Laclilac

28 Bi She/her Comedian Just finished Frieren & Broadchurch

[dalle2]

“A bright, colorful 1950s magazine advertisement featuring a cheerful housewife advertising prosthetic extra-large eyeballs that make you irresistible to ravens”

Created with DALLE, a new AI system by OpenAI that creates realistic artwork from a description in natural language.

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Twitter: @Dalle2AI

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[jedivendredi]

[Luke] : The Mandalorian was here.

[Ahsoka] : How do you know?

[Luke] : My hot dad radar.

[Ahsoka] : 🙄

[hayden-christensen]

This is a character that has come to define my life in so many ways, both professionally and personally. Coming back to it after all these years was very meaningful to me.

HAYDEN CHRISTENSEN Obi-Wan Kenobi: A Jedi’s Return (2022)

[whisky-soul]

EZRA!!! ❤️❤️

[logarithmicpanda]

October backlog readathon!

So people seemed interested enough by the perspective of reading books released before 2010 for me to organize yet another readathon 👀✨ a bunch of new releases I'm excited about come out in September tho so let's make October the month for backlog 😆

As usual, no hard rules, I just suggest making a list of books on October 1st and update your progress throughout the month lol

Let's give older books some love! 💜

Use the tag #backlogathon22!

[laclilac]

#backlogathon22

[k-dhd]

[crystaltoa]

Even saying ”I’m so sorry, I completely forgot” sounds marginally better than ” I’m so sorry, I didn’t completely forget, I actually completely remembered. I thought about it the whole time and it stressed me out so much my brain built an insurmountable wall around it.”

[jacubesilvora]

Writing is not about 'telling an epic story' or 'making something that will outlive you'. Writing is about going "You know what would be fucking awesome?" and then committing word crimes

[dduane]

This. ...ALL THE TIME. :)

[mask131]

A guide for reading The Sandman: Part 2

So… You have read the full Sandman series. You went from issue 1 to issue 75. From beginning to end. You had all the ten volumes. Congrats!

But I am sorry to tell you, you don’t actually have the full Sandman story. You see, Neil Gaiman wrote and created much more than just the numbered issues. He created a lot of side-stories, side volumes and “specials” whose presence are either exciting and thrilling additions to the Sandman mythos, or key elements needed to understand the plots and happenings of the main story. Don’t get me wrong, if you just read the numbered issues you’ll get the full story without problem. But you’ll still be missing the second part of the full Sandman world. The “specials”. In French we have a clever word for that: the “hors-séries” (literally meaning “outside of the series”, it is still part of the world but not inside the numbered series).

Given there is a lot of those specials, I’ll classify them by “publishing order”. You’ll get what I mean. 

I) The Sandman library

After being released as a series of numbered issues, The Sandman was collected in the ten volumes I described previously. Out of these volumes, one included actually more than just the numbered issues: volume 6, “Fables and Reflections”, added two Sandman specials.

# “Fear of Falling” was originally a story published as its own for a one-shot issue called “Vertigo Preview” whose function, as the name indicates, was to serve as a big preview for most of the Vertigo titles. As a result the issue contains previews and half-stories for most of the Vertigo titles: Hellblazer, Doom Patrol, Swamp Thing, Shade the Changing Man… It also includes previews for two specials I will talk about later, Death: The High Cost of Living, and Sandman Mystery Theater. But these are all just previews. There is only one full, complete story, which is precisely “Fear of Falling”, conceived originally as a way to give a taste of Sandman to newcomers.

# The Song of Orpheus. Originally it was published as its own as “The Sandman Special”, but it was included into this first collection of Sandman issues due to how important the story is : for you see, it gives the complete backstory of Orpheus, who is an important character in The Sandman. And while just a retelling of the myth, it is still very precious to understand the full impact of the character. 

II) The 30th anniversary edition

After publishing those ten volumes, DC celebrated the 30th birthday of The Sandman by reprinting them… WITH FOUR BONUS VOLUMES!!!

