#Project Studio Q

[disneytva]

Lucasfilm and Disney have announced the anime studios for "Star Wars Visions" Volume III.

The shorts from the first season "The Duel", "The Village Bride", "The Ninth Jedi" will be getting sequel shorts for the third season.

Star Wars Visions: Volume III arrives Oct 29 only on Disney+.

[demifiendrsa]

Star Wars: Visions has been renewed for season 3 at Disney+

Volume three of Visions will return to Japan, with 9 new animated shorts from anime studios in the country. The Japanese studios involved include:

David Production

Kamikaze Douga+ ANIMA

Kinema Citrus

Polygon Pictures

Production I.G

Project Studio Q

TRIGGER

WIT Studio

[linktoo-doodles]

YOUR PART IN THE QSMP STORY ANIMATION WAS SO GOOD, OH MY GOODNESS. It took me a hot second to realize, but after that it was like, how could I have missed it? It was so obviously your art style, your version of Quackity, and it was so *good*.

It's amazing to see how much better your animation has gotten since the days of Your Obedient Servant and Tubbo and Quackity's 'don't trust anyone, not even me', but it's still so obviously your animation. It's just incredible.

All the kudos to you though. That was such a good MAP, and it was an incredibly pleasant surprise to see a familiar artist in the fray.

[Link to the MAP]

THANK YOU SO SO SO MUCH!!! Yes that is me... it was such a good community to work with. I've never been involved in a MAP before and I'm so honoured to be a part of this! Please check out the entire multi-animator project, everyone is brilliant.

here's a bit of my process (I had to cut down on my final part due to my schedule!)

and some more testing gifs...

HUGE shoutout to the mods for being so accommodating, professional and kind throughout the entire process. I'm still here, okay!!! I love the MCYT community with my whole heart <3

[meltyclownstudio]

[joguuurtsstuff]

💗Q&A💗

I got bored so I'm opening a small Q&A... Please feel free to ask me or my characters... Answers will be drawn :D

Most of my characters you can find on: https://unvale.io/joguuurt

[treasure-mimic]

So, let me try and put everything together here, because I really do think it needs to be talked about.

Today, Unity announced that it intends to apply a fee to use its software. Then it got worse.

For those not in the know, Unity is the most popular free to use video game development tool, offering a basic version for individuals who want to learn how to create games or create independently alongside paid versions for corporations or people who want more features. It's decent enough at this job, has issues but for the price point I can't complain, and is the idea entry point into creating in this medium, it's a very important piece of software.

But speaking of tools, the CEO is a massive one. When he was the COO of EA, he advocated for using, what out and out sounds like emotional manipulation to coerce players into microtransactions.

"A consumer gets engaged in a property, they might spend 10, 20, 30, 50 hours on the game and then when they're deep into the game they're well invested in it. We're not gouging, but we're charging and at that point in time the commitment can be pretty high."

He also called game developers who don't discuss monetization early in the planning stages of development, quote, "fucking idiots".

So that sets the stage for what might be one of the most bald-faced greediest moves I've seen from a corporation in a minute. Most at least have the sense of self-preservation to hide it.

A few hours ago, Unity posted this announcement on the official blog.

Effective January 1, 2024, we will introduce a new Unity Runtime Fee that’s based on game installs. We will also add cloud-based asset storage, Unity DevOps tools, and AI at runtime at no extra cost to Unity subscription plans this November. We are introducing a Unity Runtime Fee that is based upon each time a qualifying game is downloaded by an end user. We chose this because each time a game is downloaded, the Unity Runtime is also installed. Also we believe that an initial install-based fee allows creators to keep the ongoing financial gains from player engagement, unlike a revenue share.

Now there are a few red flags to note in this pitch immediately.

Unity is planning on charging a fee on all games which use its engine.

This is a flat fee per number of installs.

They are using an always online runtime function to determine whether a game is downloaded.

There is just so many things wrong with this that it's hard to know where to start, not helped by this FAQ which doubled down on a lot of the major issues people had.

I guess let's start with what people noticed first. Because it's using a system baked into the software itself, Unity would not be differentiating between a "purchase" and a "download". If someone uninstalls and reinstalls a game, that's two downloads. If someone gets a new computer or a new console and downloads a game already purchased from their account, that's two download. If someone pirates the game, the studio will be asked to pay for that download.

Q: How are you going to collect installs? A: We leverage our own proprietary data model. We believe it gives an accurate determination of the number of times the runtime is distributed for a given project. Q: Is software made in unity going to be calling home to unity whenever it's ran, even for enterprice licenses? A: We use a composite model for counting runtime installs that collects data from numerous sources. The Unity Runtime Fee will use data in compliance with GDPR and CCPA. The data being requested is aggregated and is being used for billing purposes. Q: If a user reinstalls/redownloads a game / changes their hardware, will that count as multiple installs? A: Yes. The creator will need to pay for all future installs. The reason is that Unity doesn’t receive end-player information, just aggregate data. Q: What's going to stop us being charged for pirated copies of our games? A: We do already have fraud detection practices in our Ads technology which is solving a similar problem, so we will leverage that know-how as a starting point. We recognize that users will have concerns about this and we will make available a process for them to submit their concerns to our fraud compliance team.

This is potentially related to a new system that will require Unity Personal developers to go online at least once every three days.

Starting in November, Unity Personal users will get a new sign-in and online user experience. Users will need to be signed into the Hub with their Unity ID and connect to the internet to use Unity. If the internet connection is lost, users can continue using Unity for up to 3 days while offline. More details to come, when this change takes effect.

It's unclear whether this requirement will be attached to any and all Unity games, though it would explain how they're theoretically able to track "the number of installs", and why the methodology for tracking these installs is so shit, as we'll discuss later.

Unity claims that it will only leverage this fee to games which surpass a certain threshold of downloads and yearly revenue.

Only games that meet the following thresholds qualify for the Unity Runtime Fee: Unity Personal and Unity Plus: Those that have made $200,000 USD or more in the last 12 months AND have at least 200,000 lifetime game installs. Unity Pro and Unity Enterprise: Those that have made $1,000,000 USD or more in the last 12 months AND have at least 1,000,000 lifetime game installs.

They don't say how they're going to collect information on a game's revenue, likely this is just to say that they're only interested in squeezing larger products (games like Genshin Impact and Honkai: Star Rail, Fate Grand Order, Among Us, and Fall Guys) and not every 2 dollar puzzle platformer that drops on Steam. But also, these larger products have the easiest time porting off of Unity and the most incentives to, meaning realistically those heaviest impacted are going to be the ones who just barely meet this threshold, most of them indie developers.

