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comicteaparty · 5 years ago

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June 27th-July 3rd, 2020 Creator Babble Archive

The archive for the Creator Babble chat that occurred from June 27th, 2020 to July 3rd, 2020. The chat focused on the following question:

If you could do your webcomic for a living, how would that change things in regards to how you work on it (if at all)?

Deo101 [Millennium]

I'd definitely put out more content, cause I could focus on it fully every day of the week.

Eightfish (Puppeteer)

i would probably start hating it and get burnt out

Deo101 [Millennium]

thats why I would also have to start another comic or do short stories on the side or something, too.

I would probably keep individual comics update schedules the same, I'd just do more comics

LadyLazuli (Phantomarine)

If it became a part-time job, I don't think anything would change. It kind of feels like that already. If I were in a position where it became a full-time job, I do dread how my relationship with the work would change. I don't think I could ever make as much doing comics as I do in my day job (which isn't crazy, but is comfortable) so I don't know if I could ever 100% transition unless it was really, really worth it It's something I've thought about a lot, for sure.

Cronaj ~{Whispers of the Past}~

In a way, my comic is my full-time job? I don't make very much money with it, but I do put over 40 hours a week into it, and I don't have another job. I am in the very fortunate position of having an SO who is able to support me financially while I try to get my footing with my passion. If I was depending on it for a paycheck though, the main thing that would change is my style would probably get simpler, because there is no way I can make enough pages a week otherwise.

Holmeaa - working on WAYFINDERS

It is really the dream to be able to do it! Right now I am unemployed, so I basically treat the comic as my fulltime job, until I find the next short project. I want to be able to work on it full time! In Denmark there are some cool possibilities to get funding from the government and I hope we can get enrolled with some of those programs with our comic.

I would also just love to do small videos, podcasts, animations etc. Small fun projects

Mitzi (Trophallaxis)

If I had to do it full time, I think i'd put a LOT more hours into learning how to paint, watching speedpaints, ect. It'd also make a huge difference in my living situation, as the first thing I'd honestly do with a full time at-home job is move to another city with cheaper rent. Another state, maybe! Oh, and I'd do a lot more promo work. posters and animations are fun, but they're not quite worth it with an audience consisting of two my writing partner's friends, and my older brother.

Shizamura 🌟 O Sarilho

the biggest difference, I suppose, would be that I would make a lot more pages, a lot faster. But I like it that it's been pointed that the relationship with work changes when you have to do things full time, so there may be some unpredictable variables there

eliushi [Keyspace]

For a living for me can mean many different things: able to sustain living expenses vs full-time. There’s overlap but one gives financial security meaning an element of creative freedom. The opposite end will probably entail working on other comic projects with the current one as a passion story on the side (no change but probably might not want to draw so much after drawing for work!) If we’re discussing the ability to do the webcomic full time without financial worries then I do believe my output will increase but also I will be dedicating more time to the craft (studying story structures, art directions etc) as well as marketing/joining professional associations/pitching/connections. There are a lot of career options within the comic world and I’d love to explore everything before deciding what’s best for the current story. Ultimately if I were to do this as a living, I’d treat it like any other job: a routine, a strive for improvement, and wellness to recharge. I follow several artists not only for their art but also their schedule/workflow to see what worked for others. It’s very interesting!

In reality though, I might work on smaller scale projects on the side to build up the experience and platform needed to tell the story of Keyspace. As a full time comic creator, I’ll be seriously thinking to covert the seven novel series into a hug comic project. So TL;DR if full time, I make more pages

varethane

I'm in an odd place with my comic because.... well, I sort of had an opportunity to spend all of my time on it for a few months, when I was in between contracts at work. But I found that I wasnt getting it done all that much faster than I did when also working full time

To be fair, it's kind of hard to compare my speed between the three periods, because when I returned to work after a few months away, it was after work from home had started and now I no longer have a commute, so perhaps my ability to squeeze comic pages into my free time has expanded.... but I feel like my attention span caps out around 8 hours on any single task

So I didnt work that much faster. But... I'm also bad at keeping track. I could be wrong.

Yung Skrimp (Carefree)

8 hours is a long attention span

varethane

It's not all in one go, haha.

eliushi [Keyspace]

I definitely have to take breaks between pages, whether or not I have just a few minutes to a chunk of hours

It’s about finding a balance that works for you!

keii’ii (Heart of Keol)

I don't think I could put more hours daily into my comic than I currently do. I have a chronic issue with my drawing shoulder, so my body won't be able to handle that much work. Probably wouldn't be great for my eyes, either. I also don't know if I want my livelihood to depend on how many people like my story. This story is a pair of custom-tailored skinny jeans for my heart (and I have an unusual body type, making it impossible to wear skinny jeans regardless of size). It's a story I want to read. It's meant to fit ME. I don't want to worry about how to also make it fit a bunch of other people.

That being said, some people do find themselves in a situation where they're making something they want to read, and a bunch of other people just happen to like it, too. I think that would be nice

chalcara [Nyx+Nyssa]

I physically can‘t draw for more than four, five hours a day, found that out the hard wayy

eliushi [Keyspace]

I most recently developed pain likely due to RSI and have made accommodations since then but yeah it was scary to think that I have a limit in drawing time. Gotta find ways to take care of yourself for the long run

cAPSLOCK (Tailslide)

I think if comics were my only job, I'd feel a lot more anxious about what I create, and would struggle to work consistently. Having another pursuit makes me feel like I have more freedom to experiment, learn, and make what I want to make.

Eightfish (Puppeteer)

That's a really good point keii

Would drawing a comic for a living push me to change it to have more mass appeal?

I don't know but it is definitely possible and would be on my mind

Joichi [Hybrid Dolls]

It is the dream, if I could get a decent monthly wage on my comic, yes I will dedicate more time, work out a better schedule. Get an editor and colourist on board to help make a polished series. Altho I'm still doing this method to build good working habits But I agree with Eli's point, have to assign days for breaks for myself to prevent RSI. At present I have a trained mindset to work on schedules, but I may feel the pressure to produce as fast as I could.(edited)

Desnik

Well, for starters, my comic would actually be released somewhere, so it'd be nice if it made something back for me

Miranda

I’d actually release it. And work on it regularly, instead of sporadically like I have been! I’d definitely be more critical of what I was doing, and probably way more anxious every time I posted.

keii’ii (Heart of Keol)

You know, when I was only like 6 years old, I was like "I don't want to be an artist when I grow up. I love art too much, and I don't want to burn out and stop enjoying it. So I'm gonna be a singer instead." I have no idea how 6-year-old me knew about burnout, but I definitely remember saying that in response to an adult asking something like "what do you wanna be when you grow up"/ "wow, you're drawing all the time; do you want to become an artist?"

sssfrs (JOE IS DEAD)

The more I do comics the more I think I want to do art stuff as part of my main career. I would love to make sequential art that's for science purposes

sagaholmgaard

Ah that would be the dream! I'd probably feel more secure in my ability to build up a backlog of pages, and be able to make more extra content for the PDF version! And more content for instagram and twitter as well

kayotics

If I were to be able to do comics full time I think it would completely change my current lifestyle. Not even money wise but I’d need to switch up a lot of things. Like make sure I get a good amount of exercise in. I’d probably add in another page a week, but then use the rest of my week to project manage the comic, and promote my work. I’d spend a lot of other time working on creating an online store, because I can’t see the comic working full time without some supplemental merch keeping me afloat. And I’d also use that time to create and work on another comic series I think.

Yung Skrimp (Carefree)

If I were to do comics full time I’d flex on everyone I know

Feather J. Fern

If I was able to do comics full time, be able to pay off debts, substain rent and food, and extra saved for small spluges, I will shove my comic in my family's face(I got a family who doesn't believe in me at all), dancing around screaming "I MADE IT IN LIFE" And then jump out the window because haha this can't be a reality because I don't think I will ever make it in comics. I will still keep my other job of working at a library and drawing on the side becuase I want working job insurance and also I am the type who wants to save all their money if possible(edited)

eliushi [Keyspace]

I was on board until jumping out the window

Yung Skrimp (Carefree)

I wasn't on board until jumping out the window

Now I am

Moral_Gutpunch

If I could do this for a living, I could do so much. I could afford to put my mother ina home, start my dream farm and start a bunch of conservation as well, I could help my husband fund his own sidegig, and I could afford to foster pets like I always wanted.

shadowhood {SunnyxRain}

Personally, if I was able to do it I would be a lot more invested in it. I would also make a lot less excuses as to why I'm not practicing as much; it took a pandemic to happen for me to dry taking it more seriously!

I think overall I might have been more happy.

On the other hand, there's also the danger of burnout, of constantly doing the same thing over and over again for me. I'm the type that needs constant change, so I think I'm more suited to having another occupation be my main profession while comics/art would be a secondary one, where I don't have as much pressure. Furthermore, it's also my backup plan in case anything happens to my main job.

Moral_Gutpunch

^ This. I'd be focusing so much more on comics. And I'd be expanding into more comics and writing more stories. I'd be happier I'm writing more, but more frustrated at writers block

Tuyetnhi (Only In Your Dreams!)

Man if I could do it full time, might be able to pull more page updates and actually get deep into doing some long term projects I had planned for years. I won't have much of an issue as long i can also do my zine projects on the side. also would be nice to have some job insurance too along with it lmao. the only danger that could take it away if I get incapacitated for no reason lmao

TaliePlume

If I could do comics as my full time job would be awesome! But all that focus would go only to the comic and nothing else which is bad because I would be neglecting a lot of things and not getting other things done.