# The first added Volume, Volume 11, is called “Endless Nights”. This specific volume was originally published as its own under the name “The Sandman: Endless Nights”. Published in 2003, so long after the end of The Sandman, it is a set of seven stories, each centered around a different Endless sibling, and their whole purpose is just to further expand the world of The Sandman, and flesh out more the other Endless by showing stories from THEIR perspectives. It is technically as a result an “anthology volume / expansion volume” that is not needed to understand the full story, but makes a nice addition to better understand the scope of the world and the working of the Endless. It does however contains spoilers for “Brief Lives” and further, so… it is at its right place as “Volume 11″. 

# The second added Volume is NOT called Volume 12 as you would expect. It is rather called… Volume ∞. Of its full name: The Sandman: Overture. This volume was originally a six-part limited series created by Neil Gaiman in 2013 (so LONG after the end of The Sandman and well after Endless Nights). This is the latest and final work by Neil Gaiman in The Sandman world so far, and it was designed as a sort of “grand finale”. Some people will tell you “It is the first work in chronological order so you should begin here”. DO NOT DARE! THESE PEOPLE ARE LYING TO YOU! Beginning here is the WORST idea you can have. If you want to begin The Sandman, you begin at issue 1, like Neil Gaiman himself. 

For you see, “Overture” is a dual story, two series of events tied together that happen, one after the end of The Sandman (so after issue 75) and the other before the beginning of the Sandman (so before issue 1). Overture is both the prologue to The Sandman AND its epilogue. Beginning and end, alpha and omega… Hence the  ∞ symbol. It is without a doubt the best way to end the series.

# The two other volumes are both unumbered and called “The Sandman: The Dream Hunters”. And they both tell the same story. So why are there two volumes? Because one is an illustrated novel, and the other is a full comic book issue.

Originally, Neil Gaiman published “The Dream Hunters” as a novel/novella in 1999 (so three years after the end of The Sandman, but before the publication of Endless Nights). It was a fictional story he invented based and inspired by Japanese folklore and Japanese fairytales. Illustrated by Yoshitaka Amano, it takes place in The Sandman world, though it is not part of the main plot and you can actually read the story with no prior knowledge of The Sandman. It became so popular that for the 20th anniversary of The Sandman, in 2008-2009, the novel was adapted into a comic book, a four part mini-series that became its own Sandman volume. 

Fun fact: when Neil Gaiman published the story, he wrote in it a fake “origin” claiming he was just adaptating a part of Ozaki’s famous “Old Japanese Fairy Tales”. It was a lie as Neil Gaiman had entirely invented the story, but it fooled a lot of people who sincerely believed it was some sort of secret or missing story from Ozaki’s book. (He notably had to clear up the matter in “Endless Nights”). 

III) The Absolute Sandman

Now you probably think: wow… this is a lot. But I got everything, right? NO YOU FOOL! DC, seeing the enormous success of The Sandman, decided to reprint a new edition of the compilation: The Absolute Sandman, even bigger than the 30th Anniversary edition. Not ten or twelve volumes, but rather six (five numbered volumes plus Overture), containing everything I talked about above (The Sandman Special, Endless Nights, Overture, The Dream Hunters…). Plus more specials not yet included in compilations! Resulting in five volumes + The Absolute Sandman: Overture + one special volume called “The Absolute Death”. 

# The Vertigo: Winter’s Edge comics. Vertigo’s Winter Edge was a limited series published from 1998 to 2000 celebrating, every winter, the different lines and series of the Vertigo imprint with special stories. It ran for three issues, and each of them has one story created by Neil Gaiman tied with or part of The Sandman universe. One will maybe ring familiar to the viewers of the show: “A Winter’s Tale”, published in the second issue (1999). This story is actually a description of Death’s backstory, answering many questions about her “life” before the events of The Sandman (and also revealing answers to some questions raised in “Endless Nights”, even though it was published AFTER this story). Parts of it were adapted in the first season of The Sandman tv show. 

