⒈ Utilitarian Approach To Gun Control

Friday, December 17, 2021 1:01:35 PM

Utilitarian Approach To Gun Control

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German Army uniforms and insignia : — London: Brockhampton Press. Dillon, Ronan 24 February The Re-Appropriation of Camouflage from military use into civilian clothing. This Greedy Pig. Archived from the original on 26 April Retrieved 1 December Dougherty, Martin J. Amber Books. Douglass, Steve; Sweetman, Bill Now they want the day". Popular Science : 54— Retrieved 1 November Engber, D. FAS 12 December Ferguson, Gregor The Paras — Osprey Reed Consumer Books Ltd.

Forbes, Peter Dazzled and Deceived: Mimicry and Camouflage. Freedberg, S. Aol Defence. Archived from the original on 31 August Galliano 9 September — 16 December John Galliano for Christian Dior, silk camouflage evening dress. The Museum at FIT. Archived from the original on 3 September Glantz, David M. London: Routledge. GlobalSecurity Retrieved 28 April Greer Dana Bell; illustrated by Don eds. Air Force colors. Grimes, William 9 September New York Times.

Harris, Tom How Stuff Works. Haythornthwaite, Philip British rifleman, — Christa Hook illus. Oxford: Osprey. Katz, Sam Israeli Elite Units since United Kingdom: Osprey Publishing. Kaempffert, Waldemar April Popular Science Monthly. New York City. Kennedy, Pagan 10 May The New York Times. Kitsune Kopp, C. November Australian Aviation. Krone Krone Technology. Portfolio of photographs. Archived from the original on 26 November Letowski, T.

Army Research Laboratory. Lundgren, Emma Camouflage fashion. Massimello, Giovanni; Apostolo, Giorgio Italian aces of World War II 1 ed. Murphy, Robert Cushman January The Brooklyn Museum Quarterly. Brooklyn Institute of Arts and Sciences. Myatt, F. The illustrated encyclopedia of 19th century firearms: an illustrated history of the development of the world's military firearms during the 19th century. New York: Crescent Books. Newark, Tim Peterson, D. Pilawskii, Erik Soviet Air Force fighter colours : — Hersham: Classic. Plaster, John L. Boulder, Colorado: Paladin Press.

Prinzeugen Prinz Eugen. Retrieved 5 March Rao, G. Aeronautical Journal. Restayn, Jean Volume 1: Tanks. Paris: Casemate. Richardson, Doug Stealth warplanes. SAS Shabbir, Usman Air Combat Information Group. Shaw, Robert L. Fighter Combat : Tactics and Maneuvering. Annapolis, Md. Showalter, Dennis E. Tannenberg:clash of empires Simcoe, John Graves Archived from the original on 12 December Smith, Charles L Spring Airpower Journal. Starmer, Mike Partizan Press.

Strikehold Archived from the original on 30 November Retrieved 2 September Stroud, Rick Retrieved 25 July Summers, Chris 10 June BBC News. Retrieved 27 May Sumner, Graham Roman Military Clothing: AD — Sumrall, Robert F. February United States Naval Institute Proceedings : 67— Talas, Laszlo; Baddeley, Roland J. PMC PMID Tanchelev, Gloria 10 March — 13 May Tate July Arcadia, Tate Collection. Thorpe, Donald W. Translated by Yasuo Oishi. Fallbrook, California: Aero. Tinbergen, Niko The Herring Gull's World. Photosimulation Camouflage Detection Test. Natick, MA: U. Retrieved 5 October Overall, in a woodland environment, the lighter coloured patterns were detected at greater distances than the darker patterns. The opposite was found in desert and urban conditions.

