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sophiamcdougall · 5 months

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You're a reasonably informed person on the internet. You've experienced things like no longer being able to get files off an old storage device, media you've downloaded suddenly going poof, sites and forums with troves full of people's thoughts and ideas vanishing forever. You've heard of cybercrime. You've read articles about lost media. You have at least a basic understanding that digital data is vulnerable, is what I'm saying. I'm guessing that you're also aware that history is, you know... important? And that it's an ongoing study, requiring ... data about how people live? And that it's not just about stanning celebrities that happen to be dead? Congratulations, you are significantly better-informed than the British government! So they're currently like "Oh hai can we destroy all these historical documents pls? To save money? Because we'll digitise them first so it's fine! That'll be easy, cheap and reliable -- right? These wills from the 1850s will totally be fine for another 170 years as a PNG or whatever, yeah? We didn't need to do an impact assesment about this because it's clearly win-win! We'd keep the physical wills of Famous People™ though because Famous People™ actually matter, unlike you plebs. We don't think there are any equalities implications about this, either! Also the only examples of Famous People™ we can think of are all white and rich, only one is a woman and she got famous because of the guy she married. Kisses!"

Yes, this is the same Government that's like "Oh no removing a statue of slave trader is erasing history :(" You have, however, until 23 February 2024 to politely inquire of them what the fuck they are smoking. And they will have to publish a summary of the responses they receive. And it will look kind of bad if the feedback is well-argued, informative and overwhelmingly negative and they go ahead and do it anyway. I currently edit documents including responses to consultations like (but significantly less insane) than this one. Responses do actually matter. I would particularly encourage British people/people based in the UK to do this, but as far as I can see it doesn't say you have to be either. If you are, say, a historian or an archivist, or someone who specialises in digital data do say so and draw on your expertise in your answers. This isn't a question of filling out a form. You have to manually compose an email answering the 12 questions in the consultation paper at the link above. I'll put my own answers under the fold. Note -- I never know if I'm being too rude in these sorts of things. You probably shouldn't be ruder than I have been.

Please do not copy and paste any of this: that would defeat the purpose. This isn't a petition, they need to see a range of individual responses. But it may give you a jumping-off point.

Question 1: Should the current law providing for the inspection of wills be preserved?

Yes. Our ability to understand our shared past is a fundamental aspect of our heritage. It is not possible for any authority to know in advance what future insights they are supporting or impeding by their treatment of material evidence. Safeguarding the historical record for future generations should be considered an extremely important duty.

Question 2: Are there any reforms you would suggest to the current law enabling wills to be inspected?

No.

Question 3: Are there any reasons why the High Court should store original paper will documents on a permanent basis, as opposed to just retaining a digitised copy of that material?

Yes. I am amazed that the recent cyber attack on the British Library, which has effectively paralysed it completely, not been sufficient to answer this question for you. I also refer you to the fate of the Domesday Project. Digital storage is useful and can help more people access information; however, it is also inherently fragile. Malice, accident, or eventual inevitable obsolescence not merely might occur, but absolutely should be expected. It is ludicrously naive and reflects a truly unpardonable ignorance to assume that information preserved only in digital form is somehow inviolable and safe, or that a physical document once digitised, never need be digitised again..At absolute minimum, it should be understood as certain that at least some of any digital-only archive will eventually be permanently lost. It is not remotely implausible that all of it would be. Preserving the physical documents provides a crucial failsafe. It also allows any errors in reproduction -- also inevitable-- to be, eventually, seen and corrected. Note that maintaining, upgrading and replacing digital infrastructure is not free, easy or reliable. Over the long term, risks to the data concerned can only accumulate.

"Unlike the methods for preserving analog documents that have been honed over millennia, there is no deep precedence to look to regarding the management of digital records. As such, the processing, long-term storage, and distribution potential of archival digital data are highly unresolved issues. [..] the more digital data is migrated, translated, and re-compressed into new formats, the more room there is for information to be lost, be it at the microbit-level of preservation. Any failure to contend with the instability of digital storage mediums, hardware obsolescence, and software obsolescence thus meets a terminal end—the definitive loss of information. The common belief that digital data is safe so long as it is backed up according to the 3-2-1 rule (3 copies on 2 different formats with 1 copy saved off site) belies the fact that it is fundamentally unclear how long digital information can or will remain intact. What is certain is that its unique vulnerabilities do become more pertinent with age." -- James Boyda, On Loss in the 21st Century: Digital Decay and the Archive, Introduction.

Question 4: Do you agree that after a certain time original paper documents (from 1858 onwards) may be destroyed (other than for famous individuals)? Are there any alternatives, involving the public or private sector, you can suggest to their being destroyed?

Absolutely not. And I would have hoped we were past the "great man" theory of history. Firstly, you do not know which figures will still be considered "famous" in the future and which currently obscure individuals may deserve and eventually receive greater attention. I note that of the three figures you mention here as notable enough to have their wills preserved, all are white, the majority are male (the one woman having achieved fame through marriage) and all were wealthy at the time of their death. Any such approach will certainly cull evidence of the lives of women, people of colour and the poor from the historical record, and send a clear message about whose lives you consider worth remembering.

Secondly, the famous and successsful are only a small part of our history. Understanding the realities that shaped our past and continue to mould our present requires evidence of the lives of so-called "ordinary people"!

Did you even speak to any historians before coming up with this idea?

Entrusting the documents to the private sector would be similarly disastrous. What happens when a private company goes bust or decides that preserving this material is no longer profitable? What reasonable person, confronted with our crumbling privatised water infrastructure, would willingly consign any part of our heritage to a similar fate?

Question 5: Do you agree that there is equivalence between paper and digital copies of wills so that the ECA 2000 can be used?

No. And it raises serious questions about the skill and knowledge base within HMCTS and the government that the very basic concepts of data loss and the digital dark age appear to be unknown to you. I also refer you to the Domesday Project.

Question 6: Are there any other matters directly related to the retention of digital or paper wills that are not covered by the proposed exercise of the powers in the ECA 2000 that you consider are necessary?

Destroying the physical documents will always be an unforgivable dereliction of legal and moral duty.

Question 7: If the Government pursues preserving permanently only a digital copy of a will document, should it seek to reform the primary legislation by introducing a Bill or do so under the ECA 2000?

Destroying the physical documents will always be an unforgivable dereliction of legal and moral duty.

Question 8: If the Government moves to digital only copies of original will documents, what do you think the retention period for the original paper wills should be? Please give reasons and state what you believe the minimum retention period should be and whether you consider the Government’s suggestion of 25 years to be reasonable.

There is no good version of this plan. The physical documents should be preserved.

Question 9: Do you agree with the principle that wills of famous people should be preserved in the original paper form for historic interest?

This question betrays deep ignorance of what "historic interest" actually is. The study of history is not simply glorified celebrity gossip. If anything, the physical wills of currently famous people could be considered more expendable as it is likely that their contents are so widely diffused as to be relatively "safe", whereas the wills of so-called "ordinary people" will, especially in aggregate, provide insights that have not yet been explored.

Question 10: Do you have any initial suggestions on the criteria which should be adopted for identifying famous/historic figures whose original paper will document should be preserved permanently?

Abandon this entire lamentable plan. As previously discussed, you do not and cannot know who will be considered "famous" in the future, and fame is a profoundly flawed criterion of historical significance.

Question 11: Do you agree that the Probate Registries should only permanently retain wills and codicils from the documents submitted in support of a probate application? Please explain, if setting out the case for retention of any other documents.

No, all the documents should be preserved indefinitely.

Question 12: Do you agree that we have correctly identified the range and extent of the equalities impacts under each of these proposals set out in this consultation? Please give reasons and supply evidence of further equalities impacts as appropriate.

No. You appear to have neglected equalities impacts entirely. As discussed, in your drive to prioritise "famous people", your plan will certainly prioritise the white, wealthy and mostly the male, as your "Charles Dickens, Charles Darwin and Princess Diana" examples amply indicate. This plan will create a two-tier system where evidence of the lives of the privileged is carefully preserved while information regarding people of colour, women, the working class and other disadvantaged groups is disproportionately abandoned to digital decay and eventual loss. Current and future historians from, or specialising in the history of minority groups will be especially impoverished by this.

#ukpol #uk politics #fuck the tories #lost media #data loss #cultural vandalism

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copperbadge · 1 year

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Before I left for vacation I did my usual “tidy for the petsitter” routine, and there was some paperwork that I thought should probably get put away, so I stashed it in a storage bin I had out. Because I know me, I put a note in my to-do list for when I got back that said “There’s important stuff in the bin, remember to go get it.”

So I did, but I thought I should deal with the other stuff in the bin too, and I’ve just been popping the lid and dealing with one or two things every time I go past it. Most of it is paperwork, and I’ve just hit some records from high school that my mother recently gave to me without either of us going through them.

