Basilisk

You’d get even weirder looks if you said “those persons travel a lot”, while also sounding like someone who doesn’t really speak the language.

“Those people” can be a racist or classist dog whistle, but isn’t always, and also there isn’t really an alternative. Say what you’re going to say, and don’t worry too much about it. The people who would misinterpret it to fit an agenda are probably going to do so regardless of what words you use.

It’s sometimes used here, I think it depends how English you are. I just use “lol” but my fiancée does use “mdr” with other French speakers.

Depends on how the fight resolved. Sometimes you get snippy for a bit but ultimately either come to an agreement or the fight resolves and that’s it. You rankle for a bit after, get over it, and move on.

Sometimes the fight isn’t about what you’re fighting about. They’ve had a bad day and it manifests as some bitchy comments about how the dishes were done. You stop fighting about the dishes but you’re still upset because they’re taking their bad day out on you, or they’re still upset because they feel you don’t care about them. These can last much longer because the fight revealed bad blood, but didn’t do anything to address it.

A French one is common enough that it’s used in English- “Répondez, s’il vous plaît” (Respond, if you please) is where we get RSVP. “SVP” is also sometimes used as a shorthand for “please”, at least in Quebecois.

Larian isn’t especially big though, even with the success of BG3, a purchase like this is likely would be well outside what they could hope to afford.

I can’t help but feel like if we didn’t live in a capitalist hellscape, the increasing democratization of art would be unambiguously a good thing. I’d be more than happy to see “art as decoration” (as opposed to “art as a human means of expression”) opened to being something shunted off to machines, if it weren’t for the fact that this is a method that people currently use to make sure they have enough money to not starve to death in the cold. Advertising art of polar bears drinking Coke is nicer to look at than big block text saying “consume”, but it’s hardly a soulful expression of the human condition. Or maybe it is, which is even more depressing, but the ultimate apotheosis of this is pushing that sort of messaging to robots to make anyway.

Meanwhile, giving people who aren’t necessarily “artistic” a vehicle to create art as a means of expressing themselves is also really neat, and in the hands of people who are artistic, it gives them a low-impact tool for pre-visualization, inspiration, and a new medium to experiment with. It also reduces barriers for people with disabilities to make art. I’d love to see artists training LLM systems on their own work as a way of sharing their “style” with the world — something which is difficult to justify in a world where your style is something that needs to be jealously protected against copyright infringement, which again comes down to needing to monetize your expression as a matter of survival.

I feel like in the best case it would have been a catastrophe that somehow manages to fall together in a way that actually works, and in the worst case it would have just been bad to the point of being offensively bad, appealing to neither regular filmgoers whole also pissing off established fans.

… But it also feels like giving a chainsaw to a bear: You know whatever’s gonna happen you’re not gonna like, but also you kinda want to do it just to see what it is.

I really enjoyed Starfleet Academy for the SNES. It wasn’t particularly difficult or long, but there was enough interaction with your “crew” outside of space combat that it felt pretty well-rounded, especially for a SNES game.

Yeah, I spent a ton of time with that. It had a terrible memory leak, though, which made it unplayable slow after an hour or so. I was really hoping that Star Trek: Infinite would fill that void, but it’s basically just Stellaris.

Tim Russ also showed up in Dragon Age: Origins, like it was a mini Voyager reunion.

In no particular order:

Steamrunner Miranda D’Deridex Magee Constitution

Hearing his experiences on Voyager, you really have to feel sorry for the guy. The higher-ups really seemed to have an axe to grind with him. It’s kind of startling how you go from TNG where even now the cast gets together like family, to DS9 where it was like “It was a good job and the people I worked with were wonderful and professional and we produced something that we can be proud of,” to Voyager, where the cast largely describes it as a cesspool of passive-aggressive resentment and largely only mended fences years later.

Trek actively gave opportunities to its actors in the TNG-VOY era to learn and try directing. The number of Main Cast actors who’ve got directing credits is pretty significant. The full list, along with the episodes they directed, is here: https://memory-alpha.fandom.com/wiki/Cast_members_who_directed

Of the TNG cast though, Jonathan Frakes, Levar Burton, Gates McFadden and Patrick Stewart all have at least one director’s credit in the series. Michael Dorn would also later do some DS9 and ENT episodes.

The premise is interesting, and the mystery of “what’s happening to Tom” as he gets this weird body horror transformation is actually fairly well done. But any time that a scriptwriter types the word “evolution” into a keyboard there’s should be an automatic spray bottle that pops out of the computer that spritzes them in the face and shouts “No! Bad!” Because any sci-fi script that mentions evolution is inevitably going to completely fuck it up.

