#2017 production very much better

[phaeton-flier]

The Boeing Whistleblowers Weren't Assassinated

Anyone who looks into this past a few memes and headlines realizes that it's not actually much of a conspiracy.

The first whistleblower, John Barnett, did his whistleblowing back in 2017. The legal proceedings he was in before he died were related to a defamation case against Boeing, who "he claimed deliberately hurt his career and reputation because of allegations he’d made of grave safety breaches on the aircraft company’s production line."

He was suffering from PTSD and Anxiety Attacks from the length of the case, which shows the unjust levels of stress you get form being a whistleblower, but which also are not surprising comorbidities from suicide. Add to the fact that his wife had died a little over a year before, and it's a lot less suspicious that he would kill himself.

He did not tell his family "If I die, it wasn't suicide". The alleged witness was a friend of his mom who claimed he said it. That's not something we should treat as solid evidence.

The second whistleblower, Joshua Dean, got the Flu, then pneumonia from the Flu, then got MRSA in the hospital. These are very common diseases that also have C-grade death rates: Only ~30% of patients die of it, so it hardly makes sense as an assassination weapon.

Boeing has 32 whistleblower complaints, which is shocking but if they're going around killing whistleblowers they sure seem to be behind the fucking curve on it.

In both cases these deaths came long after the initial complaints, such that killing them doesn't get rid of the complaints, and given the 32 other cases it sure doesn't seem like they're trying to scare off new ones.

And beyond that, killing off whistleblowers is a strategy that only makes sense if you think of Boeing as a single organism and not an abstraction made of thousands of people. Yes, it's theoretically better for Boeing's bottom line if whistleblowers die, but the executives responsible for the fuck-ups these whistleblowers are pointing out? Won't go to jail for them. They will go to jail if they're caught hiring an assassin, something they would have zero practice doing and would be highly likely to fuck up like they did the company if they tried, and that risk isn't worth a little extra bonus on your stock options or whatever.

I really do not want this "Boeing killed the whistleblowers OMG" shit to stick around because it's blatantly unsupported and it will scare off future whistleblowers if this becomes common bullshit wisdom.

[lyingbard]

Why Nothing Sounds Quite Like LyreBird

Fans of RTVS may remember Joshua, beautiful baby boy of wayneradiotv. If you're like me, you might be wondering why Joshua stayed dead after LyreBird shut down. Why couldn't he be brought back with a different TTS? The fact is that LyreBird was a product of a very specific time in AI TTS. In March 2017, Google released a paper on Tacotron [1], one of the first AI TTS's with real success. In April 2017, LyreBird began showing off their TTS buisness [2]. As AI bros are wont to do they took that shit. LyreBird is a version of Tacotron. It incorporates technologies that would be published in the next few Tacotron papers [3] including multi-speaker, prosody encoding, and prosody prediction. And in February 2018, Tacotron 2 came out [4].

Tacotron 2 is better in every way. It's faster, better at imitation, and simpler. This makes it much more economical to run and fine-tune on a specific speaker, so every subsequent AI TTS is based off of Tacotron 2.

If you read the paper, Tacotron 1 has a lot of arbitrary and untested choices. It's clear that they published it in a hurry to prove that it could be done, but they hadn't refined it to cut the unnecessary fluff.

This brings me to why I'm writing this. I hope it's clear that I did a lot of research for this. That's because I did my best to recreate LyreBird, named LyingBard, and I've put it up for you to play with here.

You may notice though that it's not quite right. The main reason is that I had to go with a low quality version (reduction factor 5 for those who read the paper). A high quality version would take too long to train with my current set up and I'm almost certain that's what they used.

If I got about $100 in donations, I'm pretty sure I could get a high quality version trained in about a month. It still wouldn't sound exactly the same. Due to the chaotic nature of training a neural network, anything short of getting the actual files off LyreBird (now Descript's) servers won't make it sound exactly the same.

Regardless, LyingBard is here to stay. It's hosted on a free server so I have no reason to take it down. I'll be posting about updates here on this blog. I'm working towards getting custom voices ready at the moment and I've got some ideas for new features and fun toys for the future.

Thanks for reading!

Here's some sources if you wanna learn more about stuff I mentioned:

[1] https://arxiv.org/abs/1703.10135

[2] https://www.pcmag.com/news/lyrebird-can-listen-and-copy-any-voice-in-one-minute

[3] https://google.github.io/tacotron/

[4] https://arxiv.org/abs/1712.05884

[mosaickiwi]

14DWY As a Drama AU

Hey remember when I said I’d post this in February oopsies!! (don’t ask me about demon!ren i will cry)

Open at your own risk this thing is LONG. Tried to give everyone at least a little something! upon putting this in my drafts i realized olivia exists i'll add her at some point uhhh. Also you can tell how much I love Elanor... hehe

14 Days With You is an 18+ Yandere Visual Novel. MINORS DNI

The cult classic romantic thriller, 14 Days With You, is now a drama! Coming to all your favorite streaming platforms this summer. A whirlwind romance gone right and wrong that you DON’T want to miss.

Cast List

[REDACTED]

🖤 Quiet kid that used the after school theater program to delay returning home. Never wanted to perform, but loved doing costumes, make up, and correcting others (in his mind) on how to portray their roles. 

🖤 Spent a little extra time perfecting the costumes of a certain someone who didn't even know they existed. He always traded house chores with his sister so she'd sit in the audience to solely film Tree #2's performance.

🖤 Was an apprentice special effects makeup artist after graduation at first, particularly for horror films, but it didn't exactly pay the bills when they left home.

🖤 Easily rose to the top in their acting career due to his dedication for crafting characters to perfection. 

🖤 Dolly Parton/Lady Gaga-esque in their separation of work and life—completely unrecognizable in their regular civilian attire. Paparazzi have never gotten a picture of them in all their years trying.

🖤 Has zero issues getting into character, but does "method acting" on occasion to make sure people leave them alone on set. And also to fuck with directors and producers they don't like. Notoriously difficult to work with because of it + their overall attitude towards others, still gets hired somehow.

🖤 Got offered the role as the main love interest in 14DWY without an audition, thanks to a previous manipulative pink haired character he played in a film that ended up never being released. (2017 Ren because it's funny)

 Angel (you!)

💜 Participated in the same after school theater program as [REDACTED] and Leon for a few semesters before you got bored of it. Curiosity for acting resurfaced later in life.

💜 Newbie actor at the recently formed talent agency of your friend. Only starred as non-speaking roles or background characters in small productions until the drama. You moved back to Corland Bay after uni for the better industry prospects.

💜 You initially auditioned for a very small role in the drama as an employee in a seaside shop at first, but somehow you wound up as the lead? (un)lucky you.

💜 Feel free to fill in the blank for any whys and hows you think of to fit your OC/self/sona as you so please <3

Elanor

💖 Normally an actress and casting director, first time as an executive producer for the drama. Dreams of bringing her own romantic screenplays to life. Hasn't quite proven herself the way she wants in the industry to feel confident enough in them. 

💖 Catalyst for the drama being made. A "friend" mistakenly recommended the 14DWY book to her. She absolutely loathes all the psychological horror of it but sees the potential it has.

💖 Also the reason [REDACTED] was immediately cast, and you as well once she saw your chemistry with him while reading for a minor role. He hadn't shown a fraction of as much interest when reading lines with other potential candidates, so she decided to take the risk of an untested talent as the headliner.

💖 Refuses to use her family's name to get her stuff made. She wants her works to speak for themselves. Very picky about who she works with due to her family having hands in most of Corland's entertainment industry so she hardly gets a genuine interaction beyond ass-kissing.

💖 Always partial to working with Conan's small studio since he was the only director to give her any sort of criticism in spite of her family, as gentle and polite as it was. She still cried a little in the dressing room though.

💖 Genuine confusion when Conan wants her to act as both a producer and assist with direction. She only intended to bring it to his interest. But how could she say no to someone whose judgment and opinion she respects so much?

Conan

💖 Runs and owns a small scale studio in the Bay that seems to pick and choose its productions at random. It is in fact Alice sneaking into her dad's home office and putting scented stickers on the ones she likes. (She only reads the titles)

💖 Extremely proud of Elanor for getting so far on her own, and would take on one of her dozens of scripts no questions asked if she'd only work up the courage to show him one. So imagine his surprise when she comes to him with a romantic horror instead of one of the fairy tale romances he sees her scribbling notes on during breaks.

💖 While he’s the one with the final say, he does try to let Elanor have as much free reign as possible on the project in the hopes to boost her confidence.

Kiara

💖 A super-star actress and model that got her start in Corland’s local industry, but quickly hit it big. 

💖 When she isn’t drowning in work, she’ll swing through town to check in on her sister.

💖 Desperately wants to star in one of Elanor’s productions, but respects her sister’s desire for independence. Though she does like to tease about certain casting decisions on the drama when made aware of them.

the rest of the cast are unfortunately very silly i couldn't resist

Moth

💖 Started a talent agency out of spite for the terrible castings in their favorite media. Got further invested upon realizing they could read the scripts before the movies or show adaptations were even announced.

💖 The one who pushed you to audition for a minor role in the production once the rumor about who was cast as the main love interest reaches them. They've heard all the horror stories about [REDACTED] so wanted the inside scoop. Horrified and fascinated to find out you get the lead role. It’s like watching a train wreck.

Leon

💖 Joined the theater program initially because of you, but got really into it. Moved away to attend a performing arts school until his mother got sick.

💖 Took every wacky infomercial or street performance gig he could find to pay the hospital bills until Teo found out and swooped in.

💖 Eternally grateful for the burden of financial ruin being relieved, so he always accepts the jobs Teo gets for him. He definitely won’t complain since he’s not dressed in an animal costume and shouting nonsensical slogans for cleaning products.

Teo

💖 Met Leon through a shared production and quickly bonded. Attended a different performing arts school and met Jae as a child.

