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Do dogs feel guilt? Scientists exchange discoveries about animal cognition

Animals — what on earth are they thinking? A panel of scientists explore the notion of animal cognition from what your dog means when it wags its tail, to the incredible problem-solving skills of crows, as part of the Aspen Ideas Festival.




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Just Eat Takeaway Sells Grubhub at 90% Discount to Covid Peak




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Cherokee Nation Requests that Jeep Discontinue Use of "Cherokee" Name

Chuck Hoskin, Jr., the principal chief of the Cherokee nation has asked carmaker Jeep to change the name of its Grand Cherokee vehicle stating that Jeep's use of the name without the tribe's permission is troubling and perpetuates international misinformation of the Cherokee people.  According to Hoskin "The use of Cherokee names and imagery for peddling products doesn't deepen the country's understanding of what it means to be Cherokee, and I think it diminishes it somewhat."  As might be expected for those that have followed American Indian cultural appropriation throughout the last several decades, the carmaker is resisting such a move claiming that the name "honors" the tribe.

Stellantis, the automobile conglomerate that owns Jeep, formed recently from the merger of Fiat Chrysler and Peugeot, defended its use of the Cherokee name claiming "our vehicle names have been carefully chosen and nurtured over the years to honor and celebrate Native American people for their nobility, prowess and pride."  This argument echoes the same arguments used for decades by Daniel Snyder, the owner of the Washington Football Team (formerly the Redskins) and the owners of the Cleveland Indians (who have also recently agreed to change the team name after phasing out the offensive Chief Wahoo logo a few years ago).  For Stellantis, the Grand Cherokee is one of Jeep's most popular models selling more than 200,000 units in 2020.

Suzan Shown Harjo, long an activist fighting against cultural misappropriation and offensive use of American Indian imagery, is not buying the "honor" argument.  "Of course it's not an honor" states Harjo, "That’s the assumption that was made by so many people about our land, water, gold, silver, copper — name a mineral. Now it’s about our imagery, our names and our cultural icons . . . When does this thievery stop?"  

The Cherokee Nation describes itself as a sovereign tribal government. "Upon settling in Indian Territory (present-day Oklahoma) after the Indian Removal Act, the Cherokee people established a new government in what is now the city of Tahlequah, Oklahoma. A constitution was adopted on September 6, 1839, 68 years prior to Oklahoma’s statehood.  Today, the Cherokee Nation is the largest tribe in the United States with more than 380,000 tribal citizens worldwide. More than 141,000 Cherokee Nation citizens reside within the tribe’s reservation boundaries in northeastern Oklahoma. . . . The Cherokee Nation is committed to protecting our inherent sovereignty, preserving and promoting Cherokee culture, language and values, and improving the quality of life for the next seven generations of Cherokee Nation citizens."

Whether Jeep drops the moniker will likely depend on whether the same kind of financial pressure is brought against Jeep and Stellantis similar to what was brought to bear on Daniel Snyder and the Washington Football Team and corporate entities like Aunt Jemima, Land-O-Lakes and Uncle Ben's.  Each of these entities have been persuaded to change/drop racist depictions and monikers because of the economic pressure of threatened boycotts and sponsorship withdrawals, particularly in light of the 2020 summer of protests following the police killings of George Floyd and Breonna Taylor.


hat tip: Savannah Johnston, Arkansas Little Rock Bowen School of Law, 3L

images courtesy of Wikimedia Commons




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Bjorn is a powerful network scanning and offensive security tool for Raspberry Pi - GitHub - infinition/Bjorn: Bjorn is a powerful network scanning and offensive security tool for the Raspberry Pi with a 2.13-inch e-Paper HAT. It discovers network targets




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Artificial Intelligence, Scientific Discovery, and Product Innovation