Aggro Crab Games, one of the first to properly break this story, points out that systems like the Xbox Game Pass, which is already pretty predatory towards smaller developers, will quickly inflate their "lifetime game installs" meaning even skimming the threshold of that 200k revenue, will be asked to pay a fee per install, not a percentage on said revenue.

[IMAGE DESCRIPTION: Hey Gamers!

Today, Unity (the engine we use to make our games) announced that they'll soon be taking a fee from developers for every copy of the game installed over a certain threshold - regardless of how that copy was obtained.

Guess who has a somewhat highly anticipated game coming to Xbox Game Pass in 2024? That's right, it's us and a lot of other developers.

That means Another Crab's Treasure will be free to install for the 25 million Game Pass subscribers. If a fraction of those users download our game, Unity could take a fee that puts an enormous dent in our income and threatens the sustainability of our business.

And that's before we even think about sales on other platforms, or pirated installs of our game, or even multiple installs by the same user!!!

This decision puts us and countless other studios in a position where we might not be able to justify using Unity for our future titles. If these changes aren't rolled back, we'll be heavily considering abandoning our wealth of Unity expertise we've accumulated over the years and starting from scratch in a new engine. Which is really something we'd rather not do.

On behalf of the dev community, we're calling on Unity to reverse the latest in a string of shortsighted decisions that seem to prioritize shareholders over their product's actual users.

I fucking hate it here.

-Aggro Crab - END DESCRIPTION]

That fee, by the way, is a flat fee. Not a percentage, not a royalty. This means that any games made in Unity expecting any kind of success are heavily incentivized to cost as much as possible.

[IMAGE DESCRIPTION: A table listing the various fees by number of Installs over the Install Threshold vs. version of Unity used, ranging from $0.01 to $0.20 per install. END DESCRIPTION]

Basic elementary school math tells us that if a game comes out for $1.99, they will be paying, at maximum, 10% of their revenue to Unity, whereas jacking the price up to $59.99 lowers that percentage to something closer to 0.3%. Obviously any company, especially any company in financial desperation, which a sudden anchor on all your revenue is going to create, is going to choose the latter.

Furthermore, and following the trend of "fuck anyone who doesn't ask for money", Unity helpfully defines what an install is on their main site.

While I'm looking at this page as it exists now, it currently says

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

However, I saw a screenshot saying something different, and utilizing the Wayback Machine we can see that this phrasing was changed at some point in the few hours since this announcement went up. Instead, it reads:

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming or web browser is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

Screenshot for posterity:

That would mean web browser games made in Unity would count towards this install threshold. You could legitimately drive the count up simply by continuously refreshing the page. The FAQ, again, doubles down.

Q: Does this affect WebGL and streamed games? A: Games on all platforms are eligible for the fee but will only incur costs if both the install and revenue thresholds are crossed. Installs - which involves initialization of the runtime on a client device - are counted on all platforms the same way (WebGL and streaming included).

And, what I personally consider to be the most suspect claim in this entire debacle, they claim that "lifetime installs" includes installs prior to this change going into effect.

Will this fee apply to games using Unity Runtime that are already on the market on January 1, 2024? Yes, the fee applies to eligible games currently in market that continue to distribute the runtime. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

Again, again, doubled down in the FAQ.

Q: Are these fees going to apply to games which have been out for years already? If you met the threshold 2 years ago, you'll start owing for any installs monthly from January, no? (in theory). It says they'll use previous installs to determine threshold eligibility & then you'll start owing them for the new ones. A: Yes, assuming the game is eligible and distributing the Unity Runtime then runtime fees will apply. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

That would involve billing companies for using their software before telling them of the existence of a bill. Holding their actions to a contract that they performed before the contract existed!

Okay. I think that's everything. So far.

There is one thing that I want to mention before ending this post, unfortunately it's a little conspiratorial, but it's so hard to believe that anyone genuinely thought this was a good idea that it's stuck in my brain as a significant possibility.

A few days ago it was reported that Unity's CEO sold 2,000 shares of his own company.

On September 6, 2023, John Riccitiello, President and CEO of Unity Software Inc (NYSE:U), sold 2,000 shares of the company. This move is part of a larger trend for the insider, who over the past year has sold a total of 50,610 shares and purchased none.

I would not be surprised if this decision gets reversed tomorrow, that it was literally only made for the CEO to short his own goddamn company, because I would sooner believe that this whole thing is some idiotic attempt at committing fraud than a real monetization strategy, even knowing how unfathomably greedy these people can be.

So, with all that said, what do we do now?

Well, in all likelihood you won't need to do anything. As I said, some of the biggest names in the industry would be directly affected by this change, and you can bet your bottom dollar that they're not just going to take it lying down. After all, the only way to stop a greedy CEO is with a greedier CEO, right?

(I fucking hate it here.)

And that's not mentioning the indie devs who are already talking about abandoning the engine.

[Links display tweets from the lead developer of Among Us saying it'd be less costly to hire people to move the game off of Unity and Cult of the Lamb's official twitter saying the game won't be available after January 1st in response to the news.]

That being said, I'm still shaken by all this. The fact that Unity is openly willing to go back and punish its developers for ever having used the engine in the past makes me question my relationship to it.

The news has given rise to the visibility of free, open source alternative Godot, which, if you're interested, is likely a better option than Unity at this point. Mostly, though, I just hope we can get out of this whole, fucking, environment where creatives are treated as an endless mill of free profits that's going to be continuously ratcheted up and up to drive unsustainable infinite corporate growth that our entire economy is based on for some fuckin reason.

Anyways, that's that, I find having these big posts that break everything down to be helpful.