AntiBunny

I'd finally be able to tell my whole story and start telling another. It drives me crazy that I have more ideas than I can pursue.

snuffysam (Super Galaxy Knights)

In terms of my actual production, I'm not sure doing my comic as a living would change much lol. I already spend upwards of 40 hours a week on it, I seriously doubt there's more I could be doing. So, earning a living off my comic would just be... one less thing to worry about.

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #comic tea party #ctp #creator interview #comic creator interview #creator babble

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alex-airing-20xx · 6 years ago

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Starting note, ubuntu users going back in time below. ""Please use x32bit for ubuntu and forks"" ""Can not stress this enough, for compatability issues"" ""Video, wine, and software repositories, older computers"" ""12.04 13.10 14.04 16.04"" Bunsen labs linux [Stretch debian fork from japan 2019] "Testing Beta" Bunsen labs linux [bl-Helium_amd64+build2.iso] Debian 9 Stretch "2018" Bunsen labs linux [bl-Hydrogen-amd64.iso] Debian 8 jessie "2019" (Version jessie of unsen labs unstable) Zorin OS [12 Ultimate edition; a ubuntu ireland fork 2018] Mageia Linux ver6 [Mageia is 2018 france redhat fork of mandriva] (Mandriva Linux Based on: Independent (forked from Red Hat) I hope mageia continues to update, it is getting better. Mangaka cho [Live-dvd "Testing" (Managaka is from austria europe, with multiple versions based on ubuntu, has multiple themes of anime flavors, One,Chu,Moe,Nyu,Koe,Mou,Cho (live)) Cho is good live distro, hopefully mangaka produces more in future, very fun version of ubuntu. FatDog Linux [Based on: LFS (formerly based on Puppy as usa fork] (Testing version 6/12/2016: is more applications and for x64bit ver puppy linux) Fat dog in current state would not say get yet, till gets more stable. Zorin OS Ver8 and Ver9 [2014-01-27 release] "Testing" (Unstable, good for testing) Zorin in 8 and 9 have crashing and glitches, not so great at moment, is comming along, a lot of these new forks are currently unstable. Mangaka koe is running ubuntu 14.04 "stable" I would suggest using with caution as it is a unstable fork in testing ubuntu, runs well at the begining, will crash if you do things you would normally do in ubuntu "Proceed with caution" as this is good for testing as many listed above. Visually is good OS from mangaka, fun, educational. Angel linux Ver3 [Angel is based on puppy linux] Not much to say, runs slim, speedy, as of testing have no problems so far, producer is on sourceforge. Commodore OS linux [Not much info; is a indie fork of ubuntu] (If you happen to search hard, far online threw search engines, you can locate and find commodore OS vision linux, it mostly a beta you burn to two dvds, one disc is needed for the OS. You will need a second disc for extra data files which are required to run commodore os properly. PS: you might want to try bittorrent will looking as well. Commodore os was a great OS wile it was up in the late 2000s in years, after writing this log, hope some this info helps.Linux lite [This is another attempt at ubuntu fork from newzealand] (This is a beta I tested 5/31/2014) Not much to say is lite version of ubuntu, made ver well in unstable at the moment as most of these forks of ubuntu comming out, like most forks, lite is no diffrent needs more time to develope or become stable. Speed "yes" Works "Yes" DaytoDay usable "Not yet" Give these forks time, lubuntu, peppermint, etc they need time for development . Somehow In the future 2020 and beyond, they will become good as for now it is 2014 . | | A lot of these operating systems above and below are no longer on distrowatch any longer (So please do not come looking to me as to where they (OS/devs) went today, i'd assume the projects are left off to die, or the developers got bored) | | Lubuntu 2014 [This is another fork of ubuntu ver 14.04] (Lubuntu is made with developers in taiwan ROC, and france europe, this one has been my most favorite ubuntu fork, been comming back on and on to it for a wile now, not much has chnaged with this one, just more bloated software has been injected into the interface, and revamped desktop changes, feel that they should have left lubuntu desktop alone, some of the software needs more to get it to run in the gaming and repository side of things, such as the PS1 emu. "Please bring back the speed" "That is what lubuntu was about" Meh!! moving on`````` #Rants Ubuntu studio [Version fork 13.10 of ubuntu] Ubuntu studio os well . . . Ubuntu this one is marketed as ubuntu with "The supposid more kick and apps" "Kick as in oomph, or push" Ehhhhh! . . . 13.10 versions of ubuntu was not its best days, even with studio ubuntu has its core problems, bugs, crashing, unstable, with this version of studio is no diffrent at the time. Giving the interface, and that it is studio I would say at the time is was good for testing like most on this time zone. Not much I can say except it was in fact made with more apps, programs, software already built into it. ""My sciore for this ubuntu is medium not so bad and not so good either"" Like most in the beginning of good ole forks, give it time to grow, stay with stable versions, if you figure out whiuch version of the fork it is. Lubuntu Ver 12.04 (Version 12.04 of lbuntu , ubuntu fork) Warning: Use x32bit only (For video and wine software) Warning: Use x32bit only (For video and wine software) Warning: Use x32bit only (For video and wine software) This version of lubuntu was my favorite of all the lubuntu betas why!? you may ask ? It was very GOOD! at the time of release. Yes there where crashes at the end use (Still scratching head on this one) ""I left a note: use for older computers"" why leave such a note!?because at this time version 12.04 lubuntu was the fastest ubuntu fork at this point and time, it indeed had lxde desktop injected, before being bloated with all the ubuntu full core at versions 14.04 and 16.04 in fact still keep a copy on DVD and ISO for ole machines. . . . My only fault with this version is it had strange random crashing bugs at random times, which would tick (Anger anyone with a brain"Good train of thought) Everything ran perfectly, speed, program, software, etc . . . ""I mean SUPER FAST SPEED!"" anyways this log is done. ""Test rating Very good <> Crash rating: AHHHHH! Not so good"" Use with caution after installing. Mageia linux [2013 version 3] Of all the betas to test on a red hat fork, at this time era, it was good visually, and thats about it, very buggy, programming failed very much on megia 3. Puppy linux [Puppy linux is a australian OS by barry] Puppy in general is programmed well for laptops, not so much desktops, what i mean by this is in the past they have had hardware compatability problems ((This is more for someone who wants light weight slapped on a laptop)) stopped testing around version 2012 on day 5 of may . The last version i tested 5/5/2012 slacko build Saluki linux [This a a fork of puppy linux for older computers made in USA] Sulukie ran on three releases that was it game over. (NOT!) Version three was made very well actually, best version of puppy linux i'v tried. Compatability wise anyways, no flaky compatability issues as most puppies have had in the past. I would suggest trying it out if you can find it. ""Test review: VERY GOOD"" ""Crashes: Only if you abuse the code"" ""Stability: good, till the end"" (Runs much as lubuntu 12.04 in that manor of stability) Knoppix [Ver 7.2.0 2013 ,Germany europe] Knoppix is now a live-DVD with a installer at this release but' oh boy ""BE shure to fork out MUCH! RAM!"" not much i can say other than the "BLOATED RAM ISSUES"" x64bit was the version I used, visually, graphically, yes it ran, very pretty effects, screen saver, the only part that took the piss out of me was the ram, holly hell man! Slower than sluge goo! Have also a copy of Ver:7.04 even then results are the same in testing in 2012. | | A lot of these operating systems above and below are no longer on distrowatch any longer (So please do not come looking to me as to where they (OS/devs) went today, i'd assume the projects are left off to die, or the developers got bored) || Artist-X Ver:1.5 [Opertating system from 2013 italy, for artists, is a fork of ubuntu] Testing this was fun, for most ubuntu forks at the time, this one topped ubuntu studio, it is loaded with many software programs up the the brim ""OF a neck choking"" there was that bloated ubuntu'ness in the visuallity again' "Ubuntu" they are harked for the fat, slow, bloating load times. The only fault was the internet it was not there at all. Has many visual editors, art editors, video, graphics, the whole nine yards, and a bag of cheese fries (Kidding) but seriously no internet!? and then after a few years of waiting, no more OS updates ? ? ? will artistX come back ? ? ? We hope your team dose ""For the love"" one of the best ubuntu forks without any doubt in creativity of a operating system fork. ((Please for that side note ""Internet MAN"" ""Put it in"")) Lubuntu vers: 12 and 13 [x64bit versions of ol' lubuntu] For the love of HELL! NO! the x64it versions of lubuntu 12./13./ are living compatability hells of a cutting board I repeat please run to the closet and lock it and just stay there, till it leaves. Jokes aside: yes it ran on x64bit am i making it bad for simply that no, it is not that lubuntu or lubuntu x64 bit versions where bad, it was just at thet time. The compatability issues where around, and holy-hell! where the compatability issues not taken whol heartedly or seriously. The videos played in blue, even with all the codecs installed. Software had multiple crashes, upgrade problems, compatabily issues , ""Please just hide your face in shame, in your hands, breath for few minutes"" ""AHHHH!"" ""HELP!"" not only this if you just got off the ban wagon from windows, wine was a rape fest, as even today on any ubuntu, the demand for backwards to x32bit wine even threw x64bit was a crashing hell spawn from the depths of coding terminals. Miko gnyo Linux [This is a fork from japan of ubuntu; not well known] Miko gnyo linux was around for short lived time, it is ubuntu slapped with japanese/english bi-lingual packages, has a quaint cute women drawn in a kimono dress. ((THAT IS ALL, NO SERIOUSLY THAT IS ALL)) it is ubuntu, and that is it, just install your language. DreamStudio Linux [This is a ubuntu for from canada] DreamStudio 12.04.3 was a short lived, ubuntu graphical fork, it was belted up to look as a midnight graphical visual front, had many ubuntu-studio forks inside the guts, have not tested it long, as it was not around very long, it had a dark personality in pretty purple-blue sort of way when you think of pretty-violet colours. Basically take ubuntu studio and slap the visual splash screen and effects, background for prettying up in a canadian fasion. ""Crahses: No"" ""Stability: good"" ""Ubuntu: Yes"" Greenie linux [Greenie linux slovakia europe, Ver:10Q] 2012 was the year tested this, it is yet, another ubuntu fork, at the time gnomeclassic. At the time worked with installer, after that, language, compatability was a task, not a nightmare, but a task, getting it to run. This version had many glitches with software and updates. Kahel linux [This is a philippines arch linux for attempt] Philippines is know for attempts of making stable linuxsin the past. Kahel linux (Arch linux port) ran with good installer, after the install, it would eith crash, or programs would simply hault the Operating system. Restarting Kahel linux simplay caved in, gave crashing. They (Kahel linux) might stsill have their facebook up, is only place to contact the team ? Not shure any more. ""At the time arch was not very good in porting"" ""Arch ports where known for flakeyness"" Anti-X linux [Ver 13.2 from greece europe] this is a debian fork for minimalists or as the english description on distrowatch noted. Tried anti-X with good intentions hoping for stability which it is in this beta, of fork forkery. ""Face palm"" I wish they had wifi or DSL internet as most forks back then, internet and wifi was till comming out to new linuxs. (My advice is to chase after a .DEB package and other .DEB packages before install or virtual box, mostly chase after ""WI-CD Wired and wireless network manager for Linux) Vine linux Ver:6.2 [Independent, Japan, i686, powerpc, x86_64] Vine linux is a japan OS with a stable, bilingual installer, you can choose full blown enlglish or japanese text writing. Is using a very ol' gnome desktop, (Before classic) with the visual feel and look of windows tamplets from 98-XP it is mostly for business amd office, has a V-chip in the early versions for web browser or kids. If your looking for NSFW type of OS and business i'd suggest vine linux. There has not been many updates on vine linux sense 2013 and is a great OS for the development time. Hope to see this one stay active and grow, flavor of linux is great for a japan only operating system. There is version 6.0 of vine linux, probably good for the laptop, or ol' machines is the most stable so far of vine linux, for minimalist or closed minds business. Puppy linux: ver:5.5 [A autralian OS by Barry] This version of puppy I found most compatable with the desktop, and internet of frisbee software. it is stable at times, and also not at times. Small, fast, after a few updates though, it seems to have major BUGS then the internet flops, gets goofy. All and all a good test and nothing more. WattOS: R7.5 [This is a economy minimalist fork strip of ubuntu] There was not much to test on watt-OS Ver:R7.5 because after install and update it imediatly crashed, however, will test more versions in the future (Sad really) Blag-Linux-OS 140 | Year 2012 [Blag-OS is a England,UK fork of fedora] Ver:140 had a ball with this one, loved the splash screen,it is another OS at the time without much internet compatability, from this version 140 it was spactacular fork. The visuals good, the software good, programs good, desktop interface. Hope to see BLAG continue or come back in the future, one of the good ones that was left alone in the dark for some time still. Free BSD Ver: 9.0 [Berkley software dis' Flying tosters] BSD 9.0 did not get it to run on computers in this log, as BSD is not compatable with many (Hardware, parts) computer in the beginning, wish it ran, had a interface at the time. Otakux linux [Otakux is a short lived malasian asia OS ubuntu fork] Otakux OS linux, ran as a anime port of ubuntu, it was before the mangaka untunu clones came to existance from austria europe. Runs fine, just as long as you do not update is much, because otakux will not update at all after the fist attempt. This version is version VER:2.Alpha of ubuntu 11.10 | You need to type in some bizzare code to install it | CODE: $ sudo ubiquity $ | ___________________ Now here is my first linux I tested ever below (No not ubuntu or arch) It was actually, Mandiva linux [2011 32 and 64 bit] Origin: France Architecture: i586, x86_64 Desktop: AfterStep, Blackbox, Fluxbox, GNOME, IceWM, KDE, LXDE, Openbox, WMaker, Xfce Category: Desktop, Live Medium, Server Status: Discontinued (defined) Popularity: Not ranked _ Mandriva was short lived, did not last long, with repositories from slow loading russia. Yes, strange, HUH!? french on the outside russian on the software inside (Wrap head around it for a good chuckle) _ Mandriva was a fork of redhat and like most redhats this one died, after mandriva death came ports of it, such as two french ports and a russian port. _ Russia port: ROSA OS Linux French port: Mageia linux French port2: OpenMandriva Branded LX today. (All three are the new, mandriva and mandrake)Hope this helps you finding mandriva future. _ As for redhat, look for a OS called cent-OS / or scientific-linux in 2019 and beyond years for as all five of these are free listed above. _ UPDATE FUTURE TESTS _ Still have some laftovers to test i'v not got around to. ""Small list below"" 1. Sorcerer linux 2013 2. Neptune linux (Deb fork) Ver:3.3 germany 3. Oz unity Ver 3.5 (Ubuntu fork) australia 4. Kanotix: Hell fire Ver: 2012 5. Open Mamba: Snake (Italy) 2012 6. Blank On Ver 8.0 from indonesia asia. _ Have some new updates I will list later in future logging 2019-2020 Thank you for reading, more soon. ~Alexander, florida, 2019