Aidan Toner-Rodgers† MIT November 6, 2024 This paper studies the impact of artificial intelligence on innovation, exploiting the randomized introduction of a new materials discovery technology to 1,018 scientists in the R&D lab of a large U.S. firm. AI-assisted researchers discover 44% more materials, resulting in a 39% increase in patent filings and a 17% rise in downstream product in- novation. These compounds possess more novel chemical structures and lead to more radical inventions. However, the technology has strikingly disparate effects across the productivity distribution: while the bottom third of scientists see little benefit, the output of top researchers nearly doubles. Investigating the mechanisms behind these results, I show that AI automates 57% of “idea-generation” tasks, reallocating researchers to the new task of evaluating model-produced candidate materials. Top scientists leverage their domain knowledge to prioritize promising AI suggestions, while others waste significant resources testing false positives. Together, these findings demonstrate the potential of AI-augmented research and highlight the complemen- tarity between algorithms and expertise in the innovative process. Survey evidence reveals that these gains come at a cost, however, as 82% of scientists report reduced satisfaction with their work due to decreased creativity and skill underutilization.




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Our statement on leaving X/Twitter - Jisc







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Flicks of the Week: Discover Hip Hop Like Chris...Wallace



'Fresh Dressed" premieres on Monday, October 13 at 10P/9C.



  • BET Star Cinema

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Report: One In 36 Black Adults In Wisconsin Are Imprisoned



Figures show a 1 in 36 imprisonment ratio for Black adults.





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UK Court Orders Confiscation After Conviction

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Hall & Biloxi Defeat The Montgomery Biscuits

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OBA Question ‘Lack Of Wide Public Disclosure’

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BPS: Received Payment On Confiscation Order

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‘Passenger Discharged A Firearm At Police’

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Strongly-discouraged fruit




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Creality’s Black Friday event – Save up to 60% with unbeatable discounts!

NEWS – As the holiday season approaches, Creality is thrilled to launch its biggest-ever Black Friday event! From October 21 to December 3 on the Creality Store and November 21 to December 2 on Amazon, enjoy record-low prices on an extensive range of 3D printers and accessories. Whether you’re a 3D printing enthusiast or a […]




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Royal Architects, Unnamed Noblemen, and Viscounts–A 130 Year Tale of West Francia in Three Parts. Part Two: The Unnamed Noblemen (A Review of Paladins of The West Kingdom)

During the early reign of King Charles III (Charles the Simple) in West Francia, the area was besieged by Viking invasions, while the memory of the previous and frequent Saracen incursions was still fresh in the minds of the general populace. The Saracens were Muslim - mostly Berbers from Africa – and had only let up on the Franks because they’d been pushed back by the Vikings. The local nobles were left largely to fend the Vikings off on their own.

In Paladins of the West Kingdom, players assume the role of these unnamed nobles (most likely Dukes), working to keep the region safe and spread their faith (historically: Christianity).  I really enjoy this theme, and in fact, playing the game nurtured my interest in the historical kingdom of West Francia.  That’s why I can tell you that while the rulebook notes that the King lends his Paladins to the nobles to aid them in their quest, I’m giving all the credit for the loan to the designers, Shem Phillips and S J MacDonald.  Paladins are a fictional group of knights in French lore (think of them as similar to the Knights of the Round Table in British lore),  or alternatively, a translation of the Frankish royal title of Palatine Count, which was a noble that focused mostly on judicial and governing matters and was not known as a knight.

I’ve won a few and lost a few games of Paladins. It’s a worker placement game that incorporates card drafting.  At the beginning of every round, players draw the next three Paladin cards in their deck and choose one to play for the round, one to put back on top of their Paladin deck to draw during the next round, and one to put at the bottom of their Paladin deck. Each Paladin boosts faith, influence, or strength (usually more than one of these), and also provides a special benefit. If you’ve got players prone to analysis paralysis, this is where they may get stalled, especially in the first few rounds. After Paladins are selected and put into play, workers for the round are selected by each player and put into their personal resource supply. You have many stations on your player board to place your workers during the round,  and when you do so, your moves are independent and walled off from your opponents (they cannot tamper with your player board or placement of your workers on it). However, there is one area on the general board (the King’s Favour card area) where you can also place your workers and those spots are competitive. Also contributing to player interaction – some of the stations on your player board where you place workers allow you to move resources (monks and outposts) from your player board to the main board, consuming a competitive spot that provides a placement reward. And all the resource cards on display around the main board – the townsfolk you can hire, the walls you can build, the outsiders you can attack or convert, the tavern cards you draw workers from, and the suspicion cards you gain $$$ from, are all lucrative items for which players must compete. So we’ve got a good mix of independent action and player interaction in Paladins.  There are not a lot of opportunities for  “take that” behavior in this game, other than perhaps timing your draw of suspicion cards to trigger an inquisition when you know your opponents will suffer a penalty and be forced to take on more debt.

