My coworkers an incredibly excited about the potential of the various algorithms that many tech companies have been incorrectly calling “artificial intelligences.” I’ve argued with them about the definitions, the massive number of ethical issues involved, the fact that they’re actually useless if you’re trying to create something, and how they’ve essentially become a fad since now anything that needs to be sold to the public is described as somehow using AI or an algorithm even when it doesn’t really make sense. All I’ve gotten for my effort is the official title of team luddite. Apparently no one cares that almost all of these algorithms are built on theft or that they’re already being used to take the jobs of artists. I wouldn’t be surprised to learn that some of them even think that’s a good thing, given how they all seem to be falling into the same side of the issue as every single shitty techbro who thinks that artists are snooty, stuck up, smugly superior, and need to be taken down a peg. I’ve tried to explain to them that capitalism and modern society have been devaluing art and artists for so long that it’s almost impossible for someone to make a consistent living in any art career without more luck than is fair to need for the category of jobs that produces the entirety of popular culture.
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Adding Streaming To My Multi-Media Creative Life Goals
Since returning from my friend’s wedding, I’ve been streaming mostly Wildermyth (and a little bit of Valheim) when I’ve had the time to actually do a stream on my twitch account. It has been a lot of fun, even if I did spend most of my first two streams using OBS at a horrendous 360p, because I’ve been treating it like I’m reading a story to my audience rather than like I’m playing a game. Sure, there’s some combat stuff that occasionally interrupts the story I’m reading, but that’s usually over fairly quickly. The same is true of the overland movement and map unveiling portion of the game (even if I’ve coincidentally spent way more time managing things than I usually do on account of character hook quests pulling my characters to incredibly inconvenient locations). I spent probably forty-five minutes of every hour trying to keep the character’s voices consistent as I read through storytime and the other fifteen minutes managing mechanics. I’m really enjoying myself, even if it’s pretty difficult to manage audience comments and interactions at the same time.
Continue readingWorldbuilding Is Only Done When The Campaign Is Over
I have created an entire Dungeons and Dragons campaign setting (multiple major and minor plots included) from nothing but a pile of unrelated notes that aren’t even from the same genre in about a week. It was an exhausting, draining, and incredibly focused week of non-stop effort, but I managed to get it all done. It helped that it was similar to some other ideas I’d been wanting to explore, so I managed to swing the perfect trifecta of “interested,” “excited,” and “well-rested” required for a feat like that. Most of the time, it takes me a bit longer than that to get a campaign off the ground, from concept to ready for the first session (Session 0), but it rarely takes more than a few weeks. That said, the settings are never done. There’s always more work to do, more research and development to continue to chip away at, and so many basic ideas that need to be fleshed out.
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