💖 Almost the exact opposite of his game character purely for the funnies. Shy, introverted, can’t flirt to save his life. Still a nepo baby but he can hold his own in acting. Doesn’t like his character much, but is extremely jealous of the confidence he oozes.

💖 Leon and Jae are his only friends in the industry so he uses his sway to get them parts if they haven't already gotten a call back. Gets REALLY nervous on set for certain roles so he needs their support.

Jae

💖 Attended the same school as Teo when they were kids, and is constantly pitching intentionally bad ideas and joking on set to reassure his friend.

💖 A little bit of a thrill seeker, so does all his own small stunts if he thinks he’s capable. Stands there and gawks watching the more extreme stunts, loudest to clap when they go well.

💖 Kept bringing Maple to the shoots cause how could he even think about leaving her at home? She would occasionally break her leash and wander into a scene for head scratches and kisses. The film crew always booed when a PA came to take her off set.

Violet

💖 Completely terrible at caring for plants. Inspired by her role, she starts vlogging about her plant mom journey before shooting even begins. All her advice is completely wrong and terrible. Her personal assistant keeps her in the dark by tending to the plants themselves to fix her mistakes.

💖 Finds out she has a talent for flower arrangement, though. Does thank you vases for the cast and crew on all her future productions that last a lifetime because her PA made sure all the flowers were fake.

Exposition

(silly on set shenanigans)

🎬 Scenes get retaken quite a bit, since you’re still extremely new to it all. Most of the cast and crew expect anger out of [REDACTED] after the 4th call for a re-shoot on the first day’s library scene, but he’s surprisingly cracking jokes about his dye job and reassuring you that you’re doing great. The infamously ill-tempered actor is smiling somehow… even being patient? Not glaring down his co-star for minor slip ups? They cannot recognize this person.

🎬 Violet and [REDACTED] naturally butt heads on set. She respects their acting, not the actor. Zero hesitation to snap back if he’s getting snarky with a PA. You’re the one people have to beg to separate them, and you’re completely baffled that [REDACTED] doesn’t treat others as nicely as he treats you.

🎬 Even though Elanor is a nervous wreck about the first real thing to ultimately make or break her career, she’s scarily efficient on set—as long as no one distracts her. She does get sidetracked once in a while, only because she loves chatting and answering any questions the cast or crew might have. She even brings one of her own cats to set during a slower day to see if they can get along with Maple. Leaves Conan in charge when the horror scenes are being shot. They’re both put off by how vivid they feel, but Conan at least can grin and bear it. 

🎬 You and Leon manage to catch up on set while [REDACTED] is otherwise occupied shooting said horror scenes. You tease him about a few infomercials you saw when looking up his actor reel, and Leon teases you back about your unlucky streak of being a tree or a rock in every play the theater program put on when y’all were younger. Laughs even harder once he finds out your most prominent roles until then were “unnamed zombie #5 at the bottom of the pile” and “sleeping train passenger.”

🎬 Try as he might, [REDACTED] doesn’t convince Elanor to change up a few crucial parts of the script for his benefit. His offhand threats of leaving the production fall on deaf ears, as she is all too happy to do re-shoots to make Teo the lead. His innocent hints to you about the shoddy script fly over your head for some reason! You love how it's turning out, what does he mean?

🎬 Super shy Teo prefaces and warns his co-stars before acting in every scene of his character being excessively flirty. Most of the actors have worked with him at some point or another beforehand, so they let him go through his routine without issue. Some crew members love the whiplash of him switching between overly courteous and smarmy, others vastly prefer the flirty character and mourn the loss as production comes to a close.

The Build Up

📺 The higher ups pressure Violet to start a short-lived streaming career to boost interest, since she’s hopeless with plants. She amasses a cult following for her MMO reviews, blind raids on new patches, and her wild ride of a Minecraft playthrough. In the end she winds up preferring to play games off stream, but once in a blue moon she’ll do a first time raid stream so her more dedicated fans can join and watch her alliance get wiped. Creative trolling is highly encouraged.

📺 Teo, Jae, and Leon appear on a late night TV show for promotion. It was meant to be for Teo and [REDACTED] at first. (Where’s the leading lover? [REDACTED] refused all promo appearances or sit downs without you being involved in them.) The host plays a clip that Teo’s particularly embarrassed about, and he hides his face in shame when the crowd hoots and hollers praise about his portrayal.

📺 [REDACTED] comes across as doting and overprotective of you once you’re pushed into the spotlight of celebrity, and shows increasingly concerning behaviors as the premiere looms closer. Depending on your response, they’ll back off to a point or dial it up. Interviewers and consumers mistake it as the eccentric actor’s “method acting” so the red flags just slide right past.

📺 Elanor and Conan guest star in a podcast for off-the-cuff romance enthusiasts. Their strangely cagey and joking comments like “there were so many retakes we couldn’t keep track of what was meant to be the actors messing around or part of the final cuts,” and “we’ve actually sent all the reviewers 1 of 14 versions with completely different endings,” leave listeners all the more curious to see the film.

The Climax

🎉 Reception is huge, in good ways for most. The majority of the cast see a surge in popularity if they didn’t already from the hype. 

🎉 Teo bemoans his endless offerings for sarcastic pretty boy jobs, Leon makes enough to get picky about his roles (and pay Teo back), Jae somehow cons a studio into an action film starring Maple—and subsequently adopts every single one of her stunt doubles. 

🎉 Moth throws the agency away to start adapting anime and manga themselves. Elanor finally feels validated enough to bring one of her romantic screenplays to the big screen, starring her sister Kiara and a very enthusiastic Violet as the leading couple. 

🎉 Conan’s studio is overloaded with scripts, and Alice runs out of scented stickers that much quicker. They are severely backlogged send help.

🎉 One determined conspiracy theorist sets out to prove those missing 13 versions of the ending are real, based on minor cuts and inconsistencies purposefully left in the public release.

The End, Roll Credits

choose your own ending

Bad End 💔 - A Falling Star

💔 If you respond negatively to [REDACTED]’s demeanor during shoots and promo: he plays the waiting game, uses his connections and blackmail to make sure all your roles without his name attached don’t garner nearly as much attention as the ones where you’re co-stars.

💔 Your negotiating power quickly plummets as you fall out of demand and end up begging just for the non-speaking roles you once loathed.

💔 The careers of anyone you got close to on set fall apart much faster than yours, before they’re outright blacklisted in the industry.

💔 You begrudgingly call up your last option. He can’t do much for your friends, but their offer to help you make a comeback is always open.

Neutral End 💌 - Just One More Try

💌 If you respond indifferently to [REDACTED]’s demeanor: the drama leads to you getting more offers, though a handful are for playing opposite of [REDACTED], as the on-screen chemistry was too much for studios to ignore for cash grabs.

💌 Elanor has rid herself of the drama’s subsequent rights, despite positive reception, so a sequel sprouts up in the works at a different studio. One that doesn’t mind catering to the whims of their actors when it comes to script integrity.

💌 You arrive on the set to find that not just one, but all of your cast mates except for them were written to have much smaller parts in the sequel. In fact, you rarely find a scene in the revised script where [REDACTED] isn’t alongside you.

💌 Sadly the contract is air tight, just put up with it until it’s over… What’s this clause about further sequels?

Good End 💍 - Off Into the Sunset

💍 If you respond positively to [REDACTED]’s demeanor: you’ll sadly announce at the post premiere press conference that acting was a one-and-done adventure for you. Retired effective immediately, no farewell interviews.

💍 You’re spotted around town for a few weeks in a mask with a tall, darkly dressed companion at your side before you disappear from the public eye and Corland Bay all together.

💍 A few of your friends at least have an idea of where you are, and they meet up with you whenever you're in a nearby city. None of them can recognize the man glued to your side, though. Not that he'd say anything to clue them in.

💍 After months of near inactivity, [REDACTED] mysteriously deletes their socials without a word, sparking confusion and outrage among hardcore fans still desperately hoping for a sequel.

[sophistopheles]

hey!! ty for posting about the article talking about continuation of aa. I don’t know as much about the production of aa5 and 6 but you mentioned a person names Eshiro being responsible for the “no spoilers” rule being replaced. what/who is that? just in general giving u the floor to rant about aa5 and 6 beyond what u were able to say in that post and ur hopes for the future 💙✨ ok bye! :)

hiya!! (post here)

So, the story of why aa5 and aa6 are so different to aa4 basically boils down to a change in the team making it (and Eshiro was part of this).

Most people know Shu Takumi wrote and directed the original trilogy of Phoenix Wright games and then worked on Apollo Justice (although the director was technically Mitsuru Endo, people tend to think of AJ as the last "Takumi" mainline game). After that, he left the Ace Attorney team to complete and release Ghost Trick in 2010, and then he became involved in the development of Professor Layton vs Phoenix Wright, which released in 2012.

While he was doing all of this, a "secondary" Ace Attorney team had arisen to keep working on the franchise - they had almost all worked on previous AA games and in 2009 and 2011 they were able to release the two Ace Attorney Investigations games.

The two most well-known members of this "team" are the producer Motohide Eshiro and the director Takeshi Yamazaki, and the fact that AAI2 is so beloved shows that they are by no means unable to make really, really good Ace Attorney games. But, with Takumi still busy with his other projects, and a good few years having passed since AA4, this team was asked to create a fifth Ace Attorney game in his absence.

This was, obviously, a challenge, and Capcom were likely in quite a rush to get a new mainline game out soon. Additionally, initial fan reception of AA4 was really not that good - many people hated the decision to disbar Phoenix in particular - and the game itself had many loose ends.

Eshiro, as the producer, decided that for AA5 it was better for the writers to not be held back by previous games, which manifested in what people think of now as the "no spoilers rule". This is why AA5 does not follow up on AA4, and likewise for AA6. Nowadays this decision is widely regarded as a very bad move, but on some level I empathise with it - AA has always been kind of reluctant to spoil past games, and you were always operating with the presumption that the player might be new to the series and wanted to go back to the previous games. Writing a follow-up that addressed AA4, while being acceptable to newcomers and not spoiling almost all of AA4's biggest twists, without the guy who originally came up with the story, would prove really difficult.