#blogging #my #life #with #linux #nix

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raidenwrfl859-blog · 5 years ago

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Regarding 2.7 billion individuals are forecasted to play a game this year, according to the pc gaming market researcher Newzoo, as well as gamers worldwide are expected to spend virtually $160 billion in 2020.

When it's time to play, these PCs carry some severe pc gaming power for running the most up to date titles-- including VR-ready laptops for AR/VR games.

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Who is #1 fortnite YouTuber?

1. Ninja. At number one, Tyler Belvins a.k.a “Ninja”, is the most popular Fortnite streamer in the entire universe.

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Though some tactical components occasionally feel unbalanced, Predicament does justice to the franchise business by supplying unbelievable space battles and also appealing lore. Lengthy gone are the days when the similarity Midway's NFL Strike and Nintendo's Ken Griffey Jr. games ruled the marketplace with their pick-up-and-play perceptiveness, showy graphics, as well as outrageous gameplay. Hardcore simulations like FIFA or NBA 2K are fantastic, however game sports followers have actually lamented the decrease of the much less reasonable stuff. The game provides available technicians, a cartoony art design, and also a general sense of enjoyable that's uncommon in today's sports games.

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What is the most downloaded game?

The Facebook app itself came in as the most-downloaded app, followed by Facebook Messenger, WhatsApp, and Instagram in second, third, and fourth places, respectively.

Subway Surfers.

Candy Crush Saga.

Temple Run 2.

My Talking Tom.

Clash of Clans.

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Minion Rush.

More items•

Nevertheless, it has enough deepness to keep also one of the most die-hard baseball followers addicted. Super Huge Baseball 2 has a number of graphics-related flaws, however it's one of the best current-gen sporting activities video games available for PC. Yes, it's beloved by millions, yet the concussions that arise from giants tossing themselves at each other are an indisputable trouble. The sporting activity is much more pleasurable in video game type, particularly arcade-style football, which allows you carry out superhuman accomplishments without aggravating flags or hideous injuries. Mutant Football Organization is certainly worth playing, and also not due to the fact that it's the unusual Football PC game; it's legitimately great, regardless of some aggravating dirty tricks.

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He now brings his expertise and also skillset to PCMag as a Managing Editor. Battletech is a pure adjustment of the timeless board game that was first released in 1984 by FASA Corporation. Jordan Weisman, among the parlor game's developers, played an executive role in this contemporary take. Because of this, the COMPUTER game's world is abundant as well as storied, with the setting resembling a strangely reliable mix of giant robots and also medieval feudalism.

Mahjong Gamings.

There aren't several baseball games on PC, however Baseball Stars 2 stands out among minority that made it to the big leagues. The classic SNK sporting activities title does not show off a MLB permit or strive to be a super-realistic simulation. Instead, Baseball Stars 2 is traditional baseball fun, with basic controls, heaps of charm, and extraordinary cut scenes that highlight tense moments.

Is GTA V still free?

GRAND Theft Auto 5 is still free to download from the Epic Games Store, but only for a limited time. GTA 5 is free to download from the Epic Games Store, but only for a limited time. The Premium Edition contains the Grand Theft Auto 5 story mode, GTA Online, plus the Criminal Enterprise Starter Pack.

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hellotechsgeeksfan · 5 years ago

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At the base $6,000 price the 2019 Mac Pro is a terrible value packing minimal specs like an 8 core processor 5 ATX graphics 32 gigabytes of RAM in a measly 256 gigs of storage.

So the question is why in the world would Apple sell this computer at that price and who would pay up to fifty-three thousand dollars for it and why but in this video we're not only going to answer those questions but will also tell you seven specific things The Mac Pro offers that you can't find anywhere else.