[trashfangirlsworld]

Hello! I've been inactive due to the current events in the mcyt community, but I've been keeping up with the qsmp admin situation and I thought I'd share some opinions because the amount of doomposting I've seen the last few weeks has been more than I've seen in any fandom in a while and I feel like it's reached the point where people really need to chill the fuck out because they're not thinking straight and actively not helping. Everything I'm gonna say is based on stuff I've seen on both tumblr and twitter.

they should not promote/release merch! : one of the things that baffles me the most tbh; how do you expect any employee to be payed then? Merch is so far the only big source of income for the server besides q's own cc salary or whatever income they get through the official qsmp channel on twitch and youtube (which I don't think is a lot). "I get that they said they have no funds, but still it doesn't feel right"... sorry but at this point I don't know what to tell you, do you expect them to pull money out of their asses? You can't demand that they stop making merch and then complain that they can't afford the twitter admins at the same time. If you don't feel comfortable buying anything from them it's fine obviously, but if your reason for it is that you're helping the admins then I have bad news for you. I have seen people propose that quackity sets up a patreon, and while I think it would be a good idea, I understand why he's not doing it, since with the merch he can at least give something back to the people that choose to support his project instead of people just giving him money for free, especially with what's happening now. Also with how much hate he's been receiving simply for the merch I can't imagine that a patreon would be recieved well.

we don't know if the money is going to the admins/ they should not use pomme's likeness! : the money is definitely going to go to the employees and admins because otherwise the server would not last. And as much as I understand people feeling protective over pomme's admin, quackity studios is very much allowed to sell merch of the character because it is not the likeness of the admin, it's a minecraft model made by the people that work there. Would you have rathered they skip her character entirely? Do you really think that would have been okay?. Also correct me if I'm wrong, but I've seen posts and tweets saying that pomme's admin has been confirmed to come back with the other eggs whenever it happens by pierre, who talked with her admin.

the admins of the update accounts got fired, it means they want to fire everyone, they aren't making things better! : it sucks that the updates accounts had to end and I feel bad for every twitter admin that clearly cared a lot about the project, but unfortunately it had to happen if there simply isn't enough money to pay them adequately like they deserved and ultimately the update accounts were not essential to keep the project going, so it makes sense that they were let go unfortunately. This is not gonna be the case for the egg admins because if they got fired (which they didn't), the server would basically end. Just because a cc does not know when they will be back does not mean it's not gonna happen. Just because tubbo randomly said that he's not sure if they will be back does not mean they were fired; tubbo is normally not a reliable source of information, even less so when he's been live nonstop for the past 20 days, which is prior to everything happening. If you genuinely didn't expect a reduction in non essential staff considering everything, then you have unreasonable expectations on how this stuff goes. As I write this, I'm seeing people saying that "they would understand this decision if q had set up a patreon to pay the admins", and once again I don't understand how people don't realize why quackity might not be keen on the idea of having his fans pay his own employees for his own project instead of, you know, doing it himself; and, again, do not fool yourself into thinking it would be recieved well. That being said, it's fair to criticize how everything was communicated to the admins, but I'll get to this in more detail later.

quackity should not have uninstalled social media, he's trying to avoid everything! : he's not avoiding anything, he's been off social media for a while now, which is why it took him that long to remove wilbur from the server. He has every right to not want to look at social media, as his focus should be on restructuring his server instead of doomscrolling on twitter because people think he needs to see how much people dislike him. The only people that he should talk to are those that have important information to tell him, like josè with the document. He explicitly said on stream where to contact him if you have helpful information and I'm sure that despite multiple well liked posts saying not to spam his email, people are definitely doing it anyway, which is probably gonna slow the whole thing down even more. I hope josè's document is able to be seen with pierre's help as well.

quackity studios is not communicating with their employees and leaving them in the dark and that's not okay : I agree with this. i think a huge chunk of doomposting lately has been due the lack of communication not with the audience, but with the admins, and they deserve to know what is happening behind the scenes more then us since this is about their current or future job.... that being said, I do kind of understand why they're being so secretive and shutting everyone out, and that's due to all the "leaks" that have been spread online. I understand the anger but I really wish some people would realize that discussing leaked bts lore stuff in ccs discord servers does not help the situation at all and instead makes it seem like they're only doing this to rile up the fandom against quackity studios by using the lore of people's fav characters.

At the end of the day, I think people just aren't used to dealing with a situation that does not have a clear cut solution and someone to clearly hate, so the result is this doomposting and the over aggressiveness toward anything related to the project. Personally, I haven't witnessed anything that made me lose faith in the qsmp like some people have been saying, as every change that we've seen so far coincides with what quackity said on stream a while ago. I only wish things were communicated properly to the admins clearly, as they're the ones most affected, so I hope that's resolved soon. Ultimately quackity is singlehandedly restructuring the server from basically zero, has had to fire people that were misusing money and power and, depending on what josè's document said, is probably gonna have to fire some more. This is not an easy process, nor a quick one, you're not gonna hear about sunshine and rainbows for a while and doomposting about everything you hear because you expected quick change is useless. Think before you speak, have a clear head and most importantly have empathy.

[fuckyeahgoodomens]

The Assembly sees a cast of thirty-five interviewers who are autistic, neurodivergent or learning disabled, question an A-list celebrity for one extraordinary TV interview.

In this half-hour special, it's multi-award-winning actor and director, Michael Sheen, who is to face the grilling of a lifetime from the unique collective. No subject is out of bounds, no question is off the table.

On subjects as diverse as ex-girlfriends and on-screen kisses, to the OBE he gave back or his favourite motorway, how will the Good Omens star fare as The Assembly bring their unique approach to the celebrity interview?

The Assembly cast is a diverse cast ranging in age from eighteen to seventy-seven, amongst the group are musicians, artists, writers and students. Each will take their own approach in their attempt to get to the truth of Michael Sheen like nobody before has- whether that’s finding out his favourite sandwich filling or how he felt when his daughter was born.

The format is an adaptation of French show Les Rencontres Du Papotin, which saw the likes of Emmanuel Macron and Camille Cotin (Call My Agent) face the neurodivergent journalists of the Papotin. Gone was the flattery of the usual celeb fare – in its place, a mix of mischievous prodding, leftfield quizzing and profound exchanges. The superstars left completely off guard: actors asked about a driving ban or the death of a parent, the President asked if it’s really the behaviour of a role model to marry one’s teacher.

The show comes from Michelle Singer and Stu Richards' Rockerdale Studios, creators of mischievous content which seeks to put disabled agency at its heart. Stu is also known for co-creating and writing the BBC Three comedy, Jerk, and Rockerdale are most known for Channel 4’s Mission: Accessible.

Rockerdale Studios has worked closely with the BBC’s Creative Diversity Team, to ensure every element of the series works for and with autistic and neurodivergent voices.

The Assembly is a half-hour special to celebrate Autism Acceptance Week. Expect profound revelation, glorious chaos, and a lot of laughs.

The Assembly airs Friday 5 April, 10:40pm on BBC One and iPlayer

Interview with Michael Sheen

What made you say yes to being a part of The Assembly?