I used to do land surveying in Canada and we’d use “decs” for decimetres when laying out points. You’d put down the rod, they’d tell you something like “dec and a half left” then you’d move closer and it’d be “two cents right” and you’d be even closer and then it’s like “3 mils right.” Then you’d take the shot and they’d tell you how much closer or farther you’d have to go to get the point. If you were way off to the point where you might have tens of metres, usually for rough layout we’d rarely use “dee-kays” for dekameters, but typically it would be just “30 metres north”.

The Aldeans, from TNG’s first season “When The Bough Breaks” are close, though they don’t necessarily treat their advanced technology as “sacred”, though they certainly see it as infallible. The whole setup of the episode is that they would hide the planet away from the universe at large and have only appeared before the Enterprise to steal their children as the now-deteriorating technology is causing the Aldeans to become sterile.

Try that on a small planet, I guess.

They seem to be bookending the season with flashbacks to Pike’s expedition to Rigel VII. His decision to withdraw there cost people their lives and led to Zak corrupting the local culture. Now he’s back under fire, under seemingly unwinnable odds, and forced to make the call to leave people behind again.

Ortegas was in the alternate future with Pike at the time of “A Quality of Mercy”, which is not necessarily “plot armour” but if we assume the timeline still hasn’t diverged — Pike not having had his accident yet — then it would seem reasonable she should get through to survive long enough to see the point of divergence and therefore survive long enough to be on the bridge with Pike when he meets the Romulans. However, that’s all very timey-wimey and subject to a lot of “maybes” and “what-ifs”.

I like the Gorn being legitimately scary, but to me it kind of retroactively highlights how silly “Arena” was. You can’t really compare modern TV with the episodes from the 60s, but stick one of these Gorn on the planet with Kirk and he would have been proper fucked. I can accept it easily enough and take it with a grain of salt that, if we assume they were going to re-shoot the episode today with Paul Wesley and modern cinema techniques that the fight scenes wouldn’t be these silly ponderous things and the episode would probably largely not have Kirk confront the Gorn at all, mostly running away until the big climax with the “cannon”. However, it is kind of an unforced error, where they could have simply introduced the aliens as a totally new species without really losing anything while also not highlighting how silly the rubber suit Gorn was.

AI very provably does use other peoples’ art more than any other artist. It needs huge amounts of media that’s used as a basis for training material — far, far more than your average artist will consume. You can teach a person how to draw, sculpt, paint, model, etc. without ever showing them another artist’s work. You really can’t do that with ML tools we have currently. It’s not completely impossible, but you would be relying on getting a lot of training data in another way and it would probably require a lot of input from humans on the output end to make a model that can come up with something reasonably comprehensible. A

We don’t have much in terms of laws about this kind of usage because it’s not like in the past a company like DC comics has decided that they want to make Jim Lee’s style to become the “official” style of DC comics, but they don’t want to pay Jim Lee, so they hire a Chinese art factory to mimic his style and cut him out. Something like that wouldn’t be illegal in the sense of current laws, but probably would have been substantially more expensive than simply hiring Lee himself. However, it definitely would have been unethical. It also would likely have caused a legal challenge that might have affected how our laws deal with replication of a “style”. Even in cases where a company establishes their own style guide based on an art style of a specific artist as is common in animation (where it’s understood that the usage of that style is part of the concept art), there is typically an evolution in how that style as it standardizes- See “Steamboat Mickey” versus current versions of Mickey Mouse, or the changes from the first season to the current season of the Simpsons for example.

This isn’t about using AI tools for your average DM to make art resources for their home campaign. That’s a perfectly reasonable use-case. It isn’t as though your average DM is likely to be commissioning custom art every time there’s a new character in the campaign - they’ll do what we’ve always done: Find reference material that’s “close enough” from copyrighted works and say “something like this.” But if a company is going to start digging into AI, then we as the audience have the right to say, “No, I’m not going to support that and won’t buy a product produced in that way. I assign value to art made the ‘traditional’ way” The obsolescence of industries due to technology is not an inevitability - by all rights it’s entirely possible that an automated process to make perfect, nutritionally balanced food bars that are both cheaper and healthier than a McDonald’s burger could have been produced by now - but no one wants that. Very few people have a diet that consists entirely of Soylent. Just as there’s more to food than nutrition and value, there’s more to art than pictures. The so-called “free hand of the market” goes both ways.

I’m a digital artist. I’m in an interesting position in this debate, because I see the value and the power of tools like MidJourney and Stable Diffusion and the like. The prospect of training an AI tool on my own work and giving it to the public to be able to make their own art using my style is exactly the kind of artsy-fartsy “concept” thing I dig. I use things like “content-aware fill” tools and special brushes in my work that are basically cousins to these systems and they help me immensely. But also I think that artists should have the right to choose whether their work is used in this way and that if a company is profiting from the usage of an AI model that’s been trained from mass scraping of the internet there should be some legal consideration for that.