These data confirm intuition on environment-specific patterns: woodland patterns perform best in woodland environments, and desert patterns perform best in desert environments. US Army Department of the Army. Retrieved 23 June The Portuguese Army of the Napoleonic wars. Michael Roffe illus. Wade, Lisa Sociological Images. Archived from the original on 14 June Retrieved 8 October War Department War Department, Corps of Engineers. United States War Department. Warhol, Andy Philadelphia Museum of Art. Wilkinson, Norman 4 April The Times. Zimmerman, Stan It's easy to fuck up the posting process even under normal circumstances. The last one was on the last day of the month, so we're a bit out of sync with the monthly album idea regardless. We'll have something out in a week or so.

Nah, I was mostly useless on the road. I eked out those two pages preceding this while away, and that's it. The couple days after returning were useless too. Took the last few days to make these. I guess the bottom line is 30 panels still take a pretty good while to make?? The same was true for all those header images. If you look at the archive for the past month or so, it doesn't look like a hot and heavy update pace. But take into consideration that there are now 80 separate header images stacked up. Not Bard Quest necessarily, just taking advantage of the fact that I built the site from the beginning to allow branching paths, even if they all wind up back at the same place. Every other story does this. BQ obviously, Jailbreak has one fork that converges again, and Problem sleuth uses a couple really quick offshoots to handle deaths and other fuck-ups.

Aside from that, one of the main points of the Scratch segment was not only to slip into a different gear with respect to story pacing, but to introduce a vehicle to explore new methods for engaging with events in a story which has accrued a vast amount of detail and complexity. The consequence has been a little more detachment from the events directly as we experience some mediation between us and the characters through this host. But what comes with that bit of extra distance from the story, and bringing to fore its features as a work of metafiction, are these devices for accessing this complex story which wouldn't make sense to introduce without letting this segment build some momentum.

Telling the story in parallel through the header images was an example of that potential, and tying together the themes in the header with the main content was one of the interesting challenges. And of course the narrator himself is a character with a role in the story, so as he tells the story he is advancing his own role in it as well. A lot more is being advanced at the same time, in a way that I think is fun and in the spirit of everything on the site. The scrapbook thing is another example, a way of utilizing some of these silly meta-story devices which at first appear to be mocking the format itself, but become another useful gateway into a bunch of different threads of the story at once.

Of course you read those threads one at a time, but the feeling is that they're being accessed in parallel. Using parallel story telling devices seemed like an interesting way to address what has become a formidable number of threads to keep track of, and also a fun way to give some forgotten details a little more attention which would seem like a pretty frivolous diversion otherwise like Nepeta talking to Jaspers , while still finding a way to give them a little relevance to the current storylines. In a way the Scratch segment has been like busting open a pinata of different storytelling devices and seeing what's there to work with. And he sort of did that literally when he broke the scrapbook over Slick's head, releasing all the clippings from the story, both old and new.

Having them strewn about the place is another semi-mocking acknowledgement of the nature of the story, a thing which has dissolved into absolute nonlinearity, where looking into a panel at any point in time, past present or future, reality memory dream or afterlife, is something which can advance the plot. Because it advances not just through unfolding action, but by what previously concealed information is exposed, and how it's presented. This was actually one of the reasons for devising the dream bubble system.

It serves a purpose in the plot, yes, but it also has flexible narrative utility. The dream bubbles allow moments of the past to be explored, or moments of an alternate timeline, through memories of characters in such a way that it doesn't have to be a strict flashback, can be invested with more immediate relevance to what's going on, and allows a way for characters to talk about it.

Remember, rules for when dialogue is allowed are pretty strict! Dream bubbles amended the rules such that characters can converse directly when dreaming or dead. This is because the segments begin as memories consisting of online conversations, and continue from there. It was a more effective way to convey Cal's final journey and Scratch's origin, for instance. And it again becomes a useful tool when examining a clipping on the floor of an obscure event in the past.

We enter the panel somewhat like the characters do, seeing it as a memory of something that's already happened, but the scene evolves as the characters remember, and soon through their interaction it catches up with the current state of the story and contributes to it. Other clippings are played a little more straight, like we are briefly entering a window to another parallel event, then moving on. Either way, going into his clippings momentarily reconnects us directly with the story rather than experiencing it through his mediation.

