|»|152 Anonymous 2020-07-18T09:47:47
Mobile computing is kind of seen as a foregone conclusion, at least in the real of security advocates and tech enthusiasts. Too many people I associate with and read from fail to even mention mobile angles, or if they do it is disparagingly.
I can see the reasoning behind this: mobile networks and applications are designed such that you can't even avoid fingerprinting. It is not that your use of the network enables a fingerprint. Rather, a fingerprint is requisite. A mobile network subscriber card, a device registered with a network provider, an account in the app store with a saved credit card and email to facilitate updates and purchases. Non-optional adware and bloatware. To lock down a mobile device is not so simple as flipping some switches, disabling scripts and connecting to a VPN. All of these processes are arcane and buried in (inherently, perhaps purposefully) user-unfriendly mobile software. The operating system itself refuses to allow you to modify it beyond a certain basic point without explicitly enabling developer mode via manufacturer-specific rituals and with the aid of a PC. Application development is resource-intensive and there is a limited supply of mobile oriented developers, even the best of them handicapped by aforementioned conditions.
Even still. It's too easy to not recognize an opportunity in the mobile sphere. Mobile devices are the most accessible and common technology in the world today. They outnumber personal computers 3 to 1. There is a need for security and user-minded developers. There is a desire for such. However, the groundwork for an enthusiast mobile sphere is too messy. Jailbreaking and chip or ROM modding is exclusive to the tech savvy and often poorly documented or supported, despite the constantly changing techniques and technologies involved. Android, far and away the dominant mobile OS, has made installing apps not listed on their store next to impossible for the populace at large. Getting around this involves an even hairier process of sideloading or adjusting your preferred app store. Inspired mobile development is a seemingly fruitless endeavor.
I wonder about how this might be changed. More and more mobile carriers are locking phones to their service and we are lucky to have GSM support in many models. There are mobile network alternatives but those, too, have an impressive knowledge and infrastructure barrier to their implementation. To change these conditions would require a concerted effort. But it is absolutely imperative to the cause of digital freedom at large. I can't help but ponder a potential futures where every phone is unlocked, globally usable, able to take full advantage of mobile mesh technologies with every conceivable desktop application supporting a mobile operating system with minor adjustments. I hope and pray that the stigma against mobile devices can end, and real efforts made toward opening them up for the conscious user.
|»|175 Anonymous 2020-07-29T00:42:06
>You need to have friends to make cartoons, which is why so many cartoons look the same nowadays, because they're all made by a clique of friends
I've worked in animation before, and while nepotism is definitely a thing, it's not as if the industry is impenetrable like you think it is. Tons of people get into the industry for their work, you just need to make something that catches the eye of a showrunner.
> Maybe someday the animation industry will have some big creative shift again, once the people that eat up the garbage CN shits out get bored of it like everyone else, all it takes is one creative guy to make an original cartoon
That's not really how it works. Creative shifts occur gradually as new generations enter the industry. For example, people attribute a lot of the way modern cartoons are to Adventure Time, but even if Adventure Time never came out we would've still got Regular Show, Gumball, and Uncle Grandpa, all of which were pitched and/or in development before Adventure Time aired.
Likewise, there was no singular show that brought about the late-80s animation renascence. Everyone agreed that what was being done before was bad, so they just kind of started doing stuff that wasn't that.
>and then people will start craving cartoons that dont suck
People still enjoy modern cartoons even though the old ones are still available, so I doubt that they'd stop enjoying them if something new came along.
>Just know that, things will never be as simple as "Nickelodeon hires the guy that made JTHM" or "girl makes a flash cartoon and gets picked up by nick" ever again.
That sort of thing slowed down because the whole indie scene kind of died out by ~2013. When's the last time you saw people drawing fanart for a web series? (pilots like Hazbin Hotel don't count)
With that said, Rick and Morty, one of the biggest cartoons around today, started out as a web cartoon.
>[adult swim] gives you the option to pitch a show to them on their website but even those guys can't be trusted anymore.
No network should ever be "trusted". TV execs are always trouble.