The other two stories of Winter’s Edge are “The Flowers of Romance”, from Winter Edge 1998 and “How They Met Themselves” from Winter Edge 2000. These stories are fascinating because they actually depict Desire as the protagonist and “hero”. You see, as Gaiman points out, Desire plays an antagonistic role in The Sandman merely because Dream is the protagonist. But here he decided, why not show the reverse, the world where Desire is the protagonist, the “nice” side of Desire: the result are those two stories. 

[ The Vertigo: Winter’s Edge issues also contain stories belonging to “The Dreaming”, a spin-off of The Sandman, but given Neil Gaiman was not involved in those I’ll keep it for a later post]

# “The Castle”. This story was originally published in “Vertigo Jam”, which is basically quite similar to “Vertigo Preview” and “Vertigo: Winter Edge”, just a one-shot issue that was an anthology of various stories, each taking place in a different series of the Vertigo imprint. 

# The Death mini-series. In 1993, the same year as The Dream Hunters, Neil Gaiman wrote a mini-series with Death as the main protagonist. It was called “Death: The High Cost of Living”. This Death-centered story had three years later a “twin mini-series”: “Death: The Time of Your Life” in 1996 (coupled with the return of Hazel and Foxglove from “A Game of You”). These two were then gathered here as a duo in a special volume of The Absolute Sandman called “The Absolute Death” and centered around, you guessed it, lot of Death material. 

# The “educational” Sandman. This “Absolute Death” volume also contains two “PSA material” or “Very Special Episode” issues. One is a story centered around Destruction and called “The Wheel”, which was originally part of a very special DC volume: 9-11: The world’s finest comic book writers and artists tell stories to remember. You can safely guess what the story is about. The second story is not actually a story, but a Death-centered AIDs pamphlet called “Death Talks About Life”. It had been originally coupled with several other issues of DC comics: it was found in the issue 32 of “Shade the Changing Man” (the 1990 series) ; it was also found in the 62nd issue of Hellblazer, and finally in the 46th issue of The Sandman. But it also existed as its own, unique pamphlet distributed in schools to raise awareness of HIV and AIDS. 

# Sandman Midnight Theater. The last of the specials created by Neil Gaiman, and one of the last pieces to The Sandman puzzle. Now long story short… There were several “Sandman” super-heroes in the DC Universe. In fact, Neil Gaiman began “The Sandman” as his own personal take on the several Sandmen super-heroes of the DC world. The very first of those Sandmen was Wesley Dodds, a Batman-like vigilante of the 30s that was part of the Golden Age of comics. In fact, Wesley Dodds himself appears in the first issue of Neil Gaiman’s The Sandman, and is part of The Sandman universe. After the end of Neil Gaiman’s series, the popularity of Wesley Dodds increased again and so in 1993 was launched a “reboot” of the original adventures of the Sandman, a new series around Dodds called “Sandman Mystery Theater”. 

Sandman Midnight Theater is precisely a crossover issue between Sandman Mystery Theater and Neil Gaiman’s The Sandman. 

# “The Last Sandman Story”. This is actually not a comic book story. It was a prose story, semi-autobiographical, written by Neil Gaiman for “Dustcovers: The Collected Sandman Covers”, which as the name says compiled all of the covers of Dave McKean (plus I think he also illustrated this specific story?). It a sort of confession story, a text by Neil Gaiman about real-life and his relationship with The Sandman series and the character of Dream. And as the name says, it was written to be released at the conclusion of the main series, post-issue 75. 

And there you go! These are all the specials created by Neil Gaiman and that are part of the canon and official Sandman series. Of course there is more bonus to talk about: Neil Gaiman gave a lot of interviews about The Sandman in which he reveals all sorts of details and secrets, and they can be found across various books - the Sandman Companion, the Absolute Sandman editions, the Omnibus Sandman editions, there’s plenty of places to look at. 

So… is it done? Is it over?

Yes and no. With this, you have covered everything in The Sandman world made by Neil Gaiman. So this is basically all the “canon”. 