But then, the mediation allowed us to do this in the first place. There'll probably be a few more of these scrapbook gateways before we're done with them. Got back from being away a couple days ago. Currently working on something for MSPA. It is not a flash animation. It is not the EOA. Wait, it's this question again! The exact same question, what are the odds. It's like the question's ghost or something. I agree that dropping from 16 to 8 characters leaves the story direly under-staffed. I mean when it was down to 14 that was already pretty sketchy territory. But don't worry, help is on the way.

Soon I will launch the lengthy squiddle intermission, documenting the tale of the 48 heroic squiddles who played in the session which created the troll universe. At first, people will bemoan this drastic departure from the "real story" and wonder when we can get back to Homestuck proper. But over time, you will grow to love each squiddle dearly. Each will be more exquisitely characterized than the last, and it is only then, when you have welcomed them into your hearts, will the ruthless culling begin.

Then we'll get back to the trolls and you'll be like fuck these guys. Until the fedorafreak intermission comes along and bails us out. For 10, pages of hat pissing bliss. There's a good chance it would be pretty bad though. So because there is a right answer, I am obligated to share it? Instead of letting the work stand as presented, while offering a couple things for people to think about? Oh no I just caught another glimpse of the phrase post-modern moralistic relativism and felt gross suddenly.

Like I am hearing is the sound of a dumb guy yelling through the gross megaphone of a college education. I'm not hesitant about following through with long term plans I made. Most of these characters didn't exist a year ago. Vriska was introduced in July last year. I opened these arcs understanding most of them would likely be closed, and every gesture has paved the way for what you see now. Act five has been a great swelling of cast complexity followed by a great contraction. I knew it was going to have this overall structure. Another approach would have been to treat this cast like that of a syndicated cartoon, with amusing but basically static lives.

Antics happen, hijinks are afoot, everyone is pals and things are ok forever. Tune in next week! I don't deny there's entertainment value in that, with the content leaning on characters and relationships above anything else. This is actually the reality of this work echoed by the collective consciousness of fan artists, who cast all these characters in a perma-living state playing out amusing scenarios with each other.

It's fun. Doesn't serve the bigger story much! Not one with a complex architecture headed in a very specific direction, but fun nonetheless. It would be prioritizing character far beyond the overarching story. I'm not doing that. Certainly not with characters always designed to play a transient role. The bottom line is, I had plans, and I stuck to them. I wouldn't change them midstream because I got the sense that some people would rather Homestuck be "Trolls! The Sitcom. Scratch added them, because he's omniscient and knows the whole story, whereas Gamzee doesn't. He just honks and stuff. There are lots of silly things that happen in the story which don't become huge plot points. He Auto-Harleyed with her. It's safe to assume he understood Jack wouldn't hurt her.

It's safe to assume she does too. Now, at least. Dave also tricked her into slapping herself in the face with her robot. He's kind of a jerk. But a really cool jerk, and all the ladies want to kiss his corpse. I'm suddenly wondering if there were some devoted Homestuck readers out there who died between now and when it started. Now I'm sad. You motherfuckers better not "smile" at this Oh god here come the smiles anyway. You people are awful. I am the Huss of Lips. Hahaha, just kidding, that sounds like some stupid thing one of my readers would say. Lots of people did. And I knew people would. Which is one reason why I presented it through the mechanism of the scattered photo album which mocks the entire visual callback phenomenon which everyone has come to anticipate now.

I try to anticipate if certain outcomes are guessable. If it is, I don't necessarily dismiss the idea, but I do try to do something unexpected with it, if not in substance, at least delivery. He is not creepy, he is just a sad, bad dog. Which is the answer to your second question. The story provides no conclusive answer to this, and I personally cannot provide the scoop either. Not that I am withholding it to be coy, but to take my word for it one way or another would be missing the point. The destruction of the clock is another element among many for you to weigh when considering these events.