Strategy Tips:

[1] Don’t be afraid to take on debt. It’s not too hard to flip debt cards for additional victory points and the income generated from the suspicion cards + the usefulness of the criminal workers are worth the increase in debt.

[2] As with all worker placement games, look for opportunities to get more workers. For example, try to recruit any townsfolk that provide workers as a reward for other actions.

[3] Attacking outsiders is a reliable way to get provisions and build influence, which are prerequisites for building the wall, which in turn give more strength and allow you to attack more outsiders. When paired with the townsfolk card that provide a bonus worker for every attack action, it’s a powerful combination.  

Giving the game more intellectual weight, worker placement on your board and the actions workers trigger often have additional requirements beyond number and types (i.e., colors) of workers. The actions triggered by worker placement may be constrained by your strength, faith, or influence level. And some spots or actions triggered by placing workers in those spots require money or provisions. All of these prerequisites can be gained as rewards from prior actions triggered by various worker placement, so much of the game is finding the most efficient ways to obtain prerequisites associated with the series of actions you’d like to take as the game progresses. I worried this decision making would be a weak point for analysis paralysis (I’m a pretty good candidate for testing potential AP, as I’m prone to it) and while there can be a bit of that during the game, nothing excessive was logged during our plays.  

The artists (Shem Phillips on graphic design and Mihajlo Dimitrievski on illustrations) have printed helpful indicators next to each placement location on boards and cards to identify any prerequisites as well as rewards. It’s an example of how the designers have worked with the artists to layer meaningful game information into the layers of artwork. In fact, all of the symbols implemented across the game components are really quite helpful. Bonus: once you familiarize yourself with them in one of the West Kingdom games, you’ll have learned them for the entire series as the artists reuse the same symbols in all three titles.

Beyond the iconography, the illustrations and other artwork are lovely. As with the iconography, the same style of artwork is implemented across the entire series and it carries the theme well. There was a good mix of cisgender representation, but not a lot of racial diversity, especially as would be suggested by the historical setting of the game (for example, Berbers in the area had skin tones ranging from light to to dark brown).

The components for Paladins of the West Kingdom are well made.

There are wooden meeples, an assortment of foldable boards constructed from cardboard, and various plastic coated card decks. We found the rulebook to be clear and direct, and there weren’t any items we had to look up online. It would have been nice if the designers included a player aid in the components, but I was able to compensate for the oversight by downloading a detailed player aid another user uploaded to the forums on BoardGameGeek.com.

Paladins of the West Kingdom is my favorite game of the West Kingdom series. All of the worker types and available actions make sense within the context of the theme, the mechanisms (worker placement, card drafting) integrate tightly with the scoring system to provide opportunities for building a victory point engine, and the game is complex and interesting yet still accessible for new players. The game is also a great value at its price point (approx $50) given you’ll get dozens of multiplayer games in before even a hint of same-o same-o creeps in. Many games with comparable replayability and complexity are double the price of Paladins. There’s also a solo play mode, which provides an additional way to explore the game.

-------------------------------------------------

Publisher: Renegade Game Studios
Players: 1-4 (We played with 2)
Actual Playing Time (vs the guideline on the box): About 2 hours per game
Game type: card drafting, worker placement
Retail Price: $50

Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.



  • board game reviews
  • card drafting games
  • Renegade Game Studios
  • worker placement games

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USGL annual report for fiscal year 2022 published

The U.S. Grand Lodge O.T.O. annual report for fiscal year 2022 has been published. This and all previous annual reports can be found here.




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NASA discovers Mars rock with ancient potential for life

A single 3.5 billion-year-old rock shows signs of all the conditions life needs to thrive.