So they wrote Dual Destinies as a new story which followed AA4 but didn't really address it, and indulged in fanservice to try and restore the series status quo. It seems like the scenario changed a lot during development and they were pretty crunched for time, too - the final villain's models are apparently called FINALBOSS in the game files and completely broken if you look at them from any other angle.

After working on AA5, Yamazaki was apparently exhausted and didn't really want to make another Ace Attorney. Unfortunately for him, Shu Takumi was still off on his Sherlock & Souseki Victorian-Meiji Adventure, writing the Great Ace Attorney duology, and he wouldn't get done until 2017 when DGS2 came out.

Eshiro managed to persuade Yamazaki to work on AA6 by bringing him to conventions, and having seen the passion and overjoyed reactions from fans after AA5 came out, Yamazaki agreed to direct the sixth game, with Takuro Fuse (AA5 and 6's main artist) acting as co-director to ease the load. Some of AA6's cases were also created by guest writers; the SOJ artbook mentions a struggle for ideas, which explains the outlandish setting of Khura'in.

To the best of my knowledge (and I'm not sure this account is 100% accurate so anyone please feel free to correct me) this is why AA5 and AA6 are the way they are. Nobody is particularly to blame for how things turned out; there were just a couple of bad decisions along the way which has resulted in the games being looked back on by a lot of people with some contempt. Given the circumstances, I'm actually pretty impressed with how enjoyable Dual Destinies and Spirit of Justice are, even if they don't reach the heights of the trilogy.

Yamazaki left Capcom in 2019. Eshiro went on to produce Dai Gyakuten Saiban 2, and I'm pretty sure he's still at Capcom.

What all of this means for the next Ace Attorney title is completely speculation, but the short version of the story is that Shu Takumi has finally come back from getting milk Herlock Sholmes Jail writing other games, and seems to be getting hyped up by capcom as the "Director of the Ace Attorney Series". This makes it very likely he will direct and write the next Ace Attorney game. At present we have no idea what this means - he could follow up on AA4's story as well as he's able, he could write another Phoenix game, he might go rogue and write an Athena game, he might do something completely different. But the next AA game will likely be around the quality of AA1-2-3-4 and DGS, not another AA5/6 situation.

As for the producer, this comes from the November 2020 leaks (which was very real - it's where we first got the TGAA localisation confirmed), but the only thing we heard about their projected AA7 was that it would be produced by a guy called Yasayuki Makino. He also produced The Great Ace Attorney collection, and if you read his dev blogs from that release, he credits AA4 for getting him into the series initially, and generally seems to be a huge Ace Attorney fan himself, pushing hard for TGAA to get a worldwide re-release after its unimpressive initial sales (and look how well that's worked out...!)

That's basically the story. I think AA7 will be great, actually, but at this point I will literally take anything, Capcom please my family is starving

[rebeccathenaturalist]

So on the surface this looks like a good thing. After all, we need mature and old-growth forests as they're havens for species dependent on that habitat type, and they are also exceptionally good carbon sinks compared to younger, less complex forests. (A big, old tree will still absorb and hold more carbon than a new, quick-growing one, and in fact for the first twenty or so years of its life a tree is actually carbon positive, releasing more than it absorbs.)

However, timber industries are trying to paint mature forests as fire hazards that need to be thinned out due to an abundance of plant life. They also tend to oppose leaving snags and nurse logs in the forest as "fuel", because they'd rather salvage what lumber they can from a freshly dead tree. So of course they're trying to push for cutting down trees as the solution to climate change's threat to mature forests.

Large, old trees are generally better adapted to surviving a fire simply by sheer size. Some have other adaptations, such as deeply grooved bark that can create relatively cooler pockets of air around the tree to help it survive, and the branches of older, taller trees of some species are higher up the trunk, away from lower-burning fires. And those old trees that survive are often important for helping to restore the forest ecosystem afterward, from providing seeds for new trees to offering wildlife safe haven and food.

When timber companies come in and log a forest, even if they don't take all the trees, they leave behind all the branches and twigs and just take the trunks. This creates a buildup of fine fuels that burn very quickly (think the twigs and paper you use to start a campfire), while removing coarse fuels that take longer to catch fire. In fact, an area that is subjected to salvage logging after a fire is much more likely to burn again within a few years due to all the fine fuels left behind by salvage logging.

Another factor is that not all forests are the same, even at similar ages. Here in the Pacific Northwest, as one example, the forests east of the Cascades live in drier conditions with slower plant growth, and low-level wildfires that can clean out ladder fuels before they pile up too high are more common. In those locations prescribed burns make sense.

However, the fire ecology of forests on the west side is less understood; because lightning storms are less common and the climate is wetter, fires just don't happen as often. And west-side forests are simply more productive, with denser vegetation that grows back quickly after even large fires like 2017's Eagle Creek Fire in the Columbia River Gorge. Historically speaking, west-side forests get fewer, but larger, fires. So the prescribed burns and other strategies employed for east-side forests aren't necessarily a good fit.

Finally, mature forests are much more biodiverse, and support many more species than a monocultural tree plantation. As climate change continues to affect the planet, mature forests and other complex ecosystems are going to become increasingly crucial to protecting numerous species, to include those dependent only on those ecosystem types. Thinning may seem like a great idea at first, but even if it isn't as destructive as clearcutting it will still damage a forest in ways that will take years to restore.

We really need to be wary of the narrative that thinning is the only way to curb climate change's effects on mature forests. It's a more complex situation than that, and we need to prioritize preserving these increasingly rare places as much as possible.

[roach-works]

Hi!!!! I recently read When the Wolf Comes Home and I loved the premise the where the fic was heading. I know it hasn't been updated since 2017 so I was wondering if there was any intention of finishing it? I know it's possible you've moved on from that fandom and that is totally fine! If you are, would it be possible to share where you wanted to take the fic? Thank you, I absolutely loved your writing!!!

im a little stuck on that one because yeah i do sometimes noodle a little more on it and i had a pretty solid plot for the first year, after which i was going to be Very Firmly Done because so many rewrites attempt to take on the whole seven year span and founder on the complexity. but the problem is im really ambivalent and undecided on how much i want to participate in harry potter fandom at this late date, with JKR going mask-off nazi sympathizer. it's a weird situation where you can't argue for death of the author when the author is annoyingly alive and arguing that you should be dead.

im deeply reluctant to denounce people still participating in a fandom that i myself found incredibly fun and rewarding for, yknow, several decades of my life, and i don't think i'm better than them, just fortunate to be more interested in other projects.

but ambivalence towards the fandom and deep resentment towards the creator aren't really a productive headspace to actually write in, and i also don't want to finally work through my own doubts, finish another chapter, and then get my head torn off by people who are certain that i'm supporting JKR's toxic fuckwittery.

all in all it's easier and more rewarding to play with other fandoms and work on my many original projects.

where the fic was going:

as far as i remember, in When The Wolf Comes Home, draco was going to get his dad to hire lupin as his defense against the dark arts tutor and rent out the shrieking shack for the man to work out of, thus circumventing the curse on the DADA position and giving draco a werewolf mentor and independent bolt-hole.

quirrelmort was going to continue trying to figure out how to use or dispose of draco on his way to get the philosopher stone, a side-plot draco knew almost nothing about. draco would continue to try to maneuver harry into quirrel's way and snape out of his way, with indifferent success. harry and ron, lacking any voice of reason to temper their enthusiastic partnership of 'baby griffindors looking cool in front of their first real friend ever', would continue to believe that draco, the saddest wet puppy, was an evil monster and the cause of all their misfortunes. draco would continue to be the most mentally and emotionally unstable kid in the castle, taking all the heat off neville, who would end up looking fairly cool and collected by comparison. rita skeeter would feature somewhere in there, hired by narcissa to write little puff pieces on how tragic and brave draco was being about going to school with such a tragic disability.

remus lupin would end up with a full schedule tutoring DADA students about to take their NEWTs and OWLs and make a bunch of money. with lucius as his patron and PR agent, he would be accepted in hogsmeade as a dashing and heroic warlock who had been off having reams of secret agent adventures as dumbledore's key man in the muggle world. remus would not really know what to do with this but eat as much as possible and smile gamely when lucius showed him off to people.

eventually towards the end of the year quirrel would get rid of draco by orchestrating a fight between ron and draco where ron cut his fist on draco's teeth. this would count as a bite and draco would get thrown in azkaban and belatedly realize that he had completely and totally forgotten about sirius black's whole Saddest Wet Dog situation. sirius would do his best to take care of his tiny insane werepuppy cousin until the malfoys and longbottoms and weasleys combined to lever draco back out, using ron's ashamed testimony. draco would immediately turn around and reveal scabbers. the malfoys would end up looking like champions of truth and justice and the weasleys would, unfortunately, have to just stand there and smile gamely for the cameras.

while all this was happening harry would go after quirrel with hermione and neville and take him down. dumbledore would show up at the end, when voldemort was defeated and sirius was exonerated and several deep family feuds had been laid aside, to dispense twinkling paternal wisdom.

draco would kick him in the fork.

THE END.

[tismrot]

GOOD OMENS: WHEN CAN WE REASONABLY EXPECT SEASON 3 - an early morning Vyvanse rant

TIMELINE GO1 greenlight: January 19th, 2017 GO1 started filming: Later in 2017 GO1 air date: May 31st, 2019 GO2 renewed: June, 2021 GO2 started filming: Late 2021 (can’t find exactly when) GO2 air date: July 28th, 2023 GO3 renewed: December 14th, 2023 GO3 starts filming: Soon! (What is 'soon'?)

Some people have suggested the pandemic prolonged the time from renewal of season 2, to filming and production and all that, I have no idea whether or not this is correct. Can someone weigh in here?