First, there's the consideration of whether her death was just, heroic, or neither. The clock appeared to be leaning toward "just", when it was interrupted by the crowbar. Maybe it would have landed there. Or if given the chance, maybe it would have swung back and settled somewhere else. We don't have a definitive ruling. All we know for sure is she's dead. So we can conclude that either: 1 The clock itself has no bearing on her life directly, much as clocks merely measure time without influencing it. Which would mean if given the chance it definitely would have landed on either just or heroic, but not in the middle.

The proof is her death. But to be fair, if he knew it was going to kill her, he might be hitting it harder. You could consider it delayed revenge for his exile, which Vriska and Snowman coordinated. It's safe to assume Slick would have found her death to be quite just, and may have been weighing in on the matter through circumstantial serendipity. If 2 is true, there is another wrinkle to consider. Recall that the crowbar he is using from the intermission has the property of being able to nullify the effect of whatever "enchanted" object it destroys. If the clock's power is to decide whether she resurrects, then by destroying it, he eliminates that power.

Since there's no longer a force enabling her to resurrect, she remains dead. This is another way to look at it, but again, only if the clock itself has that power over her life. If not, then the destruction of the clock becomes more a violent gesture of punctuation to accompany this "divine ruling", like nails being driven into a coffin. Or, like a tolling bell. It's jarring, sudden, and carries finality. If you are convinced her actions are what decided her death, and not the destruction of the clock, then you are left to consider what outcome is most suitable, without having an absolute ruling on it.

The clock did appear to lean "just" an instant before, and there are plenty of ways to argue in favor of a just death. There are many mitigating factors as well to supply a counter argument. It would not be that interesting if it were absolutely unambiguous, where everyone could all easily agree that her death was just. Or if everyone agreed there was no justice in it at all. There are enough factors in play where you have reason to think about it a bit, and such that it leaves plenty to discuss. You may consider the evidence and draw a conclusion. You may even feel very strongly about your conclusion!

But for either the story, or me, to provide a categorically "right answer", immediately following the establishment of all the things that made it interesting to consider, shortchanges all that, I believe. For the clock to settle unceremoniously on "just" I feel would come across as a nonconstructive, compact ethical lecture, quickly nullifying all there was to evaluate and talk about. Was this comeuppance for all her past killing? For killing friends like Aradia and Tavros? Was there mitigation in her upbringing? In her remorse, and desire to change? Was it justice for insisting on playing a role in the creation of Jack so that she could beat him, to serve her ego?

What of the ignored warning from Terezi? Flying off in spite of it, endangering them all, again in service of ego? What of the doomed timeline she creates by doing this? Is there justice alone in killing her to prevent not only the death of all her friends, but an offshoot reality that can only fail? Is human morality in play here? Troll morality?? Or is it a higher agency, like that permeating Skaia? In a framework of Skaian morality, is there justice in sacrificing one life to help ensure the creation of an entire universe?

This paragraph has been a thumbnail sketch of all the discussion which has already taken place across the internet, minus all the notes ranging from fan fervor to outright dementia. Of all the arguments to make, it's difficult to come up with a solid rationale for a heroic result. Most people debating it would choose between "just" or "not just", i. Note that this means those who believe her death was not just are in fact arguing that the destruction of the clock is actually what killed her!!!

There is nothing in the story which rules this out. Regardless, the result is the same. She's dead. Out of the story for good? Who knows. For now it's the culmination of a wide arc importing elements from classic tragedy. Blind seers, wanton hubris, unheeded warnings, regret and death. But with some MSPA twists. Systematized mortality conditions, doomed timeline offshoots, way too much dramatic irony, and Nic Cage. She was always a polarizing character. Shouldn't be too surprising she's more polarizing than ever in death. It's almost as if that polarity was given concrete expression through the rules dictating whether she lived or died.

