#ip/ask

[pres-start-to-begin]

Ahahah.

Hello, Iridana Pres.

"...W-what did you say?"

[spacelazarwolf]

are the brown people of israel in the room with us rn

yes the approximately 5 million mizrahi jews and approximarely 2 million arabs (majority palestinian) are in fact in the room with us rn and make up around 70% of israel’s population.

[cubbihue]

Me da ganas de escribir un fanfic sobre tu AU de Fairy Timmy ¿crees que me podrías esplicar más sobre el proceso de adopción de hará y ahijado y la creación de los dobles que remplazan a esos ahijados? ¿quien fue el ultimó ahijado antes de Timmy en ser adoptado por sus padrinos mágicos?

Ask Translation: It makes me want to write a fanfic about your AU of Fairy Timmy. Do you think you could explain to me more about the process of adopting fairies and godson and the creation of the doubles that replace those godchildren? Who was the last godson before Timmy to be adopted by her magical godparents?

Of course! On top of the DMV and Fair Foods, the Godchild has to go through special training with Jorgen before adoption. Jorgen has the final say on adopted Godchildren.

Changelings are made through the hard work of the Godchild. It can't be outsourced to someone else. The Godchild compacts their Unwishes, cooks it, then carves out their own replica. The more wishes, the better the mold.

It's been so long since the last godchild, that the records are lost.

Bitties Series: [Start] > [Previous] > [Next]

Translation below ! Traducción a continuación

Lo siento, mi español es como mas o menos. me puedo leer pero mi traduccion y mi forma de escribir es muy malo :(

Con el DMV y comida de hadas*, el ahijado debe pasar por un entrenamiento especial con Jorgen antes de la adopción. jorgen tiene la ultima palabra sobre los ahijados adoptados.

Los dobles se crean con al trabajo duro del ahijado.No se puede delegar en otra persona. El Ahijado compacta sus Deseos, cocina y luego crea un propia réplica. Más deseos, mejor es el molde.

Ha pasado tanto tiempo desde el último ahijado, que los registros se han perdido.

*no sabo la palabra correcta para "Fairy", pero mi padres se dicen que es "hadas"

[felassan]

What's all this about Solas speaking in iambic pentameter? English isn't my first language so I never noticed anything odd about the way he talks, but your blog is the first time I've seen it mentioned by anyone

hello! ◕‿◕ Solas sometimes speaks in a specific pattern or rhythm. It sometimes gets described as or compared by people to iambic pentameter. (which is a type of rhythm common in traditional English poetry. Shakespeare used it in his sonnets and plays.) Though, I'm not sure that it's actually literally that or always that. The main point is that at those times, he's speaking particularly poetically, with a specific poetic rhythm in his speech. (Like where the stress on syllables is and the 'beats' in his speech.) Occasionally, the Inquisitor's dialogue line[s] in response to him are the same.

When Trick Weekes wrote Solas in DA:I, they wrote some of his key scenes to KD Lang's cover of the song Hallelujah on a loop. They talked about some of their process and the reasons for the use of this technique in terms of Solas' characterization in this DA:I-era blog post:

Trick Weekes: "When Solas talks about things that he saw in the Fade, things that speak to a distant past, I needed him to sound ever so slightly otherworldly and wistful – someone remembering a dream with a sense of both sadness and inevitability. If you follow [that link] and look at some of Solas’s lines, you may notice a familiar rhythm come out. It would have been forcing it to give lines the same rhyme scheme, but giving the words the meter captured some of that wistfulness and made Solas sound ever so slightly otherworldly. (In the rare cases the player got into the same rhythm, there was always an approval bump from Solas. For that brief period, it was like the player was thinking like he did.) I used this a few times over the game, and I love what it did to his voice. Also, Cori (who edited Solas) is exceedingly kind for putting up with my request that changes to those lines keep this surreptitious rhythm."

[source]

An example of when it happens in DA:I is:

"I've journeyed deep into the Fade // in ancient ruins and battlefields // to see the dreams of lost civilizations. I've watched as hosts of spirits clash // to reenact the bloody past // in ancient wars both famous and forgotten. Every great war // has its heroes. // I'm just curious // what kind you'll be."

Compare this with the song's lyrics:

"I heard there was a secret chord // That David played, and it pleased the Lord // You don't really care for music, do ya? Well it goes like this: The fourth, the fifth // The minor fall, the major lift // The baffled king composing Hallelujah Hallelujah // Hallelujah // Hallelujah // Hallelujah"

An example from Trespasser is:

"I lay in dark and dreaming sleep [I heard there was a secret chord] while countless wars and ages passed [That David played, and it pleased the Lord] I woke still weak a year before I joined you. [You don't really care for music, do ya?]" etc.

