"I know you’re vulnerable
You need attention
You’ve got a heart of gold
With bad intentions
You’re over everything
I’m feeling wasted
I’m feeling everything
I fucking hate it
And I know this place too well
I can see it in your eyes, you’re fucking high again
And I know life can be hell
If you’re burning out, I’ll drag you out
I’m in a bad place
Looking for a good time
I try to feel good but it doesn’t feel right
So if I call late I’ll be outta my mind
I’m in a bad place, looking for a good time
Looking for a good time"
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Happy Valentine's Day! (and this blog's first post anniversary!)
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Leo getting hit with a truth curse but instead of forcing him to admit to super sad or worrying things it’s things like “it was me who broke the remote” “I saw Mikey prank Donnie and helped hide it because it’s way funnier if he didn’t know who it was” “I rip my clothes to look more like Raph’s because he’s really cool” “my stripes aren’t even red they’re pink!”
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Alright, so I've been a fan of Shane, Ryan and even Steven since their buzzfeed days and I've been watching this whole thing with Watcher moving their content over to their own streaming service debacle.
Like most ppl, I think it's a poor business move to alienate your fans like this, but I've been thinking on it more from maybe a financial perspective. I'm wondering how many people actually signed up for it. I saw a tiktok advertising expert say that the conversion rate for ads--meaning the number of ppl to actually buy something when they see an ad is about 1-5%. Like, right now they have about 2.8 million subscribers. And even though they've lost about 50K since and counting, they probably anticipated some loss. I'm sure they've mathed that if they just get at least like 100K conservatively out of their nearly 3 million fanbase to sign up, they'd be able to make $600K a month from their streaming service at six bucks a pop each month.
Maybe that's worth it? I'm not exactly sure how much they were making before. Ppl say they had 11K subscribers on patreon before but that's just their member total. Actual paid members was about 5K. But despite the controversy, their patreon member count has actually gone up. Today it sits at 12K members total with nearly 6K members paying. So they're making at least $30K-70K+ a month currently on patreon based on their offered tiers. not sure how much they were making on ad revenue alone or sponsors cuz I'm not sure how that stuff works on youtube. But maybe by their own accounting they think the loss of followers was worth it if they can hang on to that small, loyal but paying minority.
Another youtuber has pointed out that if you have a sponsor for a video and it's a one off, it can pay more. Up to $35K. So if that is the peak and they release 1 video a week, so 4 a month would be like 140K a month on sponsor money. And youtube pays about $10 per 1000 views a video, and they average 1 mil each video. So about $40K a month on views. So we can guess that they made about $180K a month currently on youtube (patreon and merch sales not included).
Honestly, if they can reach the goal of 1-5% of their subscribers converting to their streaming platform, yeah they probably would make more money in the long run. IF they can somehow manage to retain as well as grow those number of subscribers on their new platform. And don't forget, they don't plan to delete their current videos on their youtube channel so they'll still be earning revenue from those videos. We'll have to see I guess given how much goodwill they've lost with their audience.
Tbh, I am all for them trying to get paid more for their work but I also think they could have transitioned much differently, like only putting some exclusive content on their own platform while also posting free shows to youtube. Or maybe delaying releases for a week or a month for youtubers. or cutting back your production costs if it's really killing you cuz everyone has pointed out they liked the ghoul boys when it was just a black screen with text scrolling by saying "wheeze." Only time will tell if this move paid off for them.
But I'm not super knowledgeable on how the entire youtube thing works so if someone has some insight, feel free to weigh in.
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i hate how commodity and capitalism has ruined so much storytelling . i hate how sequels and prequels and whatever else all ring like merch sales; i hate that i as an author have to include any social media following i have as a marketable trait; i hate that everything feels like a xerox of a copy of a dream of a memory.
i hate that my nostalgia has been turned into profit. i hate that companies fear consumer backlash so no real commentary may be made; i hate that companies care more about quantity over quality. i hate that so many artists and creators are being overworked to the point of complete collapse rather than being allowed to tell the story their way. i hate that every point of representation has to be fought for. i hate it i want us all to go back to living in a cave .
when you sit with friends over a bonfire and the night is getting long and people start telling this slow, almost hypnotic story - in this quiet voice, like they don't expect you to listen while they say the most fucked up shit you've ever heard - that is storytelling. who cares if the punchline is car hand hook door. storytelling has always been about community, about us all sitting in the dark, choosing to fill the silence while the last embers are dying. we forgot that storytelling is spellwork. hallucinating together, our breaths held, waiting for the ending we already knew was coming.
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On the same note of @elegantunknownphantom 's post, I will take a little time to shake this off my chest.