There’s a bunch of report cards, which are heartbreaking and hilarious. I graduated a semester early and my last semester was cleanup -- two classes to complete graduation requirements and one to maintain status as a “full time” student. Two were math-based which I was notoriously bad at, and sure enough at the midterm I was getting a D+ in one and a C- in the other. We’d just begun digital grade recording, so the teachers would keep their grades in a paper book and then log into an extremely basic database and enter the grades, which would spit out on our printed report cards. They could put in a grade plus three “codes” which would print next to our grades as status updates, stuff like “disruptive in class” or similar.

My English course, in which I was getting an A, said “Exceeding expectations” which was kind of Mr. G because I remember him and his expectations were exceptionally high for me.

The other two have the same catechism: Missing Assignments, Does Not Pay Attention In Class, and of course...Achievement Not Up To Ability. Guess now we know why.

Reading through these old cards with the cushion of time, it’s fascinating to see my young brain at work. My math and (math-based) science grades tank so hard, at the same time I was getting As or Bs everywhere else -- history, civics, econ, english, spanish. There are documented questions about whether I’m going to pass enough math to graduate high school, dated the same semester as my perfect Verbal SAT score and my fives in AP Comp and Lit. The first semester after I was put into the Gifted program, I failed Remedial Algebra.

I did say at the time, to my mother and my teachers, there’s something wrong here. My mother, in her defense, had her hands full with my brother; my teachers just didn’t know what to do with me. The school district was broke and didn’t have disability testing available. By the time I got to college I’d simply internalized the idea that I was a neurotypical kid who got stubborn when asked to do something I found pointless and boring, and that was a personality flaw to be corrected, not a symptom of something bigger. My therapist for my last few years of high school agreed, and thought I should probably learn more anger management techniques. Although it turns out you can’t breathing-exercise your way out of undiagnosed ADHD.

In any case, here in 2023, there’s no solution or tidy resolution or anything to be done about it, it just is what it is: a sheaf of paper from the late 90s about a smart fuckup who could have used a hand. I’m here now, alive and employed and medicated and a homeowner, so it’s a bunch of numbers that don’t mean anything. I’ll scan them into my digital archive, then toss the paper and never look at the archive again, probably.

Achievement not up to ability. Boy, no kidding.

#sam has adhd #archive

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cipheramnesia · 2 months

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This is the process my brain goes through every time I see anything about Netflix Avatar The Last Airbender.

My first reaction is always: Why? The original, although not without flaws, doesn't leave a lot of room to improve. A good remake or adaptation usually involves an updated context or change in perspective that adds to the original work and gives it new meaning. It's a risky undertaking because it usually involves wanting to take on something established as iconic and make it your own. But Netflix is a corporation and seems very risk averse for the most part. Its only investment is in the name recognition of AtLA. It's hard to visualize Netflix deliberately taking a big risk on an expensive show.

My second reaction is: How? The original series is about 1400 minutes over 61 episodes, and it still had to rush the ending. We're looking at 8 episodes of roughly 45-60 minutes per episode for season 1, which would require Netflix to let it run more than 3 seasons, if the series has similar pacing. Historically however Netflix shows have glacial pacing, and rarely make three seasons. Not really sure how they plan to tell the story if the series is anything like the average Netflix series, meaning it either needs to undercut the story or let the series breathe for at least five seasons. But nothing Netflix has done makes me want to watch anything they make as an ongoing series? Why bother, they cancel everything I enjoy. So I wonder how. What's the hook to say "this will be able to provide something new and interesting compared to the original, and will be allowed to tell the complete story."

Which leads me to think, but you can't judge if something is good without seeing it. Except none of this is about whether it's good, I just find myself wondering what are the odds it's worth the effort? They're low, and it has nothing to do with whether or not it's even any good on its own merits.

Following this, I ask myself, what would a good version of this be. Imagine you are making a live action series with eight hour long episodes per season based on a children's cartoon with 20 thirty minute episodes per season. You are trying to encompass a story which was presented over three seasons as a cartoon, and you do not know if you will have more than those eight episodes. It's made for Netflix which, in terms of a company which will protect the hard earned fruits of your artistic labor, is the fox guarding the henhouse. What do you do?

If you are looking to make something good, that respects your audience investment and your own work, you make radical changes to the story. You change the pacing, the character arcs, the plot arcs. You make sure you deliver a complete story in those episodes with as much respect for the original work and as many new ideas as you can.

Except, at that point, what is even the point of a remake. The only way to work with it is either to trust Netflix allowing you to finish the story (which you'd need to be incredibly naive to do), or tell a story so different it may as well be wholly original. And that's where I always end up. Like, it'll probably be fine, but what's the point of it all? Another vanishing digital property to get canceled because of some undefinable failure to return on investment.

I think about it a lot because the two ends of the spectrum seem to be "dunk on every new piece of information" or "wait and see" but the only conclusion I can ever reach is "why even care?" That's been the lesson to take home from digital streaming in general when it comes to series, but Netflix in particular, and honestly for movie series too. If it can't be self contained, the companies who produce and release these kinds of series just cannot be trusted with it, and there are too many good original stories being put out to care anymore about big budget promises that one day they will definitely for sure deliver a finished story, this time for real.

I care enough to think about why I don't feel anything at all about Netflix Avatar. It'll be fine, whatever else. Just fine.

#netflix avatar

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juliametzgerart · 3 months

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I have shared versions of this on other platforms before, so I might as well make a tumblr edition: here some tips for MtG portfolios I gathered and might be interesting for some people who follow me. 1. Since this is a trading card game, here comes the obvious one first: Always keep in mind that these are card illustrations, they have to be readable in super small. Which means that strong silhouettes and value structures are a must have. If you work digital, check the zoomed out version on regular basis, or even have some jpgs to check their thumbnails in your file browser. That can give you an idea about their readability. Traditionally you can of course take some steps back, or take some photographs to look at smaller previews on your devices. Also: print illustrations often come out darker than their screen versions, be careful with your darks! It's rather easy for things to go muddy, even if they look good on screen. In doubt, increase the brightness a bit. It's okay to have different versions for screen and print to meet their needs.

2. Be versatile about your topics and compositions. Zoom in, zoom out. Don't fall into the trap of your own comfort zone zoom level of showing things, or one way of doing things. It can be positive to offer purposefully unusual options.

3. Be aware of the focus. If you have a magician with a staff, ask yourself if the card is about the staff(artifact), the mage (creature) or perhaps even the spell. The composition and focus of the illustration should shift accordingly! Clear action is important for readability – since that is not just visual hierarchy here, but also storytelling. Which brings me to the next point: 4. Good narrative matters, but mechanics matter even more. So, again, be very aware of your illustration's focus. You can potentially add extra elements for the story to make it more fun, but it should not get too convoluted, and even less should it distract from what the card it actually about. If you come up with your very own ideas for a portfolio this is of course much more open than if you work from a description. But you can find a bunch of official MtG descriptions online which are super useful for training.

5. Show care. Plan the illustration, get the references in place. It's the best time to get good habits in place, and really finish the pieces. Don't make them weaker by going too fast, that is not convincing. It just lets people assume worse things for tight deadlines. This does not mean everything needs to be rendered to death - but shape design should remain thoughtful and purposeful even where soft and lost edges are used.

6. It's potentially okay to have your specific stylistic or thematic niche. It can mean less assignments at times, but can also mean more special ones. It's cool though for your voice to be visible as long as the other needs of the product are met.

7. Never stop using those references. Get them, make them, use them - take them seriously. (at least for any of the more realistic styles). It's one of the most repeated tips for any student to actually just use more references. They do a ton to get complicated things like anatomy and lighting right, but also cultural references and versatility. Many of the best Magic artists also make the best references – it's not a coincidence. Learn from the people who have already established themselves, they have great wisdom to share. 8. Your quality has to match the current roster. Yeah, sorry, no way around that one. You need at least to be as good as the currently "worst" artist in the roster to have a chance. And the ADs need to be sure that even on a bad day your art can meet their quality bar. Which is the reason why you likely need several art pieces at the required level, to prove it wasn't just some lucky fluke. Though once you're really there, that also means a bit less pressure to perform, since you're likely comfortable at your skill level and can only go up from there.