What we do know is that roughly one and a half year passed from renewal to air date. Season 2 clearly had a bigger budget, I don’t know if that means more work for more people or just better paid even more competent people, compared to season 1 - or if it means something else entirely. Not too familiar with that industry. The time between greenlighting, filming and air dates is much shorter in season 2, compared to season 1. I don’t think season 3 will be very much faster than season 2, but…

Amazon has noticed us. They want to make money, and this fandom has provided insane amounts of free publicity. Maybe they’ve even saved money on marketing because of us (I have no idea) - I bet they could speed some things up by throwing more money at season 3, but often, things can’t (or shouldn’t) be rushed. What can be rushed, what shouldn’t be rushed? Let’s hope Amazon knows the difference, let’s hope Neil stands his ground in any type of conflict, should it arise.

That said, I believe we can expect season 3 early summer of 2025, possibly sooner - but probably not in 2024.

What are your thoughts?

Oh, and here is the song I’ve been listening to since the news of season 3 came yesterday - it’s about them! (At least in my mind, with my headcanon)

🍷TO THE WORLD🍷

Sometimes I wonder who I would be if I did something useful with my time✨

[catgirl-kaiju]

i don't want anyone to start shit with tumblr user velvetvexations, but i do have some criticisms about the way she seems to operate.

when visiting her blog and looking her up in the tumblr search function, i see a pattern of behavior where she will go into people's ask boxes to badger folks who post about transmisogyny, interpretting many comments regarding the subject to be anti-transmasc, even when transmasc people are not even mentioned. she refers to this as "activism", but it reads more as a petulant "debate me" behavior that serves only to start fights with people she disagrees with.

this tendancy of hers is why i'm not @ing her or tagging her in this post, and why i've blocked her. i have no interest in dealing with a combative stranger on the internet.

i find it curious that she puts so much effort into harassing people who disagree with the transandrophobia model of talking about transmasc issues, or even just people who post about transmisogyny in a way she feels demonizes transmasc folks (just based on vibes, i guess), while putting very little effort into actually spreading awareness about the challenges that transmasc folks face.

like, i may disagree with transandrophobia being an appropriate or productive way to model the kinds of challenges unique to transmasc folks, but that doesn't mean that i think transmasc issues aren't worth talking about and making space for. i mostly post abt transfem stuff, bc that's what i most easily relate to, and it's what i can speak to from my experiences. but i do actually try to boost posts from transmasc folks that talk about transmasc issues and the transmasc experience. transmasc folks are an important part of my life and my community; i want them to be heard and cared about.

but, under the narrow conception of someone like velvetvexations, i actually hate transmasc folks bc i don't talk abt their issues and experiences the specific way she wants people to. and, frankly, it's strange that she seems to consider herself an authority in this area when she is not able to speak from a transmasc perspective. i think her energy would be much better spent boosting the words of transmasc folks speaking to their own experiences and drawing attention to causes that can address the challenges that they face, instead of trying to police the speech of her fellow transfems.

anyway, i think it would be hypocritical of me, on some level, to insist that she should boost the speech of transmasc folks and draw attention to causes that aid transmascs without doing that myself. so, i'll be taking a moment to post some links here to charitable causes that benefit transmascs:

Tbuddy bridges the critical gap in mental health support for transmasculine individuals by fostering a safe, 24/7 peer support network that leverages the power of lived experience. Through compassionate and confidential connections, we combat isolation, depression, and empower transmasculine individuals to thrive.

you can donate to Tbuddy on their website and you can apply for their services and resources if you are a transmasc person in need. they have been around since 2017, and were founded in response to the 51% suicide rate among transmasc folks at the time, seeking to combat the issues that drive transmasc people to suicidality.

DCATS (DC Area Transmasculine Society) is a trans-led nonprofit organization that serves to advance the lives of transmasculine folks by providing resources that help overcome the social, economic, and health-related barriers to living authentically. Founded in 1998 as a monthly support group, DCATS has transformed into an organization that offers a variety of services to meet our community's needs.

DCATS has a donate option on their website, as well as methods of contact, events, and programs.

Trans Masculine Alliance Houston is a peer led community group for anyone assigned female at birth (AFAB) who identifies as FtM, transmasculine, non-binary, or who is questioning their gender. TMAH’s mission is to provide a safe and supportive environment for the transmasculine community. We hold workshops, community building and social activities, and meet to engage in discussion of issues related to transmasculine identity. Additionally, we are working on a program to help offset the cost of gender affirming surgeries and name/gender marker filing fees.

there does not appear to be a place to donate on their website, but they do have a directory of various resources pertinent to transmasc needs, some of them specific to the Houston area, and some more widely accessible.

i'm gonna stop there, just bc this post is already SO long, but anyone feel free to post more in the reblogs. also, transmascs, feel free to post any of your donation or fundraising links on this post. i will do my best to boost!

alright end of post, g'night y'all!

[tangledbea]

You've been running this blog for eight years, and that's a long time. Long enough for the series to come and go, and have been gone for years. Long enough for me to grow from a tween to a technical adult (who can drink almost anywhere that's not the states. I don't know why I'm so hung up on this fact since I'm not american and don't drink.) Anyways that's a long time. Even though I've been lurking in this fandom and by extension your blog since Dec 2017, I never saw the very beginning of your blog. What was that time like? Did you always intend to answer people's seemingly random questions about Tangled? If not, how did we get to this point?

Hey! If it makes you feel any better, I recognize your URL from my likes! So thanks for talking to me!

The beginning was interesting. I expected this was going to be primarily an archival blog. As in I'd post (or reblog) facts about the (then) upcoming series as they were dropped by entertainment news outlets, and then screencaps, analyses, gifs, fanart, concept art, etc about the show, and people would look things up on my blog using my detailed tagging system. I learned how to make gifs so that I could gif the show. Honestly, for years I'd been following @artoftangled (not to be confused with @theartoftangled though they're doing stellar work), and I saw that they got asks about the movie a lot, and I was hoping this would be that kind of blog, too. That people would come to me for my years of experience and hyperfixation so that I could answer questions for them. I didn't expect it, but I hoped.

No, the most surprising turn of events for me was when crew members were popping up on Tumblr, posting info and sometimes art, answering the questions they were allowed to answer during pre-production, including the executive producer (who, at the time, we didn't know what he was like). So, on a day when I was actually a little depressed and knew I had literally nothing to lose, I started reaching out to people. I reached out to CS, Stephen Sadoval, and Kay Ritter (now Hayes) at first, and started talking to them here on Tumblr. Much to my surprise, they talked back, started answering my questions, etc in private chats. And the next thing I knew, they knew who I was at the studio. I was genuinely friends with people who worked on the show.

And honestly, I think they found me so trustworthy not just because of my enthusiasm and long-standing presence in the fandom, but because of my age. I'm a grown-ass adult, and was when the movie came out. There are a lot of people who worked on the show who are younger than me, and of course several who are my age or older, so I was the crews' peer. And my excitement for the show was honestly free publicity, and the kind that shows need these days: buzz on social media.

I'd say that with as hard as I worked, I deserved to be paid, but I kind of was. I got a tour of the studio, various crew members gifted me with crew-exclusive gifts (I wish the art book was among them, but alas), I was introduced to Roy Conli, I had crew who were excited to meet me, like I was some kind of celebrity, and had their respect and praise.

I also got thousands of followers who not only ask me for facts about the show like I hoped, but my opinions and interpretations of characters and events. I think the opinions and interpretations was far less expected by me, because that implies a level of popularity that I wasn't anticipating achieving. So, go me, I guess? lol

Anyway, yeah! That's how it all began! I knew I wanted to create a blog for the show, but I held off until we had a title. The day that the name Tangled Before Ever After dropped was the day I snagged this URL.

[magicalgirlsirin]

an oral history of vocaloid

ive seen a lot of (very misguided) discussion about vocaloid/vsynth in regards to AI voices discourse, so i thought it would be a good idea to sit down and explore vocaloid as a software, as well as mentioning other software of the same genre, to give people who dont really know much a better understanding

first and foremost: i dislike AI voices that are in unregulated spaces right now. actors who are finding their hard work end up on some website for anyone to use without compensation is devastating, and shows a lack of respect for the effort it takes in the field.

however, vocaloid has a much longer history that pre-dates these aggregate sites. vocaloid software was first released in 2004, and was initially marketed towards professional musicians. vocaloid's second version of the engine, however, decided to broaden the market towards general consumers, pitching it as helpful software to those who wanted to produce music, but didn't have the personal skill or ability to have someone else sing for their music (range, note holding, etc). amateur musicians wouldn't know how to direct someone to tackle a lyric persay, but using software would be easy to learn and they would learn the terminology associated with certain performance decisions.

in vocaloid 2's era, miku was released. miku's voice provider is Saki Fujita, a well respected voice actress who actually does a lot of work in anime as well as video games! the popularity of miku is its own separate post of history, but the explosive nature of it, i would argue, is the reason that vocaloid and other commercial voice synthesizer software ultimately ended up geared towards all consumers instead of just professional musicians. (crypton and yamaha did absolutely still cater to professional musicians, having private or non released banks only for certain companies/contractors to use though).

flash forward, and technology has developed way further. in 2013, cevio released, and in 2017, synthV debuted. by this point, vocal synthing has expanded from just singing software to also include software intended for just speaking (voiceroid by AHS software) and the idea of an AI bank to improve the quality and clarity of voice banks is becoming more feasible.

however, i wouldnt say the developments in AI voices came strictly from this side of things. in fact, i distinctly remember back in the early 2010s, people were using websites with voice models of characters like glados (portal) and spongebob. these audio posts were seen as novelties, and admittedly theyre fun just to mess around with (and people often find the spongebob rap music that yourboysponge makes to be pretty well done!), they do lead the way to better developed technology that doesnt compensate the artist...

so back to vocaloid. the thing about vocaloid (and all vocal synthesizers) is that contracts are in place to give appropriate time and compensation, along with permission to even use the person's voice. saki fujita continues to update miku's voicebank because she is being paid well to do so. this can be said for all vocal synth products. because these companies (crypton, ahs software, internet co, etc) specialize in making these tools and products for it, they have the appropriate knowledge on what proper compensation looks like. a random person grabbing a "raiden shogun genshin ai voice" model has none of those things. the voice actress doesnt get money off of that. its stolen work. AI can be used ethically, but it has to be done with regulation.

im leaving out specifics on certain vocaloids/vsynthesizers since its tangential to this post at best, but im making this so people have a better understanding of the history and intended usage of vocal synthesizer software. thank youuuuu

[fallloverfic]

Nimona, the 2011-14 webcomic by ND Stevenson, turned into a graphic novel published on May 12, 2015, and adapted into a full cast audiobook on October 4, 2016, has been adapted into an animated movie!