But before we get into that and what we wish Apple did differently we want to take a minute to show off some of the features that make it seriously impressive first off the design looks very unique and it's also very solid built out of mostly high-strength aluminum and stainless steel the tower is smaller than expected yet weighs over 40 pounds on our lower end config not only does the lattice pattern on the front and back look really cool and does an okay job at grating cheese it also allows for a massive amount of air to flow through the case while retaining its strengths taking the case off is shockingly easy and the internals look really clean the various locking mechanisms are engineered incredibly well making it easier and quicker to replace components than on basically any other computer you literally won't find a cable on the inside because a Mac Pro doesn't use them every single connection from powering the fans to the graphics cards happens with metal contact connectors and even with that the Mac Pro scored an impressive 9 out of 10 repairability score from iFixit the fans have a design that we haven't seen on any other machine and it led to whisper-quiet performance even when we pushed our mac pro to the max in our thermal performance video it packs a beast of a motherboard with 8 PCI Express card slots 4 of them supporting full 16x speeds as well as dual 10 Gigabit Ethernet it supports up to 12 Thunderbolt 3 ports 1.5 terabytes of RAM and not only one but 2 which is of the most powerful graphics cards ever made.

The Mac Pro is basically the Lambo of computers it's got the Lambo design it's got Lambo performance it's over-engineered like a Lambo it's got a state-of-the-art system like a Lambo and it's also priced like a Lambo. And just like a Lambo is obviously not meant for regular people that need to get from point A to point B the Mac Pro isn't meant for the average or maybe even above-average computer user there's a recent coffee shops don't use consumer-grade espresso machines that you can buy for five hundred dollars sure they can get the job done but they're not gonna perform as well and they're not going to be anywhere near as reliable even a coffee stand run by a small business is going to be using a commercial grade espresso machine that could cost up to $10,000 and beyond and that's what a workstation computer like the Mac Pro is it's a commercial-grade machine that gets things done as fast and reliably as possible and it doesn't come cheap.

There are companies like studios that render movies like frozen or Jumanji - that will literally spend millions of dollars every year just on paying their employees alone so for any company that can utilize the power of the Mac Pro it's actually not expensive if buying a high price reliable Mac Pro can help their employees save time by running their programs faster they will actually save money in the long run through higher efficiency alone. Now you might be thinking why not just buy a reliable Windows workstation instead of a ripoff Mac Pro right well we actually made a video where we compared the Mac Pro to six other Windows workstation brands and surprisingly the Mac Pro is actually a bit cheaper in most of the comparisons and on top of that, there are seven specific things the Mac Pro offers that you can't get anywhere else things that we think will sell a lot of Mac Pros. But first, let me give a huge shout out to micro Center for making our Mac Pro content possible micro Center has 25 stores nationwide with an impressive variety of electronics from gaming VR computer parts like processors graphics and everything else needed to build or upgrade a PC or Mac micro Center has been an Apple-authorized dealer since 1980 they have a dedicated Apple Department with highly trained Apple sales associates.

Aside from the iPhone Micro Center carries the full line of Apple products and they have the largest selection of third-party products made for Mac income into a local MicroCenter today and talks in one of their Apple experts to order the specific Mac Pro configuration that best suits your needs check the link to find a location near you or browse all of micro centers Apple products back to the Mac Pro for those people or companies who use Mac OS based apps and need the most performance they can get the new Mac Pro is an answered prayer previously the best performance they could get is an iMac with an 18 core processor 256 gigs of RAM in a limiting Vega 64 X graphics card the new Mac Pro raises the bar to what most people would call overkill like supporting up to a massive 1.5 terabytes of RAM and up to a 28 core processor even the Mac pros mid-range 16 core processor now outperforms the best 18 core option in the iMac Pro yes the iMac Pro is a better value at the base price but if you spec them up.

The Mac Pro actually gives you better performance at a lower price another thing that's exclusive to the Mac Pro is the afterburner card which boosts video editing performance when working with pro res which is the industry standard professional codec for editing video we tested it out with our $13,000 mac pro and during playback of a key prores footage we noticed that CPU usage went from around 70 percent down to 2 percent meaning that the afterburner card was taking care of the workload we also saw improved render times in various tests especially a key pro res and of course you can't get the afterburner card on any other machine and it won't work in each of you either.

If you want to see a detailed review of the afterburner card use a link another thing you can't get anywhere else is incredible amounts of expandability while also getting great reliability with Mac OS like getting up to 12 Thunderbolt 3 ports in duel 10 Gigabit Ethernet while still having extra PCI Express slots left over.

Now some of you may disagree that Mac OS is more reliable than Windows but last year rescue comm a computer repair service revealed data that shows off the number of repair calls they received per computer brand and Apple scored the highest reliability school by far and in 2015 IBM switched out 90,000 PCs to Macs and they found that they had to call in for tech support around two times less than when they previously used pcs and 73% of their employees said they wanted another Mac when it was time to upgrade.

There's also the option of building a Hackintosh to get upgradeability and Mac OS together but companies won't do that since it's illegal and for small businesses like ours Hackintosh is a pain in the reliability department we actually used two of them a few years ago and spent way too much time troubleshooting instead of working so we switched them out for genuine Macs another thing you can't get.

On any other branded system is an incredibly silent cooling system from our testing our mid-range Mac Pro model was the only computer we've ever tested that can run both a CPU stress test and a graphic stress test at the same time without the fans audibly kicking up at all it's so quiet that it almost feels unnatural and there are people who will pay for that we also think apples $6,000 Pro display Tex your is going to sell a lot of Mac Pros simply because it's a better deal than a lot of the other professional reference monitors out there and is packing a much higher 6k resolution Apple's graphics cards are the only ones out there that have Thunderbolt 3 ports that are required to power the pro display XDR so even if you were to somehow connect the display to a Windows workstation PC it would most likely be limited in one way or another like only working at 4k resolution or not supporting 10-bit color or HDR defeating the purpose of the display.

And finally, AMD built the most powerful single graphics card in the world the Vega 2 duo exclusively for the Mac Pro offering 64 gigabytes of HBM to memory and 28.4 teraflops of performance compared to the more expensive Quadrille RT x 8000 with 48 gigabytes of slower memory in 16.3 teraflops a performance technically the Vega 2 duo has two GPUs on one card but with infinity fabric link and apples metal to framework, they work as a single GPU similar to a raid 0 hard drive doubling both the memory and the bandwidth. So basically if you want this level of graphics and memory performance you have to get a Mac and it has to be the Mac Pro.

Apple sent a 3d graphics to do lunar animations a new Mac Pro to test out for their work and that's actually what they use to do 3d animation for the latest Jumanji movie they said they love the Mac Pro because the 32 gigs of memory in the graphics card allowed them to get over five times more frames per second during playback which allowed them to review change in preview all of their work at quote lightening speed while avoiding the need to create proxy textures and models.

And the best part is that they weren't using a $53,000 Mac Pro like a lot of people are led to believe is the price of the Mac Pro the model that they received was actually under $20,000 so in reality, if you're working with graphics a twelve or sixteen core with 192 gigs of ram will honestly be enough just like what lunar animations received and for programmers photo editors or logic Pro users the base 5 a DX graphics will be perfectly fine and if you're connecting to an ass server like we do the base 256 gigs of storage is enough for most, for example, iMac Pro is still only using around 110 gigabytes of storage but we still think Apple should have given us a one terabyte SSD as standard realistically most high-end professional configurations will likely average around $15,000 now that's not cheap but far from the outcry about the $53,000 Mac Pro in a decent value compared to other workstations.

The Biggest complaints we hear from PC enthusiasts is that the Mac Pro doesn't use PCI Express 4.0 and that the Xeon CPUs price to performance is much worse compared to the just release chips from AMD and we completely agree with that now this really isn't apples fault but Intel's for not innovating while charging a ton of money and while we wish Apple used those brand new AMD processors this Mac Pro has been in the works for multiple years so Apple would have had to delay the Mac Pro to switch to using AMD processors but for the future we seriously hope Apple will make the switch now the low-end $6000 model is honestly a horrible value unless you plan on upgrading it yourself but there's a reason for that price adjusting for inflation apples high-end desktops have always started at around $3000 but this year it starts at double the price with specs that seem a bit underwhelming but there's actually a sensible reason for it let me explain the previous map pros ran into various limitations like the 2012 model not having enough PCI Express slots or having a power supply so weak that it forced users to rig up external power supplies to run multiple graphics cards the 2013 trashcan Mac Pro also-ran into major thermal limitations not being able to keep the graphics cards cool but this time around Apple made sure that every Mac Pro comes equipped to properly sustain a maxed-out system featuring a massive 1,400-watt power supply which is utterly over Kayla for the base model.

Every Mac Pro also packs a top-of-the-line motherboard with tons of room for upgradeability in a cooling system that's built to be able to properly cool a 28 core for GPU system while staying quiet yes the Mac Pro is expensive but it gives you a lot of options but now and later if you're a small business owner who wants to get the most value you can buy the base model operate it yourself and save thousands of dollars while at the same time big corporations can configure the Mac Pro how they want it right out of the gate but in terms of upgradeability it's incredibly quick and easy like we showed in our everything you can upgrade on the Mac Pro video we were able to easily add in our own M.2 SSD save over $2000 on 192 gigs of RAM add in our own graphics cards and we even removed the socketed CPU and found better value options you can upgrade to.