#magic the gathering #julia metzger #mtg #illustration #portfolio tips #art tips #mtg portfolio things

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cemeterything · 3 months

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how do you give your ocs last names that both fit the character and sound like a real plausible name? your oc names always sound really good and I can never figure out how to give mine last names without them sounding too fantasy

mostly i just cycle through name ideas until i find one that clicks. i usually have a vague theme in mind which guides my research on common surnames, word etymology and variations throughout language, culture and history. for example, giving annie, emery and jocelyn the last name "crane" came from wanting a surname that evoked both slender elegance and undertones of creepiness and/or the gothic, since the crane family is a gothic horror family associated with spider motifs. cranes are elegant but also slightly grotesquely proportioned birds, and "crane" is the protagonist's last name in the short horror story the legend of sleepy hollow, which has gothic themes. it also rolls off the tongue following the names "annie" "emery" and "jocelyn", so it checks off all the requirements. "tanaka", chiyo's last name, is a common japanese last name that translates literally to "center of the rice paddy", which reflects chiyo's humble origins as the daughter of rural rice farmers in the north of japan, while her first name translates to "thousand (years), eternal", reflecting her aspirations to achieve immortality either through a legacy of art or literal transcendence from the flesh to the machine/digital consciousness.

sometimes i also settle on last names before i choose first names, because it can be easier. "lincoln ray" started as "ray", a name that is both masculine and strong and also evokes light and hope, and "lincoln" followed as a first name because i wanted him to have a traditionally usamerican-sounding name with an implied hint of bloody violence (which, since president lincoln was assassinated by being shot in the back of the head, fits the bill). nicky's last name, dyatlov, is a fairly common russian surname which means "woodpecker". woodpeckers have black and white feathers; nicky has black and white hair. it's also a name associated with death and misfortune; the infamous dyatlov pass incident being of course the most obvious example, but also the surname of the deputy chief engineer on duty on the night of the chernobyl nuclear power plant disaster. nicky is a fairly unsettling figure whose presence usually means something unfortunate is going to happen, so it was fitting. "nikita" or "nicky" followed as a first name because nicky is nonbinary, and "nikita" is a gender neutral name. it also sounds rather cute and charming, which reflects nicky's deceptively polite, perpetually smiling nature. it actually means "unconquered" or "victor", which also neatly reflects nicky's iron willpower and relentlessly obsessive tendencies.

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shorthaltsjester · 7 months

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god i cannot express how impressed in general i am with the storytelling that cr is doing with candela obscura but what really strikes me is how evident it is that the storytelling they do is defined by the hearts of those who are putting it together rather than adhering to a specific idea or image of a given story that they want to uphold. there is such a stark difference between the tones of chapter one and chapter two (to the fault of neither, i’ve enjoyed them both immensely because they both happen to hit parts of the supernatural-horror genre that I am so deeply fond of and so happy to see in a real play medium).

there’s the obvious difference in gming styles, matt has fantasy running through his veins and that’s evident in the way that chapter one ends up having a tone akin to something like the scarier episodes of buffy the vampire slayer. spenser outright references mike flanagan in his pre-interview thing and good grief is that so so evident in his narration and the way he emphasizes the themes emerging in the story in the environment of the world they journey through and choices like the letter from sean’s mother that subvert the audiences ability to rely on a character’s perception.

but the energy the groups of players bring to the storytelling is obviously also so important, too. like, even just looking at the groups prior to watching each I probably could’ve guessed which might’ve had a more lighthearted tone. the combination of ashley, anjali, and robbie already would be one i’d guess a more warm/goofy vibe for (not to say they can’t be serious and dramatic, but the tone of the seriousness is still warm and the world that prompts them towards drama likewise feels warm) and laura, despite her propensity for goofs, does tend to be a chameleon with group make ups. likewise i think we all had a certain (affectionate) fear™ when it was revealed that marisha, brennan, luis, and travis would be reuniting in another short form story and that has certainly held up and been incredibly bolstered by zehra’s absolute commitment and immersion into the story (constantly fucking blown away that this is her first real play she’s incredible).

this is all just to say as someone deeply interested in digital storytelling, i am so so enamoured by cr’s commitment to following their own desires as humans telling stories to one another while adhering to the requirements they have as a company. and also if you haven’t you should watch candela obscura, especially now that spooky season is here.

#candela obscura #the vassal and the veil #the circle of needle and thread #spenser starke #matt mercer #critical role #candela obscura chapter 1 #candela obscura chapter 2 #i want to make it so so immensely clear that when i say chapter 1 was warm i don’t mean like. light because there was some Shit in it #but the world felt much much kinder in chapter 1 and that has a lot to do with matt and his storytelling #but also given the session one where robbie was like :((( idk if i wanna be enemies for this #it speaks to the heart of them All as storytellers that chapter 1 is a Warmer world with people trying their best #whereas spenser has crafted a cold world that the backstories and attitudes of the players and their characters echoes #but it’s still one where the people are trying their best #god i’m just so so impressed with candela obscura

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gallavichthings · 20 days

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Gallavich Fanart Masquerade 2024

It's here! Our first ever fanart-only event (thanks @michellemisfit for the idea!).

The rules are pretty similar to the fanfiction masquerade. In a Masquerade, artists will create fanarts anonymously, attempting to create something in a style different from their usual in order to fool the "admirers". These fanarts will all be revealed at the same time on May 12th - our Fanart Masquerade Ball! - and admirers (who may also be other fanartists) will have two weeks to attempt to guess who's behind each mask, that is, who did which fanart.

Details after the read more.

Requirements

None. Any art style will do, as long as it's drawn, I suppose. Traditional or digital, colored or b&W or lineart... Just no edits. And absolutely no AI, of course.

I need fanart ideas!

Maybe this will help.

Sign-ups

Signing-up is required and can be done here. For this event, sign-ups can be done up to the time of posting. Unlike other events, this is one where you will need to sign-up only at the end, after the art is done. You'll be required to add your AO3 username and the title of your fanart (yes, you'll have to give it a title, sorry - it can be pretty simple though).

Is NSFW accepted?

Yes, as long as it is correctly tagged. Please keep in mind that in this case, it's possible some people might not be comfortable in viewing it.

What if I don't have an AO3 account?

Then I'm very sorry, but in this case, you won't be able to participate (as an artist). For his event, having an AO3 account is mandatory so that you can post in the collection. That being said, a lot of people have AO3 invites, so ask right now and someone may be able to send you one. (Or, worst case scenario, we can find writer buddies to post for you.)

Posting

Posting needs to be done on AO3 because the Fanart Masquerade Collection will be unrevealed and anonymous. All posting must be done until the eve of the Masquerade, so May 11th. On May 12th, all the fanarts will be revealed and available for the admirers. The fanarts will remain anonymous until May 26th, when the game ends. The winners will be revealed shortly after, along with the prizes (more on that below). After the artists identities are revealed, they are free to post their fanart wherever they please.

Because unfortunately AO3 doesn't host images, your fanarts will have to be hosted elsewhere and linked to AO3. They should stay as hidden as possible. One possibility is posting privately on Tumblr and then using the image link to post on AO3. If you don't know how to do that or don't have a place to host the fanart, please contact us and we'll help you out.

When posting on AO3, choose to do it under the Gallavich Fanart Masquerade 2024 Collection (as in the picture below). I'll take care of the rest. It's important to do so when posting and not after, or it won't work.

Voting

Voting will be done via a new form, which will be disclosed only after the fanarts are posted. All fanart titles will be displayed and the admirers will chose from a menu who they think the artist is.

Points

There are two ways of winning this game, as an artist and as an admirer.

Artists are awarded 1 point for each person who correctly guesses their fanart and 3 points for each person who wrongly guesses it. That's right, you get more points if you're actually able to deceive everyone!

Admirers are awarded 5 points for each fanart they guess correctly, but they lose 1 point for each wrong guess.

Artists can also be admirers, so they have twice the chance of winning.

Prizes

The winning fanarts will get short fics based on them! And the one by the winning artist will be the prompt for one week in the @galladrabbles.

#Gallavich #Ian x Mickey #Shameless US #Gallavich fanart #GFaM2024 #events #mod post

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public-trans-it · 8 months

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i would love to hear your dark spore rant. i didnt even know spore had a sequel.

Oh anon. Poor sweet anon. I’m so sorry.

So, the thing about Darkspore is…

… it was a really REALLY… mediocre game.

Like, the moment to moment gameplay was… fine. Just fine. Not incredible. But not BAD! Really, it only had two major flaws:

The first, it was buggy as hell. One particularly nasty bug was present in the games launcher, and on certain systems the game would fail to install at all. They were unable to ever fix this bug, which I speculate was a major reason the game was abandoned by the devs so quickly and lead to it being taken down from every major digital distribution site. You could still install and play it if you already bought it though! If… it actually installed for you.

Which leads us to the second flaw. It’s right there on the box.

“Internet connection required”

The game has Always Online DRM. All the levels, enemies, loot, your entire account, was all stored server side. And servers are expensive. So, when the games bugs became unwieldy and not worth fixing, and they took it offline… it became a money sink. It was a game generating ZERO revenue, but had huge server maintenance costs. So eventually, they just shut down the servers.

It is now very difficult to obtain the game, requiring you to buy one of the few unopened physical copies remaining. And even once you do have it, it is IMPOSSIBLE to play. There is a project called Resurrection Capsule in the works, some fans trying to create a private server for it. But with so much info stored server side, they basically have to recreate entire subsystems from scratch. It’s… not going very fast, and to my knowledge hasn’t been touched in over a year.

Story

The story of the game is pretty basic. A progenitor race of alien super-scientists create a new, synthetic form of DNA, called Exponential-DNA, or E-DNA. This rapidly mutates to create new life, and can be guided to create specific, specialized organisms, condensing thousands of years of evolution to a few hours. It can also be injected into existing creatures to alter them and make them more powerful. However it also linked everything affected by it into a hivemind. So it was outlawed. The creator of it decided to respond by creating a E-DNA virus, called The Darkspore, infecting himself with it, and spreading it across the galaxy and conquering it, wiping out his own race.

