Robelle Autonomy 📡 ENVtuber | Now on VGEN!

Holiday season is frying me so no schedules for the next bit!

Tears of the Kingdom is better than breath of the wild in every single way and people dislike it only because it didn't give them the same thrill Botw gave them, because it obviously builds on botw

When we look at people around the world who dream of building a manga industry, their goal is often Weekly Shōnen Jump. As someone who is part of Shōnen Jump, I am very grateful for that. However, if your goal is Shōnen Jump itself, you cannot build a strong and vibrant manga industry. That is because Shōnen Jump is not the cause of a manga industry—it is the result of one. The true strength of manga does not lie in a few massive hit titles, but in its diversity and richness. Only by understanding this can a country build a manga industry and a true ecosystem—and use it to powerfully develop its cultural sector. The comics industry, including manga, can produce about 2,000 serialized titles per $100 million in advanced markets. In developing countries, it can produce up to 5,000 serialized titles per $100 million. If a market reaches $1 billion, it can generate around 50,000 new IPs every year—an astonishing number. But for this to be truly meaningful, MANGA(漫画) must be diverse. If all the works being produced resemble those from Shōnen Jump—in art style, characters, themes, storytelling, or ideas—then what is the value of producing 10,000 or even 50,000 such works every year? That would be nothing less than a disaster. Well, Films can afford to be somewhat similar to each other. This is because fewer films are produced, their budgets are high, and the risks are significant. In fact, films tend to be more similar to each other than manga. Unlike manga, films do not have characters ranging from two-head-tall figures to fifteen-head-tall figures, right? From a mangaka’s perspective, films often appear quite similar—the outlines of subjects are alike, and the frames are standardized, such as 16:9 or 2.35:1. When I talk about the manga industry with others, there is one manga I always show and mention. It is a manga work I deeply love—a manga about raising cows. The mangaka is someone who actually raises and loves cows. More than any manga I have drawn, this work is a living example of the true power and potential of manga. Manga allows for endless possibilities: a story about cows, created by someone who raises them; a simple yet refined rural food story, told by someone who has lived in the countryside; the story of a poor robot living alone in human society; narratives about great philosophers, religious figures, or social activists; and even works drawn from personal experiences with illness, such as kidney stones. That is why mangakas serve as IP creators. A rural food manga was later adapted into a remarkably well-crafted and emotionally rich film. Such a challenge is only possible because there exists a powerful original manga that resonates with many people. And it is precisely this diversity—in style, subject matter, thought, and life experience— along with the countless acts of pure human creativity, that ultimately give rise to Shōnen Jump and its hit titles. Shōnen Jump is the result. If you truly want manga to exist in your country, don’t aim for Shōnen Jump—aim for diversity in manga.

Actual experience trying to interact with other vtubers 🗿 (Not all of course, some of them very cool)

@ZZZ_EN THEY MADE HIM SO RAW. I LOVE THE HORNS AAAHHH

Agent Record | Starlight - Billy

Literally majored in 2D animation 25 years ago numbnuts, before you were likely born, with multiple films at festivals. You can lick my whole ass if you accuse me of diminishing the value of hand drawn artists.

Can we all reply with gif whenever they post that S-Billy promotional art?

"If we reduce the number of employees for better short-term financial results, employee morale will decrease. I sincerely doubt employees who fear that they may be laid off will be able to develop software titles that could impress people around the world." - Satoru Iwata

Logging on to zzz expecting to finally learn about Nangong’s backstory and where her back scar came from

Full Moon Full Life Cover with @nnnanrii is OUT NOW! Art by @RobelleAutonomy Will leave the link down below!

@ZenlessWorld She's so cute AAAAAAAAAA

Nangong teaching Aria to dance #ZenlessZoneZero #ZZZero #ZZZ

i like hoyo dialogue don’t get me wrong but one thing that ticks me off is how you’ll have two dialogue options but the mc just ends up saying both of them and i’ve noticed this is more prevalent in zzz

@Pirat_Nation Would like to share the game I'm working on with this engine. null HEART break is on steam for wishlist already. Can attest the engine has its quirks, but it's lots of fun to work in! #nullHEARTbreak

RPG Paper Maker is a simple game creation tool made by one developer. It lets anyone build 3D RPG worlds using 2D character sprites and basic 3D objects no coding or complex 3D modeling needed. It’s free and available on Steam.

Never tweeting again on an empty stomach... That last sentence makes zero sense. I meant to say if they scale back the AI hero lighting instaslop look made from all the stolen data, the tech could be interesting in adding extra detail while maintaining intended art direction.

Sure, your eyes aren’t tricking you. That clip looks better than the new trailer, and the reason has nothing to do with talent. The VFX supervisor on Amazing Spider-Man 2 in 2014? Jerome Chen. The VFX supervisor on Brand New Day? Also Jerome Chen. Same person. Completely different system around him. In 2014, Chen had 50 effects artists at Sony Imageworks, the largest VFX crew the studio had ever put on a single project. They handled about 1,000 of the film’s 1,600 VFX shots on a $255 million budget. The crew shot on real film (not digital), on location in actual New York City, scanned Times Square with 36,000 photographs of over 100 billboards, and built physical lighting rigs on set so the CGI would match the real world. Now look at how Marvel makes Spider-Man movies. No Way Home had 2,500 VFX shots spread across 12 studios and about 3,000 artists. The budget was $200 million, $55 million less than TASM2 despite having 56% more VFX shots. Digital Domain, one of the VFX vendors, was delivering final shots days before the December 17, 2021, release. They kept reworking shots into mid-January, after the movie was already in theaters. Zoom out, and the math gets worse. Marvel released 6 films between 2008 and 2012. From 2023 to 2025, they pushed out 7 films and 7 TV shows. The Hollywood union representing VFX workers reported that Marvel pays artists about 20% below industry average and staffs one person where other studios hire three. Artists described 64-hour weeks and breakdowns on the job. Then, in February 2025, Technicolor, the parent company of MPC (three-time Oscar winner for Life of Pi, The Jungle Book, and 1917), collapsed almost overnight. 4,500 jobs gone globally. The studio had been actively working on Disney and Paramount films when the lights went out. Brand New Day has four months before release, and trailers routinely show unfinished shots. But the gap between a 2014 Spider-Man and a 2026 Spider-Man has nothing to do with technology going backwards. The industry has been asked to do three times the work for less money per shot while its biggest studios are going under.

I was really confused as to why Capcom of all studios let Resident Evil be showcased with such drastic deviations from their original art direction. The twist is they didn't even know lol. Realtime AI slop 5 looks bad, but if they dialed it back a bit if it'd look better?

HoYoverse voice studio takes firm stand against AI misuse, draws clear line on consent. They’ve made it clear that no one can use these voices without written authorization from both the company and the voice actor (VA). Any use of an artist’s voice through AI, whether it’s for generating content or even non-commercial usage, is considered a serious infringement if done without proper permission. It highlights something important: it matters who owns the voice and who gets to decide how it’s used. 🔗gamingonphone.com/news/hoyoverse…

I'm going to add that at first I had an interest in the tech, since upscaling texture on a geometry level might be cool if they focused more on upscaling rather than replacing the visual identity. All interest died upon learning it needs TWO high end graphics cards to run.

The backlash is completely deserved. Regardless of how misunderstood the tech is, it was still portrayed in the worst possible light. When you do a showcase with no explanation, and the footage has all the visual tells of the AI slop people are sick of, they'll hate it by default