Apart from the high base price is Apple trying to get a little extra profit since they are losing money by allowing you to upgrade everything yourself but even then it's not that high once you consider market value prices for all the parts a similar motherboard packing close to the same features would cost two thousand dollars alone the Mac pros custom-built an extremely solid case as compared to cases priced close to $1000 in the are still cheaper and easier to manufacture than the Mac Pros that's close to $3,000 already without mentioning any of the performance or silent cooling components and then adding in the rest of the base parts gives the total price up to about five thousand dollars so the Apple tax isn't really as bad as people think whether you're buying a base model and upgrading yourself or buying an already spec top model from Apple the beauty of the Mac Pro is that you're getting a combination of three different things high performance right now upgradeability four years down the road and reliable Mac OS software to keep your work running efficiently and based on the feedback from businesses with a high budget and workloads demanding enough to warrant such powerful machines along with the fact that both the Mac Pro and XDR display are back-ordered between three weeks to two months we would say that the new Mac Pro is a big success for Apple if you enjoy this review make sure to check out some of our other reviews right over here and below if any case if you have queries on this review we'd like to thank my Crescenta for helping make this review possible thanks for reading this blog and we'll see you in the next interesting review on the latest products.

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maclitpub · 7 years ago

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More Than Bookstores, These Shops are Must-visit Meccas to the Printed Word

Librairie Drawn & Quarterly 211 Rue Bernard O, Montréal, QC H2T 2K5, Canada

For the comic and graphic novel enthusiast, Montreal’s Drawn & Quarterly is a revered pilgrimage site. The thriving store is the physical location of world famous graphic novel publisher Drawn & Quarterly, stocking its own titles as well as books produced by other international alt-presses, like McSweeneys, Fantagraphics, Koyama, New Directions, Breakdown Press, and more. There’s no other place in the world so comprehensive. Whether you’re a comic regular or new to the scene, you’ll be drawn in and swept away by the varied illustration styles and innovative visual storytelling on draft.

Art Metropole, Toronto 88 King St. West, 2nd floor, Toronto, ON, M5V1N6, Canada

This legendary, artist-run non-profit publishes, distributes, and exhibits artists’ publications and other materials. Founded in 1974 by Canadian artist collective General Idea, Art Metropole has always been on the cutting edge of Toronto’s artistic community. Here, you’ll find video, audio, and electronic media carefully set beside bespoke books and thoughtful printed matter on conceptual art, which you can read in between viewings of Art Metropole’s must-see exhibitions and installations.

Penguin Shop 320 Front Street West, Toronto, Canada, M5V 3B6

Here’s one for the committed collector of Penguin Classics, that famous sixpenny, orange-spined series that has become a 20th-century design icon. Penguin Random House’s first permanent shop is here in the lobby of its Canadian headquarters. It’s packed with 300 titles, branded mugs, notebooks, and brightly colored tees. Toronto-based design studio Figure3 created mobile bookshelving for the tiny space, designed to mimic classic Penguin spines. Better still, company staff—both editors and designers—work the store. Go pick a Penguin.

William Stout Architectural Books 804 Montgomery St, San Francisco, CA 94133, USA

Carrying over 70,000 titles in the fields of architecture, graphic and industrial design and urban planning, William Stout Architectural Books is a vital United States resource for anyone in the creative industry. This space was founded 30 years ago when a former architect decided that the US needed a place that stocked the hard to find tomes he appreciated in Europe. Design professionals will let out heartfelt sighs of admiration as they flip through the rare compendiums that they find here.

Hennessey + Ingalls 300 S Santa Fe Ave M, Los Angeles, CA 90013, USA

Since 1963, Hennessey + Ingalls has been Southern California’s largest and most extensive source for books on all things visual. With thousands of art, interior design, graphics, photography, fashion, gardening, and decorative art books, you’re sure to find anything specific that you’re looking for in this 5,000-square-foot space. In 2016, the shop relocated its entire operation to downtown LA, closing its Santa Monica and Hollywood stores, to become one of the major go-tos in the city’s rapidly developing Arts District.

Ampersand Gallery & Fine Books 2916 N.E. Alberta St., Portland, OR 97211

Old and new beautifully collide in this essential Portland destination, a shop and gallery admired by creative locals for its intriguing mix of contemporary design books and vintage postcards, photographs, and other scraps of inspiring antique ephemera. On this snug spot’s walls you’ll find a monthly rotation of contemporary artworks by local artists and illustrators; and below, a tightly packed inventory of titles are aligned tidily in square wooden shelving units. Between bright tempting books on the functionality of decorated letters or contemporary Polaroid art, you might spy a copy of our very own 99U magazine. Nothing average here.

Dallas’ Joule Hotel, The Taschen Library 1530 Main St, Dallas, TX 75201, USA

Stay at the Joule Hotel in Dallas for some basic rest and recreation, but the smart boutique hotel’s Taschen Library will really send you places. The German publishing company, famous for its collectable books on art, photography, interior design, architecture, film, and fashion, curated this small, cozy shop in 2013, just by the Texan hotel’s lobby. It’s been called the “Joule’s jewel box of a bookshop”. re you’ll find items with a jewel’s price tag too, with some volumes ranging reaching up to $1,000+. Quite a trip.

Image courtesy of Dallas’ Joule Hotel, The Taschen Library.

Graham Foundation Bookshop 4 W Burton Pl, Chicago, IL 60610, USA

Located on the premises of a prestigious art foundation, this bookstore offers a selection of publications produced by grantees along with titles related to its public programming, as well as new forward-thinking books on architecture, urbanism, and design. It also carries monographs, catalogues, and theory-based titles from the likes of Sternberg Press, MIT Press, Spector Books, and the Architectural Association. Designers will swoon at the shop’s white mesh display cases, which snake around the wood paneled room, designed by architect Ania Jaworska.

Horse & Buggy Press and Friends 1116 Broad St, Durham, NC 27705

If you’re in Durham and find yourself pining for some traditional, hand-cranked letterpress goodies, you’re in luck. Look no further than the Horse & Buggy Press and Friends. Two sturdy 1960s Vandercook proof presses sit at the bank of this charming graphic design and book production studio, and at the front of the 500-square foot location, you’ll discover an art gallery and gift-shop (presumably constituting the “…and Friends”). The store showcases work by industrious craftspeople from across the Southeast—whether glass and pottery or printmaking and drawings. There’s also a top-notch selection of books and magazines about all things craft based. Craft enthusiasts who make it there will find plenty to share.

Ooga Booga 943 N Broadway, Los Angeles, CA 90012, USA

No “best bookstore for designers list” is complete without the cultish Ooga Booga, a hidden away second floor shop in LA’s Chinatown that carries a ramshackle mix of books, zines, mixtapes, records, home goods, and apparel. The store programs—from concerts and film screenings to much-anticipated book releases—in its second location, known as Ooga Twooga and located in the art space 356 Mission. You owe it to yourself to boogie on down to Ooga Booga whenever you can.

Actual Source 50 E 500 N Suite 103, Provo, UT 84606, USA

Those with an eye for the deadpan and heavily typographic will undoubtedly find what they’re looking for here. Actual Source is the collaborative design practice of Davis Ngarupe and JP Haynie, and together they create publications, identities, websites, and spaces. But Actual Source also ambitiously collaborates with designers to release limited edition books, magazines, fonts, clothing, and furniture, which they sell at their office space in Provo and online. In the mood for experimental type specimens, that look like no other specimen you’ve ever seen, or a contemporary magazine musing on the Bauhaus? Look no further.

Image courtesy of Actual Source.

Ulises 31 E Columbia Ave, Philadelphia, PA 19125, USA

This Philly bookshop was named after the conceptual book artist and theorist Ulises Carrión, who once said, “a book is a sequence of spaces”. The shop’s owners have taken this idea literally, carefully planning how each book is displayed in the warehouse-style interior of the store. Bookshelves mounted to the wall show off carefully selected tomes like precious paintings, with their covers facing outwards.

Artland Book Company B1 #122 Jen Ai Road, Sec. 3, Taipei, 10657, Taiwan

This special Taiwanese store has been importing art books from around the world since 1985—making it a global go-to for artists, designers, and art lovers. Stocked from floor to ceiling with weighty art tomes, Artland offers paper-y compendiums on everything from seashells and gardens to Renaissance painting and Taiwanese traditional folk art. Books are arranged in a sleek and modern space, and you’re sure to leave with a new coffee table book (or two).

Daikanyama T-Site, Tokyo, Japan 17-5 Sarugakucho, Shibuya 150-0033, Tokyo Prefecture

If you’re a contemporary Japanese design enthusiast, then T-Site is not to be missed. In a gorgeous modern building, designed from T-shaped bricks, you’ll discover a crisp and unusual selection of design and lifestyle books and products. The stores’ curators match books with other items with pleasing care: one blogger has recounted how beside a recipe book for Japanese shaved ice, the store sells locally produced glasses to house the dessert; next to tomes on obscure psychedelic illustrators, you’ll apparently find matching tea cup sets; beside books on historical artists, you’ll discover a series of figurines inspired by them. If the afternoon isn’t enough time to make all your discoveries, you’re in luck: this shop is open until 2am.

Basheer Graphic Books Bras Basah Complex #04-19, 231 Bain St, Singapore 180231

You’ll find this legendary store in the Bras Basah Complex of Singapore, a mall area with the largest number of bookstores in a single complex in the country. Catering specifically to designers and artists, it’s here you’ll be able to find any book from any discipline that you’re looking for, whether calligraphy, animation, interior design, or graphics. Get lost in this creative community haunt to find what you’re looking for.