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what 'polite' means: Culpeper, O'Driscoll & Hardaker (2019)

I've studied the word please off and on for a few years now.* Currently, I'm trying to finish up a study that I started an embarrassing number of years ago. Now that I've returned to it, I have the pleasure of reading all the works that have been published on related topics in the meantime. They couldn't inform my study design, but they must now inform the paper I hope to publish. One of these is a chapter by Jonathan Culpeper, Jim O'Driscoll and Claire Hardaker: "Notions of Politeness in Britain and North America," published in the book in From Speech Acts to Lay Understandings of Politeness, edited by Eva Ogiermann and Pilar Garcés-Conejos Blitvich (Cambridge UP, 2019). 

Their question, what does polite mean in the UK and US, was a research project on my to-do list. When I was a younger scholar, I'd have been (a) royally annoyed with those authors for getting to it first, (b) sad, sad, sad that I didn't get to do a fun piece of research, and (c) consumed with self-loathing for not being quick enough to do the project myself. It is both the blessing and curse of middle age that I now look at anything anyone else has done with gratitude. Good! Now I don't have to do it! 

Let's start with why it's interesting to ask about "notions of politeness" in the two countries. Here's a clue from an earlier post about use of please when ordering at restaurants. I asked:
So, how can it be that Americans think of themselves as polite when they fail to extend this common courtesy word?
I argued that Americans (subconsciously) find the lack of please in these contexts "more polite." In the comments section for that post, some people—mostly British people—could just not accept that a food order without a please could be described as polite. To them, to be polite includes saying please. If you're not using the word please, it's just not polite. 

Now, part of the reason for that disagreement is that I was using the word polite in linguistic-theory-laden ways. The distinction between how the word politeness is used in linguistic discussions and how it's used in everyday life has become such a problem for us linguists that we now talk about polite1 and polite2 to distinguish commonplace understandings of polite (1) from our theoretical uses (2). The failures of communication in my previous blogpost probably stemmed from having three understandings of politeness at play: the linguist's polite2, American polite1, and British polite1. 


Postcard from the How to be British series


 

Culpeper et al. set out to contrast British and American polite1. They point out that academic research on the topic of British/American politeness is "full of stereotypes that have largely gone unexamined." These stereotypes hold that British culture favo(u)rs maintaining social distance by using indirectness and avoidance in interaction, while Americans are more interested in creating interactional intimacy by being informal and open. The authors asked: how do AmE and BrE speakers use the word polite? If differences exist, then do they conform to the stereotypes, or do they tell us something new? To investigate this, the authors used two sets of data.


Part 1: clustering 'polite' words in the OEC

First, they searched the Oxford English Corpus, where they found thousands of instances of polite. In AmE, it occurs 6.8 times and in BrE 8.8 times per million words. They then used corpus-linguistic tools to determine which words polite was most likely to co-occur with in the two countries' data. They then used statistical tools to group these collocates into clusters that reflect how they behave linguistically. (I'll skip over the detail of the statistical methods they use, but it suffices to say: they know what they're doing.) For example in the British data, words like courteous, considerate, and respectful form a courteous cluster, while words like cheery, optimistic, and upbeat are in the cheerful cluster. 

The British and American datasets were similar in that polite co-occurred at similar rates with words that formed cheerful and friendly clusters. This seems to go with the common stereotype of American politeness as outgoing and inclusive, but contradicts the British stereotype of reserved behavio(u)r. 

The most notable difference was that British polite collocated with words in a sensible cluster, including: sensible, straightforward, reasonable, and fair. This cluster didn't figure in the American data. The British data also had a calm cluster (calm, quiet, generous, modest, etc.), which had little overlap with American collocates. British polite, then, seems to be associated with "calm rationality, rather than, say, spontaneous emotion." 

Other clusters seemed more complex. Courteous and charming came up as British clusters, while American had respectful, gracious, and thoughtful clusters. However, many of the words in those clusters were the same. For example, almost all the words in the British courteous cluster were in the American gracious cluster. That is, in American courteous and attentive were more closely associated with 'gracious' words like open-minded and appreciative, while British courteous and attentive didn't intersect with more 'gracious' words. Respectful is a particularly interesting case: it shows up in the courteous cluster for the British data, but has its own respectful cluster in American (with words like compassionate and humane). 
 