I said yes to being a part of The Assembly because it was just such an extraordinary and interesting idea. Then reading about the original French series, it just sounded so extraordinary, different and potentially a very revealing way to approach the tried and tested interview process, but obviously it is a lot more than just being an interview. The interview part of it is just one aspect of the project and I think there is still a lot of confusion, ignorance and fear around people with any kind of difference. I think being able to be involved in a project like this could maybe break down some of those barriers.

How is this different from any other TV show you’ve been a part of?

It’s very much unfiltered and that’s really exciting and quite nerve wracking for that reason! So much on TV is sort of smoothed out and filtered and made safe and this, certainly in the making of it, felt very not that! All the better and more refreshing for it too. I know a lot of work is put into the research and preparation for a show like this, but in terms of the actual questions being asked and the experience that you have in all being together when you’re filming, it feels very unpredictable in a really good way and really lead by the people taking part, which is terrific.

How did you feel going into filming?

Well I didn’t really have anything to go on, so I was excited. Sometimes when I’m going to be interviewed, I know what the interview is going to be about, I have a vague idea of the questions that will come up, I know the sort of things that I need to get across about what I’m there to talk about. But with this, I really had no idea what I was going to be asked, so I had to be prepared for everything and anything, there was a kind of freedom in that I suppose. Because of the unfiltered nature of what was going to happen and not being able to anticipate what might be asked, it was a little nerve wracking yes, but I was mainly just very excited!

Did your experience differ from what you were expecting and if so how?

Well I didn’t know what to expect really, so it’s not that it wasn’t what I was expecting because you can’t expect anything! There's no way you can expect anything because you just don’t know what’s going to happen, and because it is so unfiltered and unpredictable in terms of what might happen, where things might go, how people might be feeling on the day. For all the difficult questions that got asked at times, it just felt very loving and joyful and that everyone was very happy and excited to be there even though people were nervous or had anxiety at different times. There was a genuine feeling of community and I felt very welcomed into that community and ready to play so to speak, and you have to be ready to play. I felt very safe and looked after and it was just really, very funny as well – there was lots of laughter and wonderful things that people asked, responded to and performed, I mean I wasn’t expecting all of that, that was just wonderful! So many moments that I’ll never forget.

How does this compare to any other interview you’ve experienced?

It’s so unfiltered! The closest thing I can say is The One Show, where you go on to talk about one thing and then they ask you about everything else that’s going on on the show, so you get a question about your favourite bus route, then they ask you about otters! There’s an extraordinary pinball effect of questions and that’s the closest I could describe, but The Assembly is that x100. It really is extraordinary and that’s very unlike any other interview I’ve done really, usually everything is meant to follow on logically and have a kind of smoothness and polish to it, and this is just really raw and unfiltered and uncensored and I love that, I thought that was wonderful.

What can viewers expect from the show?

I imagine it will be very funny and I think quite moving. I was quite moved at times by seeing how much people had to struggle to overcome certain things they were dealing with in order to ask questions at times. That was uplifting. I think it will be different, it will be thought provoking I hope, and challenging in certain ways; challenging certain kinds of myths and stereotypes I think and ultimately just really entertaining and fun and joyful. I can’t really remember what I said, so I don’t know what people will learn about me... but it’s not about me, it’s about that fantastic group of people, but I certainly got a huge amount out of it too and I hope an audience will as well.

[dietplant1]

THE IDOL'S ASSISTANT AU IS HERE!

---------------------------------------------------------

Welcome to the Idol's Assistant AU, or SMG4:IA-AU for short! Here, all basic information will be shared, and the post is put under its own tag for easy access. If you wanna learn about my silly little AU, check out the QnA below!

Q: What IS the Idol's Assistant AU?

A: The IA-AU is my own take on a possible redemption arc for Mr. Puzzles as well as speculation for what the future holds, taking place in the aftermath of Mr. Puzzles being released from the facility and finding a job as an assistant. He's a bit of a shell of who he used to be-- drowning in guilt, on probation indefinitely, and awkwardly maneuvering social situations with his coworkers-- But he has the support of his bubbly employer to keep him going. If only he didn't have that pesky plumber bothering him each step of the way...

-

Q: Who are all the other characters on the poster?

A: Those are all of Mr. Puzzles' coworkers and his boss! We have--

Kotone: The TV head in the background, Puzzles' boss, and the idol in the title! Kotone is a fun and hyper jpop idol heavily based off of popular characters like Hatsune Miku. She was originally created by an inventor to entertain rich nobles, but after many years she has made it her goal to make as many smiles as she can. Sure, she's a bit naive and seen as crazy for hiring a 'lunatic' like Puzzles, but she bets her wires that he is full of potential!

Passionfruit: The girl with the space buns, and the designer behind all of Kotone's costumes! She's a bit clumsy and awkward and doesn't really know how to feel about Puzzles, however she is willing to give him a chance thanks to Kotone's confidence in him. Passion and Puzzles have to work together often, anyways, since Passion has to tell him whenever she needs more supplies.

Raven: The yellow-eyed cat and the security guard of the studio! Raven acts as the protector of all employees present and, while being the biggest skeptic of Mr. Puzzles initially, soon puts him under her scope as well and ensures he doesn't overwork himself too much. She's also Kotone's bodyguard at all events and is her wife. Lesbians ✨

Nimbus Cloud: The cloud guy on the far left, and Kotone's choreographer! He's sort of in the middle between Raven and Passionfruit on the skepticism scale, and also acts a sassy voice of reason that brings Mr. Puzzles back to reality. The two men clash at times due to similar yet different attitudes, however their bond becomes one of the strongest within the music studio. Kotone's official social medias are a two person project between them.

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Q: Are SMG4 and his friends involved at all?

A: Yes! Mr. Puzzles is forced to encounter them both individually and as a group multiple times. Whether it be when he's out running errands or accompanying Kotone to an event, he simply can't seem to avoid the crew for more than a week or two. It only gets worse whenever he notices that Mario has begun to follow him and attempt to strike conversations with him. Mr. Puzzles has no idea why he's being so friendly when it used to be an on sight brawl before, with his frustrations building further as he begins to enjoy their run-ins with each other.