Recent mentions of this are:

Q. Will Solas still occasionally or dramatically speak in iambic pentameter? A. “Massive kudos to Patrick, who always writes Solas so well. Again, Solas is a returning character. It’s the same Solas you know and love (or hate depending on who you are). The same writer. So I think the answer is yeah, it’s Solas.” – John Epler

[source: BioWare dev Discord Q&A on June 14th]

User: "you really went off with solas. but the iambic pentameter makes writing fanfic dialogue for him so treacherous..." Trick Weekes: "It doesn't always have to be in the cadence! Just when he's deeply feeling The Old Days! He's written in standard prose 99% of the time!"

[source]

I think he does it a bit in the gameplay reveal video [Veil ripping scene with Varric] too. hope this helps :>

[msg refs this post]

[For the developer Q&A from June 14th on Discord: Notes are here, re-watch link is here]

[poorly-drawn-mdzs]

MDZS x ISAT part 2: Grandmaster of Time.

(Part 1)

[vexwerewolf]

God I wish IPS-N had an Artillery Mech.

I have mixed opinions on this. I think it's thematic and interesting that - in the core book, at least - each of the three commercial manufacturers had a missing role. IPS-N had no Artillery, SSC had no Defender and Harrison Armory had no Support. These absences felt like they kind of spoke to the values of each corporation.

Then in The Long Rim, we got the Sunzi, a Harrison Armory Support, and it was interesting to see what sort of thing the Armory considered to be Support - it's a fundamentally more selfish kind of Support, in that instead of repairing or removing conditions from an ally (like the Lancaster) or providing targetting assistance (like the Swallowtail), you're simply deciding where on the battlefield they are.

In Field Guide to the KTB, we got the White Witch, and again, we see what SSC feels like a Defender should be: one that reveres and pushes the boundaries of the human form by simply adapting to damage, becoming inured to it over time.

The problem with an IPS-N Artillery frame is twofold:

Core Bonus Lineup

Firstly, while they initially lacked a class of mech, there was nothing about SSC or HA that innately hampered the idea of one. There was nothing innate about the way SSC frames operate that prevented them from having Defenders, nor HA from having Supports.

IPS-N has one very serious issue when it comes to Artillery frames: its Core Bonus lineup. Two of its Core Bonuses (Gyges Frame, Titanomachy Mesh) are focused exclusively on melee combat, three (Briareos Frame, Reinforced Frame, Sloped Plating) are based around survivability, and the last (Fomorian Frame) is a niche option designed for certain builds. There's nothing in its CB lineup that an Artillery frame wants as a first priority.

Contrast this with SSC, which gets Neurolink Targeting (+3 range to all ranged weapons), and HA, which gets Heatfall Coolant System (Overcharge capped at 1d6), which are both great for Artillery frames.

Now, it's true that HORUS doesn't get any Core Bonuses directly useful for an Artillery frame either, but the one core Artillery frame that HORUS has is the Pegasus, which is extremely abnormal both by Artillery standards and by frame standards in general. (Also, it could be argued that Lesson of the Held Image is good as a way of applying free Lock Ons for yourself).

Not having any useful Core Bonuses is a problem for IPS-N that is compounded by the other major issue:

Combat Ethos

Each of the four core manufacturers is tied to a mech skill - Agility for SSC, Systems for HORUS, Engineering for HA and Hull for IPS-N. IPS-N hulls tend to be biased significantly towards high HP, Armor and Repair Cap, often at the expense of Sensor Range, Heat Cap and SP - the former grouping being stats that Artillery cares less about (since they tend not to want to be in the front lines), and the latter being stats they care more about (since Artillery frames tend to focus around one powerful gun backed up by a large number of support systems).

IPS-N frames are built to get up close and personal with the enemy, usually engaging at a maximum distance of 5 spaces. No ranged weapon that IPS-N makes shoots beyond Range 8.

I'm not saying that IPS-N couldn't have an Artillery, by any means, but there are more mechanical issues with it than any other class-manufacturer combination.

[turrondeluxe]

[ot3]

Hey! The link to your FAQ wasn't working for me so I don't know if this question has been asked before. I really appreciate your perspectives on AI art. Do you happen to have any resources that you read/listened to on intellectual property rights and the issues with it? I just don't really know where to start with it.

[heres where i cut out a big paragraph of me, once again, bitching about how blog pages don't work on the tumblr app and i think that's fucking stupid]

anyway i dont have any generalized sources on the subject but the tl;dr of it is: intellectual property rights exclusively benefit people who have the resources to pursue sustained litigation. 99% of the time, what IP law is being used for is to reinforce corporate ownership of work that was done by their employees.

the whole disco elysium debacle is a great case study.