The Book Society 22 Jahamun-ro 10-gil, Sajik-dong, Jongno-gu, Seoul, South Korea

There is no better place to find books designed and published by graphic designers for graphic designers than this South Korean independent shop and publishing house. One might go so far as to say it is a wonderland of design. Bold, purple posters fill the walls. Tables are stacked high with curiously bound publications of every color imaginable. Those with a love of experimental typography and unusual paper stocks will feel right at home. Deeply informed by the use of printed materials by conceptual artists of the 1960s, The Book Society is interested in printed matter as both cultural artifact and network.

Art & Design Bookstore, Mumbai 04 Ramnimi, Mandlik Road, Colaba, Mumbai, Maharashtra 400001, India

A five-minute walk through the Kalaghoda art precinct, which houses historical museums and art galleries, you’ll spot this small boutique, which is stacked with striking design volumes. Elegantly tiled floors and sturdy shelving make this space perfect for some contemplation. Take your time taking in the eclectic journals from all around the world as well as catalogues by local artists. For practicing designers inspired by what they find, the store also sells artisan notebooks and sketchbooks.

Minoa Vişnezade Mahallesi, Süleyman Seba Cd. 52/A, 34357 Beşiktaş/İstanbul, Turkey

Make sure you have plenty of time when you visit Minoa. In this bookstore and café, a whole day can pass by without you even noticing. Hours might be spent browsing the political comics from Turkey’s thriving new comic scene, or peeling back the pages of sleek architecture compendiums situated under the store’s great chandelier, which are adorned with books. Minoa organizes regular reading events and pop-up concerts, which you can enjoy with a glass of Turkish wine or an intense expresso. We also hear that the breakfast shakshouka is very good. See you in a week.

Happy Valley 294 Smith St, Collingwood VIC 3066, Australia

This concept store in the heart of Melbourne’s thriving creative neighborhood caters to the design-minded with its impressive array of art books, modern homeware, and specially selected stationary. You might leave Happy Valley with a classic coffee-table-sized book on Australia’s contemporary gardens and a matching terrarium, or you might be more attracted to the latest Monocle guide and a sea-scented candle. Happy Valley is the ideal place to mix and match your books with your lifestyle.

Perimeter Books, Melbourne 748 High St, Thornbury VIC 3071, Australia

Celebrating independent publishing is what Perimeter Books says it’s all about. Focusing on small press titles, well-crafted design books, and home-grown zines, this clean and bright treasure trove is a go-to for the book-lover meets minimalist. Simple wooden shelves present books with their covers pointed outwards, so that each beautifully produced tome is akin to an objects d’art itself.

Do You Read Me?! Auguststraße 28, 10117 Berlin, Germany

Wandering the German capital, you’ll perhaps notice the number of people with typographic tote bags reading “Do You Read Me?!” slung over their shoulders. Those with an eye for design should take heed and follow the signs. They will lead you to the bellwether of independent magazine retail, Do You Read Me?!, founded by graphic designer, Mark Kiessling and store manager, Jessica Reitz. At the front of the shop, black walls with black shelving show off each carefully selected magazine as if it were an artwork. At the back, there’s a small yet intelligently curated selection of specialist design and architecture books. Not to be missed, and yes, we read you.

Image courtesy of Do You Read Me?!

Motto Skalitzer Str. 68, 10997 Berlin, Germany

Hidden in the back of a typical Berlin courtyard and traceable by the sound of experimental music streaming from its door, Motto is filled with singular finds. Its selection is especially on point because Motto the store belongs to Motto the distribution company, which spreads art catalogues and independent periodicals worldwide. The shop’s focus is on photography, design, theory, and art books, and at the back of its Kreuzberg location you’ll also find a curious selection of zines (and possibly the store’s snoozing black cat). Niche titles sit alongside titles released by international publishers, are scattered in an order that, wonderfully, seems to lack any rhyme or reason.

IMS Melkmarkt Melkmarkt 17, 2000 Antwerpen, Belgium

Located in Antwerp’s historic city center is IMS Melkmarkt: a magazine store reckoned to stock over 10,000 titles. If that sounds like a lot of magazines to fit into one place, that’s because it is. You won’t find much empty space in this wonderfully jam-packed store. It stocks stimulating international titles from all over, seemingly including anything you set your heart on. If you fancy a trip, bring the whole family: there’s a section of train themed magazines here for granddad, a tattoo section for your niece, and a little collection of potted plant books for the estranged cousin who has just got into landscape gardening.

Chandal Carrer d’en Tantarantana, 16, 08003 Barcelona, Spain

Those who visit Chandal say it’s like a visit to the past, in a good way. This retro concept shop specializes in Polaroid cameras, records, and..

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nofomoartworld · 8 years ago

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Flying Lotus Made a Feature Film and It's F*cking Disgusting

Steve Ellison, the artist primarily known as Flying Lotus, wants to "show people the ugly," so the Grammy-nominated producer made a film. His directorial debut, under the name mononym,"Steve," comes with Kuso, a new body horror comedy that follows the lives of disfigured men, women, and children living in Los Angeles after a catastrophic earthquake. Projected through a network of discarded televisions, Kuso bounces from screen to screen in a series of interwoven vignettes that depict intimate character profiles set in a post-apocalyptic universe.

The film has made a lot of noise since massive walkouts during its first screening at Sundance back in January prompted critics to call it both "grotesque" and straight-up "disgusting." The Verge went as far to label it "the grossest movie ever made." Within the film's 95-minute runtime, among other things, an erect penis is stabbed with a giant steel rod, a man gives birth to a cockroach anally, and a talking neck boil performs oral sex.

Beyond the profusion of bodily fluids, the costume and set design seen throughout the live action sequences are perhaps the most eye-grabbing components of the film. Kuso combines eerie animation, comedy, bizarro special effects, dynamic prosthetic work, with, expectedly, a kickass score featuring contributions from Kamasi Washington, Aphex Twin, and Akira Yamaoka. The film is also riddled with brilliant cameos from Hannibal Buress, Tim Heidecker, Anders Holm, and George Clinton. Creators recently spoke with Steve over the phone to talk about his hands-on approach to filmmaking and some of the things he learned during this two-year making of Kuso.

Creators: The physical layout of each scene, from the furniture to the props, creates a thoroughly complete image that's hard not to appreciate. How did you and the other writers work with the art department to bring this vision to the big screen?

Flying Lotus: I was so in the trenches with this film. I got to get real specific about the details. Like, the early Tim Burton movies are so him, and I knew I was gonna do that with this movie; I knew this was gonna be the one I got super dirty with. This is the movie where you see things from my sketchbook come to life. I really wanted it to be that kind of project. I really wanted to dig deep for it, but I also had really talented designers around so it was a combination of both. I had this vision of this taking place in kind of like a pre-internet world, a world where the technology hadn't really blown up yet. I wanted to show that mid-90s kind of vibe. Everything kind of stems from that place—it was a lot of fun, though. I love doing all the little details, designing the characters outfits, designing some of the prosthetic stuff, and the monsters.

What was your introduction to animation and video like?

I was just messing around in Photoshop, learning how to make things look weird and funky. And then I just kept doing it. I would have my friends send me pictures and stuff and then I would just do up their faces all crazy, just for fun. It was something else to do other than just draw in my sketchbook. And then it just kept evolving into this thing.

I imagine making electronic music and editing sound translates pretty well to using programs like Photoshop and After Effects. Was that your experience?

Absolutely. That's why it didn't feel completely unnatural to go in that direction. It just felt so similar, it just felt like now I'm editing visual, photoshop layers instead of audio. But I mean they are also so different. I think early on, when I was just fucking around with PS and AE, I saw how much the stuff I made was bothering my friends. They would be like, "Ugh, oh my god, what is that?" And I was like, "Well, something about this is doing something for them right now."

Was it your intention to make a film that would elicit that sort of reaction?

I didn't set out to make this vile film that people couldn't even sit through. More so, I wanted to show people the ugly. I wanted to show people some ugly at a time when everyone is trying to look pretty and everybody wants their face on everything. I wanted to show you your ugly ass in all its glory.

I saw that Eddie Alcazar is one of the producers on the film. Does Kuso feel like a sort of natural progression from the short you made with him last year?

It was all a perfect storm that led up to this. But yeah I think the last pieces of the puzzle came when I worked with Eddie Alcazar on FUCKKKYOUUU. To me, that film was hugely influential in my wanting to make a movie and mustering up the courage to actually do it. He and I became really good friends after that project, and while we were working on it, we pretty much came up with it together. He had the idea, I had the music. But it didn't happen until we met and were in a room together. We just kept exchanging ideas and it became what you saw. And I felt so close to that. I felt like, "Man I can do this. I'm ready. And you know what? Eddie can help me. If he says we can do it, and he knows some people, lets just do it. Fuck it." Then I got some money and so we were like, "Let's make this shit." And then Royal [a short film by Steve] happened, and the rest is history. When we first had the idea, I was already working on some animation stuff, and I had some time off of music, too, so I didn't have to focus too much on that. I had the time I could just carve out for doing something new. So it was sort of like a perfect storm.

A lot of the editing and sound design featured in Kuso reminds me of Tim and Eric Awesome Show, Great Job! and other Adult Swim classics. Did these programs influence your work at all?