By the way, this post isn't intended to "prove you wrong" per-say, since a lot of what you say is actually based in truth. It's just a lot less black and white than you seem to think it is.
|»|181 Anonymous 2020-07-30T18:38:31 [ImgOps] [iqdb]
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>Most of those shows people remember fondly were animated by Japanese studios
By the time cartoons started getting good again, very few shows would have been done entirely in Japan. American cartoons also started putting a ton of emphasis on western-drawn layouts and model sheets and style guides by that time, so there really wouldn't have been a ton of creative input from the eastern studios by that point anyway. If you were a Japanese animator and you added any of your own style to the show, you'd get yelled at for it (unless you worked at TMS, but they were a weird exception).
>The two biggest problems with the animation industry are that art students aren't expected to know how to draw from life and be good draftsmen anymore and the economy of America isn't suited for it
It's been like that for decades. I'll bet a lot of your favorite childhood cartoons were made by people who couldn't really draw all too great.
I'll argue that you don't need to be a great draftsman to make good art, you just need to know how to tell stories with it. Osamu Tezuka, the godfather of anime and manga, was a pretty mediocre artist, but he was also a fantastic storyteller, so everyone loved him.
Also, a lot of the people who draw the simple style that's popular today actually *can* do more detailed stuff, they just prefer not to. For instance, Ian Jones-Quarty, the creator of OK KO, was an artist on Venture Bros and did stuff like pic related.
>The future of animation is in ai.
Maybe. I'm not really sure how I feel about that. I guess it's not hugely different from outsourcing when it comes to creative input, but I don't really like the idea of art drawn by a computer.
>Only when single people or small teams can make substantial lengths of animation within a relatively small budget and time period will decent animation be viable in the west
It already is though; we have ToonBoom. Once you've made a rig, you can make it do whatever you want for nothing. Even lipsync is taken care of for you. For this very reason, a good chunk of the shows done in ToonBoom and similar programs actually have animation done in the west.
As for why we don't see more small scale indie stuff, I honestly think it's mostly cultural. Americans tend to think of things in terms of "big budget things that matter, and low budget garbage that doesn't". If we could just change this mentality, we would see an explosion of great content produced for cheap.
>loli porn and all.
What an odd marker for quality. Don't get me wrong; I like kinky shit too, and the west definitely needs a bigger cartoon porn scene, but I wouldn't call it high art (although you can have high art porn, but that's beside the point).
Again though, the lack of porn is mostly cultural. The talent is here, Americans are just too afraid of sex to do anything with it.
|»|184 Anonymous 2020-07-30T22:46:03 [ImgOps] [iqdb]
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>unless you worked at TMS, but they were a weird exception
Weird exception or not, many of the shows cited as examples of the best western animation were done by them like animanicas and batman the animated series.
>I'll bet a lot of your favorite childhood cartoons were made by people who couldn't really draw all too great
I was born after the year 2000 and had a computer. My childhood favorites were anime. I don't revere stuff I liked as a kid either and being liked by kids really isn't indicative of quality. Good art may not be necessary for good story-telling, but animation is a visual medium and there's at least a correlation between the quality of the two. Japan has expanded far beyond hammy 70s stuff, while in the west only every once in a blue moon something better than average is allowed to be made. The sheer volume of decent anime that has been made and continues to be made is staggering.
>they just prefer not to
I don't buy that almost everybody is happy making things as ugly as ok ko and are not interested in doing something more ambitious on a regular basis. Budget restraints and demographic restrictions are obviously also a factor. This "everything is subjective man" shit really gets under my skin. Good craftmanship is a real thing and not respecting it and pursuing it is the plague that's killing art.
>we have ToonBoom
I highly doubt you can make something like the first season of one punch man with toonboom. A computer that can draw inbetween frames with the same skill as a human being is the only way I can see for people to escape a suffocating, prudish culture where everything is about money, ugliness is preferred and mediocrity is praised. Loli is indicative of the right mindset for robust, quality animation output because it's all about freedom and aesthetic worship. Something like the Daicon IV opening animation was produced by college students without any help from computers. Almost 40 years later and where are we now?
>The production facility for Daicon IV was in a dedicated studio in a building called the Hosei Kaikan that was owned by a textile union. Takeda defined it as a literal anime sweatshop, the building was shut down at 9:00 pm and a majority of the staff would be locked inside and working through the night without air conditioning. The Daicon IV film officially credits a production crew of twelve people. Hiroyuki Yamaga directed the production of Daicon IV with Hideaki Anno and Takami Akai as animation directors. Toru Saegusa did the artwork and the animations were done with Yoshiyuki Sadamoto, Mahiro Maeda, Norifumi Kiyozumi; additional animation was provided by Ichiro Itano, Toshihiro Hirano, Narumi Kakinouchi, Sadami Morikawa, Kazutaka Miyatake.
|»|188 Anonymous 2020-07-31T17:39:51
Quality is much more complex than people like to think it is. Objective appeal is definitely a thing, but at the same time, there's also many different ways something can be appealing, some of which are mutually exclusive.