The movie premiered at the Annecy International Animation Film Festival in France on June 14, 2023. Netflix released a teaser trailer on May 18, 2023, a clip on June 8, 2023, a full trailer on June 14, 2023, another big clip on June 21, 2023, more footage on June 22, 2023, and another big clip on June 27, 2023. The movie released in select theaters starting on June 23.

The movie released on June 30, 2023 on Netflix for streaming! You can also view the movie for free, legally, on YouTube, until February 26th, 2024. Netflix also released a free-to-read digital-only multimedia 358-page artbook for the movie.

For simplified background, Disney cancelled the movie in 2021, but on April 11, 2022, it was announced that Annapurna would produce the movie, DNEG would animate it, and Netflix would distribute it for streaming sometime in 2023. I'm seeing a lot of confusion out there, so I'll make a summary of what else we know. I also keep the Nimona movie fanwiki page up to date with more info as it releases. Other good places to get news: ND Stevenson's twitter, his Tumblr, his personal site, the savenimona twitter, and the movie page on Netflix. While managing the fanwiki I found that Wikipedia's reference articles for the movie were kind of terrible and often quoted things not being said in the articles being quoted, even in their archive versions, so I would stick with first-hand accounts where possible, particularly what's coming from folks working on the movie and the companies making it. Below is a more detailed summary of info.

Nimona by ND Stevenson began life as a school project while Nate was in college. He was a tumblrite and posted the first pages on Tumblr on December 14, 2011. On June 19, 2012, he began publishing the webcomic in full on its own site. Sometime before November 2012, it was contracted for publication as a graphic novel after completion. The webcomic ended on September 30, 2014, and was released as a single graphic novel in entirety on May 12, 2015. It has currently been translated into 16 languages. Nate adapted it into a full cast audiobook that released on October 4, 2016 (you can hear a preview and purchase it via the link above). The graphic novel and audiobook are still available for purchase.

Apologies for maybe getting studio names wrong, some have changed over time. Anyway: the movie rights for Nimona were acquired by 20th Century Fox Animation in June 2015, to be produced by Blue Sky Studios. In June 2017, Fox scheduled the movie to be released on February 14, 2020. Patrick Osbourne was brought on as director, and it was planned to have the movie in the style of Paperman (Osbourne was animation supervisor of Paperman (2012), and went on to direct Feast (2015), which used the same style). After Disney acquired 20th Century Animation (as it was later called), the movie was delayed to March 5, 2021. There was reportedly pushback for queer stuff in the movie. Blue Sky is publicly stated to have shutdown due to the pandemic and money issues, which isn't relevant here, and I would be careful spreading rumors it was for other reasons. A lot of "successful" US companies shut down studios and departments en masse for other very dumb reasons, particularly in recent years, sometimes just because they aren't making as much money as their parent/shareholders wants them to and cutting salaries makes your profits look better to shareholders. The important part is: Blue Sky was being shut down, and Disney officially cancelled the movie in February 2021.

At some point around the cancellation, a video compilation of early release footage and sculpts seemingly from someone involved in the movie's production was released online. It was later taken down, but put back up by iO9 after the Annapurna, DNEG, Netflix production was announced.

After Disney shuttered Blue Sky, according to Variety, the Nimona crew, "led by former Blue Sky co-presidents Andrew Millstein and Robert Baird, shopped the animatic around town. The film caught the attention of Annapurna CEO Megan Ellison, who was familiar with the film and had been tracking the project. “I think anyone who has ever felt misunderstood or like an outsider will connect with N.D. Stevenson’s story like I did,” she said in press material for the film. “When I watched the storyboard reels I immediately fell in love with it. Nothing about it felt conventional or built off market research. It’s bold and mischievous and full of love. Nimona has such a powerful voice.”

Annapurna stepped in and signed up Millstein and Baird as executive producers. They created Shapeshifter Films so the team could finish “Nimona,” and subsequently joined the company, forming Annapurna Animation.

DNEG Animation was hired in the spring of 2021 to help with the animation, becoming collaborators on the film."

On April 11, 2022, it was announced that the film would be produced by Annapurna, animated by DNEG, and distributed by Netflix. Netflix also shared the first summary:

"A Knight is framed for a crime he didn't commit and the only person who can help him prove his innocence is Nimona, a shape-shifting teen who might also be a monster he's sworn to kill. Set in a techno-medieval world unlike anything animation has tackled before, this is a story about the labels we assign to people and the shapeshifter who refuses to be defined by anyone."

Between Netflix's posts and DNEG's Nimona page, as well as folks involved with the film talking about it, and new info released after the Annecy Film Festival announcement, we knew it would release in Summer 2023. Netflix released a primary cast article with images of what the characters look like from Netflix (be warned, both are very spoilery).

What is also interesting about the cast listings is that Ballister's last name was changed from Blackheart to Boldheart.

Sources for Business Insider said that Blue Sky's work would be incorporated into the film somehow. The second production seemingly wasn't started from scratch, and members of the Blue Sky production stayed on to work on the project. This makes sense, given the art was quite similar to what was in that footage released around the film's cancellation in 2021. DNEG crew have stated repeatedly, though, that although they did have a lot of material from the Blue Sky production, they had to make a lot of things from the ground up.

Quane released an official shot from the film on January 4, 2023:

It was announced that the movie would premiere on June 14, 2023, at the Annecy International Animation Film Festival in France. (Post on Annecy's site, post on DNEG's site)

Two new stills were also released on April 25, 2023, with the Annecy Film Festival announcement:

On May 10, 2023, Netflix posted a new image for the movie:

The May 10 article also had a new movie summary:

"When Ballister Boldheart (Riz Ahmed), a knight in a futuristic medieval world, is framed for a crime he didn’t commit, the only one who can help him prove his innocence is Nimona (Chloë Grace Moretz), a mischievous teen with a taste for mayhem — who also happens to be a shape-shifting creature Ballister has been trained to destroy. But with the entire kingdom out to get him, Nimona’s the best (or technically the only) sidekick Ballister can hope for. And as the lines between heroes, villains and monsters start to blur, the two of them set out to wreak serious havoc — for Ballister to clear his name once and for all, and for Nimona to… just wreak serious havoc.   

Directed by Nick Bruno and Troy Quane, Nimona is an epic tale about finding friendship in the most surprising situations and accepting yourself and others for who they are."

Netflix released another still on May 17, 2023. On May 18, they released their teaser, the movie's first poster, and the announcement of the June 30, 2023 general streaming release date!

Netflix also added a new preview image to the Nimona page on the app, featuring Ballister and Ambrosius facing off behind Nimona.

And Netflix started selling Nimona plushies! Amazon (and possibly other vendors) are also selling shirts/jackets with official movie art!

Netflix released more footage of the movie on May 24, 2023! (it's around 6:31 in the video).

Empire magazine released another still for the movie on June 7, 2023, as well as an article in their June 8, 2023 issue.

Variety released a new still on June 11, 2023.

Netflix released a new poster on Jun 13, 2023!

More stills were released in an Entertainment Weekly article on June 14, 2023. And Netflix released even more. More teasers were put up on the Netflix app (though these are quite spoilery, so I'd advise avoiding them). The cast and crew did press tours throughout June 2023.

Again, the Nimona movie fanwiki page has more detailed info on all this.

[degloved]

the use of ai in fics genuinely makes me so sad. i can see with my own two eyes that the summary does not at all read as though it had been written by the fic's author (and verbiage aside, the usage of "coworker" in the main text versus "co-worker" in the summary is already telling enough.) idk. yeah "why should anyone bother reading what you didn't bother writing" and all, but it's more than that. we were all beginners at some point. we all sucked at some point. none of us could churn out the sort of perfection we strived towards from the get go—and this is ok. writing, especially when done for free and out of love for a book/show/movie/play/etc, should be an activity that is actively enjoyed; you're not writing solely for the final product, you're writing to write. when i first sat down nearly a decade ago now and put pen to paper (literally—i used to write by hand), it wasn't because i knew what i was gonna produce. it wasn't because i had some great grand idea that just had to be put out into the world. it was because there was something in me that made my fingers restless with the want to write. and naturally it's not always a walk in the park, and it's an activity that can frequently turn from pleasant to frustrating, but those are some hurdles you're meant to overcome by yourself. writer's block, burnout, not being able to make the words go right—we've all been there. it's part of the artistic process. because this is, at the end of the day, an art form—be it prose, poetry, original work, fic. and it just makes me really fucking sad that there's such an emphasis now on the finished product—the fact that it's even a 'product' to begin with—instead of... the entire journey. the honing of this skill—because it is very much a skill to master and continue perfecting. reading my work from 2017 (sadly do not have anything earlier) and seeing just how much i have improved in the last seven years is one of the most rewarding aspects of being a writer. knowing that what i do now i could never have done back then, and i would certainly never have learned if i hadn't constantly, continuously kept at it for those seven years. every bit of writing i do makes me better, more polished, represents a proverbial step closer to the mastery of this art form & becoming the kind of writer i want to be. i went from writing and very frequently being frustrated in those days that my piece couldn't compare to the fandom greats or the real life writers i looked up to, to now writing something and finding myself going back to it again and again, rereading it again and again because it's just that good. it's just that fucking good. and i got here all on my own, by putting in the time and the work, by pushing through the dissatisfaction and demoralization and self-doubt. it's a slow process, but so worth it. and some of these people will never have that, because there's a desire to achieve but no motivation to do the achieving. it's just so much easier to fire up chatgpt and have hours' or even days' worth of work in a couple of minutes after feeding the machine some prompts. "why should anyone bother reading what you didn't bother writing" and all that, but mostly, i just feel sad for what these kids are missing out on. because immediate satisfaction trumps a slow process, no matter how rewarding. i suppose

