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domain:vinayprasadmdmph.substack.com

I'd argue vanilla WoW is pretty unserious (and willing to throw random stuff that wasn't there historically, from goblins to kobolds).

WOW Kobolds - tiny ugly mischievous thieving and griefing underground dwellers - are fully mythically accurate.

Far more accurate that WOW elves.

She was, but it wasn’t until later that she decided that you couldn’t be feminist and write a world containing a male-only organisation that was powerful and wise. Especially when a certain number of your women are witchy - powerful but often in a secretive and manipulative way.

Susan Cooper’s The Dark is Rising quadrilogy. (Skip the first one until you’ve finished the rest.) To my mind it’s the best of what British fantasy can be, though not modern.

Brandon Sanderson is the most successful ‘Christian’ writer I can think of today, meaning a writer who both is Christian and whose religion clearly informs his work.

Notably:

  1. He never depicts literal Christianity in his work.
  2. Most of his characters who think a lot about religion really think about it. They have crises of faith, they wonder how to reconcile their faith with what needs to be done, etc.

Similar industrial policies (with some degree of squinting) seem pretty common: Japan and Korea have their quasi-government conglomerates with strong political ties. The Nordics have state-owned enterprises. Norway also holds lots of shares in its wealth fund. Airbus is partially held by several European governments.

That said, I intentionally don't (didn't?) own INTC because it really needs some leadership and strategy changes to remain competitive.

Why have I never seen this word before this week, and yet like eighteen references in the last few days, each of which is presented in such a way as to help normalize it? Is this a psyop?

It's popping up because it is slang and then it got picked up in the tech-sphere (which is highly adjacent to here) as the term of choice for the behavior of LLMs being overly supportive in chats.

It's all over the place right now because of people complaining about LLMs and then a bunch people picking up and using a youth term because "neat new" and "how do you do fellow kids."

The thing to remember here is that the show was conceptualized much closer to the Floyd/BLM time period.

Yeah I've always heard the writing was done quite proximal to Floyd events so it has zero moderation or sense.

I initially read this as "in which way is she otherwise disabled?"

I saw on Twitter someone comment that the idea that the company that owns Marvel, Star Wars, and Indiana Jones would need to look for a new IP to help draw in young male audiences in their teens & 20s is pretty hilarious and absurd.

You know it's fascinating. If the movies were actively actually bad (like worst Transformers movie bad) and you ran that for 20 years it would still be easier to recover from than what we got.

It's worse than bad.

Truly one of the most epic bag fumbles of all time.

Anecdotally - I was a kid who grew up a Star Wars nerd and it was a big part of my identity, establishing my interests, and so on. I spent a ton of money on it when I didn't have a lot of money to spend.

Now I'll never spend another cent not just because its bad right now (it is), not just because it hates me for demographic reasons (it does), but because it's associated in my mind with all the extremities and terrors of shitty social justice and all that did. I've seen too much fucked up stuff, lost friends, etc and Disney dropped their flag on that behavior.

Lots of people are never coming back and they didn't really connect anyone new.

I am fully open to the conspiracy theory that Iron Heart had writers who were self-aware and actively rooting for its downfall.

The thing to remember here is that the show was conceptualized much closer to the Floyd/BLM time period. It's just been delayed forever, presumably because they realized what they made after the high faded and tried to cut it into something viable or dump it when it would do the least brand damage.

In light of the absurd views on crime that flourished then, I can understand why they decided to make the genius with the full scholarship to MIT a criminal without really considering the "Stormfront or SJW" implications.

The shaming of "mediocre white men" or "nepobabies" is just par for the course. It's a reflex.

It's really hard to tell what you are asking for specifically - are you asking for no romance at all? That's hard! Stories of any kind usually jam in a romance element because it is a "cheap" way to add additional appeal. Stories written for women or by women are more likely to do this because women are generally more interested in people, it's usually only hyper-masculine coded stories and themes that avoid any romance at all and even most war/military properties will find a way to slide in a romance element, even something close to explicitly homoerotic like Top Gun.

I've been on an anime binge recently so:

Full Metal Alchemist - written by a woman, most people can't tell.

Dan Da Dan - written by a man, many would guess the writer is a woman. Has lots to appeal to women and to men. Has a cute teenage romance that even some of my gym bros enjoy.