You play as another member of that race, who has been in hibernation for 1000 years while that was going down. Your ship AI has woken you up because it has managed to stabilize E-DNA and also keep it disconnected from the hivemind, and needs you to go kill the guy who took over the galaxy. That is how the game starts.

…

And how the story ends. There is not really any more story past that part. You get a cutscene describing each of the games 6 planets the first time you visit it, and a final “Hey you won!” cutscene after killing the final boss which ends with the cliche “implication the villain isn’t really dead” trope, and… that’s it. That’s the entire story. Not really the selling point of this game. Its not even entirely clear if it takes place in the same universe as Spore! It’s just set dressing for “Run through these 24 levels and beat everything up”

Gameplay

Darkspore was created by Maxis. This alone was HUGE. This was a team of developers who only really made lifesims like The Sims and Sim City, taking a stab at making a diablolike game.

And I GENUINELY BELIEVE every single studio out there needs to do shit like this. Designing for something so outside your wheelhouse creates SOOOOO much innovation so quickly. You get fresh new ideas injected into the genre so quickly. The final product won’t be good! You don’t have any damn experience in the genre! But it will create something unique beautiful, and god damn I wish we lived in a world where that alone was enough and devs weren’t focused on chasing profits instead.

Genesis

Genesis is just a fancy way of saying ‘Element’. There are 5 of them: Plasma (fire and lightning), Bio (plants and animals), Cyber (machines), Necro (death and fear), and Quantum (space and time) and the way they interact is… certainly a choice I guess. Each Darkspore you face has a genesis it falls into, and each of your heroes has one as well. If your Genesis matches that of the darkspore you are fighting at the moment, you take double damage and they take half damage. If they don’t match, all damage both ways is neutral.

The system itself is kinda mediocre. The biggest part of it, however, is the Variant Skills. Each Genesis has 4 unique skills tied to it that represent the common elements of that type.

Heroes

There are 25 heroes in the game, which each have one Genesis and one Class (Sentinel which are the tanks, Ravagers which are the DPS, and Tempest which are the Casters/Support)

Each hero has 4 total variants, with the first one you unlock being Alpha, and as you level up your account (heroes do not have their own levels) you eventually can purchase their Beta, Gamma, and Delta variants, with each variant having slightly different stats, and a different one of their Genesis’ 4 variant abilities.

Each hero has a unique basic attack, which USUALLY has a little extra to it. For example Sage shoots a bolt that hurts enemies it hits, but heals allies it hits. Zrin alternates between two different punches, one of which has a short duration DoT and the other of which has a 10% stun chance. Stuff like that.

They also have a passive effect that is always active while you are playing them. Collect a soul from each enemy killed for a 5% damage boost, 10% damage bonus when attacking from behind, a stacking defense buff every time you take damage, stuff like that.

Finally, a character has 2 unique abilities. One that is unique to them and can only be used while you are playing that hero, and a second ability that is everyone in the squad can use if that hero is present.

Squad Decks

Which brings me to the first rant and something I am SO AUTISTIC ABOUT (positive). SQUADS. The game had you craft Squad Decks, collections of 3 heroes that you can swap between during your missions, for a total of 883.2k squad combinations (I think my math might be off on that). Swapping between them is on a cooldown of about 10 seconds, but otherwise is don’t instantaneously and as often as you want without penalty. You always have 5 abilities active:

- The unique ability of your active hero

- The Genesis ability of your active heroes variant

- Hero 1’s Squad ability

- Hero 2’s Squad ability

- Hero 3’s squad ability

The first two abilities change out every time you swap heroes, but the last 3 are fixed. So you have 3 abilities that you always have access to, and 6 abilities that are paired up and you can swap between which pair of those abilities is active.

Your heroes do NOT share a health/energy pool, but DO share healing pickups. Any time you pick up a health or energy restoration pickup, it refills a chunk of the respective health pool of your currently active hero, and a smaller chunk of each of your inactive heroes in the squad.

So the core loop of moment to moment gameplay becomes swapping situationally between heroes both offensively and defensively, to get access to your other heroes skills and also to mitigate damage from enemies based on their genesis or control where your healing is directed.

Loot

Loot in Darkspore is fairly standard for your average Diablolike. Item drops have 4 tiers: Common (Item Level=Account Level-5), Uncommon (Item Level=Account Level), Rarified (Item Level=Account Level+5), and Purified (Item Level=Account Level+10)

Items of higher tiers have more chances to roll on a table to gain beneficial modifiers.

Each item fell into one of a few different categories: Weapon, Hands, Feet, Offensive, Defensive, or Utility.

Each hero has one of each slot, plus an additional slot based on their class. Ravagers have an extra Offense slot, Sentinels have an extra Defense slot, and Tempests have an extra Utility slot. Any hero can equip any item you gain, with the exception of Weapons that are hero specific. Some heroes also lack Hands or Feet, in which case their weapon has extra stats and can get the same modifiers as hands and feet can.

The items you equip can then be added onto the Hero in the Hero Editor. The Hero Editor is often equated to the Creature Editor in Spore, which is BULLSHIT and was a pet peeve of mine the ENTIRE DAMN TIME THE FAME WAS LIVE. This is a FALSE EQUIVALENCE. It uses the outfit editor from the Tribal/Civilization phases of Spore instead. Importantly: this means you cannot alter the overall silhouette of your hero. It will always maintain the same basic profile and animations. However you can freely place the extra parts you equip anywhere on its body, and can also place multiple copies of them.

Additionally, old parts can have their stats stripped, converting them into ‘Detail’ parts with no stats, of which you can equip 6 different parts, each of which you can include 10 copies of on your hero. So you could get some pretty cool looks from it!

However all this loot is garbage and you likely would not use most of it outside of appearance. Which brings me to…

Cash-out Loot

Usually if you mention the word ‘cash’ in any sentence involving a game published by EA, it would be a call for concern. Luckily this isn’t that! It’s just gambling! Everything is fine!

The main progression in Darkspore comes from gear, and the best gear comes from how good your ships engines are. These come from account upgrades as you level up your account, determining how many levels you can do in a row. Every time you complete a level, you are given an option: Keep going, or ‘cash out’ and get a guaranteed piece of Uncommon gear, with a 10% chance of it becoming Rarified, as well as all the gear you picked up in the level.

If you choose to keep going, you have to complete the next level. If you die, you lose ALL the gear you picked up, including that guaranteed piece. If you make it to the end, you are given another choice: Risk it all again and go on to the next level, or stop here and get your TWO pieces of guaranteed uncommon loot, which each now have a 20% chance of becoming rarified and a 5% chance of becoming purified.

You can only go another of levels equal to the number of Engine Upgrades you have earned by leveling up your account. So at first, after the second level you HAVE to cash out. As you progress you can start to do many more levels at a time, getting a dozen pieces of gear that are practically guaranteed to be the highest rank.

But of course you have to play these levels in order, and you don’t get a chance to upgrade your character with all the cool new loot you found on the way, so you can’t just jump straight into this. You have to slowly build up to being able to push yourself this much, and once you can, you have a readily available source of some of the best gear in the game.

And that ties into my absolute favorite system of Darkspore:

Catalysts

Many diablolikes have a mechanic called ‘Sockets’. The gear you equip has its own type of equipment slot, and you put gems in there that give you small bonuses. Every game does it a little differently, but it’s kind of a staple of the series.

Darkspore uses a similar system, but utilizes it VERY differently. While you are running levels, enemies will rarely drop Catalysts instead of loot. These come in 5 colors: Purple (boosts your base stats), Red (boosts offensive secondary stats like damage or attack speed), Blue (boosts defensive secondary stats like health regen or damage resistance), Green (boosts utility secondary stats like movement speed or lifesteal), and Rainbow (can contain any of the bonuses of the previous categories) They also come in two sizes: Big and Small. This determines how big the bonus from them is.

You have a 3x3 grid on your HUD that the catalysts you collect go into. You can rearrange them however you want, and if you create a line of 3 of the same color (Rainbow is a wildcard and matches with all of them), it will double the bonus of all Catalysts in that line. This stacks, meaning if you create multiple lines over a single catalyst it could get a x3, x4, or even x5 bonus if it’s the center piece of the grid and forms a line in every direction.

However, you can’t save Catalysts. You can equip it to the grid or drop it on the ground and move on. That’s it. You have to decide now. Do you keep that Big Purple you have for the big buff to your most important stat, or do you trade it for that Small Rainbow for a mediocre stat you just found that you can plug in the middle and double everything else in your grid?

“Surely that only matters early game, and once you have good catalysts you don’t swap them out that much, right?” I hear the diablolike veterans asking, because that is how socketing works in most of those games. And normally you would be right. Except for one major change: All your catalysts only last until the end of your run. When you get to the cash out screen, and choose to keep going? You keep them. But if you choose to cash out, or if you ever die, your catalysts all vanish. Every new run you have to go through and collect them again, which results in you playing your heroes in new ways and adopting new strategies based on what catalysts drop for you each run.

