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mattjustmatt:

I wrote a couple thousand words about finding legal music to use while streaming and coverting that stream to VODs.

If you’re a streamer or YouTuber, consider checking it out. From my personal experience, the easiest way to keep safe is to contact artists who are likely to be cool with you using their stuff; it takes work, but it’s worth it.

Especially with Twitch’s acquisition by YoUTube looming, people seem to be freaking the hell out about possibly getting sued and their channels being deleted; if you take the time to develop better habits now, you won’t have a problem.

Cheggit.

feitclub:

gamespite:

nodamncatnodamncradle:

…….they think iPads can actually assemble the food?

I am always fascinated by cynical political ad campaigns that encourage people to vote against their own best interests, and depressed by how often they succeed.

the url BADIDEACA describes this ad more than the idea it decries

self-checkout exists in many stores, but there are still lines for human cashiers because most of the time, it’s easier to let a professional handle the machine

hell, nine times out of ten when I use self-checkout I need an employee to help me because of some software quirk

and while I’ve seen touch-panel menus here in Japan, it’s always for the most basic shit possible: kaiten sushi, where you just order a little plate of this or that, and the food comes on a conveyor belt

so go ahead, California, I dare you to open an all-iPad restaurant. you’ll still need to pay people to make and deliver the food but you’ll also need to pay people to explain to the customers how iPads work, so your net savings will be negligible.

(Source: paxamericana)

Wikipedia’s redesign prototype

mostlysignssomeportents:

image

Ed writes, “You know how every now and then a design studio releases a proposal for a redesign of Wikipedia? (there’s a Wikipedia page listing them, of course)

Read more…

And it’ll be marked for deletion for lack of notability in 3… 2… 1…

countzeroor asked:

So, I started writing a question but the explanation for why I'm asking the question ended up being longer than the Tumblr AMA box will permit, so I put the full spiel in a separate post on my blog (that I unfortunately can't link to). However, here's the tl;dr version - Do you think works of anime, manga, or the creators thereof can win a Hugo or Nebula in the near future, and if so, what do you think it will take for that to happen?

seananmcguire:

I think you’re conflating two very large things here, for starters: the Hugo awards, which are essentially a popularity contest voted by members of the World Science Fiction Society, and which will thus have a dramatically different voter base from year to year, depending on where the previous/current year’s Worldcon is held, and the Nebula awards, which are nominated and voted on by the members of SFWA, and which are thus more of an industry award.

What would it take for anime, manga, or the like to gain traction at the Nebulas?  It is probably not going to happen.  The Nebulas are voted on and presented by active members of SFWA, and are only given for novel, novella, novelette, and short story.  Much as the Hugos did not have a graphic category for years, the Nebulas do not have a graphic story category, which is where manga will fit.

Now, the Hugos.  First off, the Hugos are more So You Think You Can Dance than totally-unbiased-awards-show-of-your-choice.  If I could make one change to the awards as a whole, it would be the replacement of the word “Best” with “Favorite.”  How do you measure Palimpsest against Feed, quality wise?  It’s apples and beets.  But you can say “more people like beets.”  And that is what will always be a problem for anime and manga at the Hugos.  Most of the voter pool is North American.  By the time something gains enough traction over here to be considered for the awards, it may no longer be eligible.

There are ways around that.  In an effort to be more fair to our international creators, the Hugos start eligibility from “first English language publication,” not from actual first pub date.  So Sailor Moon, for example, would probably have been eligible for the Hugos five years after the release of the first volume, if not longer.  It’s just that you need to gain the traction during that window, and that could be hard.

I don’t necessarily think that the Hugos are a necessary thing for anime or manga.  They won’t garner huge mainstream respect for those art forms, which are already amazingly popular; they won’t suddenly make all the people who were dubious about having a Graphic Story category at all think that they’re cool.  But a manga that had its first English language publication after January 1st, 2014, would be eligible for next year’s awards, in that category, if people chose to nominate.

And that’s the last big piece.  If you want to see something on the ballot, you have to nominate it.

That’s all that carries any real weight.

Thanks for the response - and I hope you get a chance to read this.

I do know the difference between the Hugos and Nebulas - the main reason I asked about both is because the Nebulas also have a Best Dramatic Presentation category (which, hypothetically, an anime series could be nominated for) - and because I have a few friends who are into SF who are of the mindset that because the Hugo’s are an anyone-can-vote popularity contest, they effectively mean nothing, while the Nebulas, as a professional award, are far more meaningful. Also, hypothetically, a Japanese SF manga writer (like Tezuka, were he still alive), could win the Grand Master Award.