Looking at these clusters of patterns gives us a sense of the connotations of the words—that is to say, the associations those words bring up for us. Words live in webs of cultural assumptions. Pluck one word in one web, and others will reverberate. But it won't be the same words that would have reverberated if you'd plucked the same word in the other web. It's not that compassionate wasn't in the British data, for example—it's that its patterns did not land it in a cluster with respectful.  In American, respectful seems to have "a warmer flavour" with collocates relating to kindness and positive attitudes toward(s) others, while in the British data respectful has "older historic echoes of courtly, refined, well-mannered behaviour." 

Part 2: 'politeness' and sincerity on Twitter

Their second investigation involved analy{s/z}ing use of polite and its synonyms in a particular 36-hour period on Twitter. The data overall seemed to go against the stereotypes that American politeness is "friendly" and British is "formal", but once they looked at the data in more detail, they discovered why: US and UK words differed in (in)sincerity. In the British data, respectful seemed to "be used as a vehicle for irony, sarcasm and humour", while in the American data friendly "appears to have acquired a negative connotation" about 17% of the time, in which "friendly" people were accused of being untrustworthy or otherwise undesirable. This also underscores the idea that American respectful has a "warmer flavour" than British respectful. It's intriguing that each culture seems to be using words stereotypically associated with them (American–friendly; British–respectful) in ironic ways, while taking the less "typical of them" words more seriously.  

Yay for this study! 

I'm grateful to Culpeper, O'Driscoll and Hardaker for this very interesting paper, which demonstrates why it's difficult to have cross-cultural discussions of what's "polite" or "respectful" behavio(u)r. The more we're aware of these trends in how words are interpreted differently in different places, the better we can take care in our discussions of what's polite, acceptable, or rude. 


*If you're interested in the fruits of my please labo(u)rs so far, have a look at:




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12 Comics That Put Gender Discrimination Into Perspective




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How tech giants have been getting away with Age Discrimination

Corporate diversity initiatives have focused primarily on skin color, ethnicity, and gender thus far, but age should also be imperative.  Aside from it being an overlooked and unmonitored protected category, workforce demographics project a talent shortage for all diversity groups under 40. In the coming months, IBM could face hundreds of lawsuits (and/or a class […]

The post How tech giants have been getting away with Age Discrimination appeared first on DiversityJobs.com.




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Siemens Energy won't propose dividend for fiscal year 2024

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Daniel Lurie: San Francisco's moderate next mayor

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Google DeepMind releases AlphaFold 3's source code and model weights for academic use, which could accelerate scientific discovery and drug development

Join our daily and weekly newsletters for the latest updates and exclusive content on industry-leading AI coverage. Learn More Google DeepMind has unexpectedly released the source code and model weights of AlphaFold 3 for academic use, marking a significant advance that could accelerate scientific…




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Hong Kong deputy to China’s legislature buys hotel for US$35 million, a 30% discount

Bunny Chan, who is a deputy to the National People’s Congress, and Paggy Chan, are the new owners of Twenty One Whitfield.




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Meta Quest Deals & Discussion

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At any rate, meta was kind enough to give us a few weekly deals.




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Discovering Your North Star: Crafting an Inspiring and Authentic Mission

Have you ever felt totally uninspired by those vague corporate mission statements? The ones that say things like “To be the world’s most trusted provider of integrated solutions”? Or by those vague New Year’s resolutions? The ones that say things like “Get in shape” or “Be a better person”? Blah blah blah. What does that ... Read more

The post Discovering Your North Star: Crafting an Inspiring and Authentic Mission appeared first on LifeHack.




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How A Picture Book Got Turned Into A Graphic Novel: Interview with Ken Lamug (MISCHIEF AND MAYHEM)

Author-illustrator Ken Lamug has created award-winning picture books and graphic novels. Born in the Philippines, Ken moved to the US with his entire family during his teenage years. His debut middle grade graphic series, MISCHIEF AND MAYHEM #1: BORN TO BE BAD, launched this week from Katherine Tegen Books / HarperCollins!

Mischief and Mayhem is about Missy and her cat Gizmo. They were kicked out of superhero bootcamp. Now it's time for some super-villainy! I love the plot twist that the main character, Missy, decides she doesn't really fit into the labels the world she lives in has created; she's not really a villain, nor is she a superhero.  