Absolutely. I think Tim and Eric and Adult Swim were hugely influential. You know it's funny, I started showing Tim clips of the movie and he'd be like, "Wow! We never pushed this far in the show." And I was like, "Yes! I got you, motherfucker." And it was super fun. Tim was a such good sport about everything. He was so awesome. I would tell him, "Man, I'm like your child. This is the result of your efforts, too." But also, and a lot of people don't know this, but people like Dave Willis from Aqua Teen Hunger Force helped write some of this with me. I mean, Aqua Teen Hunger Force was hugely influential in the film, too. The scene with the aliens and the girl on the couch and shit. That's Aqua Teen right there. So it's got a lot of Adult Swim-ness in there definitely. We also worked with the editor from The Eric Andre Show, Luke Lynch, so he helped me out a lot, too. There's a lot of different influences in there.

You've also talked about the influence of Japanese cinema in your work, specifically horror films. How did that genre play a role in Kuso's aesthetic?

I think more than anything, what I got from Japan was their openness to the ideas; the abstractions, I love that. I also think I picked up the way I like to use the camera, and the way I like to direct scenes. I feel like I learned a lot of that stuff from watching Japanese films, period. Whether it be like [Akira] Kurosawa or Takashi Miike. Those guys are on two different sides of the spectrum, but I always followed how they put scenes together. You know, like, Seven Samurai, I love that movie. I think a lot of that influenced my decision-making with the cameras and stuff. There's one film specifically that I think is the closest thing to Kuso: Funky Forest. I feel like if anybody likes Kuso, if you're a fan of the movie, you should go check that out. It's a really cool film.

In the past, you've talked about using film as a platform to address some of your fears and anxieties, as opposed to railing about them on Twitter. How does filmmaking provide a unique outlet in terms of your self expression?

I think with films you get different interpretations of an idea, and you get a lot more room to play with different perspectives and different voices that can agree or disagree with one another. With Twitter, I just try to keep my mouth shut. Motherfuckers will try and make a headline out of anything, so I have to be careful with that. But with films, I can explore a lot of different things. And I've found that by working on this film and finding my way through this process, I've kind of figured out my place in the universe in a way. I feel like, "Oh, ok. I have to be this guy now. This is my opening. There's nobody in this lane so I'm gonna be this guy right now because there's something missing and I can fill it."

Is the film intentionally ambiguous?

I didn't want everything to be spelled out, but I did leave all the piece there for people. If anyone cares enough to watch it again, you might see something you didn't notice the first time that will make it all make sense for you. I definitely left all the pieces there, or at least I tried to without spelling out.

Are you surprised by the reception thus far?

Completely surprised. The fact that it even went to Sundance, I mean, that's every up-and-coming filmmaker's dream. Regardless of whatever happens, to me that was super fun. At the end of the day, whether or not it was a positive thing, no other movie got talked about as much as the 'grossest movie of all time' or whatever they want to call it. So I was really proud of it just existing in the landscape. It's so hard to even make a movie and just the fact that it can exist and be seen is huge to me. You know I'm new to this shit, so it feels like a miracle that we've gotten this far.

Kuso is set to release July 21st in select theaters throughout Los Angeles and online via AMC's Shudder streaming service. Learn more about the film, here.

Step Inside Flying Lotus's Mind-Blowing Performance Sculpture

Flying Lotus And Lilfuch's Animated Video Ventures Inside The New Moog Synth

The Making Of Elijah Wood's Phantom Limb In Flying Lotus' New Video "Tiny Tortures"

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cambrosefilms-blog · 8 years ago

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SWOT analysis

Strengths

What are your advantages?

I would say my main advantage is my knowledge of many camera interfaces as well as a number of softwares. This includes Adobe Premiere Pro, Avid Media composer, Adobe Illustrator and DaVinci Resolve. I have had many years’ experience with older software such as Ulead video studio and Effectlab 11 that I used during my time creating stop motion animations. I also have a comprehensive knowledge of film language which helps when I plan the different shots for a shoot and when it comes to physically filming it.

I am also a good people person, I’ll listen closely to the director and make sure I translate the intended meaning on to the screen. But I will always have ideas of my own to suggest during pre-production and on shoot. I am also patient with the process and understand the long, hard hours that go in to making a film. This for me is seen as a challenge rather than an obstacle.

What do you do well?

My confidence with a camera has helped me out a lot when I’ve been shooting on location and during my work experience. My hand eye co-ordination is a major advantage as I’m able to move the camera as well as focus pull at the same time. Practising with the C300 and other DSLR’s has helped me greatly. Being able to edit confidently also helps me when I’m shooting as I already have the intended edit in my mind. Being part of the shooting process also helps me a lot in the editing suit as I already know which shots were the best. Having an all-round knowledge about the entire process of making a film will give me an advantage when I look for freelance work.

Why did you decide to enter the field you will enter upon graduation?

Initially when I joined University I had my mind set on being an editor, but through practicing with the camera and watching many stylish shows such as Better Call Saul and True Detective, I became obsessed with cinematography and how people frame the shot for an intended meaning. Emerging technology such as the DJI Ronin also fascinate me due to the possibility of creating shots that were simply not possible before.

What were the motivating factors and influences?

As stated in the previous post, new TV series, especially on Netflix inspired me to pursue the route of the camera. When I watch a film, I focus mainly on the cinematography and look for shots that I’ve never seen before, one shot from True Detective stood out to me as one of the greatest pieces of cinematography I’ve ever seen. The end of episode five includes a 6-minute continuous take and it is beautifully choreographed.

During first year, I was also camera operator on all the shoots, which only inspired me to pursue the craft further during second and third year. Do these factors still represent some of your inherent strengths? My drive to learn more about how the camera captures images through the different settings and how the images are brought to life in the editing suit contribute to my strengths.

What need do you expect to fill?

I hope to fill the need for a knowledgeable and skilled camera operator in a small production company to start with so long as I keep practising with equipment. Eventually I hope to have had enough experience in the industry to go for the role of Cinematographer by working on my own side projects for me to practice the craft.

What have been your most notable achievements?

Ironically, my greatest achievement in film for me would be the success of my stop motion animation channel on Youtube. I was only 14 but I managed to gain over 5000 subscribers and gain revenue on my videos after being accepted in to the Youtube partner scheme.

However more recently, I would say my graduate film ‘It’s About The P’ is what I’m most proud of. I am especially happy with the cinematography and the camera operation in it.

Having completed my work experience with AON Productions in December, the Director Geoff was obviously impressed with my work ethic and technical abilities so has invited me back for further experience after graduation.

To what do you attribute your success?

A lot of practice with various kit, the ability to listen to advice when it is given. It is also imperative to watch a lot of films and TV, what you see being broadcast is the result of a lot of knowledge and refined work and has given me ideas for shots many times.

How do you measure your success?

I measure my success based on what I am personally satisfied with. I do not want to pursue a career in the film industry for lots of money, I love the craft of filmmaking and when I make something I love I think that is the most successful thing you can do.

What knowledge or expertise will you bring to the company you join that may not have been available to the organisation before?

Experience with being successful on a relatively new social platform such as Youtube could be very useful especially for a small production company looking for more exposure. I would also say my all-round knowledge of diverse types of cameras, technology such as the DJI Ronin and working with a drone. My knowledge on many different pieces of software might also assist a company that has only stuck with certain pieces of software.

What is your greatest asset?

My interpersonal skills, the ability to work well in a team, my dedication to the projects I work on and my confidence on camera.

Weaknesses

What could be improved?

Camera technique is something that can always be improved on, so I will continue to practise and further refine my operation and cinematography skills. I also need to improve my knowledge with sound overall, from using sound equipment on location and mixing sound in the editing suit by using programs such as Protools and Adobe audition. BY improving my knowledge of sound, I will have an even more rounded knowledge of the different elements of film. I would also personally like to practice my colour grading more.

What do you do badly?

Anything to do with sound, I do not really understand it very well and always try to get outside help when I must deal with it. I am also terrible at drawing, which limits my ability to storyboard effectively, which is essential for a cinematographer.

What should you avoid?

Drawing storyboards by hand, using photo storyboards is far more efficient for me. However, it would be nice to be able to quickly sketch the type of shot I have in my mind without grabbing a camera and taking a picture of it. I should also avoid the logistical side of film making, I am not hugely organised and would not fit the role of producer. I would rather leave it to someone with more knowledge of the subject and stick to the creative processes.

What are your professional weaknesses?

The lack of experience I’ve actually had in the industry. Although I’ve had experience on camera working on a professional shoot, it was only with one company.

The planning or preparation with something that I’m working on, to take full advantage of the time I have on a shoot I need to prepare myself with a comprehensive storyboard and shot list. I also have trouble speaking up when I know something isn’t right. For example, on set if the director has the intention to shoot a certain scene in a way I know isn’t correct or will not work, I have trouble challenging the decision.

It also takes me a long time to learn a camera interface due to my poor memory. If I want to have a comprehensive knowledge of a certain interface I will need to use the online camera system available for most cameras.

If I want to be a camera operator I also need to be physically stronger than I am now. With some jobs going on for longer than 12 hours I need to be able to hold a heavy camera unit on my shoulder for an extended period. During my shoot on ‘It’s all about the P’ I struggled to keep the camera still on my shoulder for the longer takes, which hindered the overall quality of the image. I could rectify this weakness by joining a gym and practising with freehand cameras.

Opportunities

Where are the promising prospects facing you?

During my time at AON Productions I got to know the producer and director very well. The producer Derek Donohoe currently works for the BBC on EastEnders and has given me the e-mail address for someone that sorts out experience. Derek has said that I may be able to shadow or even assist in the camera department which would be ideal for me.

AON has also agreed for me to come back for some more experience. During my time at AON I was able to operate the camera in some instances so any more experience would be invaluable.