But The Sandman created a lot of spin-offs and side-stories that were not created or that are not linked to Neil Gaiman… as with many comic book worlds, it expanded beyond its original creator. So maybe I will cover all the non-Neil Gaiman Sandman stories in a third part. Maybe. If I have time.

[neil-gaiman]

This is useful.

[mostlysignssomeportents]

Kickstarting the "Chokepoint Capitalism" audiobook

My next book is Chokepoint Capitalism, co-written with the brilliant copyright expert Rebecca Giblin: it’s an action-oriented investigation into how tech and entertainment monopolies have destroyed creators’ livelihoods, with detailed, shovel-ready plans to unrig creative labor markets and get artists paid.

http://www.beacon.org/Chokepoint-Capitalism-P1856.aspx

Ironically, the very phenomenon this book describes — “chokepoint capitalism” — is endemic to book publishing, and in audiobook publishing, it’s in its terminal phase. There’s no way to market an audiobook to a mass audience without getting trapped in a chokepoint, which is why we’re kickstarting a direct-to-listener edition:

https://www.kickstarter.com/projects/doctorow/chokepoint-capitalism-an-audiobook-amazon-wont-sell

What is “chokepoint capitalism?” It’s when a multinational monopolist (or cartel) locks up audiences inside a system that they control, and uses that control to gouge artists, creating toll booths between creators and their audiences.

For example, take Audible: the Amazon division controls the vast majority of audiobook sales in the world — in some genres, they have a 90%+ market-share. Audible requires every seller — big publishers and self-publishers alike — to use their proprietary DRM as a condition of selling on the platform.

That’s a huge deal. DRM is useless at preventing copyright infringement (all of Audible’s titles can be downloaded for free from various shady corners of the internet), but it is wildly effective at locking in audiences and seizing power over creators. Under laws like the USA’s Digital Millennium Copyright Act, giving someone a tool to remove DRM is a felony, punishable by 5 years in prison and a $500k fine.

This means that when you sell your audiobooks on Audible, you lock them to Audible’s platform…forever. If another company offers you a better deal for your creative work and you switch, your audience can’t follow you to the new company without giving up all the audiobooks they’ve bought to date. That’s a lot to ask of listeners!

Amazon knows this: as their power over creators and publishers has grown, the company has turned the screw on them, starting with the most powerless group, the independent creators who rely on Amazon’s self-serve ACX system to publish their work.

In late 2020, a group of ACX authors discovered that Amazon had been systematically stealing their wages, to the tune of an estimated $100,000,000. The resulting Audiblegate scandal has only gotten worse since, and while the affected authors are fighting back, they’re hamstrung by Amazon’s other unfair practices, like forcing creators to accept binding arbitration waivers on their way through the chokepoint:

https://pluralistic.net/2020/11/03/somebody-will/#acx

I have always had a no-DRM policy for my ebooks and audiobooks. Amazon’s Kindle store — another wildly dominant part of the books ecosystem — has always allowed authors to choose whether or not to apply DRM, but in Audible — where Amazon had a commanding lead from the start, thanks to their anti-competitive acquisition of the formerly independent Audible company — it is mandatory.

Because Audible won’t carry my DRM-free audiobooks, audiobook publishers won’t pay for them. I don’t blame them — being locked out of the market where 90%+ of audiobooks are sold is a pretty severe limitation. For a decade now, I’ve produced my own audiobooks, using amazing narrators like @wilwheaton​, Amber Benson and @neil-gaiman​.

These had sold modestly-but-well, recouping my cash outlays to fairly compensate the readers, directors and engineers involved, but they were still niche products, sold at independent outlets like Libro.fm, Downpour, and my own online storefront:

https://craphound.com/shop

But that all changed in 2020, with the publication of Attack Surface, an adult standalone novel set in the world of my bestselling YA series Little Brother. That time, I decided to use Kickstarter to pre-sell the audio- and ebooks and see if my readers would help me show other creators that we could stand up to Audible’s bullying.