It’s an INCREDIBLE easy to learn system that adds SO MUCH depth and replayability to the game. I love it so incredibly much. Each mechanic flows elegantly into the the next. The catalysts help you do better runs which gets you better gear which upgrades your heroes which lets you do better runs, the entire spiral being locked into your account level to give a quantifiable metric of how far this spiral is gone. It was so good!

And now, it’s gone forever.

Man that sure was a long post. Friends have heard me go on this rant SO many times. Thank god I never got into a second mediocre game filled with novel innovations that are ultimately lost to time and can never be experienced again due to Always Online DRM making it unplayable. Can you imagine if I didn’t learn my lesson and did that a second time? Ha!

… I never did that again. Right?

… right?

…

HEX: Shards of Fate

Hex was a digital TCG legal battle with TCG elements created by Cryptozoic. It was originally put up on Kickstarter, advertised as a digital card game with both PvE and PvP modes, a unique focus on the design space opened up by being a digital game, and gameplay damn near identical to Magic: The Gathering.

The thinly veiled truth was that this game was never meant to succeed. They had hoped it would, and it would be great if it did, but I’m fairly certain that was always a secondary objective. The first objective was to get sued by Wizards of the Coast over the similarities to Magic: The Gathering.

Now, that might sound strange to an outsider, but to anyone in the industry, they are probably nodding along and going “Yeah that tracks actually.”

You see, Wizards of the Coast is… bad. Really bad. They do everything in their power to choke the life out of the industry and have resorted to a lot of questionable tactics to do so. One of these is against anyone who develops any form of trading card game. You see, WotC has a patent on booster packs, customizable decks of cards, and turning cards sideways.

Literally.

U.S. Patent No 5,662,332 (A)

It is not a coincidence that the second two biggest names in TCGs don’t involve turning your cards sideways. Konami contested that Yugioh was different enough to not violate the patent.

WotC responded by suing them. They settled out of court.

Nintendo actually hired WotC to design the Pokémon TCG to NOT violate the patent in return for WotC getting to distribute the first few sets. WotC gladly accepted, distributed the game, got their cut of the sales, and as soon as that was over….

WotC responded by suing them. They settled out of court.

Every single other game out there ended up paying royalties to WotC. Because the cut of the sales to WotC was cheaper than going to court even if you won. WotC had their fingers in every pie, but was smart enough to make sure not to piss people off so much that refusal was ever a viable option.

Cryptozoic was a company that, at the time, was making several licensed TCGs. The big one that jumps out was the World of Warcraft TCG, which they were in charge of (though it was originally made by Upper Deck). Cryptozoic was begrudgingly paying royalties because having the WoWTCG license was too good and they didn’t want to give that up. Then Hearthstone happened and Cryptozoic was going to lose the WoWTCG license as it got discontinued.

So Cryptozoic set up their new game, Hex, specifically to bait WotC into suing them, so they could get the patent overturned.

See, the patent isn’t actually valid. You cannot patent a game mechanic. There are certainly aspects of the patent that ARE valid and CAN be enforced, but the parts about mechanics can’t actually be enforced. WotC uses it because people can’t contest it, but if it actually was used in court it would get overturned VERY easily, and WotC would be declawed.

So Cryptozoic created a game that was a clone of MtG, used a Kickstarter to build up a large amount of legal funds, and got sued by WotC! Yes! Exactly what they wanted!

… and then they settled out of court.

Sigh.

I guess I’ll talk about the game now.

Lore

The lore of the game was solid. Pretty typical fantasy setting. Humans and elves and sort of racist orcs (better than most other orcs I’ve seen at least) and extremely racist tribal coyote people make up the good guys. Undead, spider-orcs, dwarves, and also pretty racist samurai rabbit people make up the bad guys.

There are two types of magic in the world: Blood magic and Wild magic. Elves are adept at wild magic. Shin’hare (the rabbit people) are adept at wild magic as well. The Shin’hare tried to take over the world, forcing the Orcs, Humans, Elves, and Cyotle to ally together to drive them underground into the underworld.

There the Shin’hare met and allied with the Vennen, an all male race descended from Orcs. They were adept blood mages, and they procreated by kidnapping orcs and using them as incubators for spiders. I fucking love the Vennen. I’ll focus on them a lot in this. The Vennen taught the Shin’hare how to sacrifice their young for more power.

The two then allied with the Dwarves, a genderless race of sentient stone statues who excel at creating machinery, and who believe the world itself is a giant machine. Specifically, a weapon of mass destruction, and they are trying to set it off. They believe blowing people the fuck up to be their natural calling.

The underworld and overworld forces go back and forth a bit, with the Elves doing a large chunk of the work as the only overworld race that can use magic.

Then Hex happened. Hex is a massive meteor made up of Diamond, Emerald, and Sapphire. Hex punched clean through the world, scattering gems all across it, before stabilizing in orbit on the other side, becoming the worlds moon.

These gems were incredibly magical, allowing every race to now use magic. Diamonds were restorative, bringing life to things. Rubies were extremely destructive and burned bright and hot and quickly. Sapphire allowed finesse manipulation and control over water. These

Yes this is just the MtG color pie.

Eventually, humanity stumbled into one of their old crypts that was very close to the impact site of Hex, and found it CRAWLING with undead. They were taking the Diamonds from Hex and putting them into the eye sockets of human corpses, causing those corpses to reanimate. These were NOT actually undead, but an alien consciousness that existed within the gems that were using human corpses as a host.

The Necrotic sought a peaceful and symbiotic relationship with humanity as thanks for the use of the bodies. Humanity responded by getting really pissed off that the Necrotic were grave robbing, and went to war over it. Eventually the Necrotic retreated deep into the underworld and allied with the other races instead, eventually helping the Shin’hare with a second attack on the surface.

The lore has a lot more depth than that, but that’s the basic. I liked it a lot. The Orcs being good guys who just really liked tests of strength was a refreshing take on orcs. I liked them a lot. The extremely racist caricature that made up the Cyotle and the Shin’hare? Less so.

Digital Design Space

As for the actual gameplay… it was MtG. Like, almost 1:1.

Like…

Seriously.

Shards work similarly to Lands, with there being 5 basic shards, Diamond, Sapphire, Ruby, Wild, and Blood. You can only play one Shard per turn and when you do you get 1/1 Resource. 1 resource to spend on this turn, and 1 permanent resource. You spend that resource to play a card that costs 1, and you go down to 0/1 resources. Start of your turn, you would go back up to 1/1 resource.

Pretty straight forward stuff. Resources are a card type like in MtG, but once it’s played it acts as a perpetual resource like the Mana in Hearthstone, with no need to care about where the resource is coming from.

… wait a second though, this is a MtG clone. It uses the color pie. Caring where those resources come from is KIND OF a big deal in MtG.

Which is the first really cool difference between Hex and MtG! THRESHOLD! Each time you play a shard you gain 1 threshold in that color. To play a card, you have to have at least as many threshold as are displayed below its cost. See that purple dot below Murder? That means you need 1 blood threshold to play it.

Threshold is NOT consumed when you play a card, which DRASTICALLY alters deckbuilding and how feasible multi-color decks are.

For example, in MtG, if you had 4 swamps and 1 mountain in play, and 5 cards in hand that all cost R…. You can play 1 whole card this turn.

In Hex, if you have 4 Blood and 1 Ruby, and have 5 cards that all cost 1 and have a single Ruby threshold, you can play your entire hand that turn. This made it incredibly viable to splash colors in relatively smaller amounts. It also opened up cool new design space, like cards that cost 1 but still required 3 threshold in a color. Or cards that require 1 threshold of every type to activate a bonus effect (very common among Necrotic) or… for sockets!

HEY WE ARE COMING FULL CIRCLE!

Remember how I mentioned Diablolike games having sockets, but how Darkspore didn’t use it? Well Hex DOES. There was a pair of keywords called Socketable Major and Socketable Minor. Each set, there would be 10 gems (two of each color) that rotated out for Socketable cards. Cards with Major sockets could equip any gem, while minor sockets could only equip half of them. So for example the current rotation might have the Sapphire gems be “While you have at least 1 Sapphire Threshold, this card has Flying” for its Minor gem, and “When you play this card, if you have at least 3 Sapphire Threshold, target player draws 3 cards”

You chose which gem was in each Socketable card during deckbuilding. Different copies of the same card could have different gems equipped, or you could have the same gem equipped across multiple different cards. It was basically a way to go “This card was designed to be splashed in other color decks. You pick what that other color is.”

It opened up a lot of design space! This was something Hex did VERY well. They knew they were making a MtG clone, but they weren’t beholden to the same restrictions a physical card game did, and they THRIVED in those areas.

For example, REPLICATORS GAMBIT, a one cost card that creates six copies of a troop (read: creature) that just… could not exist in MtG.