Links where you can find out more: MischiefBook.com, Ken on Twitter, Facebook and Instagram. His website: Rabbleboy.com.

Q. I read that MISCHIEF AND MAYHEM started as a 32-page picture book story. How did it end up as a graphic novel?

Yep! The idea for Mischief and Mayhem started as a 32-page picture book - originally titled "Mischief the Supervillain". At the time, I was focused on my picture book ideas and wasn't even considering graphic novels. I had experience illustrating books, so I knew it was just a matter of time until something clicked for me. I went through the steps book creators are familiar with: writing the manuscript, creating dummies, and many rounds of revisions.

The dummy went through the submission process and even hopped to another agent (when I switched to a new one). We received a few rejections and a few interesting comments. One of the more resounding comments was that the idea was cool and needed to be expanded. But the picture book format limited what we could do.

We finally received an acceptance offer along with a caveat... turn it into a graphic novel! Yikes!

A few things scared me about this: it would have to be in full color, and at least 240+ pages. How does one turn a 32-page picture book into something that big?

And before anything was signed, I had to give the editorial team a few things: a fully illustrated first chapter, and a full outline for the book. This would give them a better idea of the story and my comic style. So I added new characters, expanded the moments from the story, and added a lot of jokes!

Once the editorial team gave the thumbs up, I was off to the races to get my debut graphic novel complete.

EXTRA: You can find out more about Ken's process as well as sample sketches in his Q&A with We Need Diverse Books.

Q. I've been thinking about a graphic novel middle grade project, but am intimidated by the amount of time the ART could take. Do you have any tips? How much time did MISCHIEF AND MAYHEM TAKE YOU in total? Were you working on anything else at the same time?

No kidding. Graphic novels ARE a lot of work. I've easily spent 1000 hours on Mischief and Mayhem (including creating marketing materials, videos, etc.). I also have a day job, so most of my after-hours are spent working on the book (typically around 5 hours on the weekdays). I basically stare at the computer screen all day!

During this time, I was also creating art for a picture book. And since the schedule for picture books are a bit more relaxed, I was able to squeeze it in without much problem.

Here are some tips I hope you'll find useful:

1. Working digitally has helped increase my productivity. It's easier to create dummies, inking, make revisions, and get feedback.

2. Scheduling and planning are very important. Find out the deadline, how many pages you can complete per day, and do the math.

In my case, I've determined that I am inking(outlining) about 1 page per hour. This means it will take me roughly 250 hours to outline a 250-page book. Based on that number, I can then determine if my deadline is a realistic goal. I know, it's a lot of math but it does help and you will be able to strategize how you approach the project.

3. Streamlining your art style. This varies depending on your abilities and time. Some artists are blessed enough to work full-time on their books and with longer deadlines. But if you're not one of them, then I would suggest streamlining the look of your characters, your drawing techniques so you can work faster and efficiently. Some artists are able to also hire a team to help support the rest of the task such as coloring, inking, letter, etc., but a majority of graphic creators are one-person operations.

4. Don't forget to take a break and enjoy life.

Q. What advice do you have for young graphic novel writers and illustrators?

Start small. You don't have to create a big "novel" length book right away. I started my comic book journey when I submitted a 4-page comic to an anthology. After I gained some confidence, I started creating 24-page comic one-shots (single issues). And it just kept growing from there.

Comics should be fun for both the creator and the reader, so make sure to enjoy the process and don't stress out about getting it right the first time.

Q. What's next for you?

I just finished illustrating a picture book called FAMILY BUSINESS (by Lenore Appelhans). It's about a raccoon family who seems to always get into trouble. I'm excited for that to come out (no dates yet).

I'm also in the middle of Mischief and Mayhem book 2. As I write this my hand is hurting from illustrating a "Where's Waldo-Esque" spread. Ha! But I'm proud to say the art has improved and the story is even bigger than the first one.

I've never really had a big plan for my drawing/art career. It's all a blessing and a humbling experience. I just hope that the readers love the stories and connect with the characters. So we'll see what happens next!

~~

For more interviews with children's book creators, see the Inkygirl interview archives.