But I did do a troll update. There are no less than 6 trolls plainly visible to the naked eye, including the most impressive of them all. It would require planning the right moment in the story for it to coincide exactly with that date, while allotting well beforehand the time to implement it when it comes, with no unforeseen delays at all. So I ruled it out well in advance to avoid the inevitable unpleasant conflict. The anticipation of such an update was a product of your inflated sense of expectation, and standards which you reserve for no comic artist other than me. That said, I still gave you a pretty long flash animation. It was pixels long. Oops, once again, the act of having story ideas and methodically seeing them through to their end is not an act of trolling.

I played it for a while but all the spinning and rolling around made me kinda queasy. This will realistically never come up again, so here is how they work. Matchsticks 11 travels through time using fire at any point in time as a gateway. He then likes to put out the fire when he arrives, so that more copies of him from other points in time don't show up and make things complicated. Unless he wants to exploit that for battle purposes, which he clearly didn't. Scratch keeps a fire alarm in his apartment to summon him, in case it catches fire, which it clearly did. Quarters 14 has a collection of coins like the one Clover flipped. Each has numbers on either side, corresponding to a member of the Felt, most separated by 10, with a few exceptions.

If the opposite member is present during the flip, he trades places with that member, which is why Clover swapped for Quarters when he flipped If you flip your own coin, and the result is your own number, you die. As such, Quarters entrusts his own coin with Clover, who is so lucky, he will never flip a 4. He uses it to summon Quarters when things get too hot to handle. It's not advisable to let Snowman flip her own coin. The coins link pairs of Felt members.

Some are relevant pairings, others don't make much sense. Doze and Eggs make a pair of morons with a funny duo name dozen eggs! Itchy runs around so fast he probably starts fires sometimes, while Matchsticks puts them out. Here is the file I maintain for all members of the Felt. Why are you inquiring as to whether a fictional child has four penises? Pretty weird dude. No question, and yet, here is an answer.

It is as follows. Are you even reading the comic? I think half the people just open the website and look at the pictures. And then ask me formspring questions for some reason. It's pretty simple. They are the colors of Derse and Prospit. There are eight dots Then seven "x8". Maybe I will only answer these vapid questions for a while, leaving you all to wonder how many penises trolls have. As a cool bonus, that symbol looks a little like it says "Me", which is really quite ironic, since I myself happen to be me.

Two answer the second part of the question, yes it is very representative of who I am, because as I have mentioned before, I am a just this HUGE lesbian. Big time. I was wearing a Karkat shirt today though, because I've got all these HS shirts lying around that I wear sometimes. A cashier saw it and said, "Hey I'm a cancer too! I'm starting to be a little more reluctant to wear the HS shirts though, because they're starting to get me recognized in public more frequently.

Not just as an HS reader, but as actually me, which will never not be a vaguely disorienting, Truman Showesque experience. The events were conveyed visually and verbally to suit the Scratch narration, instead of shown through high-intensity animated visuals alone. The Scratch segment was not introduced as a substitute for the animation. An "abridged" stretch like this was going to come anyway as a device for setting a few things up before starting on the EOA animation.

Axing the Rose v. Jack animation aka Heroes of Light: Strife just meant moving Scratch the segment up sooner, to use as a vehicle for delivering the full flash concept without having to scrap it as a story direction, which would have been a pretty significant architectural upheaval. Now that it's out there, we can examine the pros and cons of delivering it that way as opposed to flash. But note, no matter what, there was no chance of that flash getting made whatsoever. The two parallel battles are easy enough to understand, but I can easily imagine confusion over the alternate timeline concept as conveyed only visually.

People have been confused by less. Much, much less. Even with art contributors. There's a limit to not only what I can do personally, but what a largely unstructured volunteer effort can accomplish as well. Pros of narration: - Get to experiment with a little parallel storytelling, via the top banner. Cons: - Slow rolling the segment page by page has serial readers agonizing every step of the way over every conceivable issue, on points of execution, unwelcome "story developments", and so on. Until it isn't, of course. Not much to say about this. It's just a "you like it or you don't" kind of thing. But I think there are some legitimate gears of storytelling which involve showing by way of telling outright, as long as the reader has the patience to see it through to its conclusion problematic serially, as usual.