TW: discussion of mental health issues
The past years were not easy for me. At times - no, most of the time - they were unbearable. When the dread became too heavy, though, this was my escape place. A community that welcomed me and made me feel more at home than anywhere else I have been.
When I hated myself, I could come here and be Kal. Be an author writing silly things, interacting with my community.
It might sound... well, desperate, a bit pathetic, but for years when I was spiralling and asking myself "what good am I for? What have I accomplished in my life?" I answered myself "this. At least I made this."
I remember with clarity living through the end of 2021 and 2022 with nothing to look forward to, but this.
There was a time where I almost gave up on everything because it was too painful and I felt so alone. There was one thing I couldn't give up on, though. My WIPs. I thought about all the people who followed me and I told myself, day after day "I have to keep writing. I can't leave them hanging. I have to finish this game."
And so I kept writing.
And I made through those years. Mainly, I like to think, because of this.
So this is a reminder for myself. A confession, kind of. A thank you to everyone who is here and reading. Everyone who sent me asks, who interacted with me, who supported me in any way, who wrote wonderful IFs where I could escape to, who made my life a little more bearable for a very long, dark period of time.
I don't want to tag people, because I would be here all day. But know that I owe you. That my heart is filled with fondness and gratitude to you.
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Zephrah actively postpones ruidusborn births. It is believed that the actual number of ruidusborn in exandrian history is much larger than has been officially recorded because the stigma of it was so intense that people lied about it. Alyxian, one of the few recorded ruidusborn heroes of the calamity who received direct blessings from three different prime deities (our very own Changebringer, the Archheart, and the Moonweaver) , has been all but forgotten (read: likely erased) by history.
The Archive of knowledge that revealed the truth of Predathos and Ruidus was never some forgotten thing—it was intentionally hidden by the elites in Vasselheim. And we have no idea how long they have been operating with that knowledge. We have no idea what they have been doing with that knowledge, what silent wars have been waging for years or decades or centuries. But we saw what they were willing to do, in Hearthdell. We saw the violence and suppression they were willing to commit. We saw the pettiness of the exandrian pantheon in the Dawnfather’s response to Deanna’s: “Are you worth saving?”. In the Changebringer’s manipulative change of course in her pleas to FCG. In the Wildmother’s rejection of Opal. In the knowledge we have that Imogen spent so much of her miserable time in Gelvaan begging the gods to aid her to no avail—just for Kord to reach out only to demand that she not let them down.
Liliana’s point that Vasselheim and the other faithful elite of the world will hunt ruidusborn down to negate even the potential of this happening again isn’t new, it isn’t something this solstice and the machinations surrounding it caused, and it isn’t some unsubstantiated, fearful claim—it has been happening.
The vanguard—and Liliana—are unequivocally wrong in their means. But can you really fault them in their desire? Can you really fault the conclusions they have drawn from the experiences they have lived? If you spend your entire life being rejected by the people and the pantheon of your world for means you could not possibly control, would you not seek out someone and somewhere that would accept you? And if you found it, if some being that has been connected with you your whole life welcomed you home and wrapped you in an embrace that felt like your mother’s and says that it is starving; well, aren’t you, too?
There is likely a holy war brewing. At the end of it all, is it truly the sole fault of the people and not the organizations and society that expelled them?
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After Cyn's done tryna kill him, she'll eventually relent and they can get to work... whatever that is.
I didn't do the outfit any justice, but the second i saw the Cowboy!Curt mega @ricky-mortis made i was literally like, "yes, that is IT."
This is, in my heart, a cannon fit for this au
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If nothing else Koenma is a Kuwabara stan and I'm right there with him o7 (I need to write the kuwameshi fic that goes with this fr)
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I finally left a bad review at that genesis surgery place re: the guy who was rude and awful and lifted my tits by the nipples with ungloved hands etc. yay! nice to get that done! I'm still too much of a wimp to lodge any sort of proper, official complaint though
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I've started and deleted three drafts now trying to get my thoughts into a coherent recommendation, but there's just so much.
Let's start with the basics: You should read the graphic novel if you're a fan of the original show. You just should. It's new content of your old faves, and I'm telling you now that the art and writing are great and that you should give it a shot based on that alone.
But as for exactly why I'm losing my mind over it this much...?
It... feels like watching the show. But a version of the show unafraid to explore its own worldbuilding. A version of the show where continuity and character growth matter. A version of the show without jokes written by people far too old to understand mid-2000s teens.