Holy shit, did it ever work. The Kickstarter for the Attack Surface audiobook turned into the most successful audiobook crowdfunding campaign in world history, grossing over $267,000:

https://www.kickstarter.com/projects/doctorow/attack-surface-audiobook-for-the-third-little-brother-book

Which brings me to today, and our new Kickstarter for Chokepoint Capitalism. We produced an independent audiobook, tapping the incomparable Stefan Rudnicki (winner of uncountable awards, narrator of 1000+ books, including Ender’s Game) to read it.

We’re preselling the audiobook ($20), ebook ($15), hardcover ($27), and bundles mixing and matching all three (there’s also bulk discounts). There’s also the option to buy copies that we’ll donate to libraries on your behalf. We’ve got pins and stickers — and, for five lucky high-rollers, we’ve got a very special artwork called: “The Annotated Robert Bork.”

https://www.kickstarter.com/projects/doctorow/chokepoint-capitalism-an-audiobook-amazon-wont-sell

Robert Bork was the far-right extremist who convinced Ronald Reagan to dismantle antitrust protection in America, and then exported the idea to the rest of the world (Reagan tried to reward him with a Supreme Court seat, but Bork’s had been Nixon’s Solicitor General and his complicity in Nixon’s crimes cost him the confirmation).

Bork’s dangerous antitrust nonsense destroyed the world as we knew it, giving us the monopolies that have wrecked the climate, labor protections and political integrity. These monopolies have captured every sector of the economy — from beer and pro-wrestling to health insurance and finance:

https://www.openmarketsinstitute.org/learn/monopoly-by-the-numbers

“The Annotated Robert Bork” is a series of five shadow-boxes containing two-page spreads excised from Bork’s 1978 pro-monopoly manifesto

The Antitrust Paradox

, which we have mounted on stiff card and hand-annotated with our red pens. The resulting package is a marvel of museum glass and snark.

[Image ID: A prototype of ‘The Annotated Robert Bork]

Bork’s legacy is monopolistic markets in every sector of the world’s economy, including the creative industries. Chokepoint Capitalism systematically explores how tech and entertainment giants have rigged music streaming, newspapers, book publishing, the film industry, TV, video streaming, and others, steadily eroding creators’ wages even as their work generated more money for the monopolists’ shareholders.

But just as importantly, our book proposes things we can do right now to unrig creative labor markets. Drawing on both existing, successful projects and promising new experiments, we set out shovel-ready ideas for creators, artists’ groups, fans, technologists, startups, and local, regional and national governments.

Artists aren’t in this struggle alone. As we write in the book, chokepoint capitalism is the final stage of high-tech capitalism, which atomizes workers and locks in customers and then fleeces workers as a condition of reaching their audiences. It’s a form of exploitation that is practiced wherever industries concentrate, which is why creators can’t succeed by rooting for Big Tech against Big Content or vice-versa.

It’s also why creative workers should be in solidarity with all workers — squint a little at Audible’s chokepoint shakedown and you’ll recognize the silhouette of the gig economy, from Uber to Doordash to the poultry and meat-packing industries.

40 years of official pro-monopoly policy has brought the world to the brink of collapse, as monopoly profits and concentrated power allowed an ever-decreasing minority of the ultra-rich to extract ever-increasing fortunes from ever-more-precarious workers. It’s a flywheel: more monopoly creates more profits creates more power creates more monopoly.

The solutions we propose in Chokepoint Capitalism are specific to creative labor, but they’re also examples of the kinds of tactics that we can use in every industry, to brake the monopolists’ flywheel and start a new world.

I hope you’ll consider backing the Kickstarter if you can afford to — and if you can’t, I hope you’ll check out one of the copies our backers have donated to libraries around the world:

https://www.kickstarter.com/projects/doctorow/chokepoint-capitalism-an-audiobook-amazon-wont-sell

Keep reading

[shakoribe]

[laclilac]

Hondo my man