The big eyes, big heads, small noses, delicate features and coy acting cute appeal used in both Anime and American animated movies is the exact opposite of the small heads, strong jaws, well-defined musculature and stoic "heroic" appeal used in greek sculptures and older American comic books, yet they're both very appealing art styles.
Ultimately, I don't think that the question should be "what is quality?", it should be "why is this quality?". You should only analyze something once you've already formed an opinion on it.
|»|210 Anonymous 2020-08-21T11:55:51
* over 150000 unsorted images. Help me God.
* roughly 3500 flash files, mostly unsorted.
* 463 bookmarks, all unsorted.
* 236 tabs, some of them first opened over 5 years ago.
And of course, a stack of around 50 sheets of paper on my desk, reminding me of things to do, books to read, and files to sort.
I do the exact same thing, but periodically dump all the open tabs into my bookmarks as reminders to get back to them in case anything crashes. I never do. Occasionally I just go and delete large chunks of bookmarks. I never end up deleting anything important, since I don't know what most of it is anyways, and there's no chance I'll ever get around to actually checking it after all these years.
|»|243 Anonymous 2020-09-12T23:25:23
> I think it comes back to the artlessness of westerners (esp. Americans) in general. The only medium people kind of respect here is literature, and even then most people don't give a shit about it.
This is a prime irony, given that Americans consume an absurd level of entertainment. We see illustration plastered nearly everywhere, Netflix is a given, Music is massive, and if you count Video Games as art (I do personally), it's one of the biggest industries around period. But despite all that, Americans treat the people who make these things as having little worth, people to be used, abused, and then tossed away.
But then again, is sometimes seems like only business men are regarded as worth in America, so maybe that's par for the course?
|»|323 Anonymous 2020-12-06T15:49:14
> Is that a dig at Socrates? I'm interested.
No, it's actually a reference to the early parts of the Republic. One of Socrates' opponents actually shared a very similar line of thought you expressed in your previous, saying "Justice is merely the interest of the stronger". Explaining it as Justice being a tool for the rulers to keep their subjects in line, and that those who could do un-justly without being caught gained happiness.
Of course, me not being Socrates, I'd probably do a poor job of defending morality, but I at least feel that some baseline of morals and love are necessary for societies to be born, and even for infants to last beyond their earliest years. If there was no such thing as morality, and everyone did as they pleased with no regard for others, no one would be able to work together, and the social animal that is a human would not function.
Kings only become kings because their fellow men don't immediately murder them as soon as they get some land.
|»|342 Anonymous 2021-01-22T15:26:18
After years of blankness, I'm starting to have dreams again. I can remember most of them, naturally, but I'm glad that they're actually becoming common occurrences again.
I do somewhat remember one I had last night though: It was set in a cold, tundra-like landscape. People seemed to generally be rare and were scattered about. It starred two girls and a guy, I don't think they were named, and they were traveling about and meeting people. There was some odd science fantasy twists later on, like it being revealed than one of the girls was a major element of a hivemind, the guy was also art of the hivemind and just didn't realize it, and the other girl was an "enemy", but had opted to be friendly to the hivemind. She ends up dying later though.
It's odd and tought to completely explain, but that's how dream are, right?
|»|422 Anonymous 2022-12-22T00:47:29
I see. This is the problem of being motivated by avoiding negative outcomes, but being unmotivated by the prospect of attaining positive ones. In this undesirable state, a person concerns themself only with maintenance tasks such as going to work, but never improves themself past their present state. "Treading water" to the exclusion of "swimming onward", as it were. In order to really want to read, you must value it as a positive improvement of your state -- and not, for example, as the externalized command of an abstract boss. You must want what reading has to offer, and not feel it as a duty.
In addition, if you're trying to do things in the morning before work, this may be complicated by the need to get to work on time. Do you engage in constant, nervous clock-glancing? If so, developing a more robust sense of how long it takes to do things can help you play in the morning more calmly.