The other reason why I asked is also somewhat related to the Squeecast, or rather related to a chain of events listed to the Squeecast. So, last year, I read a book called The Notenki Memoirs, which is a book by one of the founders of Studio GAINAX, which put out GunbusterNeon Genesis EvangelionNadia, and other fairly big name series. Early on in the book, the author discusses organizing the various DaiCon conventions (which western anime fans know best for the animated shorts created for the opening ceremonies of the 3rd and 4th cons). In the book, the author mentions the Japanese WorldCon bid, which had been successful, though at the time of the book’s original publication, the con hadn’t happened yet.

This lead to me looking at the Hugo nominee list for the 2007 Worldcon (Nippon 2007), to see if anyone from the home team (for lack of a better term) had gotten a nomination. Nope. Not a one. In spite of the fact that Japanese fans had the homefield advantage, when it came to registering for the con, the host country had no representation in the Hugo Awards in any category.

Discovering this surprised me and lead me to check to see if any works by Japanese creators had been nominated for any categories, particularly Dramatic Presentation. The only works I could find (aside from “Mono No Aware”, whose nomination hadn’t been announced at the time), were “Spirited Away” under Best Dramatic Presentation, and Yoshitaka Amano’s co-nomination with Neil Gaiman for Sandman: The Dream Hunters. At this, I was a little annoyed, but I wasn’t too upset.

Then, as I was listening to the Squeecast, among several other nominated SF podcasts after the Hugo Award nominees were announced (as I give my picks for some of the Hugo categories on my web show in place of voting, as I’ve generally been too broke to get a Hugo membership of any kind).

As I was listening to various SF podcasts, I kept hearing the recurring discussion topic come up of a need for more SF works being nominated across the board from women and people who weren’t coming from a western perspective.

That made me mad, in a constructive fashion, and not at the people doing the podcast. I got mad because I knew that there were lots of works of SF coming to the US, which weren’t from people writing from an American or European perspective, which were coming from more women, or which were targeted for women, or which featured women as major characters, works that were coming out the same week or month as they came out in their home country, legally, and translated into English - specifically various Anime TV series. What made this worse, is nobody in SF fandom or professional circles were talking about them, even shows which, going what people had liked in the past, might be right up their alley.

(As an example, Seanan, you might like Attack on Titan - as it’s something of a zombie apocalypse story where the zombies are several stories tall).

So, long story short (too late), that chain of events pretty much lead to me making it my mission in life to get anime & manga (and particularly current anime & manga) into the lit SF and Fantasy fandom discussion, or die trying.

I’m not sure if I’m exaggerating on that last point or not.

Do works of anime & manga have a chance of winning the Hugo & Nebula Awards?

I’ve been thinking about how likely (or unlikely) it is for SF and fantasy anime to get any sort of award recognition in the English speaking world - specifically, the Hugos & Nebula Awards. From listening to the SF Squeecast (which you should be listening to) I know that there are writers and fans who watch and enjoy anime & manga, but with the sole exception of Seanan McGuire and Sailor Moon Crystal, the shows that get discussed are shows that are no longer eligible for awards.

Now, the shows that are discussed are good shows, like Haibane Renmei, and ones which are definitely worth of recognition. In the case of Haibane Renmei, it’s also a show that’s about 12 years old, which means that as of now it’s pretty much not going to be eligible for anything.

To be clear, I’m ecstatic that SF writers and other professionals are talking favorably about anime in someplace that is as visible as the SF Squeecast. One of the reasons why I started my fanzine in the first place is to promote SF and Fantasy anime and manga among SF readers, in the hopes of getting it some recognition, and I’m willing to keep tilting at windmills until quality works of anime and manga are consistently getting nominated for Hugos or I die, whichever comes first.

However, when the works being discussed (albeit favorably) are works that are over a decade old, that frustrates me. I feel, in my heart, that, to use an example, the hosts of the Squeecast had seen Bodacious Space Pirates (and had looked past the rather poor choice of translated title), they would have enjoyed it and made a great conversation about it. There are great discussions to be made among literary SF and Fantasy fans about shows like Attack on Titan, Madoka Magica, Log Horizon, and Knights of Sidonia.

However, when Netflix licenses Knights of Sidonia for streaming, produces English and Spanish language dubs in addition to multiple subtitle tracks, and puts it up as the first SF series of any kind, live action or animated that is released in the English speaking world, exclusively on Netflix, and which they promoted fairly well, and nobody in SF fandom is talking about it, like, at all - not even to say that they didn’t like it, then something is not connecting.

Further, the shows I listed the paragraph before this one were legally simulcast with English subtitles through streaming sites like Crunchyroll.com, which means that they were (or are, in the case of Knights of Sidonia) all eligible for nomination for Hugo awards - and nobody outside of anime fandom seems to know they exist.

Now, I kind of get why SF professionals don’t watch simulcast manga - LitSF is their job, and considering that they also probably submit works for nomination for the Nebula awards, time watching anime and reading manga is time that, likely in their eyes, is better spent reading prose fiction. They might recognize that there are works anime and manga are worthy of acclaim and awards, but they’re also Somebody Else’s Problem.