And it is actually, honest-to-goodness funny. I went in fully braced for a badly shoehorned "fruit loop" one-liner, and instead I got incredible deadpan asides like this:
The art, too, manages to perfectly ride the line of looking enough like the original style to be convincing, but improving on the expressiveness of the characters' faces and actions to elevate it to something arguably better than the show:
(Like, I'm being so serious when I say the fight scenes are among the best I have ever seen in comic form. I'm the kind of person who tends to go for anime over manga because the fights are harder for me to follow in little sequential snapshots, but I can tell exactly what's happening in these battles AND they still look super cinematic and cool.)
And the story. Man, the STORY.
I won't spoil any of the plot here, but it's... really good. A little winding and goofy toward the beginning, but once things get serious, it really grabs you and refuses to let go til it's done. (Much like the best episodes of the show! Funny how that works.) It has a satisfying conclusion, but it also leaves a massive door open to continue telling more stories in the setting.
And I want more stories in this universe. The threads being dangled here might be even more enticing than those left by the original show. There is potential here for an INCREDIBLE series of comics.
We just have to prove how badly we want it.
If you can't buy the book yourself right now (it's relatively cheap for a graphic novel--I think it was about $15 even with tax from my Barnes & Noble), then please at least let other fans know it exists (I wouldn't have had any idea if not for tumblr) and keep the hype going on social media. I'm stoked to see that DP is trending on tumblr, at least, and I hope the same is true elsewhere. It's a small thing, but it's something corporate decision-makers take note of.
Fingers crossed we get to see more someday. This is one series that deserves to come back from the dead.
But, whether or not we get that continuation: welcome back, Phandom. Congrats and happy release day. 💚
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“why are you always only ever talking about, like, spider-man 2099’s childhood and mental health issues instead of posting panels of him Biting People” uh. because... spider-man 2099 the comic book... also does this.?
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One thing about Martin Blackwood that I think doesn't get brought up nearly as much as it should be is his love for "Retro" things.
Just Martin geeking out over things like rotary phones, 1950's dresses, polaroids, and all that stuff. Maybe he wears Cat Eye glasses to work? Who knows.
If you want JMart thoughts too imagine Martin going down to the Archives for his first day and seeing Jon in full grampa attire, wearing a bowtie like he's Carl Fredricksen from Up, and going "That's him. That's the man I'll fall for."
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AGoT was absolutely making some big statementsᵀᴹ re deconstructing unrealistic fantasies and how they make tragedies out of children, with Jon, Bran, and Sansa being the main vehicles for this commentary. They are basically three different versions of GRRM’s critique on the genre. All three had built life expectations based on the songs fed to them as children, but had to have those dreams and aspirations (very) violently shattered as they were thrust into a world that didn’t care how it made corpses out of them. They have all been made victims of fantasy’s violence in a tragic process that is believed to be the natural order.
Sansa realizes in time that the songs didn’t paint the full picture. The singers neglected to warn her that not all handsome princes are kind, and not all knights actually understand the contradictions in the vows they swore; some don’t really care to in the first place. She learns that the handsome prince she loves can brutalize her through the very knights who should protect her (an innocent maiden). Though he doesn’t know it yet, it was Bran’s very ideal that almost killed him. He wanted to be Barristan the Bold, a valiant knight of the kingsguard. But it was a member of this “noble” order that tried to murder him (and thus made his hopes and dreams impossible) because he witnessed him betraying the man and institution he swore allegiance to. And Jon, like Bran, wanted to be the valiant hero. He banked on the songs which propagandized the Night’s Watch and their noble exploits. Then he actually joined the watch and came to learn that this “noble” order is an oppressive xenophobic force; and the contradictions presented when the oppressed (a bastard boy with little social status) unwittingly becomes an oppressor (him initially buying into the propaganda that the wildlings shouldn’t be a protected class).
Once all is said and done, all three children are forced to take on roles that couldn’t be farther from what they envisioned. Sansa is a princess hopping from one tower to the other, forced to cater to the whims of abusive men. Bran is a crippled boy who unlocks a magical power that he doesn’t really care for; he wanted to be a knight not a magician for crying out loud! And Jon does become Lord Commander as he wished, but he is utterly depressed and lonely when he’s made to foreswear family ties and drive his friends away once he gains power over them.
But the cool thing is, in the very same way that fantasy is deconstructed through them, it is also reconstructed and given new meaning as they find a place for themselves in the world in spite of their tragedies. Sansa is still a pretty princess in a tower, but she is learning to be her own rescuer and she has managed to retain empathy and kindness in an environment that tried to tell her how futile it would all be. Bran may be crippled and incapable of becoming Brandon the Bold, but he has reinvented what it means to go on the hero’s adventure and he is beginning to build a role as the Prince of the North. And Jon may be a bastard, yet he has somehow become the living embodiment of what it is to be the valiant prince that little children love to dream about.
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