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"An hour a day can be enough." Victor Piñeiro Gives Writing Advice and Discusses His MG Debut TIME VILLAINS

By Sara Truuvert

When your novel is deemed "the greatest idea for a book ever", you're probably on to something. That certainly seems to be the case for debut author Victor Piñeiro, whose novel Time Villains has garnered a starred review from Kirkus and a spot as an Amazon Best Book of the Month. The book promises time-hopping high jinx, historic and literary Easter eggs, and even some one-sentence Puerto Rican recipes.

Time Villains follows sandwich-obsessed Javi Santiago, who has to nail his homework assignment if he wants to pass sixth grade. The assignment seems simple enough: if you could invite any three people to dinner, who would they be? Plus, Javi has his best friend Wiki and little sister Brady to help him. What could go wrong? Turns out, a lot! The trio accidentally uses an antique dining table to summon the dinner guests for real. Now, Blackbeard the Pirate is on the loose, and Javi, Wiki, and Brady must figure out how to send him back (perhaps with the help of other historical figures...). Time Villains is the first novel in a three-part series. It launched on July 6th, 2021 with Sourcebooks and is widely available to order

Victor Piñeiro is an author and a Creative Director at HBO Max. He has also done a multitude of other cool things, like teach, make documentaries, lead content/social strategies for Big Spaceship, YouTube, Hasbro, and Google, and answer these interview questions while caring for his two-week-old child. You can find out more about Victor on his website, Twitter, and Instagram

Q. A huge congratulations on your literary debut! Would you tell me a bit about your journey to publication?

A. Thank you! Being a published author has been the dream since I was a kid, so it’s been quite the journey! In my teens and twenties I couldn’t silence my inner critic long enough to write novels, so I turned to poetry and screenplays, writing and producing documentaries for a spell. I finally coaxed a book out in 2017 after writing daily on my (long) commute for three years. It was a very unconventional first book—the only kind I could coax out on my first try—so I shelved it and started working on Time Villains

Three drafts in I sent Time Villains to a bunch of agents, and after chatting with a few, a friend put me in touch with Elana Roth Parker. I feel so incredibly lucky to work with Elana—she saw the seed of something in my draft and we developed it into something far more compelling. When Annie Berger at Sourcebooks showed interest in the book, it felt like winning the lottery twice. Annie and the whole team have been the most incredible partners—thoroughly brilliant and a complete joy to work with. And here we are—the book just hit shelves this week and I’m not sure what to do with myself!

Q. Would you please introduce us to the novel’s hero, Javi Santiago? (I must know what level of dedication to sandwiches it takes to be classified as ‘sandwich-obsessed’!)

A. Javi’s an aspiring chef and sandwichéaste (think cinéaste but for sandwiches) who’ll do anything to pass sixth grade. He’s a zany kid with an overactive imagination and a penchant for asking deep questions about food (because what makes a sandwich a sandwich, really?). He peppers in one-sentence recipes throughout the book—some of Puerto Rico’s most delectable dishes, mixed in with his own recipes (like the Spanglish Sandwich aka The Spanglo Sando™). And while he’s fun and eccentric, underneath the silliness he’s a first generation Puerto Rican kid struggling with imposter syndrome as he tries to excel at something in his life. 

Q. You offer us such a hilarious dynamic between your protagonists – we have the almost-failing student, Javi, paired with his best friend, Wiki, the human Wikipedia/young professor (plus, Javi’s little sister, who wants to be the president’s bodyguard!). How did you land on this dynamic? Is it something you envisioned from the get-go?

A. The characters were floating around my head disparately but when I put them together I realized how fun their dynamic would be. 

I know a few folks who are so brilliant they seem weighed down by their intelligence—it’s made them world-weary. I thought that’d be really fun to capture in an extremely-precocious sixth grader. As I was coming up with the character I remembered a line in a hip hop song I love, “Catch me solving mysteries like Wikipedia Brown.” And that’s where Wiki’s name emerged and the character solidified in my head.

In terms of Brady, I knew I wanted a hot-headed sibling/partner to steal the spotlight and do much of the butt kicking because I love that dynamic in stories, going all the way back to Frodo and Sam. I also have a few friends with wild kid sister energy and they’re the life of any party, so I knew I wanted to bring that to the trio. 

