelford · 7 months

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We're still working on the second draft of Rhine City, but I'm already planning ahead for the third draft. Come the third draft, several characters I created are going to either be scrapped or moved to other contexts that I think they'll work better in. These characters include:

Rhiannon Rhydderch: As I've come up with a new and better romantic arc for Marianna (as in, one that's not resolved immediately), Rhiannon's ultimate role is greatly diminished. She's still going to help with Jojo's collar and exposit about Dracula's ring, but other than that she's not going to be a major character here. Now, she will have a big role in a book 3 storyline, but beyond that I'm not sure. Her father will also show up eventually at any rate (he's Mothman).

Sunny Skye: I thought he was a cool concept, being a vampire who is essentially black Superman, but I don't like my initial backstory ideas for him and find them to be in bad taste, and I also don't really like how he's such a background character. Trimming him also makes Dracula's coven a bit smaller, which is a plus. I might use him again eventually if I can think of a good role for him. He might even end up being something cooler than a vampire.

Kenzo Mochizuki: Removing him makes Ryo more dependent on Jemima and more isolated outside his connections to a certain cult, but I have a definitive idea for him so he's not wasted: He's being shifted to Old Man Kenzo, the vampire who turned Sakura (who is going to have a bit of a more expanded role, especially considering how her relationship with Eric is getting a big and significant overhaul).

Allen Lecarde: This guy is one who I've most regretted. His relationship with Rika and his turning of her is oozing with unfortunate implications I hadn't considered. Now, he's not being entirely scrapped, he's merely moving to book 3, but that leaves Iris single and cuts a lot of weird moral quandaries in half.

Hieronymous DeWalt: I really wanted to make a vampire with this name, but ultimately I feel like he's just thrown in and overcomplicates something that doesn't need to be overcomplicated. He might show up elsewhere, but the legendary "Person from Porlock" deserves better than being a plot device.

Francis Varney and Gordon Ruthven: I added these two public domain characters back when I was on a public domain kick, and they add very little to the story if I'm being honest. Varney is not going to play a big role I don't think, though he may still be mentioned, and Ruthven is going to be cut back to his role in background lore (he was Lizzie Borden's husband and ended up being at the business end of her axe as opposed to her parents).

The Door-to-Door Buttfucker: Simply put, this was a relic from the first draft I didn't bother removing. He was an allusion to a character concept that was nothing but a bad SA joke from an edgier time in my life, and I'd rather he go back to the void where he belongs. Morag's downward spiral into alcoholism is going to have a better, less gross reason for happening (well, less gross than SA at least).

#the vampirino story

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mathewdigital-1 · 7 months

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7 Types Of Online Advertising You Should Know

Let’s look at the types of online advertising channels that are available to us today. Online advertising has become the most valuable advertising method for today’s CMO’s. It is cost effective if compared with traditional advertising methods and gives you the best ROI.

1. Display advertising

Banner ads lead to sales and it’s a sure way of revenue generation. Almost all display or online advertising campaigns are charges on a cost per click (CPC) basis. You can access millions of websites for display advertising campaigns through networks like Google Display Network.

Display advertising has become more sophisticated as it can deliver ads to you based on your location, age and gender etc. Let move on to other types of online advertising.

2. Social Media Advertising

Social media advertising or social media targeting is a form of online advertising that serves paid ads to your target audience through social media platforms like facebook, linkedin, twitter, TikTok and pinterest.

Now let’s consider some facts

According to Statista:

In 2016, users spent 126 minutes per day on social media.

It’s estimated that we spent 153 minutes per day on social media in 2019.

In 2012, the average was 90 minutes daily.

You can advertise organically to your network but to gain more exposure you need definitely need paid advertising. Social media advertising can serve ads based on demography, geography, age, gender etc.

Linkedin Ads are only for B2B sales and it serves ads to individual professionals. We also have influencer marketing where in you pay to individuals who has a lot of following to spread your message. Let move onto other types of online advertising.