The Apothecary Diaries - written by a woman, clearly teenage girl fantasy elements but still enjoyable for many who hate that. Female lead has "super powers" but is helpless at the appropriate times and weird with significant character flaws. So yeah "basest" urges of women, maybe? But also illustrates that if you do a good job who cares. Same thing with hypermasculine product that everyone loves if it is good enough.

Now all three of those are Eastern so yes a possible theme here is The Message tanking artistic product, so to take it in another direction - how about Shrinking* and Ted Lasso? Two modern comedies with low levels of romance elements, strong female characters who aren't perfect (even the literal girl bosses), strong female coding in the form of lots of feelings discussion, therapy culture, and so on.

Non-slop and um, quality slop? still exist.

*only seen season 1 of Shrinking.

I don't disagree with signaling, I just disagree with the particular signals I get from literary agents. I would still love to be able to signal that I am not just a writer, but an Author; I want the cachet that comes with being able to tell people to look for my writing in their local bookstore.

... and also, this is entirely petty, but I have to defeat my nemesis. I have a (2nd or 3rd degree) cousin who is published, does make their living writing, and has their book in my local Barnes and Nobles. (They live in another country entirely). They're also about my age. So despite the fact that they have no clue I exist, and that at a glance I don't have any problem with their writing, I've determined that they're my rival and made it my life goal to surpass them. (Only partially kidding.)

As for a vanity business... probably never. I'm either going to approach the problem with killing intent or not at all; if I just want status and creative freedom without regard for income I can go write fanfiction.

I mean, I'm a girl (at least a good while ago) and I like SF and I thought they ruined "John Carter" because they didn't know what to do with it or how to market it - dropping "of Mars" from the title was the first signal they hadn't a clue.

In this case, it seems like the decisions were made by the director who had a blank cheque due to his animated work and wasn't the most objective about John Carter's place in the modern scifi landscape (the perilous place of having influenced deeply successful and beloved works while not being as popular)

My wife's disabled, non-binary friend

Out of curiosity in which way is she (assuming natively she, correct me if otherwise) disabled?

Oh dear. I forgot that there was a third trilogy, that's the one I meant. I'm quite content with the second one myself, they're not high cinema, but they have their charm.

Fair enough! Not badgering, but curious: At what point would you be comfortable investing additional resources into this as a vanity business? And why do you care about status effects like being published considering the fallen state of these "institutions"? Is this an issue of living a "double" life where you care about public respectedness and signalling though you private disagree with it?

Is there a parody yet of the fake-hero archetype, in which everyone around the main lead thinks they are an amazing cultivating power-scaler, and in reality they're a bumbling fake?

I'm not positive because the light was bad, but I'm pretty sure I've seen one near Blacksburg a while back. It was either a mountain lion or the biggest bobcat I've ever seen. I don't want to completely rule out the latter, but it seems unlikely to me.

I don't know anything about how the publishing side of it works, but Catholic fiction is A Thing That Exists and seems generally hungry for volume- Taylor Marshall and Raymond Arroyo have both published stuff in it, and if it's worth their time, it's almost certainly seeking authors that aren't quite so big name already.

I’m struggling with the sale in that case if video games were generating 700m of FCF pa

It's a copypasta that's been around for ages.

There was a preteen movie when I was a kid- something like Big Liar- that my parents liked too(so I didn't just like it because I was a kid at the time) which was about an eighth grade boy who loses his creative writing assignment that by hilarious and unlikely coincidence is picked up by a hollywood director who proceeds to adapt it into a screenplay, and he engages in zany schemes and pranking with his plucky girl best friend to get credit for it. Very 2000's. But the concept that 'golly, these hollywood executives could have a random preteen come up with better movies than they do' isn't new.

Please, for the love of dog, actually fucking write this. I NEED to see the Burger Xianxia cinematic universe.

I think Disney has long refused to let the stories and universes be themselves. They seem to have to rebrand everything to be Disney friendly, nothing too weird, masculine, violent. And while it works for cute kiddie shows or girl-friendly shows, but not really for the more action-adventure series like Marvel and Star Wars.

In 2020 there were reports that they were making $3bn a year in Star Wars retail merchandise, and plastic toys, T-shirts etc are an ultra-high margin business. They were making 25% of revenue from licensed games, and in 2021 EA suggested that had been $2bn between 2019 and 2021 alone, and that’s pure margin. They spent $2bn on the Star Wars parks but parks revenue has grown since 2021 (or 2019) even if it slowed recently. Money was very cheap through the 2010s, so they may well have made out fine.