Another example of this was in my favorite archetype in Hex: Mill. Now, I’m not normally a blue player. I’m not a big fan of the ‘you don’t get to play the game’ archetype. Even mill isn’t really my thing. But the way it worked in HexTCG? God I loved it. I wish I could see my opponents faces as they reached a trembling hand out to their bloated, grotesque deck, a cruel mockery of what it once was. They had started the match with only 60 cards, but now it held twice that number. Knowing every draw was more likely to bring their own skittering death out.

…

Maybe I should back up a bit.

Vennen are, in MtG terms, tribal Blue/Black with a focus on control. Specifically an aggressive form of control. Your wincon is still ‘beat your opponent to death’, but the means by which you do it is… spiders.

Lots of Vennen cards work by still allowing your opponent to do the thing that you blocked, but it now creates Spider Eggs in their deck. Lock down a creature as it enters play with ‘Everytime this creature becomes tapped, shuffle 3 spider eggs into your deck’ or ‘Whenever an opponent draws a third card this turn add a spider egg to their deck’ or ‘When this creature is destroyed add a spider egg to your opponent’s deck’ and when they DRAW a spider egg… well… the effect of a spider egg is more or less ‘When this card enters your hand or graveyard, draw/discard another card into that zone and destroy this one. Your opponent creates a Spiderling and puts it in play. “

Spiderlings are 1/1 Unblockable creatures.

The Vennen win con is to just fill your opponent with spiders and then shred them apart once the spiders start hatching. It was a DELIGHTFUL playstyle.

PvE

Hex also features a fairly robust PvE mode with a point crawl encounter map that was quite delightful. There were cards unique to PvE, but all PvP cards were also legal in PvE. In general, all your staples came from PvP and were the same core staples everyone uses to win (they were very generous with handing out common/uncommon PvP cards in the single player mode, which in turn also made Pauper a very popular format), however you also had PvE cards which made up your win cons. PvE cards weren’t balanced as tightly, and allowed to just be dumb overpowered bullshit just because it’s fun to use dumb overpowered bullshit sometimes!

There were also equipment slots that would modify the cards in your deck, turning PvP cards into PvE cards. For example, Replicators Gambit made it so that EVERY copy of that card gained that text.

PvE started with character creation. You would create a character that was one of the 8 races, and one of 6 3 different classes. Warrior, Cleric, or Ranger. I think there was a late update that added Mage but I don’t recall too clearly, and it isn’t document online anymore as far as I can tell!

Each class had a unique talent tree that you could customize and change how you played. Your race determined what colors you could play, and your level determined how many of each rarity you could play.

I played a Vennen Cleric. Cleric’s whole thing was that you would gain Blessings, 0 cost cards that would rise in your deck each turn, and could be played to draw a card as well as additional effects based on your build. My blessings put more eggs in the enemy deck, to the surprise of no one.

As you went from encounter to encounter you would earn new cards to modify your deck, swapping decks between fights. Then there were dungeons, long laborious streaks of a dozen or so encounters, with branching paths and decisions to be made, earning you tons of new packs and equipment and experience to boost your character. One especially fun encounter was crossing a desert with a pack of… I think it was gnomes? There were 20 of them that needed rescuing. The way you rescued them was putting them in your deck, and then leaving the desert through a single combat encounter. Except they were AWFUL. Like 3 cost vanilla 1/1’s level of awful. The more you had in your deck, the harder the encounter became. It was a really nice way to portray the logistical challenge of trying to fight while protecting all these useless tagalongs.

There were plans to even introduce Raids, 3v1 PvE encounters, but they fizzled out as the game got sunset.

The game was good. REALLY good. It relished in the digital design space in a way I haven’t quite seen since then. A few games, like Legends of Runeterra, have come close, but always fall short, and that’s so sad! I DESPERATELY want to play a TCG with this level of customization again!

Luckily that was the end of it. I finally learned the error of my ways, never touched anything ‘always online’ again, and now can live a life without regrets! … except Legends of Runeterra a little bit like I mentioned above but THATS IT! There are no other always online games I have regrets about!

…

ToonTown Online

Okay no, not seriously. I’ve never played toontown. But honestly it looked kinda silly and like a shitpost in video game form. I think it would have been fun to try at some point with a few friends. Not seriously, just to screw around in for a bit.

Never going to get that chance. Just like nearly everyone reading this will never get to play two of my biggest influences that shaped how I think about game design.

Always Online DRM is an insidious beast. It doesn’t just kill games, it kills *archival*. All we have left of these games is a relatively small number of gameplay videos. I was planning on having a lot more pictures in this post of all the interface elements I was talking about as I talked about them, but there just… aren’t any good pictures of them. Even these details are based on my own memory cross referenced with a couple of wikis, and even those were sparse.

Some games can’t feasibly avoid Always Online. MMO’s are a big example. But by adding it into a game that has a single player experience involved, and not making that single player experience a standalone thing on its own, you are destroying any hope that your game will be remembered. It will fade into obscurity. There will never be a cult revival. Your work will be discarded and forgotten and it’s… so incredibly sad to see.

I jokingly titled this section being about ToonTown, but really this section is about Kingdom Hearts: Union X. It was a mediocre and disgustingly predatory gacha. It was horribly managed with horrible issues around localization and it was just… a mess. But it was part of the world of Kingdom Hearts, and it’s story was important and mattered.

The game is no longer playable, but it’s also not entirely lost. The devs created a new version of it, as a gallery to view the cutscenes. The single-player side mode, Dark Road, is also included. The devs didn’t have to do this. They could have gone the same route as Darkspore and HexTCG, and had their work be forgotten. They chose to save it. Not in full, but at least the parts the deemed important.

It also makes me wonder how much this happens in other mediums. Ludology is a pretty new field, and it rarely goes into specific games and their impact on the medium, mostly just focusing on the impacts they have on humanity, rather than the mechanics themselves as these beautiful pieces of art. And it makes me wonder how often this happens with say… film critics. Are there any indie film makers who are deep in the paint of indie films and critique of not just the films themselves, but the very techniques being used, just sitting there going “It’s so upsetting that this big studio managed to do something this beautiful and all of us in the scene recognize it’s beauty, but no one else seems to, and now it’s gone?”

… as I’m writing this I actually realize that this does happen there. It’s how I found out about what became my favorite film of all time, The Man From Earth. It’s a small film that flopped horribly in theaters, and only gained any attention by being pirated by a lot by indies who wanted to talk about it. It’s a good movie, highly recommend. Not for everyone though.

I don’t know. I’m sure I had a point with all this but… seeing it happen again and again and now with streaming services taking stuff down it’s just… I can’t help but seeing not just more and more games, but more and more of EVERY artistic medium ending up in this area. How many digital artists entire portfolios have vanished off the face of the earth because their tumblr got deactivated? How many movies are going to be gone forever when Netflix eventually goes out of business? We can’t even rely on piracy! Many old pieces of media is just lost forever. Just ask the Doctor Who fandom. They probably know more about that than anyone else at this point.

But mostly I just really wish more developers would consider what parts of their games are important, and what kind of legacy they want to leave, instead of just what will generate a short burst of profit, with no care for what happens after.

… I should start doing video essays with how long this got. It’s like some kind of text based video essay. A text essay. Those are a new thing I just invented.

#Darkspore #Spore #Those are the only two tags on this post because those are the only games I talk about don’t worry about it. it’s fine. don’t read further.#HexTCG #Hex: Shards of Fate #Kingdom Hearts: Union X #Always Online DRM #The Man From Earth #I swear to god if anyone tells me I should just play Temo on LoR I will scream #YES I KNOW AND I DO #but also LoR sucks #and also that is missing THE ENTIRE POINT OF THIS RANT #the SAME THING IS GOING TO HAPPEN TO LEGENDS OF RUNETERRA #maybe not soon #but it WILL die someday #and be gone forever #because it isn’t being preserved #Text Essay

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the-phantom-peach · 10 months

Note

how did you get so good at a anatomy? like what practices helped you improve the most if you remember?

-from a new artist desperately in need of help

This is the first I’ve heard a comment on my anatomy, especially as someone who hasn’t quite grasped the whole thing haha. But I’m happy I’ve reached a point where it’s considered good. Bodies are hard and they suck but here’s some stuff I do/used to do to help.

1) Don’t avoid it. You can’t, it’s impossible. After years of only drawing 2/3 facing busts as soon as I forced myself to start drawing full bodies, I was able to create more interesting compositions and expressions. Even if it looks awful, you have to keep working at it. I myself can’t figure out a lot of poses and have to work around what I dislike.

2) Study in parts. When I did anatomy studies I always focused on one or two parts at a time. For example, I spent a lot of time studying legs and made a bunch of art that either required or focused on legs. Same went for faces, hips, and even clothes. Eventually it becomes habit and I could switch to a new part.