Another important thing to note is that Kotone eventually gets a gig at the Showgrounds for a small music festival SMG4 decided to host. That is when the crew learns about Mr. Puzzles' job, and it is the first time he has entered the Showgrounds in years. He hates every single second of it and yet he bites his tongue because Kotone is a huge SMG4 fangirl, meaning her dreams are coming true. He will gladly allow the pointed stares of SMG4 and Co. if it means that the first person to truly give him a chance is happy.

-

Q: Do I smell Marware?

A: Yes. Yes you do. This bad boy has Marware and Bowuigi and SMG34 all in one neat n' gay package.

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Q: What if I have a question and it isn't on here?

A: You can ask questions in my ask box, or comment here! I'd love to answer any questions anyone may have!

[meandmyechoes]

Star Wars: Visions volume 3 in 2025.

Returning from S1:

Kamikaze Douga (The Duel)

Kinema citrus Co. (The Village Bride)

Production I.G (The Ninth Jedi)

TRIGGER (The Twins)

New studios:

ANIMA (in co-production with Kamikaze Douga)

David Production

Polygon Pictures

Project Studio Q

WIT Studio

[aiscapades]

thinking out loud abt recent discussions in the touchstarved/obscura fandoms :) literally just my own personal opinion !!!!!

i can't stop thinking abt cirrus bc he's honestly what i want so badly for the touchstarved LIs. it's what i wanted for count lucio.

i was reading y'all's opinions abt the touchstarved marketing and your concerns abt how the game is gonna turn out, and while i was understanding, i also was so confused abt .. where this sudden concern was coming from. and then i played obscura and i was like oh! i didn't know a game could be like this! i didn't know a demo could be like this! i had entirely different reactions to the obscura demo than i did the touchstarved demo

—and yeah that's comparing two totally different games, different studios, different projects. the touchstarved demo served to introduce the characters and the world and it did that wonderfully. it's satisfactory. it's not that they did anything wrong?? but i cannot deny they gave me two insanely different reactions. i was YELLING when cirrus was doing his shit. it was like what i imagine watching trashy reality tv is like. or like watching one of those poorly-made TV movies and just enjoying the ride. i was hollering and jumping out of my chair and GAWKING at the screen. like cirrus was real and he was really saying this insane shit and i was SO ON BOARD and selecting every insane option the game gave me. it was just so wild. and it was so, so fun.

so i thought abt it more and i was like yeah. i actually see where this concern is coming from. rss keeps their stuff so close to their chest that it's hard to tell what routes they're taking, how they're dealing with certain issues, how deep the character arcs go, etc. i have no idea how fucked up their version of monstrosity gets, and for a game that is ENTIRELY about monsters and monstrosity, that definitely gives me pause. we don't know anything. they drop hints and we guess and theorize, but we don't know anything. we know leander is fucked up. we know they're all fucked up. in what way? who knows. does mhin murder people as a giant crow beast every night? we don't definitively know. we kinda assume that based on lore drops, but we don't know. but then other studios are doing semi-regular q&as and dropping information into the laps of their fans on a daily basis (lost in limbo??? hello? every day i get a notif that they've told us something new, either abt ALL the characters or about the world). idk how early obscura devs have been answering questions but they're also doing something similar. but for rss you can send in questions and you're probably never gonna hear back. you can't just ask them what song the m5 LIs would sing on karaoke night and get a response 🧍🏼 they don't do that. which isn't to say it's WRONG of them—i'm not saying they're being bad game devs by any means—but it's definitely a different way to handle game development compared to these other studios we follow.

that lack of fan involvement and information sharing is where the concern comes from, i think. at least on my part!

i mentioned count lucio earlier and i want to elaborate why. firstly, he's my favorite character of all time. i've been writing a fanfic for him for 2 years, and it's nearly 200k words (i'm taking a break from it rn). like i love lucio as a character so, so deeply. is it because of the arcana game? no, actually. it's because of the POTENTIAL his character has. it's because of what the FANS have pulled from him and shaped him into.

the arcana was on the app store. it had such strict rules about what it could and couldn't be. and yeah i can rant about how dumb nix hydra is for taking the mico-transaction phone app route, but my point in all of it is that the devs failed lucio. i think they fumbled a lot, with the other characters as well, but lucio was their watch mojo top 10 biggest anime fails of all time #1 spot.

his bad ending shows him as the new DEVIL and dictator of the world??? and we got to see none of that. his whole route woobified him to pieces. he's just a lil meow meow. he's Baby. he didn't know better. he just made some Oopsies 👉🏻👈🏻 uh oh!!

like he was the main VILLAIN of the story and they turned him into a manchild. the wasted potential of this guy is insane. and i guess i saw that and thought "i can make this motherfucker so much worse" and i did that and will continue to do that. so have his other fans. people have rewritten his route altogether because it was so unsatisfactory.

there's overlap from the arcana in the rss dev team. do i think touchstarved will be the new arcana? nope!!!! but am i also worried they'll play it safe because they think the fanbase wants conventionally loveable love interests? yeah. i absolutely see the concern. it's very real and very there. does red spring studio KNOW we want truly monstrous characters? do they? we're just hoping they do.

leander doesn't have to be just like cirrus. none of them have to be anything. but i do want them to be monstrous. i want to FEEL something the same way i feel something when cirrus orders me onto my knees. like not even in a kinky sexual way. i want to be shocked. i want to hesitate and think "what is this character doing right now? what will i do right now?" i want to be confused and shocked and pleasantly surprised and also horrified. i want the adrenaline high i got while playing cirrus's first chapter. it was like my cptsd was triggered in the best possible way (lmao).

and it's not even about that.

lost in limbo is more fantasy romance than it is horror (save for the goddamn voidbound holy fuck!) but i know that i'll enjoy the game anyhow because i love all the characters. why do i love all the characters? because the devs tell us about them. they don't even have to spoil the game. i know amon smells like chocolate and has a fake southern accent (HELLO?) and that ara can't sing. lost in limbo could be the corniest fucking game and i would still love it because i'm already so attached to the characters.

the reason i turned to lost in limbo and obscura is because my excitement for touchstarved waned. because there's just a once in a blue moon post and it's likely it'll just be a "backers have new updates!" post. which isn't said to shame rss or backers !!!! that's normal and fine and valid!!!! do that!!!! i just mean rss is BARELY giving us what we want. we're stranded in the desert dying and rss is trickling water droplets one by one to each of us. lost in limbo devs are pissing fresh spring water into our mouths at firehose speed. is rss bad for this? no. they're not doing anything wrong. but a natural consequence of their marketing strategy is that fans will move on. i still love touchstarved. i'm going to play it. i'm reblogging fanart and fanfics. i'm posing the mormon leander theory. like i'm still here and still very much active but touchstarved isn't on my mind the way lost in limbo & obscura are.