It's a gear in which bigger story chunks that normally are given strong magnification like a death are told more compactly and in succession. These bigger chunks, when stacked up, "show", or more appropriately "reveal" an even bigger idea which is at the true heart of that narrative stretch. It's not the event which the reader momentarily feels "should" expand to fill the stage, like a death. The death that with hindsight functions as a building block of a more complete idea which more effectively serves the story as a whole, completing unfinished arcs, building on the themes and such.

You can look at story pacing like rolling a Katamari ball, with respect to the granularity of what has focus. At the beginning of HS, I'm rolling it around and picking up nickels and buttons. That's when John messing around with cakes and such has focus as actual plot points. The ball keeps rolling until points like that are too marginal to zoom in on, and he's exploring a mysterious oily land killing monsters and stuff while we gloss over a lot of detail that in an earlier mode would have received intense scrutiny.

We are picking up things like traffic cones and bicycles with our katamari ball, while still sculpting a shape that as a whole resembles a story. Hivebent was rolled with even bigger denominations, maybe cars and trucks, gobbling up even bigger chunks like buildings by the end of the arc, as Aradia was offhandedly mentioning how they killed the king and created a universe. With hindsight we see why, understanding the overall purpose that arc had for the story, and how that particular pacing supported that purpose.

Unlike Katamari though, the ball does get smaller sometimes, to go back to accommodating certain levels of detail like conversations and game mechanics, but it never dials all the way back. Doc has rolled with some of the biggest chunks yet, like buildings or mountains, casually dropping the deaths of characters as atomic features of his narration. He clearly rolls the ball smaller at times too, when he wants.

But this construction too has purpose, which needs some patience to watch it take shape and then hindsight to fully appreciate. And like I've suggested before, these can be pretty disastrous conditions for the serial intake of a story. But honestly, there is no other way to do it. To strive to satisfy serial readers all the time is to do nothing but make something terrible in the long run. It means you can't do much to set up anything sophisticated with deferred payoff, as you perpetually submit what will immediately gratify. I can't tell people that reading serially is the "wrong" way to read it, because this is not true. But there's no escaping the fact that having pages leaked out so slowly radically warps your perception of what is happening, sometimes for the better community discussion, noticing details etc , but often aggravates arc fatigue, rushing to judgment Try to imagine watching your favorite movie, for the first time ever, but only a minute at a time, every day.

Sound frustrating? How often do you think you might get irritated with the director for his pacing decisions? Or his "plot twists", which are really just the products of scenes cut short before fully paying off? How often do you think you might want to insist he move it along? What about reading your favorite book, but only receiving about a paragraph or two every day? Is there anything he could do to outrun the impatience of the reader for plot points he's carefully set up to be evaluated in the minute-space of archival read-through, which the reader labors over in the month-space of serial digestion? Can he do anything to deflect or mitigate their rush to judgment of incomplete arcs?

Should he? Probably not. The pages spanning the two links above provide a pretty good example of how serial intake messes with perception, and of why authors tend to like to finish books before showing them to you. Now that it's all there, let's look at the reasonable serial reactions to some key moments, and compare to the reality in hindsight. Serial reaction: augh, anticlimax!!! All that build up, the stair climbing and show downing and coin flipping The resolution was actually the full sweep of this series of events in totality, resulting in Terezi looking into the doomed timeline to find the rationale and the courage to kill Vriska, which she finally did. All that buildup was not for that one-page deflation, but this full sequence.

Reservation of judgment was required, something that is much easier to practice when there are more pages to click on. I could go on but I just realized I'm tired of typing. But really, the list goes on and on like this throughout the whole story. You could complete this exercise yourself if you felt like it. Look at an event, remember how you felt on reading it live, and now how you view it in retrospect. Or, for extra credit, imagine you could wipe your memory of the past several months of content, and pretend I just posted it all today. What would your reaction be? How does it read? Do the issues which seemed to loom so large in the moment, like the omnipresent "get on with it" factor, even cross your mind for a second during such an archival dump?