3) Reference. Reference. Reference. Unless you have the most vivid imagination and can put mind to canvas, please use a reference. I still use references for poses I think I can draw just in case there is a more sensible or more interesting way of depicting it. This also precedes the idea of tracing. It’s a bit controversial, but I promise you tracing is more common in the art industry than you think. It’s about muscle memory and visualization more than just “copying” a piece of work. I started art traditionally so could never use tracing to practice, but if you use digital I highly recommend tracing as way to practice anatomy. However it’s only really useful if you do it with intent, studying how all parts connect to the trunk (torso).

4) Lastly, it’s ok to start with a simple artstyle at first! It’s totally cool to build upon the basics instead of running straight toward hyperrealism. Plus it’s cute!

That’s all I have for now since I’m still trying to figure it out myself, but I hope this kinda helps!

#I hope this makes sense my brain is fried #art tips #peachie asks

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panicroomsammy · 6 months

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Throughout the show Sam and Dean are repeatedly confronted with people telling them their relationship is unusual, but this never seems to sink in for them. The canon compliant interpretation is repression and that they have never acted on their more than brotherly feelings for each other, but I have another theory: they started acting on these feelings way too young and can never acknowledge that they act on them because of this. I’m putting it under a cut for containing severely underage sex but I’ve been thinking about this for days and just have to get it out of my system.

You see, when some kinds of relationships start so young that the people in them don’t know what to call it, it can either never be given a name or it can end. I don’t know if there is any relationship in the world that can survive saying out loud “we started having sex when both of our ages were in the single digits and that was really fucked up but do you want to keep doing it.” But Sam and Dean’s relationship cannot end - they are soulmates after all - so they can never say it out loud. It started before there was a word for it so now there never will be a word for it.

It starts when Sam is two or three and Dean is six or seven. They sleep in the same bed - they have practically ever since either of them can remember. Legs wrapped around each other maybe one of them grinds against the other just the wrong way and it feels good and they don’t stop. Maybe it starts with Sam maybe it starts with Dean, it doesn’t matter - it happens. Maybe Dean already has some idea of what’s going on, maybe he’s done this before on his own, but he doesn’t fully grasp that it’s wrong for him to be doing it with another person. Maybe he has the vague feeling that it would be Bad if John found out about this but he can’t put his finger on why - just an internalization of societal norms that he doesn’t understand and never will. It stays this way all through childhood. Humping turns to touching themselves next to each other turns to touching one another directly. When Dean is in middle school there’s some kind of sex ed class and he finds it intriguing - he’s always been interested in sex - but never puts together that what he’s doing with his little brother is sexual. They’re both boys after all and sex is something you do with a woman. When Sam reaches middle school teenage Dean figures it’s his job to teach his little brother about sex. He never stops to consider that it’s something they’ve already been doing. Dean loses his virginity to some girl in high school. As far as he’s concerned it’s the first time he’s had sex with another person - sex requires a pussy, after all. Some time in their teen years they start going farther. It would seem impossible for the denial to continue at this point but it does. They’re just doing this because they’re brothers, because they need to be closer to each other.

Then maybe Sam realizes. Or maybe he doesn’t. If he does, maybe that’s part of why he leaves. It would be impossible for their relationship to continue once one of them accepted that the start of it at least had been messed up. But then Dean shows up and drags Sam away from his normal life. Was Sam ever really capable of normal, of enjoying normal things in normal ways after everything? Maybe Sam never did realize anything. Maybe he was living in his normal life like a dream, never understanding why it never quite felt right. Then he’s back with Dean. Their relationship is so, so much more than just sex-that-isn’t-sex - that’s just what I’m talking about here - so this doesn’t pick back up immediately. There are so many more things to sort out. But then one night they’re just both horny at the same time and they do find themselves exactly where they left off. It still isn’t sex. Sex is something you do with women. Sex isn’t something you do as a kid. They did this as kids, so it isn’t sex.

When the siren says it wants to be their brother because it wants to fall in love, neither of them bats an eye. When Ash tells them they’re soulmates they’re relieved to spend eternity together but not much else. When countless people assume them to be a couple they’re genuinely confused - they’ve just always been this way so they can’t be a couple because couples are people who haven’t always been that way.

#wincest #weecest #samdean #here’s my entire soul but whatever #also if you’ve taken the LSAT just ignore that Sam could not get a 174 on the LSAT and commit the kind of logical fallacies here lmao

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beyondthisdarkhouse · 8 months

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My mom comes over a couple of times a week to help me keep the apartment tidy and to body-double so I can focus on work.

"Mind if I open this?" she asked me this morning, holding up an envelope I'd tossed onto a pile of clutter the week before. I hadn't opened it because I already knew what it was—the decision of my appeal against being judged "medically ineligible" for permanent disability benefits, which are almost double what I get now and would cover rent and food. Absolutely everyone, from disabled advocacy groups to the legal aid lawyer who helped prep me for the hearing, told me that there was basically no chance I'd get deemed eligible on the first appeal. Normally it takes 2 or 3 application-appeal cycles (9-10 months each) for people to get into the program.

"Go ahead," I told her, and then turned back to other work. I've got a lot to do given how well my Kickstarter is doing, whether it's setting up the behemoth new printer I got off Kijiji for 10% of its original value, to scheduling work meetings with my newly-hired personal assistant. I've always got so much on my plate, and the number of hours in the day I can focus on it is countable on my hand that's missing fingers. And I'd love to get a sewing pattern out for my "just the sleeves, please" costume idea out in enough time for people to use it for Halloween, but I still need to make mock-ups and hire someone who's used to producing digital sewing patterns.

"I think," Mom said quietly, leafing through the letter, "that you won."

The letter ends like this:

Conclusion: The Panel finds that the Appellant meets the definition of "severe handicap" as is set out in the Regulation and therefore reverses the Director's decision.

Yeah. It means I won.

The benefits program will require another eight weeks to double-check my financial eligibility using information they already have, and to process my new program status to reflect an increased benefit rate and a different health insurance program.

Right now I'm really feeling this line from Komarr, by Lois McMaster Bujold: "But do you know--well, of course you could, but… the business with [throwing yourself at] the brick wall. Failure, failure was grown familiar to me. Comfortable, almost, when I stopped struggling against it. I did not know achievement was so devastating."

It felt like my whole life ended in a flaming wreck when I had to give up counselling. I lost part of who I was when I did that, and spent years telling myself I'd pull up my socks at any minute and go right back to it. But the truth is, I am not capable of doing that job as well as it needs to be done, and it's one of those jobs where you half-ass things at the peril of the vulnerable people who trust you.

And what if... the worst had happened, and I lost it all, and then in clawing my way out of the pit, trying to get purchase on absolutely any kind of survival I could, I found my way to something new and solid and real. What if it was okay after all?

I'm still having trouble believing it, but the letter keeps saying what it said.

I'm gonna go sew things, and see if it feels any more real in the morning.

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sgiandubh · 4 days

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Lallybroch: copyright vs. trademark

An excellent question was asked by our friend @rosfrank in the comments thread to 'The door faces North' post and given the cosmic amount of uninformed bullshit being ventilated for almost ten years in this fandom, I think it's time to answer it once and for all:

Whenever we are informally talking about 'owning the rights to something', I think it's very important to bear in mind a fundamental distinction between two different categories of ownership rights: copyright and trademark.

The copyright is the most familiar one to many of you. It is what you usually find on those annoying and apparently useless first or last pages of all the printed or digital editions on this planet. Something like this:

In the US, copyright issues are regulated by the Copyright Act of 1976, as included in Title 17 of the US Code. The US public authority competent for registering and managing copyright is, as predictable, the US Copyright Office.

Perhaps the most seminal US Supreme Court decision, as far as copyright is concerned, is the 1991 Feist Publications, Inc., v. Rural Telephone Service Co. In it, the Court ruled that mere compilations of information or facts (such as, for example, telephone books) are not protected by copyright, according to US law. In other words, the ancient legal concept of 'sweat of the brow' (which simply means the amount of work required to gather and compile those facts/information) is not enough to qualify a work for copyright protection, if no creative effort is added to enhance its content. This is why I have always considered absolutely ridiculous Marple's efforts to watermark public information screenshots: it is useless (to the extent that it legally protects her from nothing) and, as her timelines, a mere compilation of facts (legally ditto). A similar approach is preferred by the UK and also by many Roman law legal systems, such as the French one - just making things clearer, here, by the way.

See how 'Erself is roughly doing, right now, in this department:

But I am rambling. In my view, Lallybroch, as a pivotal concept used in Diana Gabaldon's books, is protected by the copyright granted to each and every of her books mentioning it, according to the Roman law principle 'accessorium sequitur principale' (the accessory follows the principal). So it will remain protected for at least 70 years since the last of her books mentioning it would have been published under copyright. Unless she chooses to separately protect the entire finished cycle as a whole, once Book Ten (fingers crossed) is published, preferably during our foreseeable lifetimes.

That being said, that goes only for one copyright category: (published) text - you cannot copyright that secret diary in your drawer, LOL. This is why, the current US Copyright Office records concerning Lallybroch look like this:

Sony Pictures Television Inc owns the copyright to the fictional name Lallybroch in the motion pictures category, as it is the title of the Episode 12, in Season 1 - DG has been handsomely compensated for this, no worries. And someone I have no idea about owns the rights to an original musical score she has written and titled Lallybroch in the music category, since October 2013.