[mayakern]

hello!! if you don't mind me asking, what was your professional art journey like? (esp the earlier years) was MonsterPop! your first big project online? were you still taking client work when you opened up your shop? you're a very inspiring artist and I hope to be in a similar position as you one day! thank you so much for your time!

oh boy this is a doozy! and also a lot of this involves devin bc our success is completely intertwined

i went to art school (MCAD) from 2009-2013. i majored in comic art but had a secondary unofficial focus in illustration, specifically product design, and i interned at paper bicycle (the company of my product design teacher) my senior year, the same year they opened up light grey art lab. i mailed out a LOT of tarot decks. they didn't have a label printer so this took forever.

during that time i took some freelance illustration and comic gigs and also created some comics that got an amount of traction online (mostly on tumblr but i also got an io9 article written about me iirc). i also started making monsterpop (in 2012 i think?).

in 2012 i ran my first kickstarter to crowdfund an anthology of some of my short comics (how to be a mermaid, the little robot girl, fairyfail) and got my first taste of proper self publishing. sadly this was before i created redden (which was my senior thesis comic) so it wasn't included. i didn't have label printer so mailing out the books (i think i sold around 200) took forever and i ended up throwing a pizza party with my friends and having them help me.

after graduating i moved to the LA area in search of work. it honestly sucked ass and most things didn't pan out but eventually (2014) i got a remote job contracting for gaiaonline and i moved right back to minnesota bc i absolutely hated LA.

i met devin (my wife) 20 days after moving back to minneapolis. in 2015 i ran a kickstarter to fund printing the first volume of monsterpop and people bought almost 400 books. it was insane. i was dying under the stress of trying to mail it all out those packages and didn't own a label printer yet. between having to hand write the addresses, being both dyslexic AND slow, and getting headaches from the fumes, i could send out a max of like 10 packages a day. once again i was planning to throw another pizza party to have my friends help me out, but devin swooped in and got 100 packages done in just a couple hours and when i tell you that no one has ever done anything sexier for me in my life, i truly mean it.

at the time devin and i were both broke living paycheck to paycheck. gaia didn't pay well and the patreon money i got helped, but wasn't that much. i took some freelance/commissions and got some store and convention sales, but i was making around 22-26k and was constantly overworked. devin was in significant credit card debt and was barely scraping by between managing a gas station and school. i started making my very first skirts and then at the end of 2015 my arm, the thing that made me what little money i did make, gave out.

i couldn't draw anymore. this could have literally ended my art career, but instead devin stepped up. they took a look at all the things i was already selling in my store and figured out a way to repackage/bundle the items together in a way that was fun and appealing. and people actually bought the bundles! at that point the vast majority of my sales were at conventions and i wasn't very good at selling online, but that was the beginning of a new era. devin started working with me part time to manage the online store and go with me to conventions and things started getting better. at some point during this saga we finally bought a goddamn label printer.

by 2017 devin started working with me full time. we also got married and moved across the country to upstate NY. in 2018 we got a CPA and became an SCORP and monsterpop became a finalist for the prism comics award, which scored me an invite as a guest at SDCC. i really wish i had enjoyed that experience, but unfortunately i was dealing with some Bad Medication Issues and was extremely sick the whole weekend. otherwise it was great tho and devin had enough fun for the both of us. this is also around when i officially stopped taking freelance work. prior to that i'd only been taking a couple jobs a year, but the store was finally making enough that i could stop.

in 2019 i made the difficult decision to end monsterpop. this came with a lot of heartache but it was the right thing to do. i am much better now for it. i think 2019 is also when we became an SCORP.

we hired our first employee (lindsy) in, i think 2021. it might have been the end of 2020. and in 2022 we hired our second employee (ariel), who had been modeling for us already for a couple years bc she is our very close friend and actually the reason we moved out to NY in the first place. in late 2022 we started working with ash, who now manages our product supply chain and also is patterning new garments for us.

there's probably a bunch of stuff i've missed but this is roughly it! neither devin nor i were able to succeed until we started working together. our strengths and weaknesses complimented each other well and somehow things just worked out.

and if you take away nothing else from this, please leave with this info: if you sell and ship any amount of product online buy a goddamn label printer

[wanderersrest]

An Abbreviated History of Mecha Part 5: It's (Dahlia of) Wednesday, My Dudes (2000-2010)

I apologize for nothing.

Welcome back to An Abbreviated History of Mecha! Last time we left off, the 90's had come and gone, bringing with it a whole cavalcade of mecha shows as well as Pokemon in its wake. Now the Torchics have come home to roost, as Pokemon explodes in popularity in the 2000's. This means that mecha shows can no longer rely on child audiences in order to make their money. Add onto this the slow shift into the modern seasonal format throughout the decade, and we begin to see the start of the decline of mecha.

Though not all is bad news, as a fair bit of mecha stories would come out and become some of the most iconic stories of the decade. Heck, this era of mecha stories is rife with at least three examples of "Not Like the Other Girl" mecha shows, two of which are pretty bizarre as "Not Like the Other Girl" shows.

So with that out of the way...

Wake up, Dann!

FLCL (2000)

So, uh... what a way to start, huh?

FLCL (pronounced fooly-cooly) is a Studio Gainax/Production I.G. OVA series made in 2000 supposedly as a way to relieve the studio's stress from working on a little series called Neon Genesis Evangelion. FLCL is, to put it lightly, very bizarre while also being surprisingly heartfelt.

FLCL was another major [adult swim]/Toonami series in the US, and like The Big O before it, the folks at Toonami would eventually reach out to Production I.G. to produce sequels that, in my opinion, generally fail to capture the energy of the original.

Bionicle (2001)

LEGO would release its BIONICLE line of Technic toys in 2001 as a last-ditch effort to save the company from financial ruin, and boy would it succeed. Building off of the success of Throwbots, BIONICLE would have a serialized adventure centered around the six Toa as they fought against the forces of the evil Makuta.

Bionicle would last throughout the decade as well as a little bit into the next, until LEGO, who was at a much better place financially at this point, decided that it was time to pull the plug on the series. Bionicle would receive a reboot in 2017 only to be shut down a few years later.

Mobile Suit Gundam SEED (2002), Mobile Suit Gundam SEED Destiny (2005), & Mobile Suit Gundam SEED Freedom (2024)

Coming in with a bang, Mobile Suit Gundam SEED would air in 2002. The first series of the Cosmic Era timeline is, without a doubt, one of the most important entries in the entire Gundam franchise due to how it renewed interest in the franchise. Gundam SEED would also be the first series in the franchise to use digital animation over the more traditional cel animation.

Mobile Suit Gundam SEED would be followed up with Mobile Suit Gundam SEED Destiny in 2005. There were plans for a movie releasing shortly after Destiny wrapped up its run, bit it wouldn't be until 2024 that the film, Mobile Suit Gundam SEED Freedom, would finally release.

Mobile Suit Gundam SEED is also a, shall we say, very contentious series to talk about. While it is almost always one of the most popular entries in Japan, the series is a lot more hotly debated about here in the west. A lot of people tend to downplay this series' importance (*cough*Professor Otaku*cough*). But that is not for me to say, as I have never really watched Gundam SEED or anything related to it.

Xenosaga (2002)

Returning to the director's chair in 2002, Tetsuya Takahashi and the newly formed Monolith Soft would release Xenosaga for the PlayStation 2. Acting as a spiritual successor to Xenogears, Xenosaga brings all of that complex Gnosticism goodness to a new console generation. Originally planned for six games in total, Xenosaga was ultimately cut down in size into three games.

Eventually, Monolith Soft would be bought out by Nintendo (if I had a nickel etc.), and Takahashi would be given another chance to explore the Xeno series once again. But that's a story for another time.

Diebuster/Gunbuster 2 (2004)

Releasing in 2004 as a sequel to 1989's Gunbuster, Diebuster would be the third of Gainax's Big Four series. If you're wondering why Diebuster is the fourth, that's because this OVA series would be the starting point for a lot of the members of the team that would give us Gurren Lagann in about four years.

With the slow death of Studio Gainax, both Diebuster and its older sister series Gunbuster would transfer ownership to Gaina (formerly Fukushima Gainax) at some point in the 2010's. Gaina has plans to make a Gunbuster 3, though that will have to wait until they at least wrap up production of Grendizer U later this year.

Megas XLR (2004)

Meanwhile, Cartoon Network would also see the release of the mecha parody series Megas XLR. Originally an alien robot whose head has been replaced with a car, this series would lovingly riff on a lot of the tropes present in old mecha shows like Mazinger Z and Getter Robo. Unlike most other shows at the time though, Megas XLR has become hard to find since it wrapped up its run. A lot of that has to do with, if I remember correctly, legal issues.

Gun X Sword (2005)

2005 would see AIC Productions release Gun X Sword, a mecha sci-fi/western mash-up directed by Goro Taniguchi. Set on the wasteland planet Endless Illusion, Gun X Sword pulls a lot of its aesthetic sensibilities from shows like Cowboy Bebop and Trigun, though another show that may have helped influence Gun X Sword is...

Mobile Fighter G Gundam?! I really hope that's a stretch from me...

As a series, Gun X Sword is often left out of the conversation when it comes to 2000's mecha shows. A large part of that stems from people incorrectly assuming its just a ripoff of Cowboy Bebop and Trigun, which is only remotely true due to some more superficial elements like the planet of Endless Illusion being similar to Trigun's Gunsmoke, and Van's name being a riff on Vash the Stampede (a joke early on is that Van is constantly changing his title).