I also have a short film planned with likeminded creatives in many different areas of expertise including, film, sound, visual effects and music. You never know, doing side projects may lead to something far bigger.

What is the "state of the art" in your particular area of expertise?

Emerging technology is constantly pushing the possibilities of even more amazing cinematography, such as drones and electronic stabilisation rigs, I would love the opportunity to work with these pieces of equipment more.

When researching other people involved in camera operation or cinematography, I noticed that they always own and hire out kit to other people. This is something that simply isn’t achievable for me at this point in time as you need lots of money.

Are you doing everything you can to enhance your exposure to this area?

Apart from the previous projects I have worked on, probably not. However, as part of the creative platforms unit I have created a lot of self-promotion items including a website, CV, showreel and business card which hopefully will give me more exposure. After I’m finished with university work I am going to work on more side projects and go for more experience to further my chances of getting a job.

What formal training and education can you add to your credentials that might position you appropriately for more opportunities?

Taking an ARRI Alexa training course and getting certified as an operator would improve my chances of getting a camera related job. Taking an AVID exam would also strengthen my credentials for editing projects and freelance work.

Would an MSc/MA or another graduate degree add to your advantage?

A cinematography masters would certainly hone my camera skills even more, but I need a break from education, I am eager to gain experience with a real company. I feel receiving camera experience with a company would make me more knowledgeable about what the industry expects and not just the University. Going in to an MA with more experience would make a more valuable pursuit.

How quickly are you likely to advance in your chosen career?

Independently I’m not sure, it is how I sell myself that makes the difference. But being about to make a living from camera operating will come much slower as I need to start at the bottom of the ladder and climb my way up to be able to work at the position I want to be in.

Threats

What obstacles do you face?

Competition. A camera operator with the latest kit will be booked over someone that only owns a 60D and two lens.’ Money seems to be a huge factor in the quality of work you are able to produce in my chosen field. However, having a good showreel is my best hope of been chosen over the competition.

Are the requirements for your desired job field changing?

Not particularly, experience and confidence with several types of cameras will also be the standard requirement for my chosen field.

Does changing technology threaten your prospective position?

Definitely not, quite the contrary, having experience with emerging technology such as the DJI Ronin will only strengthen your chances of getting a job. Could your area of interest be fading in comparison with more emergent fields? Certainly not, the possibility of having more flexibility with a camera has only made me more interested in pursuing it.

Is there any way to change the politics or to perhaps defuse your involvement in potential disputes?

If you’re a camera operator you have got to be compliant with the DoP, director and actors, if you are doing what you are told and approach each job with professionalism there should not be any disputes.

How might the economy negatively affect your future company and your work group?

If companies are facing budget cuts they will look for people who are skilled in more than one area so they keep the team small. By learning skills surrounding camera work I will make myself more appealing to a company.

Will your future company provide enough access to new challenges to keep you sharp -- and marketable -- in the event of sudden unemployment?

Absolutely, even with AON productions the diverse range of shoots they do will give me experience with lots of different equipment, types of shoots and types of clients, which will strengthen my portfolio and make me more employable.

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creative-salem · 8 years ago

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Ten Questions with Jordan Pomazon

Ten Qs with Chris is an ongoing series where Chris Ricci asks a local creative ten questions about themselves, their craft, and their influences while also giving them the opportunity to ask another creative a unique question of their own.

Jordan Pomazon (@jrpomazon) * Instagram photos and videos

Designer/Writer/Editor from MA

Jordan Pomazon is a graphic designer and a published writer from Beverly, Massachusetts. Jordan’s graphic design work ranges from business items to apparel, and his work has been featured in charity auctions which have supported local art programs and scholarships. Jordan is also a published poet who released his first book, “The Greatest Race,” last July and is currently working on his second book.

Here are the ten questions and Jordan’s answers:

1- What was the first piece of music that you heard or saw that made you truly appreciate art?

It was the old flash opening for watermanstudios.com that used a clip from Five Iron Frenzy’s “Sucker Punch.” The animation itself was standard but the track introduced me to Ska music, later complemented by other flash cartoons of the time using music ranging from classical instrumentals to more contemporary music that would ultimately serve as my doorway to appreciating both music and animation and after a while the dam just broke and I got neck deep into a lot more stuff.

2- What were your fears when you started out, and how have you overcome them?

Mostly inadequacy issues, feeling like I wasn’t good enough to be where I was or doing what I was doing. But it was a bit of a double edged sword as well, because whenever I saw something better than what I could do at the time, I would get angry about how good it was (a form of flattery, honest) and work to improve my skills. I don’t think you’re ever done overcoming these things, as there are always bigger fish than you out there but as long as you stay hungry then it doesn’t become a detriment.

The Greatest Race: A Collection of Poetry and Rabid Verbalizations by Jordan Pomazon (Paperback) - Lulu

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3- Are you the same artist that you envisioned yourself being when you started out? If not, how did you change?

Hell no! I thought I would have gone into the world of illustration and comic books, the stuff I loved growing up as a kid. But that type of art has it’s challenges. You have to be willing and ready to do your entire piece all over from the beginning to fix whatever errors plagued your first draft, even the smallest mistakes could warrant a do-over it seems. On top of that it possessed its own kind of competitive mentality that would have drained me emotionally and physically. I wanted to do something that would be more forgiving of my faults and let me “do-over” without having to throw the baby out with the bathwater.

4- What was the best compliment you received for your work, and how did it make you feel? It was the end of 2012 and I had made a print of Dicky Barrett of the Mighty Mighty Bosstones, a typographic piece that utilized a photo of the man himself being made out of words. It’s not entirely groundbreaking by the sound of how I describe it but it’s one of my best pieces to date. There was a meet and greet before one of their year-end concerts and I wanted to give this to Dicky as a gift of appreciation. Somehow, I got over to him and handed him the print. He looked at it and asked “You made this?” and all I could do really was nod my head. He thanked me for the gift but told me I was going to do great things from just looking at the print itself. When someone you admire and respect says that to you, there is much else that could top the feeling of joy, accomplishment or disbelief. I felt like I had reached a high water mark as an artist and as a person.

5- What was the worst thing you’ve heard about your work, and how has that affected you?

It was Worcester in the late spring/early summer of 2016. It was first time performing spoken word (yes, I dabble in a lot of different things) in at least a year, possibly two years. I chose an older piece that I wrote sometime after I graduated college and figured it was one of the safer, surer options to go with and ultimately I was proven absolutely wrong. Went over as well as a lead balloon or a screen door on a submarine. I was told by someone afterword who was able to gauge that it was a piece of satirical writing that although she got the joke that it was a grating experience. She advised I take it behind a shed, bury it and never look back. In the past, I would have taken this like a bullet in the lung and absolutely collapsed but as a more mature adult I just stuck with brooding for the rest of the evening and questioned everything I’d ever done. I took a more proactive route to this and wrote out what I was feeling rather than let it fester inside myself. Believe it or not, it actually works.

6- Do you create from scratch, or do you find inspiration elsewhere? Explain.

A teacher told me a long time ago that there isn’t anything “original” anymore. Everything borrows ideas or thoughts or notions from something else or people generally get the same ideas to do certain things independently of each other and add their own set of spices into the mix to make it their own. I expand as much of myself as I can to find new and interesting things that I might have missed and see whether or not I can gain anything from learning about it. It checks off both boxes because if I find the lyrics to a song I like, a poem, a logo design or what have you, I think to myself “hey, I really like that” and try my hand at working with it and see if I can make it my own. The search for originality has to come from seeing what other people have done before you, getting a feel for the water. If you don’t do that, you’re basically in a glass bubble.

7- What would you say to yourself if you could go back in time and meet yourself as you were starting out?

It’s a hard question to answer because there are so many things I want to say but they are ultimately the same thing. Do more, be more productive, care more about what you are doing, here is a list of things I want you to know by the time you’re my age, don’t waste your time, etc. If I had a head start, then maybe I’d be further along at this point but I think even if I could give my younger self this kind of advice it wouldn’t change the end result. You have to live life to get to points where you can appreciate where you are or what you’re doing.

8- What does this area mean to you, and how has it made you the artist you are today?

The North Shore has always been home, it’s always been a good place to come back to. Just the right distance from everything. I’ve met plenty of artists and writers who have been able to make the most of living in this area but for me it’s offered the peace of mind. Having a clear head can be the biggest asset in getting work done, artistic or otherwise.

9- If you could meet one of your heroes, who would it be and what would you ask them?

I have two folks in mind, one for design and one for writing. (I know you said one, I’m sorry) For design, I’d love to meet Ryan McGuinness and pick his brain about how he approaches his design work from the ground up. For writing, I would ask Craig Finn how he learned to write the kinds of stories he tells in his songs.

10- Since you’re the first person I’ve asked, I don’t have a user question for you! But, what question would you like another person to answer for my next 10 Qs segment?

I had to think about this one because I feel most other questions you could add to a list like would be throw away options like “what’s your favorite color?” or “If you could eat a single food for the rest of your life…” and what have you. I suppose if I had the chance to add one, it would be “What are you working for or towards with your art? Do you have something you’d like to accomplish or perhaps you do what you do for the sake of doing it?” There feels like a somewhat invasive vibe from that though but I suppose it depends on who you ask.

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Ten Questions with Jordan Pomazon

January 19, 2017/No comment

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Ten Questions with Jordan Pomazon was originally published on Creative Salem

#Salem MA #Creative Salem #Salem Events

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