The shareholders of ZA/UM accused the trio of, among other things, intending to steal intellectual property (IP) from the company — a curious accusation, considering that the world of the game is based off of a novel written by Kurvitz himself. The case of Disco Elysium illustrates the shortcomings of IP rights as protection for artists. Consequently, it contains a lot of lessons for the labor movement when it comes to the arts, and serves as a reminder that creative workers are, at the end of the day, workers. But this is not just an academic exercise. It’s a human story about the intimate consequences of capitalist exploitation. “I got my soul ripped out of me,” Kurvitz told me over Zoom in April of 2023. “I got my skull cracked open and my brain lifted out of it by a fifty-five-year-old financial criminal.”

another example: alex norris of webcomic name, which you will probably recognize when you see it, has been raising hundreds of thousands of dollars over the past several years to try and keep up with the protracted legal battle over maintaining ownership of his own work.

I have been fighting this case since 2019. It arose out of an agreement to make a boardgame based on my webcomic in 2017 but the publishing company has used this as an opportunity to take all of my intellectual property, and has even claimed ownership of Webcomic Name as a whole. I can't go into more detail here, but the details of the case are publicly available to read online.

Then, in a 2024 update:

I have essentially won the main case based on the decisions made last summer. The Judge has clearly stated that I own my comics, and that the other party has infringed on my copyright. It is not over yet, as there are still a few things that need to happen. Hopefully things will all be wrapped up this year. After 6 years of legal battling, I can’t wait to be free of all of this. Hopefully, this second case will backfire, and they will be sanctioned for filing it. But to get to that point requires a frustratingly large amount of work, time and money.

An interesting thing about both of these two specific instances is that they involve creators who had entire bodies of work produced around the specific IPs that were stolen from them before they even began partnering with corporate entities to produce works. which is insane! you can spend years writing novels, drawing comics, and if a company comes in with enough lawyers they can own those ideas.

this is pretty distinctly different to me than instances of work you do while being employed by a corporate entity being owned by that corporate entity, because at least you know what you're getting into there to some degree, but i still think that's bad too. consider stuff like the owl house and gravity falls, two disney shows made by people who very very clearly did not like working for disney. disney owns their ideas, their characters, their worlds, because that's the price you pay for having an animated show produced.

essentially it's very very clear upon even the slightest examination that intellectual property in no way exists to codify who the creator responsible for specific creative concepts or works is. it exists to turn nebulous things like 'ideas' into market commodities, and to funnel the profits made by the labor of individual artists and writers into corporate bank accounts.

the only person who has ever really benefited from IP law as an individual trying to lay claim to their own work is ken penders, who notoriously won his suit to have ownership of characters and storylines he created. heartbreaking: Worst Person You Know Gets An Unequivocally Deserved Legal W.

The comics continued under Flynn’s direction as if nothing happened, but things started looking grim in late 2012, when Archie suddenly fired its entire legal team. The company had been unable to produce Penders’ work-for-hire contract, which would have given control of his creations to Sega. Penders claimed the contract had never existed. A heavily circulated Tumblr post outlining the case (which has been corroborated as a reliable source by Penders) explains that while Archie did provide a photocopy of a contract allegedly signed by Penders in 1996, Penders claimed that the document was a forgery. That it was neither an original copy nor a contract from the beginning of the writer’s tenure at Archie meant that its validity was questionable. Making things worse, Archie couldn’t produce an original copy of any previous contributor’s contract, meaning that any writer or artist who had worked on the Archie Sonic line could potentially follow in Penders’s footsteps and reclaim their work. “So are you saying prior counsel blew it?” the presiding judge asked Archie counsel Joshua Paul in a May 2013 court session. His reply was unequivocal: “Absolutely, your Honor.”

So yeah. Owning the work you do as an artist is only something that happens when the people trying to profit off of it show unprecedented and staggering level of incompetence in their legal teams.

Then, alongside not owning the concepts and ideas you produce while working with corporate entities, there's the issue of NDA regarding specific pieces you've produced. This causes a LOT of trouble for freelance illustrators/character designers/concept artists, etc. Looking for work is very hard when the past three years of pieces you've drawn can't be added to your portfolio. Some people have password protected pages on their portfolios that they use for NDA work, but I believe the right to do this varies depending on your contract. I'm not 100% sure. In cases where the project you worked on eventually comes out, that's one thing, but there will be instances where the entire project gets canned after all the work is done, but is still under NDA so essentially all of your work has been taken from you, crumpled up into a ball by a studio executive, thrown in the trash can, and legally you are not allowed to go pick it out of the bin and try and flatten it out again.