ravenstar games tells me gael would fail the trial in the tale of orpheus and eurydice and i'm like holy fuck??? holy fuck!!!!!!

would ais? would mhin? i don't fucking know.

and what about elyon and sen? i know they're DLC bonus LIs and they don't need to be fleshed-out as soon as the main LIs. they can be on the back burner until touchstarved comes out. this is fair. but what about them? we know nothing other than 1. elyon is rich because of brothel money and 2. sen is an undead warden? (like a prison guard? like the ppl who watch over vere? i don't even know that for sure) (we also know their flowers but that's barely anything). meanwhile lost in limbo is sharing info about cécile and lázaro as often as their main love interests. they're not forgotten about. i can't even make a mc for sen's route because i know nothing about her!!!!!! which hurts my heart because i love sen. i love the idea of sen. it's the first time a female love interest in one of these games is 1. my type but also 2. not exactly like me (ara i love you but we are twins).

they're impersonal. they are 2D concepts we try to fill out.

maybe rss will tell us the LIs go-to karaoke song after the game releases. or maybe they won't. but there are just so many benefits to sharing that kinda thing and bonding with your fans in that way. that's my whole point. it's not "i need a steady stream of touchstarved content pumped directly into my veins 24/7 or i lose all interest" it's not that!!!!! obviously not because rss doesn't do that and i'm still here. this is my most active blog! i'm having a blast here because the fandom is sick as hell. we're vibing, doing our own thing, and it's great. but rss feels very distant. they are the senobium and we are residents of lowtown wondering when or if things will ever be different. if we're going to have a good day (lore drop or new art) or if things will just continue on as expected.

to reiterate: this post isn't about how rss is doing something wrong or bad or that ravenstar games/rotten raccoons are sososososo much better than rss. rss doesn't have to do everything other studios are doing. that's not what i'm saying. this is just the reality of what rss is doing vs other devs and how i PERSONALLY feel about it. i love them i would literally strap a bomb to my chest and demand my loved ones' credit card info to disarm it for any of these studios/games. i am a fan and i'm hopeful and i want to trust in rss so so so so badly. i want the very best for them. i want them to create a great game and be successful. i want them to be creatively fulfilled and proud of their game. on their own time, their own way. really and truly!

[meltyclownstudio]

Aaaand that wraps up the Q&A!

Thank you to everyone who asked a question, even if we didn't get a chance to get to yours! With the Q&A filed away, we have something exciting for you all. . . 👀

See you soon!

[hollycrowned]

cipherhunt log: some sunny day

It’s been a long time, hasn’t it?

On July 27th, I went to the Hillsboro Barnes & Noble signing event for The Book of Bill. I’ve decided to come back to this account at least for a moment to write a little bit about what it was like. At the end of this post, there’s some Cipher Hunt related news, so be sure to read all the way through.

The Q&A was a lot of fun. There was excitement in the air even before the event began, with eager fans wearing Dipper hats and flannel shirts hurrying to their seats. A few fans were in cosplay, too, which was heartwarming to see. While there were several kids with their parents in the audience, most of the fans there were younger adults—which really made it hit me that the series first aired over ten years ago.

By total accident I ended up next to the door Alex stepped through and caught his entrance:

Alex has the type of charm that can get anyone laughing, and his own laughter is contagious. I didn’t record much of the talk, wanting to simply experience it, but here’s a short video I took of him talking about how The Book of Bill came about:

Over the half hour, Alex talked about the the book itself, about the show, his characters, and about creating a television series. Fans, when the mic was turned over to the audience, said what they love most about the series and asked about intentionality and the possibility of crossovers (Alex’s immediate “yes” was a hit). Alex expressed after one question that while he never could have guessed that people would like Gravity Falls so much, he’s grateful for the enduring love fans have for the show.

The event coordinator, who schooled a few questions to Alex before mic was given over to the audience, asked what I think we all want to know: “What are you working on right now?” Alex gave the answer he’s given in the past: that as is typical in Hollywood, he can’t talk about the projects he’s currently involved in.

If you were around when I was active here, you might remember that by the time I left, my focus had become to follow Alex through his career. To recap: after Gravity Falls ended, Deadline reported in 2018 that Alex had signed a multi-year exclusive contract with Netflix. Not long after, Netflix announced the opening of its own animation studio, alongside a reel showcasing some of the artists they’d recruited. The reel highlighted that this group of artists included industry legends, young talent, and diverse voices; each artist in the reel talked how excited they were for what the studio itself meant the future of animation, and for the opportunity to work there. Alex was in this reel, too.

Although I’ve moved on to other fandoms and my own creative work, I’ve kept up with movements in the animation industry. If you have, too, you may know about the massive cuts and cancellations Netflix has made in the last several years, especially to its animation department. Alex has produced and consulted on a few projects at Netflix since his contract began—chief among them Inside Job, which was initially renewed by for a second season before Netflix reversed their decision six months later and cancelled the series altogether. Shion Takeuchi, the creator of Inside Job and previous writer on Gravity Falls, confirmed the cancellation, saying “I’m heartbroken.” Alex, in a reply, expressed the same, adding, “Grateful to have had the chance to help on one of my best friends shows, for however briefly”.

In the six years since Alex signed his contract with Netflix, there have been hints that he’s been working on a series with his name on the masthead. In late 2020, he tweeted about staffing his new show:

But if his project was among the cuts Netflix made a few years after that, he gave no sign of it in his answer.

It’s jarring, and saddening, to watch that reel from 2018 with the knowledge of what has happened since. Outside of Netflix, things seem just as dire, with the dragging of AI into animation giants like Disney and Dreamworks by their corporate executives—notably, as The Animation Guilds’ contract approached its expiration date. In 2023, Vulture published an article which included testimonies from four artists who worked on Spider-Man: Across the Spider-Verse about the unsustainable working conditions at Sony while the film was in production. Over the last few years, Warner Bros has shelved two animated films and one hybrid for multimillion-dollar tax write-offs. In addition, their subsidiary HBO Max purged multiple animated series from its catalogue, denying the artists who worked on them access to their own works—and for some of them, residuals as well.