So, what I’m wondering is, what will it take for works of anime & manga to get recognition from Hugo voters in the form of a nomination? For the people who consider the Hugo’s to be a meaningless popularity contest, and the Nebulas to be what counts, will works of anime and manga (or their creators) ever get recognition from Lit-SF writers in the form of any sort of award? Or, is the split between anime fandom and SF fandom permanent, will the two never again meet, and as a consequence, will SF and fantasy anime and manga never get any recognition from SF fans as works of SF?

poorcraftcomic:

From hammerspace, Mil.

Sheesh. And you call yourself a cartoon character.

Buy Poorcraft on Iron Circus Comics

Buy Poorcraft on Amazon

Buy Poorcraft on Comixology

Also, from what I’ve learned from America’s Test Kitchen, Dutch Ovens are also a definite must-get. Also, if the Dutch Oven in question doesn’t have a lid designed to be buried in a fire-pit for cooking - that’s okay, you probably won’t be using it for that.

Why do you need a Dutch Oven? Because Dutch Ovens let you start something on the stove, and easily move it to the oven to finish, all with one pot. This means you have less dishes to worry about later, and less heat loss.

Anonymous

Anonymous asked:

It's pretty comical that anitwitter is jumping all over devincf's case. When it's been anitwitter that's been just as bad towards fandoms like bronies, calling them sex offenders and such. A "victim" can just as easily be a bully.

swamitime:

Anitwitter isn’t a monolithic hivemind you can prescribe opinions to. It barely means anything as it is - most people use the phrase as a joke. Unfortunately the phrase is so commonly used now that you’re going to hear things like “anitwitter does this” or “anitwitter thinks” which are absurd.

I defended Devin for a long time yesterday, even to Hope, who grew immediately frustrated with him after his responses to Gabbo. “It’s just how he is”, explaining how everyone wants an easy punching bag and anime/anime fans were obviously one for him. He’s not interested in the medium and has said so many times. If you told him you weren’t interested in the Marvel Movieverse and thought comic books were for stupid manbabies he wouldn’t sit there and angrily try to convince you otherwise or behave like some kind of victim, he’d shrug and not care. Devin’s a smart guy. I’ve enjoyed his writing for years and I’d like to think when you spend that much time following someone’s work you do get some insight into their personality. I felt that the people going after him for trashing anime were wasting their time. Either you like his film writing or you don’t, but trying to convince someone who has no skin in the game and clearly isn’t interested at all seemed like a waste of time to me. He was making fun of this thing he really hates, which a lot of people do. I don’t care what he thinks about anime - and shouldn’t, as he said, multiple times. It isn’t his thing and he thinks the whole thing is a laughingstock. That’s fine - all I care about is what he thought about the new Planet of the Apes movie. It’s OK to compartmentalize writers you enjoy and go to them when you want to hear what they have to say and ignore the rest of it.

But then it started getting worse - he started outright saying “I’m superior to you”, using phrases like “everyone arguing with me can’t get within 300 yards of a school” and eventually comparing himself to a hypothetical rape victim, which is where I drew the line. Even in the moments where I was trashing bronies and brony culture and got a thoroughly irritating shellacking from them on Twitter I never got down to that level, where I’m telling them that they’re all human garbage, potential sex offenders, that I’m superior and that the blowback I’m getting for being a dick about bronies is somehow akin to rape and being told that I deserve it is akin to rape apologism. That’s meltdown territory - you just don’t take it there. Why he did, knowing full well what would happen when he did, is a total mystery to me and it’s where I had to draw the line and say something.

There’s a big gulf between pushing back against the people who have internalized their TV shows and media preferences to the point where they angrily attack you and call victim status when you criticize the TV show they love and outright mean-spirited, condescending name-calling from a place of personal superiority. There’s language you really shouldn’t use, places you can’t go, things you really can’t insinuate at all without looking like a gigantic fucking monster and a bully, and he crossed that line. Then he refused to take any responsibility for it, even “Yanno, that was over the line, sorry. Anime fuckin’ sucks though.” I’d have been fine with that. But nope.

I don’t know who you’re talking about when it comes to “anitwitter” calling all bronies sex offenders or whatever because again, “anitwitter” is not a hivemind or a corporation where everyone who tweets about anime fandom is responsible for what everyone else says. Your assertion is based on nothing to me, but I do know I’ve never seen anyone in my timeline say the sorts of things about bronies that Devin was saying about literally everyone who even tried to engage him sincerely on the issue. It was too much.

I should clarify that I don’t think he will nor do I expect Devin to apologize for any of this and it’s best that we all just move along. Knowing what happened and clarifying my position was important to me, because I had so much respect for him and really did look up to him as someone with a sharp critical mind, an entertaining and informative writing style and someone whose film writing I held up as some of the best in the business. This whole episode was really depressing.

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