This has all been pretty art-focused because that's the kind of circles I run in and where a lot of my interests lie but the truth is none of this is even remotely close to as evil IP law gets. I've saved the most egregious for last: The Lakota Language Consortium

The Lakota Language Consortium had promised to preserve the tribe’s native language and had spent years gathering recordings of elders, including Taken Alive’s grandmother, to create a new, standardized Lakota dictionary and textbooks.  But when Taken Alive, 35, asked for copies, he was shocked to learn that the consortium, run by a white man, had copyrighted the language materials, which were based on generations of Lakota tradition. The traditional knowledge gathered from the tribe was now being sold back to it in the form of textbooks.

When you're in defense of IP law, this is what you're siding with. This is the rational endpoint of IP and it is neither a fluke nor an example of the concept being twisted against its original design. Art, culture, language, it belongs to whoever is most capable of turning it into a product. The economic incentives of producing and distributing arts and culture demand this is how things be.

Meya says his work is a vital tool in preserving the Lakota language, which did not previously have a standardized written form. He estimated that there are fewer than 1,500 fluent Lakota speakers left and that over the last decade and a half, the organization has helped add 50 to 100 more. “Just because money is involved in it does not inherently make it an evil thing,” Meya said in a recent interview with NBC News. Most of the products his organizations make are free, he said, but the cost of printing textbooks has to come from somewhere. “That tends to be sometimes part of the rhetoric, ‘Oh, there’s money involved. It must be, you know, part of the overall colonization effort.’ Well, you know, that’s just not realistic.”

Artists looking to force their way into the class of people who gets protected by these laws are not looking out for their community. They are not protecting anything but their own perceived financial interests. Intellectual property will never, ever benefit the most marginalized members of creative communities and anyone who tries to convince you otherwise is huffing some serious copium.

Frankly, I don't believe anyone can or should 'own' things like Ideas or Specific Aesthetic Flairs. But even if you do believe in that, IP law isn't the framework for handling it.

[the-other-puppet]

Just for the record, all the servers and dev stuff is all fanmade, all unofficial, if anything, this and the twitter account (and dime 4chan posts) are the only official source for now, that's all!!

have this little edit for this little fella

thanks for listening and see ya around! 💛

[daily-hanamura]

[blueskittlesart]

Sick of you furries calling yourselves zelink shippers when clearly you aren't loyal to zelink. Ceo of heavytanker1945 more like

oh okay. so you’re involved in shipping wars with trolls on twitter. that explains everything. personally i had to google that random ass username (they have a grand total of 21 followers btw) because i’m an adult with a job but whatever makes you happy ig

[pres-start-to-begin]

what's the deal w/ your pink scarf? Anything significant about it?

"Significant? Oh, no! Like my earrings, it's nothing more than an accessory and my way of dressing up!"

"It's just a fashion statement, that's all."

" . . . "

[spacelazarwolf]

You know exactly what I mean. Star of David (which has become the modern day swastika), signs with Hebrew, and honestly sorry if you don’t like it but yarmukas too. I’m not going to go up to every person in a yarmuka and make sure they’re not a genocidal maniac, it’s safer to assume they are because in all likelihood they are. If you don’t like it then tell your community to stop supporting genocide

oh ok so full mask off jew hatred then cool.

[piquuroblox]

[thatcreationsureisunending]

Is Wawa ever nonviolent with other scugs?

Oh, yeah, of course!! Haha-- you don't

actually have to worry about her with other slugcats, honestly. Most of the time she's very chill!

Like-- there's Enforcer and Puppet! Pretty sure they've both shown up on here before, ha! Wawa hasn't tried to kill them as far as I'm aware! And I'm also pretty sure it's not just because they're my siblings' guys

... Wait, do they count? Neither of them are really slugcat-- fully, anyway--

No, no they don't count, hold on. There's others!! I swear!

See, see! Better examples, ha, okay. There's!

There's Frigid, who hangs around my brother, Fathom, So they get to see each other pretty often!

Verdant, who is wiiiith Valleys! Valleys! One of my friends! Verdant's real big, which-- which wouldn't stop Wawa-- but it means that whenever I get photos of them together I get to treat it like a little challenge! "Spot the Wawa in this image"!

And Gardener!! Chimes' buddy! I don't think Wawa appreciates how often she gets babied by it, but he tolerates it at least!

... I probably didn't need to bring up examples, huh? But I wanted to! So!

Hope that answers your question!

...I wonder where Wawa is right now.

Hm..

ENFORCER & FRIGID -- @zarithial / @nofathomtoodeep

VERDANT -- @csidepooltide / @acrossgoldenvalleys

GARDENER -- @skybristle / @ask-bending-horizons

[cozylittleartblog]

BOOP

SLAPPA YOU !!! SLAPPA YOU WITH THE BOOP