The final question at the Q&A was from a fan who said that they’re currently in school for animation. They asked Alex if he had any advice for new animators trying to break into the industry. Immediately, my mind went to all of that news I linked in the paragraphs above. I listened intently…

Alex’s response did not have hopelessness in it. He did talk, foremost and with humor, about how risky it is to pursue art as a career, especially at this moment—laughed, as he ended a sentence with, “Don’t go into the arts.” But he moved on from that, and gave an even more honest reply: hone your skills, put your work out there, and don’t give up. Be persistent, share what you make, make what you love. Make sure it’s easy for people to contact you, explore feelings through your work even when it’s uncomfortable, and show your work to others, even though it’s scary. Alex also remarked on creating itself being hard work, from the raw process to putting your art out there to taking criticism to learning from what didn’t work and applying it to your drafts and future projects. Hard work, challenging in more ways than one, on top of an unforgiving cultural moment, yes—but keep going. Keep creating.

Keep making art.

Then the Q&A ended, and the signing began. I found myself at the end of the line, but I didn’t mind; neither did anyone else waiting with me. In the moments when I wasn’t chatting with other fans, I thought about that last question and Alex’s response.

There is little that is easy about being an artist these days. I have come to know this by having friends who are artists, by following the careers and accounts of other artists, by reading the news, and—since becoming an artist myself—finding out firsthand. But I have come to know, just as well, that the best remedy for these ills is community. Whether you create art as a hobby or you have a career in the arts, whether your medium is collaborative or solitary in nature: in the face of intolerable working conditions, cutthroat corporations and corner-cutting clients, the advantages they take, the instability and uncertainty, and what all artists can relate to: the challenges of the creative process itself—it’s the support of your fellow artists that helps you survive. It helps art survive. A community that creates alongside you can give trusted critique, celebrate with you, stand up for you, introduce you to other artists you can learn from, and give what is necessary for so many of us to create at all: encouragement. A voice that says, keep creating. This gives to the world what is necessary for us all: more art.

If tech companies develop their AI by stealing from artists, if the c-suites who own the studios see artists as disposable, with the way freelancing can throw water on creative fire, if popular opinion increasingly trends toward art only having as much value as money it makes, then we must support each other. Helpful, practical advice given by a successful artist on how to succeed in the arts in this particular moment is a gem to anyone who is reaching for that goal. But invaluable and eternal is example; not just of success, but of how to be good to your fellow artists—and in turn, to yourself.

And I just think that’s how an artist ought to be.

As the line moved, and I got close enough to see the signing table across the room, I watched Alex greet the fans ahead of me. I found that he was as sweet to people as I always have heard he is, as I remember from watching the Periscopes he appeared in during Cipher Hunt: generous with his time, genuine, and good-natured. One fan skipped away from the table with their book, and a big smile on their face.

And then it was my turn.

When you meet him, he looks you in the eye. I always forget, until I shake someone else’s hand, how small my own hands are. I told him my name is Holly. He asked, “Spelled how it sounds?” I spelled it for him, reflexively, before I could fully process the question and simply say yes. I said lightheartedly that he must be extra happy to see us, being that we were at the end of the line—it was over three hours after the event had begun—and he said, “I’m sorry you all had to wait for this long.” While he was signing my copy, I asked if he was enjoying Portland—though what I really meant to ask was if he was happy to be back in the PNW, in the summertime. He said yes, he loves it here.

It all happened so fast, with me completely forgetting that I’d passed my phone to a kind father of some fans waiting near me in line, and I almost walked away without getting a picture with him. When you meet a celebrity crush from your younger years, it has you reckon with how the part of you who crushed back then has walked with you through time—in what ways who you were back then is still a part of who you are now, and who you want to be. And, of course, it gets your heart beating a little faster, too.

There was much more I wanted to ask him (this has never stopped being the case), but there were other fans waiting for their turn, and he had given his time to just shy of 150 people already. So I smiled at him, and said thank you, and moved along.

I am, and always will be, excited to see anything Alex makes. Hearing him talk about his art, and artistry, and being an artist, was beyond wonderful; not only young Holly’s wish come true, but inspiring for Holly, today—as an artist in my own right. In the years since I retired this account, as I’ve read all this news about the industry, I’ve often wondered how Alex has been. I am very happy and grateful I was lucky enough to get a ticket to the signing, and meet him.

And finally…the Cipher Hunt news.

First: the fan waiting in front of me in the signing line (I’m so sorry I didn’t get your name, but if you’re reading this, I hope you had a safe and smooth flight back home!) said she had been to Confusion Hill recently, and that Bill and the treasure box are still there. I haven’t been to Confusion Hill since I last went in 2017–before COVID—but I think about Bill and the treasure box all the time. It made me so happy to hear that fans are still visiting and exchanging treasures. I hope I get to go again, someday soon.

The second announcement: by chance, I happened to meet a fan who is working on a documentary about Cipher Hunt. I introduced myself and said I’d be more than happy to help out with the project! The creator, Keyan Carlile, can be found on both Twitter and YouTube. I hope you’ll follow along!

I met so many other lovely fans while waiting in line, as well. There is still so much affection and excitement for this series, and it was so nice to step back into the fandom, if only or a moment. If we spoke with each other: it was so nice to meet you! Maybe our paths will cross again, someday. And to everyone, all of the fans who were there, and all of you out there with The Book of Bill:

happy reading!! ∆

[hotdaemondtargaryen]

‘CAN WE EXPECT ANY HINTS OF EWAN AND TOM'S ANSWERS FOR SEASON TWO?’

ANUAR A.C, FROM CINEMA GREEK opened a Q&A session on Instagram, in which he answered questions about Ewan and Tom's interview (the interview will come out on JUNE 4):

What do you think of Ewan Mitchell? — “A great guy. Since I arrived he stopped to greet me and then talked to me. He told me that I look like a rock star and that my tattoos were cool.”

“He was very excited when i told him that my favorite character was Aemond.”

“In the end, i was going to shake hands but ewan and tom gave me a hug.”

How was Tom during the interview? — “Very kind. Very charismatic and very attentive to everything i talked to him and asked.”

ABOUT TOM: — “It is clear that he is a person who loves the Game of Thrones universe and is very grateful to the fans and the studio for allowing him to be part of this project.”

“Tom was very kind to me, we had a good interaction and his answers were some of the most interesting.”

“You like him the second you meet him.“

“There seems to be a father vibe and a very strong bond between the show's cast.”

Did Tom and Ewan give you any spoiler for S2? — “No, they did not. My questions were focused on how they created and developed their characters.”