Psalms of Planets Eureka Seven (2005)

In 1999, a group of former animators for Sunrise would leave to form Studio Bones. While they had worked on a fair bit of shows prior to 2005, including one RahXephon, Bones would come to be known for, among other shows, Psalms of Planets Eureka Seven (or just Eureka Seven for short). With a unique style and a focus on romance (specifically the romantic relationships present amongst the main cast), Eureka Seven would leave an indelible mark on a whole generation of mecha fans.

I would also argue, due in part to personal experience, that Eurkea Seven is one of the "Not Like the Other Girl" shows, though I think I can see why some might disagree: You need to have watched Eureka Seven first in order to make a claim like that, and boy is the original TV series hard to find online.

Mobile Suit Gundam Unicorn (2007)

The year 2007 would see the publication of the first novel in the Mobile Suit Gundam Unicorn series. Gundam Unicorn would be an important series in the history of Gundam due to both its popularity and the fact that it represents a changing of the guard, as Universal Century Gundam stories would now be handled primarily by Harutoshi Fukui instead of series creator Yoshiyuki Tomino.

I think I'd also be remiss to point out that Fukui is a rather divisive figure when it comes to Gundam, as the original Gundam Unicorn light novels lean much more into fascist apologia than any other UC series. This would, thankfully, be almost entirely cut out in the animated adaptation of Unicorn that would air in the 2010's.

Code Geass: Lelouch of the Rebellion (2008)

2008 would see a trio of mecha shows that would more or less serve as a capstone to the 2000's as a decade. The first I will cover is Goro Taniguchi's Code Geass: Lelouch of the Rebellion. Mixing in smaller mechs similar to that of Armored Trooper VOTOMs along with actual magic, Code Geass would cement its legacy amongst mecha shows by being one of the "Not Like the Other Girl" shows.

Which is weird, because the plot of Code Geass is that the show's equivalent of the British Empire is able to conquer most of the world through its use of the show's mecha, known in-universe as Knightmare Frames.

Mobile Suit Gundam 00 (2008)

Also releasing in 2008 is Sunrise's Mobile Suit Gundam 00. Leaning into real life elements like the rising awareness of terrorism while taking inspiration from Full Metal Panic, Gundam 00 would be the second of the three mecha stars of 2008. Whereas Gundam SEED would be Gundam's first foray into digital animation, Gundam 00 would up the ante in what is possible. If anything, part of Gundam SEED's legacy in the west is marred due to it's release being sandwiched between Turn A Gundam and Gundam 00, both of which are considered to be some of the best Gundam shows in terms of animation quality.

Tengen Toppa Gurren Lagann (2008)

Capping off this post is Studio Gainax's final series of their Big Four, Tengen Toppa Gurren Lagann. Created as a celebration of mecha stories, with Getter Robo in particular being a primary inspiration, Gurren Lagann is oftentimes considered to be the single most HOT-BLOODED entry in the mecha canon. What helps is this series would build off of the general tone of shows like its big sister show Diebuster as well as the aforementioned Getter Robo. I would even argue that other shows such as Mobile Fighter G Gundam and The King of Braves GaoGaiGar also had a hand in shaping this series.

Gurren Lagann is also, bizarrely enough, one of the "Not Like the Other Girls" shows. If you thought Code Geass was a weird example, then Gurren Lagann is far and away the most perplexing example of these types of shows. At least the other three have a "plausible" explanation as to why they're considered to be different. Gurren Lagann is pretty similar in terms of character dynamics and themes, not that similar to pretty much every mecha show I just compared it to.

Conclusion

That more or less wraps up the 2000's in terms of major works in the mecha canon. It's not until the next decade that we really see mecha works go into a true dark age, though the nature of the dark age is largely overstated. The 2010's is marked by a lot of duds, though I will not touch on the two biggest duds of the decade in the next post. It should be noted that the 2010's also has some major hits scattered throughout the decade, though a lot of them tend to be legacy titles from existing works. We'll also see two major entries in the canon appear from western creators that will also homage the works of old.

I...

.̴.̸.̵h̶o̵p̵e̶ ̸y̵o̷u̴'̴l̴l̴.̴.̷.̷

.̵̘̀.̶̡̦̄.̴̯̓͜t̷͖̆u̸̠̰͂n̴͇͗͘ḛ̶̥̇͑ ̷̘̃ḯ̶̻̋n̶̰͛.̴͈͈͋̀.̵̖̈́.̶̡̻̋

...