Q. You had to develop a wide array of voices for this story, including kid Mozart, the Earl of Sandwich, and Blackbeard the Pirate. Was that a challenge? A joy? A spiralling research nightmare?

A. A spiralling research dream! This series gives me the best excuse to research my favorite folks in history and fiction, and it’s been a blast. I loved reading old texts on pirates, delving into the specifics of Mozart at age twelve and dusting off copies of old novels with iconic characters as I researched this book. And I knew nothing about the Earl of Sandwich before writing this, but how could Javi not invite him?

There was one aspect of research that was a bit frustrating. A big focus of this series is exploring characters more representative of the world’s history and fiction, because I’m hoping this book is ultimately a gateway to other books, characters and historical figures for kids to explore. Finding a wealth of information about some historical and mythological figures from other cultures was incredibly difficult. I knew it wouldn’t be easy, but I wasn’t prepared for it to be quite so challenging—which invigorated me to include more of them in the book!

Q. You have such lovely, concise, concrete writing advice available on your website. Is there any advice my-novel-is-getting-published Victor would give I’m-starting-to-write-a-novel Victor?

A. So much advice! I think there are a few super important things that would’ve had me writing novels decades ago, so I take any chance I can get to relay them to other aspiring/young writers.

1. An hour a day can be enough. I always thought I needed to quit my job and write eight hours a day to finish a novel, which held me back for years. Then I read a Murakami interview where he said he completed his first novel by writing an hour a day after work. In that moment I felt like the universe gave me permission to write mine. 

2. Lower the bar far lower than you’re comfortable with for that first draft. (No, lower!) There are passages in the first draft of my books that are barely intelligible, but I now know that’s okay. The first draft is about discovery and getting the story out of your head and onto the page. It’s far too early to be precious about anything. Just get it all out and see what you’ve got when you’re done.

3. Don’t dread rewriting—it’s far more fun than expected. Before writing my first book I was terrified of it, but it’s become one of my favorite aspects of writing. (Which is a good thing considering it’s 75-90% of what you do as a writer!) 

Q. Do you have any advice for young writers in general?

A. Absolutely. Besides everything I said above, read about writing and join online writing communities. Screenwriting books are great for story structure basics, Stephen King’s On Writing is great for process, Brandon Sanderson’s free writing course on YouTube is absolutely brilliant, Neil Gaiman and David Mamet’s Master Class courses are gold, and Reddit’s /r/writing is a fantastic place to learn alongside others in the trenches. I also love John Truby and Lisa Cron’s books. But maybe it’s best to start with this short Ira Glass video. Or this brilliant reflection on writing advice Chuck Wendig just wrote.

Q. Finally, I read that you used to be a documentary filmmaker and a blogger. What are some questions you would ask Blackbeard, if you met him?

A. It’d be one of those long interviews—the kind that take up the entire documentary and usually take the film crew multiple days to shoot—because I’d want to lead up to asking him how many people he actually killed. (Some historians say almost zero!) And I’d also want to ask him a lot of questions about Stede Bonnet, “The Gentleman Pirate” who was an equally fascinating and thoroughly hilarious character. He was rich, had a midlife crisis, became a pirate, and got thoroughly swindled by Blackbeard. (Side note: I was so happy when I heard the news that Taika Waititi would be creating a show about him!) Finally, I’d ask him to get battle ready. Before a skirmish Blackbeard would light fuses or small candles in his beard, since the smoke gave him a demonic appearance. It was his favorite scare tactic. I’d love to see it live!

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Sara Truuvert completed her MLitt in Creative Writing at the University of St Andrews. She also holds a Certificate in Creative Writing from the Humber School for Writers and a BA in English, Drama, and the History and Philosophy of Science from the University of Toronto. Her work has appeared in the Literary Review of Canada among other publications.

For more interviews, see the Inkygirl Interview Archive. Also see Advice For Young Writers and Illustrators, a compilation of tips generously offered by children's book creators Inkygirl.com has interviewed over the years.




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(Image credit: catcurio)

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(Image source: reddit)

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