Onwards to the trademark. This is something different and this is all about making your name/concept/idea profitable. It is all about branding it, putting it on a product and selling it under that brand. It includes all the graphic elements and the logo of the brand (accessorium...) - in short, its visual identity to the consumers. In the US, trademark issues are regulated by the 1946 Lanham Act and the public competent authority is the good old US Patent and Trade Office (USPTO).

Right now, the situation for the Lallybroch trademark is as follows:

So, we see three different trademarks: two of them, owned by Diana Gabaldon, are classified as 'dead' (cancelled and/or abandoned) and the third, Lallybroch Spirits, owned by S's Great Glen Company is pending approval - he will not be able to label any booze bottle Lallybroch Drink Me before permission is granted by the USPTO.

Let's unpack:

Both Lallybroch trademarks formerly owned by Diana Gabaldon were filed at the USPTO on February 21, 2000 and granted on December 12, 2000. The first was aimed at producing 'tartan fabrics for the manufacturer of clothing' and it was abandoned in December 2003:

The reason is that the owner did not file in any Statement of Use after the trademark was granted. She had three years to do so, and since she chose not to do anything about it, the trademark was deemed abandoned (Stacy K. Smith is the attorney hired by Herself, btw). That means she specifically implied not to intend using it in the future. As such, she may claim NO rights on a now free to use mark:

The second trademark was aimed at producing 'clothing, namely, t-shirts, dresses and headwear' and also 'jewelry, namely, rings, pins and necklaces'- to cut the story short: OL merchandise - and it was cancelled on March 1st, 2013:

The reason is that the owner did not file the Section 8 declaration (of continuous use for five years) within the allowed legal timeframe (6 months after the fifth anniversary of the trademark granting renewal). Her trademark federal rights are now deemed canceled (but not her state law and/or common law rights!) and if she wants to ever use that name again, she would have to start the whole process over, bearing in mind the trademark could have been granted to someone else, in the meanwhile (not her case).

And for anyone who might ask, 'Erself does not own any other trademarks whatsoever:

The other (Doll Lab - LOL for ages) Diana Gabaldon is a pharmacist from Albuquerque, NM. Chill. 🤣🤣🤣

The owner of the copyright to the fictional toponym Lallybroch, as far as published text is concerned, is Diana Galabdon.

The owner of the copyright to the fictional toponym Lallybroch, as far as motion pictures are concerned, is Sony Pictures Television Inc.

The owner of the copyright to the fictional toponym Lallybroch, as a personal work of music, is Mrs. Kelly Ruth Davis, of Pennsylvania, USA.

The owner of the Lallybroch Spirits trademark will be Sam Roland Heughan, when that trademark is granted by the USPTO.

I hope this answers your question, @rosfrank. Thank you for asking.

#fandom #shitshow #boozewars #business #legal

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thedroneranger · 1 year

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Doggone It

Jake "Hangman" Seresin

Précis: Jake convinces Mrs. Seresin she needs a furry companion.

Note: I needed a serotonin hit, and dogs make me happy. This piece is an imagine in the To-Do List collection.

Warnings: So fluffy you might die, disabled dogs, inaccuracies around how military working dog adoptions work

Word count: 1.1k

Jake was nervous. Although he thought he was hiding it well, he wasn’t. She knew. She always knew. No one read Jake better than she could. Of course, he found it particularly annoying. Especially if he were planning any sort of surprise.

Pretending to be none the wiser, she sipped her latte and hummed along to the music. The wind siphoning through the cracked passenger window, streaming through her hair felt wonderful. Sun was hitting her face as she stared through her aviators at the passing scenery.

All of Jake’s tells were on display: thumbs thrumming on the steering wheel, knee jumping nervously and he wasn’t serenading her to their shared playlist, but instead mumbling to himself under his breath.

Finally, he broke the low lull of the music. “We’re headed to base.”

“I know.” She turned from the window to look at him as he shot her a quick glance before putting his eyes back on the road. She continued to watch his profile, waiting for him to elaborate further.

A breath he didn’t realize he was holding left his body. “We have an appointment,” he added. His bottom lip disappeared between his teeth for a second.

“An appointment?” She prodded, taking another sip of her latte.

“Yes, an appointment. You’ll see when we get there,” Jake finished. Her mind raced as she tried to imagine what would require both their presence on base. Her ID card wasn’t up for renewal. Her vehicle tags were up to date.

Once the truck was parked, Jake came around to the front of the vehicle, hand ready for her to take. They exchanged smiles as their fingers interlaced. Inside the building, nothing appeared familiar as they strode past sterile doors, and the overhead lights glimmered off the well-waxed beige tile.

At the end of the nondescript hallway, Jake pushed open one of the double doors to reveal a gymnasium dotted with dogs and handlers. Her eyes grew to the size of saucers. “You cannot be serious, Jake!” She turned to look at him.

His expression was guilty yet hopeful. “Serious as a heart attack, sweetheart. We’re here to see which dogs are matches for us.” Her mouth hung open for a few seconds but nothing came out.

For months, she and Jake had been going back and forth about getting a dog. Given the uptick in the duration and frequency of his deployments and tours, he wanted her to have a protective companion around when he wasn’t. Plus, he couldn’t always rely on his friends—their assignments were as sporadic as his.

First, Jake looked at breeders, thinking a purebred puppy would be perfect. Although the idea of a pudgy puppy cuddled in her lap with velvet fur, premature wrinkles and unmistakable breath made her melt, she knew they had to adopt. So Jake changed his attack, sending her adoption events from rescues throughout the county.

One day, he was on his way to the mess hall for lunch when a flier on the hallway bulletin board caught his eye. A smile curled his lips as he read the details for an upcoming military working dog adoption event.

He captured the information through the posted QR code and continued on to the lunch room. His squadron buddies ribbed him while he filled out the digital forms to ensure they got on the list as soon as possible.

Jake remembered the day he got the approval email. He’d been incessantly checking. It also took all his willpower not to tell her. So often she did things for him that he really wanted to do this for her.

“Lieutenant Seresin? Mrs. Seresin?” A woman dressed in fatigues addressed them with a warm smile. They nodded in unison and each shook her hand. After introducing herself, she offered them beverages and then took the pair to a small sitting area. Then, she walked through how their application was vetted and they were matched.

“You’re perfect candidates for any of the dogs here,” the woman commended them. They exchanged affectionate looks as Jake slipped his hand into hers and squeezed it. “But there’s a specific dog we think is the best fit for you. Would you like to meet him?”

Jake was out of his chair before the word “yes” left his lips. The soldier smiled at his giddiness and waited for her to also stand. Once all three of them were on their feet, she guided them around the perimeter of the room until they reached another soldier, standing with a brindle Belgian Malinois. “Say hello to Ruck.” She motioned toward the dog.

Jake listened so well to her list of must-haves that they were here, standing in front of a retired military dog in need of a home. She looked at Jake with a genuine smile. He thought his heart might stop. She looked so happy, which made him so happy.

“May I?” She looked at the handler for permission to pet the dog.

“Please!” He looked at Ruck, giving a wordless command. Looking back at her, the handler offered a couple pointers for a successful first impression. Jake listened but watched his wife as she absorbed everything.

Once briefed, she knelt to Ruck’s level and presented the back of her hand to him. Curiously, he nosed it, eventually nuzzling her palm. She smiled as she began to scratch his jaw, and then eventually behind his ears.

While Ruck warmed up to her, they learned he was a six-year-old that had served two tours in the Middle East and has been to almost all 50 states. The timing could not have been more perfect. As the handler finished with Ruck’s list of accolades, the dog excitedly popped up, rushing forward into her arms, revealing he was short a hindleg.

Both she and Jake couldn’t help but smile, and the soldiers sighed in deep relief. Usually a hard sell, the pair was unfazed.

Heck, Jake felt his heart melt a little more.

After a couple hours of socialization, Jake managed to convince the program manager to give a special release so Ruck could leave with them. Usually, they coordinated a home drop-off later, but Ruck had really taken to them.

While they were outside, practicing commands and playing fetch, the handler came toward her only to be warned by Ruck not to come any closer. A smile crept across her face as she looked at the dog and rewarded him with a pat on the head. The handler and program manager were just as pleased.

On the ride home, Jake had a hard time keeping his eyes on the road as she and Ruck sat in the backseat. Ruck laid across the seat with his head in her lap as she stroked between his ears.

She caught Jake staring at her in the rearview mirror and pouted her lips in his direction. He cocked his cheek as though her kiss landed there and winked at her.

Jake’s heart was so full, he thought he might burst.

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#jake seresin x reader #jake seresin imagine #jake seresin #jake hangman #jake hangman fic #jake hangman seresin #jake hangman x reader #jake hangman imagine #jake hangman seresin x reader #jake hangman x you #hangman #the drone ranger #thedroneranger #to do list #to do list series #to do list collection

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