Rainy Studios

Thought I would give people a helpful visual as to how much money Studio Ghibli is valued at compared to OpenAI. It literally doesn't register on the chart it's so low. Now imagine individual artists that make like 20k a year if they're lucky. The narrative that AI companies are victims is a fucking crock of shit lmao.

I implore all of you to please respect the artists around you. The Generative AI debate has always been good at one thing and that's revealing who doesn't respect artists and wants to use them as a means to an end. This comes down to just basic consent and respect for boundaries. Even when artists just bring up how they would like to have the power to opt out of data training (have legal protection if their work is scraped and transparency in data processes to ensure it hasn't) or be fairly compensated for their work being scraped by a multi-million or billion dollar company, they're called entitled gatekeepers. You're welcome to give your art, photos or writing to AI companies for free if you want, but others should be able to opt out or be paid.

All of these artists (none of whom are by any means rich and may even be actively struggling to afford necessities) are being treated with contempt, as if they're the elite 1% and access to art is impossible (there are hundreds if not thousands of small local artists that can be hired by small businesses for instance). It is disheartening to see so many people telling artists, many of whom have spent decades honing their crafts that they should be happy they're going un-credited and uncompensated. In any other case with copyright infringement or plagiarism an artist's ability to protect their work has been the norm for over a century, it shouldn't be any different now.

Artists should have say over what happens with their work, just as everyday people should have say over what happens with their own personal photos and likeness. If someone specifically took photographs of you and your family without permission and mixed them together to make "new" people for their advertisements, you probably wouldn't like that very much (and yes that is also happening. Gen AI doesn't just scrape art, it scrapes photos and doesn't discern between what's an ethical photo and what's not ((i.e., photos that would break the law to be in possession of, lets say))).

If your company model solely relies on unlimited access to everyone's art, writing, photos and likeness for free without permission and while deliberately violating personal boundaries, maybe your model shouldn't exist.

💝

🎵 'Shallow Sleep' - HYDE

🎵 'Follow Sound' - Deas Vail

🎵 'Broken Wings (Instrumental)' - Tomoko Tane

Headcanoned 4 days ago that with all those clones it wouldn't be impossible to imagine one gay Snake got lost in the whole process & is living his best life hitting up the clubs while rocking hot pink booty shorts & trick rollerblades, chewing pop bubblegum.

I’ve decided to tell you guys a story about piracy.

I didn’t think I had much to add to the piracy commentary I made yesterday, but after seeing some of the replies to it, I decided it’s time for this story.

Here are a few things we should get clear before I go on:

1) This is a U.S. centered discussion. Not because I value my non U.S. readers any less, but because I am published with a U.S. publisher first, who then sells my rights elsewhere. This means that the fate of my books, good or bad, is largely decided on U.S. turf, through U.S. sales to readers and libraries.

2) This is not a conversation about whether or not artists deserve to get money for art, or whether or not you think I in particular, as a flawed human, deserve money. It is only about how piracy affects a book’s fate at the publishing house. 

3) It is also not a conversation about book prices, or publishing costs, or what is a fair price for art, though it is worthwhile to remember that every copy of a blockbuster sold means that the publishing house can publish new and niche voices. Publishing can’t afford to publish the new and midlist voices without the James Pattersons selling well. 

It is only about two statements that I saw go by: 

1) piracy doesn’t hurt publishing. 

2) someone who pirates the book was never going to buy it anyway, so it’s not a lost sale.

Now, with those statements in mind, here’s the story.

It’s the story of a novel called The Raven King, the fourth installment in a planned four book series. All three of its predecessors hit the bestseller list. Book three, however, faltered in strange ways. The print copies sold just as well as before, landing it on the list, but the e-copies dropped precipitously. 

Now, series are a strange and dangerous thing in publishing. They’re usually games of diminishing returns, for logical reasons: folks buy the first book, like it, maybe buy the second, lose interest. The number of folks who try the first will always be more than the number of folks who make it to the third or fourth. Sometimes this change in numbers is so extreme that publishers cancel the rest of the series, which you may have experienced as a reader — beginning a series only to have the release date of the next book get pushed off and pushed off again before it merely dies quietly in a corner somewhere by the flies.

So I expected to see a sales drop in book three, Blue Lily, Lily Blue, but as my readers are historically evenly split across the formats, I expected it to see the cut balanced across both formats. This was absolutely not true. Where were all the e-readers going? Articles online had headlines like PEOPLE NO LONGER ENJOY READING EBOOKS IT SEEMS.

Really?

There was another new phenomenon with Blue Lily, Lily Blue, too — one that started before it was published. Like many novels, it was available to early reviewers and booksellers in advanced form (ARCs: advanced reader copies). Traditionally these have been cheaply printed paperback versions of the book. Recently, e-ARCs have become common, available on locked sites from publishers. 