And for extra extra credit, imagine wiping your memory of all of Homestuck, and I just dropped it all in your lap right now while you were idling musing what sort of thing I might work on after Problem Sleuth. What do you think? Of it in totality, and of recent events? What is there that wears thin, on its own terms of pacing, rather than that dictated by two years of attrition on one's ability to remain completely engaged and cognizant of all relevant threads? There is a lot to think about when you make a story. Not just in how to make it, but in how it is absorbed. One story is really two completely different stories. The one that is read all at once, and the one that is read over your shoulder while you make it. I am using the Formspring "Question of the Day" to field the issue that has come up about other people selling Homestuck stuff.

If you accept a commission to draw a Homestuck character without my permission, does that mean I will file a cease and desist order? Or if you sell an HS sketch at a convention, will I hunt you down, kick over your table, and then muss up your hair and stomp on your glasses? No, that would be silly. I just clarified what the official position is, which is that you shouldn't attempt to profit from my work, or anyone else's for that matter, unless you have permission. It's not that I'm suddenly outraged people are doing HS commissions and stuff. I've previously taken an ultra passive attitude to all this. But the result of that, as well as the result in HS's growing popularity, has been a surging culture of casual copyright violation, which though seemingly harmless case by case, in totality is starting to look problematic.

In particular, it seems to be leading to increasingly flagrant violations here and there, things which are more serious than a simple commission, and which I would be inclined to take measures to stop. It's easy to see how this trend develops. Someone notices wave after wave of HS artwork being sold by others, and presumes it's ok to take it a little further. And then further I think it's better to address this before it turns into a bigger problem. Honestly, the theoretical money I am losing is not what is motivating me here. When you do an HS commission, I can't really imagine how that translates to dollars leaving my pocket, other than projecting losses in the very big picture if stuff like that goes unchecked.

It's mainly a little unsettling to watch so many people at once act so casually about profiting off another's IP without asking, and even more unsettling to imagine it spiraling out of control. It may be the case that a sketch of a Pokemon sold to your friend is an unenforceable violation, and Nintendo will never get involved, but it is still technically a violation. Please understand the fact that it is unenforceable does not make it less of a violation.

You have profited from Nintendo's property, without permission. Which is not to say there are not degrees of violation beyond this which are more flagrant, but we should be clear about it. Knowing that, you might decide to do it anyway. Or you might decide to ask Nintendo permission. They would say no. I might not, though. Requiring you to ask permission isn't much of an imposition. But I hesitate to guarantee satisfaction even if you do, because for one thing, your email might slip through the cracks and I might not get back to you.

It's happened before. I've had requests like this, and some I've responded to favorably, while others I didn't get around to replying to. Which I feel bad about, as I generally feel bad I can't answer all my mail, but that's how it goes. All I can say is, if you're wondering, ask. I may say yes. I may say no. I may not respond. If I don't, then you may use your discretion, while understanding the position I have taken. If you cross a line, there's a good chance you'll hear from me eventually. I'd rather this not be about finding out exactly what I do or don't allow, and then just getting down to furiously attacking that wiggle room I give. I'd rather it be about respect for the property of artists. Everyone who this affects is an artist as well, presumably.

If you're an artist, you should care about this topic and evaluate your standards, because you are undoubtedly hoping others will respect your work and your rights as well. Imagine you are at a convention, selling Pokemon drawings or such. If you knew one of Nintendo's most aggressive lawyers was lurking nearby, would you still do it? Is it fear of being prosecuted that motivates you to stop? Or is it the fact that you do not own Pokemon, and though it belongs to a multi billion dollar company that won't feel the slightest hardship because of you, it doesn't seem right, because these aren't your creations? Or maybe it is less about respect to the original creator, and more about taking pride in selling what you have created yourself, or at the very least, that which you have been given the right to?