3. Search engine marketing & Search Engine Optimization

Search Engine Marketing: Google receives 5.6 billion searches per day. People come to search on google and bing which makes theses search engines a great medium for brands and marketers to advertise their product or services.

Whenever you search a query, the first 2 searches are mostly paid search results. For example I searched for “digital marketing course” and the very first result I got was a paid search advertisement.

So each time an ad link is clicked by the user, the advertiser has to pay a cost to the search engine companies. Compelling stats from Marketingprofs say that “Nearly half of digital marketing budgets are spent on search, with 31% on paid search and 18% on SEO”.

Search Engine Optimization: It is the process of ranking your website higher on major search engines. To rank higher on search engines there are various methods that the marketers use like creating meta title, meta description, creating unique and quality content for the website.

Content is created by keeping specific keywords in mind. Then the content needs to get some Domain Authority links (from good websites) in order to get more traffic for which marketers approach other websites and asks to link to their content. This method is called Link Building method. By following all the SEO methods, the website gains higher rank on the search engines. So it’s an ongoing process which can get more traffic to your website and the whole process is organic instead of paid. Now let’s move on to other types of online advertising.

4. Native Advertising

When browsing publication websites or social media platforms, i am sure you have come across posts with titles like: Sponsored content, promoted stories or recommended for you. So native advertising is any content which is paid and placed. It can be in the form of an article, infographic, videos ads etc. Native advertising is difficult to spot because it blends in with the organic content. According to eMarketer, the native ad spends in the US alone will climb up to $52.75 billion by 2020.

5. Affliate Marketing

Affiliate marketing is the process of earning an income by promoting a company’s product (or services). Its very simple, you need to find a company that has an affiliate marketing program. Join them, help them to sell there product(or services) online with your own marketing efforts. You need to have a really good network either on social media or readers if you are a blogger. If someone from your network buys a product(or service) that you are promoting then you get a percentage of that sale. If you want to make passive income from affiliate marketing then Amazon Affiliate program is the place to land. Lets move on to other types of online advertising.

6. Video Advertisements

According to a new research 51% of marketing professionals worldwide name video as the type of content with the best ROI. With millennial’s being the top video consumers, businesses are finding its was to customers through Video Ads.

YouTube being the most engaging video platform. Businesses are poring money in video ads to get the best ROI. The whole system runs on a Pay Per Click model, means businesses only pay YouTube or any other platform if the consumers is engaging with their video. Even video ads can be served in a sophisticated manner like, the business can choose which age group or gender should watch their ads, basically businesses can choose as to who should watch their video ad. There is more sophistication in the video ad serving process. Lets move on to other types of online advertising.

7. Remarketing (or Retargeting)

I am sure you have come across this, you are on a shopping website and you are looking for the best sneakers to buy and you got one but all of a sudden your mood changed and you put that item in your wish list and closed the website. Then after some time you are on a different website and all of a sudden these sneakers appeared as an ad and you wonder how this happened. Yes, so this is what we refer to as “Remarketing”.

Some cool facts about Remarketing

25% of online viewers enjoy seeing retargeted ads.

Website visitors who are retargeted are more likely to convert by 43%.

The click-through rate (CTR) of a retargeted ad is 10x higher than the CTR of a typical display ad.

91% of marketers who have used retargeting have found it to perform the same as or better than search, email, or other display ads.

Contact:

+91 9742040784 +91 9019888640

[email protected]

Main Office: L-148, 5th Main Rd, Sector 6, HSR Layout, Bengaluru, Karnataka 560102

#best digital marketer in bangalore #digital marketer #bangalore

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legalupanishad · 1 year

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Patents and AI inventions: Latest Judgments and challenges

This article on 'Patents and AI inventions: Latest court judgments and challenges' was written by Rosy Adhikary, an intern at Legal Upanishad.

Introduction

As a distinct academic discipline, artificial intelligence research was established in 1956. For scientists, the concept of artificial intelligence is not a novel one. You might be surprised to learn how old this technology is. Ancient Greek and Egyptian mythologies contain stories about mechanical men as well. Here are a few significant turning points in AI history that illustrate its evolution from its earliest iterations to the present day. Artificial intelligence is discussed in this article, along with its current state, evaluations, and difficulties.