BLLB’s e-arc escaped the site, made it to the internet, and began circulating busily among fans long before the book had even hit shelves. Piracy is a thing authors have been told to live with, it’s not hurting you, it’s like the mites in your pillow, and so I didn’t think too hard about it until I got that royalty statement with BLLB’s e-sales cut in half. 

Strange, I thought. Particularly as it seemed on the internet and at my booming real-life book tours that interest in the Raven Cycle in general was growing, not shrinking. Meanwhile, floating about in the forums and on Tumblr as a creator, it was not difficult to see fans sharing the pdfs of the books back and forth. For awhile, I paid for a service that went through piracy sites and took down illegal pdfs, but it was pointless. There were too many. And as long as even one was left up, that was all that was needed for sharing. 

I asked my publisher to make sure there were no e-ARCs available of book four, the Raven King, explaining that I felt piracy was a real issue with this series in a way it hadn’t been for any of my others. They replied with the old adage that piracy didn’t really do anything, but yes, they’d make sure there was no e-ARCs if that made me happy. 

Then they told me that they were cutting the print run of The Raven King to less than half of the print run for Blue Lily, Lily Blue. No hard feelings, understand, they told me, it’s just that the sales for Blue Lily didn’t justify printing any more copies. The series was in decline, they were so proud of me, it had 19 starred reviews from pro journals and was the most starred YA series ever written, but that just didn’t equal sales. They still loved me.

This, my friends, is a real world consequence.

This is also where people usually step in and say, but that’s not piracy’s fault. You just said series naturally declined, and you just were a victim of bad marketing or bad covers or readers just actually don’t like you that much.

Hold that thought. 

I was intent on proving that piracy had affected the Raven Cycle, and so I began to work with one of my brothers on a plan. It was impossible to take down every illegal pdf; I’d already seen that. So we were going to do the opposite. We created a pdf of the Raven King. It was the same length as the real book, but it was just the first four chapters over and over again. At the end, my brother wrote a small note about the ways piracy hurt your favorite books. I knew we wouldn’t be able to hold the fort for long — real versions would slowly get passed around by hand through forum messaging — but I told my brother: I want to hold the fort for one week. Enough to prove that a point. Enough to show everyone that this is no longer 2004. This is the smart phone generation, and a pirated book sometimes is a lost sale.

Then, on midnight of my book release, my brother put it up everywhere on every pirate site. He uploaded dozens and dozens and dozens of these pdfs of The Raven King. You couldn’t throw a rock without hitting one of his pdfs. We sailed those epub seas with our own flag shredding the sky.

The effects were instant. The forums and sites exploded with bewildered activity. Fans asked if anyone had managed to find a link to a legit pdf. Dozens of posts appeared saying that since they hadn’t been able to find a pdf, they’d been forced to hit up Amazon and buy the book.

And we sold out of the first printing in two days.

Two days.

I was on tour for it, and the bookstores I went to didn’t have enough copies to sell to people coming, because online orders had emptied the warehouse. My publisher scrambled to print more, and then print more again. Print sales and e-sales became once more evenly matched.

Then the pdfs hit the forums and e-sales sagged and it was business as usual, but it didn’t matter: I’d proven the point. Piracy has consequences.

That’s the end of the story, but there’s an epilogue. I’m now writing three more books set in that world, books that I’m absolutely delighted to be able to write. They’re an absolute blast. My publisher bought this trilogy because the numbers on the previous series supported them buying more books in that world. But the numbers almost didn’t. Because even as I knew I had more readers than ever, on paper, the Raven Cycle was petering out. 

The Ronan trilogy nearly didn’t exist because of piracy. And already I can see in the tags how Tumblr users are talking about how they intend to pirate book one of the new trilogy for any number of reasons, because I am terrible or because they would ‘rather die than pay for a book’. As an author, I can’t stop that. But pirating book one means that publishing cancels book two. This ain’t 2004 anymore. A pirated copy isn’t ‘good advertising’ or ‘great word of mouth’ or ‘not really a lost sale.’

That’s my long piracy story. 

Headcanoned 4 days ago that with all those clones it wouldn't be impossible to imagine one gay Snake got lost in the whole process & is living his best life hitting up the clubs while rocking hot pink booty shorts & trick rollerblades, chewing pop bubblegum.

💝

🎵 'Shallow Sleep' - HYDE

🎵 'Follow Sound' - Deas Vail

🎵 'Broken Wings (Instrumental)' - Tomoko Tane

💝

🎵 'Shallow Sleep' - HYDE

🎵 'Follow Sound' - Deas Vail

🎵 'Broken Wings (Instrumental)' - Tomoko Tane

Made lots of progress recently and new updates are planned these next few weeks! All the pieces are gradually coming together.

(人´ w｀) I hope you enjoy 💐

Outside of work I was able to finish 95 comic pages (most yet to be posted) and hit the 800 page milestone!

Outside of work I was able to finish 95 comic pages (most yet to be posted) and hit the 800 page milestone!