And if the idea of selling black market Pokemon stuff makes you feel uncomfortable, where the owner has millions of dollars applied to a legal staff interested in crushing IP violations no matter how well intended, then why would you feel better about selling stuff owned by a guy without a tiny fraction of those resources, who has heretofore shown not even the slightest interest in taking action against his enthusiastic fans? These are things for you to think about, and then act according to your internal compass on the matter.

I'm just letting you know my position, and will be reasonably content to let the fans govern themselves, unless certain lines are crossed. Then we will talk. Engineers in public service as members, advisors, or employees of a governmental or quasi-governmental body or department shall not participate in decisions with respect to services solicited or provided by them or their organizations in private or public engineering practice. Engineers shall not solicit or accept a contract from a governmental body on which a principal or officer of their organization serves as a member. Engineers shall avoid deceptive acts. Engineers shall not falsify their qualifications or permit misrepresentation of their or their associates' qualifications.

They shall not misrepresent or exaggerate their responsibility in or for the subject matter of prior assignments. Brochures or other presentations incident to the solicitation of employment shall not misrepresent pertinent facts concerning employers, employees, associates, joint venturers, or past accomplishments. Engineers shall not offer, give, solicit, or receive, either directly or indirectly, any contribution to influence the award of a contract by public authority, or which may be reasonably construed by the public as having the effect or intent of influencing the awarding of a contract. They shall not offer any gift or other valuable consideration in order to secure work.

They shall not pay a commission, percentage, or brokerage fee in order to secure work, except to a bona fide employee or bona fide established commercial or marketing agencies retained by them. Professional Obligations Engineers shall be guided in all their relations by the highest standards of honesty and integrity. Engineers shall acknowledge their errors and shall not distort or alter the facts. Engineers shall advise their clients or employers when they believe a project will not be successful. Engineers shall not accept outside employment to the detriment of their regular work or interest. Before accepting any outside engineering employment, they will notify their employers.

Engineers shall not attempt to attract an engineer from another employer by false or misleading pretenses. Engineers shall not promote their own interest at the expense of the dignity and integrity of the profession. Engineers shall treat all persons with dignity, respect, fairness and without discrimination. Engineers shall at all times strive to serve the public interest. Engineers are encouraged to participate in civic affairs; career guidance for youths; and work for the advancement of the safety, health, and well-being of their community. If the client or employer insists on such unprofessional conduct, they shall notify the proper authorities and withdraw from further service on the project.

Engineers are encouraged to extend public knowledge and appreciation of engineering and its achievements. Engineers are encouraged to adhere to the principles of sustainable development 1 in order to protect the environment for future generations. Engineers shall continue their professional development throughout their careers and should keep current in their specialty fields by engaging in professional practice, participating in continuing education courses, reading in the technical literature, and attending professional meetings and seminars.

Engineers shall avoid all conduct or practice that deceives the public. Engineers shall avoid the use of statements containing a material misrepresentation of fact or omitting a material fact. Consistent with the foregoing, engineers may advertise for recruitment of personnel. Consistent with the foregoing, engineers may prepare articles for the lay or technical press, but such articles shall not imply credit to the author for work performed by others. Engineers shall not disclose, without consent, confidential information concerning the business affairs or technical processes of any present or former client or employer, or public body on which they serve.

Engineers shall not, without the consent of all interested parties, promote or arrange for new employment or practice in connection with a specific project for which the engineer has gained particular and specialized knowledge. Engineers shall not, without the consent of all interested parties, participate in or represent an adversary interest in connection with a specific project or proceeding in which the engineer has gained particular specialized knowledge on behalf of a former client or employer. Engineers shall not be influenced in their professional duties by conflicting interests. Engineers shall not accept financial or other considerations, including free engineering designs, from material or equipment suppliers for specifying their product.

Engineers shall not accept commissions or allowances, directly or indirectly, from contractors or other parties dealing with clients or employers of the engineer in connection with work for which the engineer is responsible. Engineers shall not attempt to obtain employment or advancement or professional engagements by untruthfully criticizing other engineers, or by other improper or questionable methods.

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