Who's the funniest during interview? — “Tom, definitely.”

Do you remember some funny thing Tom said? — “He does something funny and I put it as a post credit scene in the interview.”

Did Ewan seem shy to you? — “Not at all. Very firm and sure of yourself.”

What is the smell of Ewan and Tom? — “They smell like expensive lotion.”

What was Ewan like? — “He is such a nice dude. Very gentle and easy going.”

“He was focused in everything told/asked him and his answers to my questions were great.”

[werepaladin]

In case anyone is curious about the Red Hook Q&A about the Behaviour acquisition, but doesn't have the time to watch the hour long video, here are the main points.

Behaviour is supporting Red Hook as a studio and not purchasing the Darkest Dungeon IP.

There are risks for either way they go. In their opinion, this is the best deal/way forward for the longevity and stability of the company.

Hopefully this means that they can expand their efforts on their current projects and future endevours, including alternative media to video games.

Chris was very adamant that no IPs will go into Darkest Dungeon, to maintain the tone & continuity of the games. Still a possibility that DD stuff will be in other Behaviour games.

They have no intention of changing their business model for Darkest Dungeon 2. Hopefully, this will mean there won't be microtransactions.

I highly recommend listening to the Q&A yourself when you have the time so you can form your own opinions on this. Personally, the Q&A has made me feel a lot more optimistic about this. Feel free to add if theres any important points you think I missed.

[avalonblue12]

The Low-Down on the Genshin VA Drama

So, I was recently responding to someone else, and figured I'd make a post explaining exactly what's happening for people not entirely aware of the situation.

Basically, there's an ongoing SAG AFTRA strike (SAG AFTRA is an american VA Union), and that's extending into Hoyoverse games like Genshin Impact and HSR.

What is this drama about?

They recently replaced a VA for the character, Kinich, who was NOT part of the union but was striking in solidarity without protections.

The new VA, Jacob Takanashi a VA from Japan, expressed his excitement over having a new role on twitter.

This resulted in various Union VAs, such as Paimon VA and Keqing's VA notably to essentially start a harssment/bullying campaign which fans did NOT take very well.

You guys... you guys already see the first problem here, right? Takanashi is based IN JAPAN and for the matter did not know there was a even a strike

Ororon's VA, Nathan Nokes (who btw was one of the few to go "hey guys, maybe let's not resort to bullying tactics especially when we don't know everything) actually went and confirmed this:

This is actually supported by the tweet that started everything:

It is very clear from how it's worded he wasn't entirely aware of the situation. Even if you argue that he could've done more research it doesn't excuse the behavior of some of the other VAs

This is especially notable for Paimon VA who's drawn a lot of ire since she was one of the firstarters despite the fact that she is part of SAG AFTRA and NOT striking. In fact, she voices a character who consistently has some of the most lines per patch and thus has arguably the most leverage out of anyone in the cast.

2. Why are people turning against SAG AFTRA?

There were misgivings about some parts of the Interim Agreement that Hoyo refused to sign in the past, but has recently returned full force with the above controversy:

TLDR; SIgning this agreement means Hoyo has to boot out Non-SAG Aftra VAs. A reminder, Genshin and HSR have been international projects from the start so they would be screwing over a LOT of people. This is on TOP of penalizing them for hiring internationally for this project that was already international in its conception.

Naturally, this didn't sit well with a lot of people, and a few even see this as a power grab. Why? Because if this were ONLY about AI Protections and pay/treatment Hoyo would have signed it ages ago.

To cut it short: Hoyo's international projects ALREADY have AI protection BY LAW in several countries they hire VAs in, including their home of China, and studios/unions outside of SAG AFTRA that they've hired from BEFORE THE STRIKE like SIDE Global already have these protections mandated as well.

There would otherwise be no reason to withhold this from what's likely only a part of their overall VAs when they're willing to do so for everyone else.

IIRC Khoi Dao (Albedo VA) has had his own Q&A about this but keep in mind the source isnt' necessarily unbiased. I recommend reading it through the horses mouth through the SAG AFTRA site or the links above first.

Regardless though, (and this is one poin of Khoi's Q&A people had a problem with) is that full jurisidiction over the jobs of VAs that are already established would come under the hands of a foreign union.

Yes, there are mitigating factors like the Taft-Hartleys, but these are highly limited (3 times 30 hours each for a project for life iirc), and eventually force you to join the Union ANYWAY.

Yes, there are ways to join in on the union, but not only is there a monetary hurdle ($3000 plus additional fees), even if you were to get an exemption or some sort of exception, it comes AT the discretion of said Union, and even if you did everything right, they could still boot you out anyway, out of a job YOU already had.

4. Why is SAG AFTRA doing this? (Imma just copypaste my old explanation here)

Now, personally? I'm not saying the interim is worded like that as a powergrab nor do I personally think it is.

This likely stemmed from one thing: SAG AFTRA VAs violating Global Rule 1:

Basically: They're not allowed to work on Non-union projects.

For this EXACT kind of reason. Because it creates a schism in the studios, the union involved would not have as strong a leverage, and literally EVERYONE INVOLVED- the union, the company, independent VAs, international unions- gets put in a scenario where they get screwed no matter what.

Genshin and HSR from the very beginning were not SAG AFTRA Projects. They were VERY EXPRESSLY international ones and Hoyo wasn't shy about the fact that it wanted to hire international talents.

Usually from what I know, Global Rule 1 isn't heavily enforced, which is why the VAs ended up joining GI and HSR in the first place. This wouldn't be a problem for smaller, one-and-done kind of projects, but these are gachas, long-term projects that frequently have VAs return.

So when SAG AFTRA asks all of its members to strike, this happens and nothing gets done for a long time. In a more optomistic lens, they likely feel like in order to get these terms, they HAVE to have full control over the project.

5. Afterword

So yeah, that's basically the down-low on the drama and why people are turning against the union.

Regardless, I highly HIGHLY recommend you, the reader to go through and read the Interim Agreement yourself and come to your own conclusion (not the reddit comments obv, I only added that in case they updated the page) .

This is a very VERY messy scenario that's been mishandled in nearly every place conceivable (how some VAs acted turning people against them, the Union not enforcing its own rules and not being transparent the entire strike to fans and VAs alike, etc.).

Instead of having one or another party explain it to you, read through the Interim Agreement and come up with a stance on it your own! No lens to view it through, just what's been requested from the horses mouth directly.