What is Artificial Intelligence (AI)?

Despite previously only being considered a possibility in science fiction, AI is a technological process that has successfully positioned itself as a part of present world trends. Machine learning (ML) is a subset of algorithms that let computers learn from data without being explicitly written or “hard coded.” To deliver precise forecasts and clever solutions, AI makes use of the computational power that massive data from the Internet of Things (IoT) sensors provides.

Current scenario

Artificial intelligence (AI) has undergone much research and development to the point that it can now make judgments entirely independently of humans. Because of its autonomy, AI technology has progressed from making simple things to producing intellectual property and simplifying challenging tasks. The “WIPO Conversation on Intellectual Property (IP) and Artificial Intelligence (AI)” has recently drawn attention to the growing importance of AI throughout the realm of intellectual property. The number of AI-related patent applications has increased in almost every field, including engineering, manufacturing, life, and medical sciences, document management, and transportation. Deep learning, machine vision, robotics, and the processing of natural language are among the fundamental AI technologies. A growing awareness of AI’s advantages has increased the number of patents in the field. The position of AI-created creations as well as the identities of their authors was one of the many problems discovered.

What are ‘Inventions’?

An invention is defined as “a new thing or procedure involving an inventive step and capable of industrial application” in Section 2(j) of The Patents Act of 1970. The second definition of an “inventive step” according to Section 2(ja) of the Act is a feature of an invention that entails technological advance in comparison to the existing knowledge or having economic relevance or both and that makes the invention not obvious to a person knowledgeable in the art. According to Section 2(ac) of the Act, capable of industrial application in connection to an invention refers to the innovation’s ability to be produced or utilised in a sector of the economy. A “new invention” is defined as “any invention or technology which has not been anticipated by publication in any document or used in the United States or elsewhere in the world before the date of filing of a patent application with complete specification, i.e., the subject matter has not fallen into the public domain or that it does not form part of state of the art” by Section 2(l) of the Act.

Patents and AI inventions: Judgments

First, the 1970 Indian Patents Act’s Sections 2 and 6 were cited by the Indian Patent Office in objecting to the designation of AI as an owner in a recent application with the application number 202017019068. A case law from India, V.B. Mohammed Ibrahim v. Alfred Schafranek, AIR 1960 Mysore 173, is cited as a precedent for inventorship. Accordingly, it was decided that neither a business acting alone in claiming to be the invention nor a funding partner could be considered an inventor. This decision emphasises the fact that, in the majority of situations, only a natural person—who is therefore neither a financial partner nor a corporation—who truly contributes their skill or technical knowledge to the conceptualization of the invention qualifies to be claimed as the inventor. It is possible to argue that an AI qualifies for the inventor title if it additionally contributes its experience or technical skills to an invention. We must examine other Indian case law in order to address the issue: In the case of Som Prakash Rekhi v. Union of India & Anr on November 13, 1980 (AIR 1981 SC 212), the Hon’ble Supreme Court of India made a ruling on the definition of a “person” in the context of Indian law. As a result, the court determined that a jurisdictional person is the one to whom the law attributes “personality.” A legal person or entity that has the ability to bring a lawsuit or be sued by the other is referred to as having a “jurisdictional personality.” An AI does not, by definition, possess the capacity to exercise a wide range of rights or carry out the necessary functions of any legal personality on its own. CS (COMM) 24/2016- Koninklijke Philips Electronics N.V. v. Rajesh Bansal & Others. In this instance, the question was whether the defendant had violated a patent on a DVD playing method that was deemed to be standard necessary. In this case, the court determined that the defendant's use of EFM and the demodulation technology in their products—basically the decoding equipment without which the DVD will not function—constituted an infringement. The defendants also fell short of demonstrating that the legitimate sources were, in fact, the plaintiff's licensees, as they claimed, and as a result, the court ordered that the plaintiff pay a royalty to them in the amount of USD 3.175 from the filing of the lawsuit until the middle of 2010, as well as a fine of INR 5 lakhs because the defendant was a former employee of the plaintiff's company. The majority of issues stem from and are based on how Section 3(k) of the Patents Act of 1970, which disallows the patentability of computer programmes as a whole, is interpreted. In its 2019 ruling in Ferid Allani v. Union of India and Ors, the Delhi High Court acknowledged that computer-based innovations like AI, blockchain, and related technologies were the future of innovation, but added that these innovations “would not change into non-patentable inventions – simply because of that. “It was decided that “technical effect” or “technical contribution” must be assessed in order to determine if CRIs are patentable, and that the mere use of a computer programme to implement an invention does not preclude its patentability. Even though the term "technical effect" is not included in the Guidelines, the judgement asserts that "the meaning of 'technical effect' is no more in question due to the creation of court precedents and patent office procedures globally and in India." The stance in the United Kingdom and the European Union is in line with the notion that an artificial intelligence (AI) concept that contributes to or has an impact on technology is still patentable.

