Looking for more work in creator spaces in the editing and community engagement areas. Currently active in community moderation, video editing and channel management for @GameGrumps, @KylePhillipsFun, @MamaCrank and others. LinkedIn with detailed experience in bio.

Final Stretch Goal Revealed: TWRP x Neon Odyssey - Starlight Brigade D&D Adventure! If we hit $15 Million, we're partnering with @twrpband to create a digital adventure where the Starlight Brigade brings funk to the galaxy, featuring brand new art by @doigswift! We're in the FINAL HOURS, so help us smash that stretch goal AND get a FREE set of beautiful Retro Vice Dice if your pledge includes anything physical! #dnd #ttrpg #dnd5e #neonodyssey #twrp #starlightbrigade

Thought saw this and immediately thought about @egoraptor talking about the 90s cartoon. This band is completely unrelated lol

me as a child gaining self-awareness for the first time

‘GAMEOVERSE’ is officially Glitch Productions’ next pilot to be released. Releasing this May.

it took me 2,572 DAYS to make this Pilot... and here's the Trailer!!!

Hey all, Kevin here. Please read.

【Please Share】 Game Grumps has released a T-shirt featuring my illustration! I'd be thrilled if you bought one! この度私のイラストのTシャツが発売されました! ゲームギャルのTシャツです。 Check out the sales page here▼ merch.gamegrumps.com/product…

Why did he hit the mario 64 slide kick

old man Miku!

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.

Hire Vanessa. Former G4TV and Game Grumps and she smells good.

My BIGGEST problem is that I want to be politically informed but I would also like to have a good day and be happy, and those are mutually exclusive things apparently.

DEATH OF THE ARTIST: was a practice that a work could still be enjoyed and separated from a problematic creator years after they are gone. END THE ARTIST: is a problematic modern mindset that all art must be catered to the demands of the fans, and when it is not, they abuse, attack, and try to cancel the creative. Social media is turning us into fragile, angry, toxic people. It is not a Fandom problem, that's just a place where you can see it on display. It's everywhere. We are becoming hollow, toxic, destructive over fantasy, while much more dire problems in the real world are ignored. We must work to undo this regression

Whistling this shit 24/7 at work

RT @lostmythicality: I can always count on Rhett 😌🔥❤️

Yuri Lowenthal’s message, speaking out against ICE

I do this with great embarrassment but with my unemployment plus short term writing gigs I’m flailing. I’m looking for absolutely any work right now. This would let me continue looking in my field. Times are tough so if you can’t donate please share gofund.me/bce622f22

over 20 years ago and still entirely relevant

Happy birthday to genuinely one of the best bosses I could ever ask for. Greatly appreciate everything you do, you are, and you stand for 💜 @egoraptor