“̵͇͗͂͠͝Ï̴͇̮̝̽̾ ̴̡̜̯̽̽͜f̵̠̘̈́̔̽ể̸͇̗͐͜l̸̻̟͓͉̀͆t̶̢̫̱̜̔́̾͠ ̸͈̙̜̟̊̅̈́t̵̗̟̤͓̿̂̂͑h̶̖͌͌e̶͕̣̅̒ ̵̡̞̀b̶̪̾̾̓̀ù̵̳͊͑͑ľ̸̢͕̺̭́ļ̸̛̰̈́̍̀é̵͈̯̳͐t̵̪̱̾͜ ̸͖͖̃t̵̥̓͆̄̕ȅ̷́̅͜͜a̵̬̘̙̻̋͆͠͠r̷͚̲̟̠̆̔̄̈ ̴̩̂̌̋t̵̨̳̆͜͠ḥ̸̥̿̈́̂̐r̵̩͇̀͛̿͗o̵̟̮̙͋ͅȕ̵̧̳̙̆g̷̜̜̏̐h̶̡̤͔̃̚͝ ̴̨͈́m̴̳̦̅̎̑̕e̷̼̼̣̭͑͝͠.̵͚̌ ̵̟̺͕̈̎̎́Į̵͕̿ͅ ̶̖͙̑͆̔͝f̶̠̉̂̃ḙ̸͝l̵̻̈́̌̈́̃t̷͇̣̱͐͋̀͆ ̸̙̲̎t̸͔̝̀͠h̶̛̜͔͋̿͌͜é̵̦̼̆̋̓ ̶̞̂̕b̴̰̲͈̽́̔u̶̯͛̇̓ḽ̸̭̮̘̔̇͋͘l̵̰̒̇̇ẹ̵͑͠t̵̡̼̫̙͌̈͆̃ ̸͉͙̀̓͒͝t̸͓̣̮͚̽̈́̽ē̷̬̲ą̷͇͙͐̈͑r̵͇̮̬̾ ̷͚̞͕̎͑ͅt̴̤̥̽̏͒ḩ̷̬̌͆́r̴̯̓̍̿̕õ̸̝͓ṳ̶͈̫͒̎͠g̴͍̯͒͌́h̸̰̯͖͕͊͗̕ ̶̳̫͛m̸͉̏̉̋͜e̸͖͉̭̱͗.̵͓̗̞͓́̏ ̷̺͕̖̀I̵̫̟͌̓̄̈́ ̶̢̞̯͗̾͂̽ͅf̸̲̝̖̈́͜ë̴̱͓́́l̸̫͓̪̆̾͝ţ̸̱̟̼͒ ̷̱̇̚t̵̲͔̻̋̏h̷̠͋ẽ̴̢̦̤̦̔ ̵̻̠̊p̴̞͗r̴̗͉͐̒͑e̷̘͙̼̩͊̾s̵͇̰͐s̶̪͔͚͛͌̍ű̴̱̪͖̌̊̎r̶̪̬̿̈́ḛ̷͐̐̑ ̸̝͙̉͗̎̑a̴͍̜̾̒͝n̸̡̹̓d̸̨̲͎͎̏̃̄ ̸̛̱̙̦̤͌͝͠ȉ̵̡̟̱͖͘t̷̢̛̥̉̀ ̷̛̺͖w̶̨͋ȃ̶��̢͕s̷̢̤̦̀̊̈́͘ ̵̛̥̲̰̂͂͗͜m̵̦̋̔̀y̵̮͈̼͐̋ ̸̥̹͕̦̿̄͘b̴͉͔̑͂̓ṛ̵̇̿̇o̵͖͎̗̰̊̾ẗ̶͙́̈́͑̀͜ͅh̶̢̺͉̖͌̔̓͝e̶̬͍̝̞͛r̵̗̩͛̐̂,̶̤͎͎̉̊̎ ̸̨̖͉̬̇͑̈̅h̸͇̏į̴͉̄̚s̷̨̝͈̽̓̅ ̴̟̩̃f̵̦͖̩͂̏ȉ̸̡̯̳̈́̈̾ś̶͙̺ṭ̵̜̯̭̓,̸̮̭̇̓ ̸͚̜̃̑ḿ̷̻͈̓y̸̡͌̊̓ ̵̞̈́̇c̷͍̘͌̃͜͠h̵͖̉͘e̸̮͙̊̎ş̵͚̚t̸̡̗́̈́͋̑͜,̸̜͋͠͝ ̷̧̣͎̙̓͌͝͝a̴̖̥̅n̶̡̯͆d̶̢̠͛̿ ̵̭̈́I̴͎͚̺̥͆̋̕ ̸̧̥͙̦̔w̷̭̐̈́å̵̢̙͔s̷̖̋̿ ̶̫̘̾͊l̴̨̧̙̐́a̸͎̹͕͕̔̓̾y̷̧͈͖͚̌̀̂̊i̴̠̝͗͌̕͘n̵͙̻͌̄g̸̛̥̯̹̫͝ ̷̣̔̋̀͠ọ̸̀̾̃̃n̵̰͐ ̷̼̄͂͗m̴̟͘y̵̩̻̺̪̎̽̐ ̴͔̹̀b̸̛͆ͅa̵̡̧̬̓c̴͇͝k̸̢̐̍̏́ ̸̼̠̳͕̑̃̏͝ä̷̫̣̂̓͝n̴̫̬̐ḓ̵̎̈͝ ̶̦͈̈́̆̓͜t̵̨͗̎̈h̶̭̗͔̣̋̑̆̕ę̷͈̗̰͑ ̷̛̪͎̞͒͌͝s̵̼̝̽͝͠ͅk̶̰̠̥̔͘y̸̝͐̆̓̈́ ̷͉͖̳̀̈w̸̛͇̝̭̺ȁ̶̳̥̰̐̉̄s̴͙̊̈ͅ ̶̟̐̿b̴̭̞͗̔̓l̴͉̰̓ų̴̒̓͘e̴͍̟̐̋,̷̡̀̎ ̷͈̈́̈́̉a̴͈̠̓n̴̽̾̊͜ͅd̴͙͍͇̲̾ ̴͇̭̩́̂͐m̸̛̭͉̈̒͂ỳ̴͙͔͉̾͂̽ ̴̻̙̊͝m̴̨̽̚o̵͍̠͆̓t̸̡̻͖̫̉̈́h̴̛̗̺̖̾ë̶̖r̷̥͗ ̵̟̱̞͖̎̿̒͝ḥ̷̂o̷̧̓̓ļ̵̻̜̊̇l̵̖̬̹͑ḛ̴͚̈̕r̵̪͈͈̭̄̈́̃́ȩ̴͇̥̽d̴̨̼͓̿̽͂ ̴̻͎̬̩̔͐́a̴̫͔͐̃̽t̶̩̏̏ ̷̦̭͋ȟ̴̺͚̤͖ḭ̸̝̺̐̆͗m̶̞̄̋͘͠ ̶͌ͅá̶͉̜̜̪̈́̆͂ń̵̘̪̮̉̃d̸͔̥̟͌͂͗͝ ̶̛̺̪̲̩́̑t̸͓̱͐̀͗͊h̴̠̮̄̐̽͝ę̶͔̏̈́̄͝ ̷̗̖̌̉͝ͅb̷̭̄̚u̷̮̎̇̃̀l̸͉̣̓l̵̦̺̟̔͗̾͜͝è̴̡͔̝̲̑͌ț̵̮̽ ̵͎̗̏̀ȟ̷̹̝͕̀́ȃ̷̪͒̋͜d̸̞̤͕̦̈́̑͠͝ ̸̻̤͆̈́̊͝n̶̼̆͌̑̈́ē̷̳͔̝͙͌́́v̷͍͙̻̘̈́ẽ̷̗̞̳̓͝͝ͅr̴̾̽͜͠ ̵̣̜̂̌͠ͅh̷̦̜̦͚̓i̴͓̠͖͐ţ̸̂̋̿̾ ̶͕̑̕̚ͅm̴̛̥̈́ế̸̟̠͔̳,̵̱͖̳̲̊ ̷̨͍͛a̶̗̞͝n̵̯͇̿̏̚d̸̙͎̭͆͊͠ ̶̬͍͐̇t̴̢̛̲̖̟h̴̙̿͗̎͜è̷͖̱̞́̇̀ ̵͉̆͘l̷̡̬̀̌̌̒e̷̢͋̈̃̓͜g̷̢̢͉͜͝ï̵̟͈͉̞̇̆̐o̴̺̜̒́̔͜n̸͉̏͌ṇ̷̀͝a̶̡̖̓̽͛̍i̸̬̮͂͋̕r̵̲̗̈ë̶̮́ ̵̨̣̓ẅ̷̲̹͓̗͗h̵̻͉̠̱͑̓o̶̹̱̺͉̕ ̶͖̝͚̎͆̂̓s̸̛̛̰͓͜h̵̤̐o̵̭̝̹̅̇͑͜͝t̴̠͊̋̾͐ ̴̠̰̞̟̇͒̾͠ḿ̸̟̤̗͈̊͗ȩ̸̟̏ ̸̻̀h̴͕͈̹̾͛͌̓a̵̻̬̝̰̅͛d̵̨̘̀ ̷̢̹͉͑̿͜n̷̯͔̏͊̌o̷͙̟͔̍t̸̢̮͖̋ ̶͈̞̀̒ͅy̸̠͈͋̿e̷̮̬͍͂͛̑t̵̝̓͐͜ͅ ̶̨̛͓̌̐͐p̵̳̏̎̌̕͜u̴̗̎́̉l̵̢̩̩͇̆̍l̴͚͗̀̔̅e̵̞̼̐̎́d̶̜̲̃͊̈́̚ ̴̨̡͍̀̀̚̚t̶̘͙̤͙̍͋̚͝h̷̢̯͋è̵̹̳͑͒ ̴̳͋t̷̰́r̸̛̭̭̪ĩ̵̯̭̄̄g̶̻̹̥̅͛̀͠g̴͍͓̻̑̿̈́ͅẽ̴̦̞͚̾̀r̴̥̖͈̭̂͆,̷͖͕̊͜͜ ̵̧̤̪̻́̕â̵̯͂n̶͖̊͝d̶͉̠̭̠͆͂ ̵̗̫̪̬͘͠s̸̫̫̱̫̚o̴̡̤̘͊͒̈́ ̸̙̯͋̋ͅÍ̸͕̃ ̶̬͂́͆͝k̵̬̻̊̀̋͝ï̵̪̫̖̜ḻ̶̡͐̈́̂̄l̴͍͎̘̙̊̐̅͠e̵͛ͅd̸͎̰̋̊̾ ̴͇͖̗̃̽͠ḩ̴̟̓̀͆̕ĩ̸͚͐̆ṃ̵̧͍͙̊.̴̮̰͗̓ ̵͈̿̄͐Ḯ̴͖͎̊ ̸͓͍̮̲̀͝͠ḏ̶̘̲̐͋̕r̷͍̔͜a̴̧̛n̵̘̾͗͝k̷̰̋͑͝ ̵̪͙͎̆ḑ̴̱͙̔̈ë̸̙̝́̿͝ë̴̻̓͝p̷͖͔̔̎̎ ̵̢̪̣́͆͠ȁ̴̭n̵̡̧̗͒̌d̸͉̠̔͘ ̴̺͔̠̟́ḵ̵̫̈́̀͛̕ḯ̸̪l̵̠͋̂͋ͅl̸̼̯̬̲͛e̸̯̯̿͜ͅd̶͚͚͕̺́ ̵͎̩̃h̶̪͚̏̚î̵̩͍͍̲̒͗m̵͈͘ͅ.̷͚̼̪̺͐̈́”̶͙̌̊͝

[nightfurmoon]

I think Alan should never have trusted CN and Warner Bros because it lessens the chances of Villainous continuing...I mean since 2019 after the pilot episode came out, they don't release new content every 2/3 years and by force, many people leave the fandom and this risks the fact that Villainous will be canceled one day or another despite the fact that this show has a lot of potential and that it was popular in 2017-2019. (I hope I'm wrong but it can unfortunately be very likely if they continue at this rate!) The best thing is that Alan should have done like Vivziepop or Daria Cohen for example to make Villainous an independent series and could release the episodes once it's ready!

Uhm it's not so easy, anon. Not all animation is the same, some productions cost more than others, and also having internet presence beforehand like Viv's case helps a lot. Alan had absolutely none. He couldn't just release his shorts on YouTube on some random account and hope that it somehow got popular. There wouldn't be TV shows if it was that easy xD Besides, it's not like YouTube pays enough for a full blown animation production. They need to take donations (kickstarter, patreon) or sell merch, and you're entirely dependent on the audience and marketing, so it's not a safe bet. Even then most of the times it's not enough, animation costs A LOT if you want it to be of the same quality as Villainous is, for example. Also, Alan's dream was to have his show on CN bc that's what he watched as a kid.

There's no better or worse choice when it comes to animation, there are just choices with pros and cons. It's not an easy world at all, much less now. So all we can do is support the shows we like and they'll continue.

[seasurfacefullofclouds1]

random question but now that Louis has mostly toured 2 albums (obviously he still has latam to go but for now), he’s grown so much vocally in these few years and is also just singing things that suit him far better than 1D stuff, I was just wondering if you have like a top 5 or so specific performances you keep going back to watch

Confession: I don’t really rewatch performances except ones like the London Livestream (unavailable to purchase … why) and the very first AFHF.

Here are five performances that ripped me from my seat:

1. Louis singing We Made It as he ran out to the Crystal Palace stage at AFHF 2021. I can’t even watch it without feeling emotional. It was a long. fucking. time. coming. Louis was so beautiful, so alive and human, so in command of his audience and his music… everything at the height of Louis’ achievement up to that point. A validating, triumphant, heart-bursting moment.

2. Louis singing Too Young at Sirius XM. Louis had been working diligently with Helene Horlyck up to this point and it shows. His vocals here were better than vocals on FITF tour. The studio is the most revealing, challenging type of room— acoustic instruments, live audience, small space, soundscape designed to amplify every sniffle and cough. To say Louis smashed it is an understatement. He sang a simple ballad like it was no big deal, like a walk in the park, in the most challenging situation. And he looked sexy as hell.

3. Beautiful War, Live From London Livestream. If I could list every song from LFL, I would. This was the show that sold LTWT tickets, and Louis deserved every single kudos (Guinness Records and otherwise). The production was also immaculately done (thank you, Charlie and Dave Lightening), the arrangements, everything about this show. This song, in particular, shows Louis’ control of pacing, storytelling, drama, and theatrical instincts. Singing it is a little bit like musical theater— it tells an intense love story. And he does it brilliantly, again and again, 80+ times on tour.

4. Copy Of A Copy Of A Copy, LFL.

The staging here is perfection. Perfect storytelling, perfectly elegant and understated performance, and his vocals are the best he’s ever sounded. I would include the Copy Of A Copy performances from LTWT because the graphics are so on point.

5. Always You, LTWT Barcelona

The exuberance and joy in starting tour at last, with this song that should have been a single in 2017 and deserved to be toured in 2017-18. The feeling of liberation in the chorus and in the crowd singing it vibrates through the screen. Thank you, Mary Jane, for capturing it!

6. Honorable mention: Change, AFHF 2021

No words can describe how I love this song. This is an underrehearsed and flawed performance, but it is beautiful and raw, and I treasure it.