Challenges to AI:

Since data is a key component of AI solutions, it is crucial to manage data properly and ensure its confidentiality and security. The deployment of AI-enabled systems raises issues with regard to privacy, such as concerns about data usage without consent, the potential for person identification through data, etc. To protect personal data, India currently lacks a distinct privacy law. The Information Technology Act of India has measures that address some of the concerns regarding the gathering, use, storage, and disclosure of an individual’s personal information as well as the requirement that such entities have a privacy policy. However, since these rules are not all-inclusive, a unique law is absolutely necessary. Personal data is protected under the Personal Data Protection Bill (PDPB), which is based on the General Data Protection Regulation (GDPR). The law has not yet become a reality, though. In the absence of a specific law governing personal data, any disagreements between the contractual parties would be resolved in accordance with the terms and circumstances of the Contract and privacy policies. Expertise and skill development: For a thorough and improved implementation of AI technologies, additional issues like the lack of enabling data ecosystems, the insufficient availability of AI expert knowledge, human resources, and skilling opportunities, the massive price of resources, and lack of public awareness for implementing AI in business processes must be addressed. To prepare the workforce for AI, both the public and private sectors must provide them with multidisciplinary training. Although there are concerns that AI may eliminate jobs, it may also open up new career options where humans and AI can work together to enhance human lives.

Conclusion

With the advent of AI-related goods and algorithms as well as the expansion of their effect on regular living, ethics and morality have grown to be significant barriers for AI solution providers. Every industry may have various ethical requirements. For instance, the healthcare and financial industries require the safety and security of sensitive information. There must be clear laws addressing ethical standards to increase cultural acceptability and trust in AI solutions.

References

- Current Scenario of Artificial Intelligence and patent protection in India, RNA technology and IP Attorneys , available at https://rnaip.com/current-scenario-of-artificial-intelligence-and-patent-protection-in-india/?utm_source=rss&utm_medium=rss&utm_campaign=current-scenario-of-artificial-intelligence-and-patent-protection-in-india#:~:text=60ofpatentsfiled,wastheleadingfunctionalarea - Neha Arora and Dr. Joyita Deb, A future-proof Indian Patent Office? Patenting AI inventions in India , available at https://www.barandbench.com/law-firms/view-point/a-future-proof-ipo-patenting-ai-inventions-in-india - Dr. Kalyan c. Kankanala (July 27, 2021) AI inventions and patents, available at https://coe-dsai.nasscom.in/artificial-intelligence-ai-inventions-and-patents-in-india/ - Recent Landmark Judgments on Patent Infringements and Passing Off (October 20, 2021), Company 360.in , available at https://company360.in/blog/recent-landmark-judgments-on-patent-infringements-and-passing-off/ - Krithika Muthuraman (October 14, 2020) Artificial Intelligence Created Inventions In India – Whether Patentable?, Available at https://www.algindia.com/inventorship-artificial-intelligence-created-inventions-in-india-whether-patentable/ Read the full article

#Intellectualpropertyrights #IPR #IPRlawsinIndia #LawsinIndia #patentinfringement #patents

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