Every now and then, Cafepress makes a fundamental change in its terms of service for shopkeepers, and almost without exception there’s a huge backlash by shopkeepers who believe that this new change is going to have a severe impact on their income. Often, they’re right. Even when they’re wrong it’s annoying that a party with which you do business can redefine the terms of your agreement with them at any time, while you can’t – ever – do the same thing. Or anything like it.

In fact (especially over the past two years) Cafepress has been nickel and diming away at its shopkeeper/designers in what’s probably been meant as an effort to maximize profits. Often, by the looks of it, this to make the company’s balance sheets continue to escalate quarter by quarter in a way that will be sweet music to to the ears of investors in the event of a probable IPO. Anyone who’s chased that particular dragon knows that once you start it becomes more and more difficult to pull off the same scale of growth in each quarter. It only gets harder if you do go public.

From the shopkeepers’ perspective, though, it looks as though the company is finding every way it can to monetize not the customers who buy all this merchandise, but the shopkeepers who create it. That impression was reinforced a few months ago when very large Cafepress stores (those with more than 500 sections) were abolished, though existing shops were grandfathered in. Shopkeepers who wanted to bloat their ventures with more merchandise than that were going to have to establish additional premium shops, for additional monthly fees.

This month’s brouhaha is all about the Cafepress volume bonus, a plan through which those shops with a high sales volume are rewarded by incremental bonuses: the more you sell, the larger your bonus. The volume sales bonus has often been named by CP shopkeepers as the reason they would stay with Cafepress rather than moving to a competitor.

Back in 2002, when I started my first Cafepress shop, it was understood that this bonus was a reward for the promotion a shopkeeper did to increase sales at his or her shop. And as little as I think of the company’s maneuvers over the past couple of years I think that the new program is better suited to that end. Not that I don’t think it’s seriously flawed – but the flaws I see are of another kind entirely.

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My recent banner ads have worked absolute wonders for me – especially the ones for the Retropolis Transit Authority, my retro-futuristic T-Shirt site.

On a good day, or in a good week, I can watch the traffic there snowball into a regular avalanche as those folks who’ve found me through the banners post about it in forums, at their blogs, and so on. Some of those sites are very popular – or a popular blogger may find one of those first generation posts, and it can build from there. Well. Sometimes. It’s not like that’s every day, or every week. But here are some highlights:

io9 Blog | Boing Boing Gadgets | AMCTV’s Sci Fi Scanner | Schlock Mercenary | Pharyngula | Livejournal’s Anachrotech Group | Steampunk Librarian

One thing that’s surprised me about some of my recent linkage, though, is the number of people who’ve described my work as Steampunk. Because although I’m not one to snap on my brass goggles and to holster my Aetheric Odds Equalizer before I go out, I’m pretty well aware that Steampunk is all about the retro future of the Victorian and Edwardian eras, which means it’s not really what I do. Mind you, I like the style well enough, and I have a couple of things in the Idea Closet that would certainly be steamy, but they’re digressions, for me. My Future That Never Was is really all about the 1920s and 1930s and our ideas, back then, of what Tomorrow might bring.

The inestimable Molly Porkshanks has brought another word to my attention – dieselpunk.
Now that, with its allusion to early twentieth century technology, sounds nearer the mark; but even there it’s much more evocative of Sky Captain and the World of Tomorrow than it is of what I’m up to. My rockets and robots aren’t diesel powered and my retro future isn’t, either.

And, frankly, although I was all over the genre of “Cyberpunk” as soon as Neuromancer hit the shelves, the subsequent *punks have sort of made my eyes glaze over. There’s clockpunk, for example, and biopunk, dieselpunk, and even – I guess predictably – postcyberpunk.

There’s not a lot of punk in any of them, of course. The “punk” suffix has lost its meaning. At one game company where I worked, the owners’ pet project was a supposedly cyberpunk game in which they’d forgotten to put the punk in. It wasn’t anything more than a sort of direct-to-video science fiction idea. The word had lost its meaning.

So the names, styles, and labels aren’t really my own cup of tea. I’m always pleased when people like what I do and with a name like mine, you’ll understand that I long ago decided not to bother very much about names and their derivatives. So if people who like steampunk or dieselpunk also like what I do, I’m thrilled; and even if they attach a favorite label – rightly or wrongly – to it, I don’t suppose I mind very much, even if I’m not quite sure why they do it, and even though I suspect that they’re watering down their own terminology when they do it. So what the heck; I’m even using dieselpunk, at least, in tags on my web sites.

Now on the other hand, I’ve recently been reading Patrick O’Brian’s excellent seafaring novels about the Napoleonic period and I have this idea that something along those lines with sky pirates and fleets of airships would just be the bee’s knees. So, somebody, go write them!
Odds are they’ll be something like Steampunk, or maybe Sailpunk. And I’ll certainly read them, even though what I’m up to is something else.

Technorati Tags: steampunk, dieselpunk, retropolis transit authority, retro future, retrofuturistic, sci fi, science fiction

Comic Book Resources reports what could be wonderful news, or terrible news, depending on how it works out. The John F. Dille Trust has reached an agreement with Dynamite Entertainment to revive the Buck Rogers comics as a comic book series with many merchandising tie-ins. No writers or artists are yet attached to the project except that covers will be provided by the very able hands of Alex Ross and John Cassaday.

When I looked into Buck about ten years ago I thought that Disney had sewn up most of the rights; I have to assume that what I was looking at were film and television rights, though, or that those agreements have since expired.

Buck Rogers was a first in many ways. His adventures began as a work of short fiction and then transmogrified into a successful comic strip that ran for almost four decades. Written by Phil Nowlan and originally drawn by Dick Calkins, the series was ghosted (at least on the art side) many times over its reign. On the left we see one of Frank Frazetta’s contributions from Famous Funnies in the 1950’s.

Buck paved the way for science fiction heroes in both comics and radio . He didn’t have the same success in movie serials as did the me-too character Flash Gordon, but for my money the Buck Serials were a good deal more fun. But backpedal to the early days of the comic strip for a moment, because one of the most astonishing things about Buck’s popularity in those days of the late twenties and the early thirties was that he invented merchandising.

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You can’t make that argument. It’s impossible to prove a negative.

Pause.

Um…. can you prove that?

I’ve just run across this amazing presentation on YouTube – and as I dug a bit deeper, I found that one of the most amazing things about it is that it originated in 1999, to accompany a SIGGRAPH paper by Volker Blanz and Thomas Vetter. It’s not that 1999 is actually ancient history – it’s just that the technology behind this is so very interesting that I don’t understand why it hasn’t already worked its way down to commercial applications (unless it has – but more on that below).

This demo shows how a 3D database of 200 textured male and female faces was used as the foundation for a human face modeling system, and much more – among other things you’ll see how the software uses its raw data to extrapolate a 3D face from a single photograph. It even invented matching textures, whether the photo was in color or in black and white. The same techniques were used to generate expressions for the faces.

In the rest of this post I’m going to muse about what all this could mean. So in the interest of full disclosure I must admit to you that in my last post I mentioned that I was skinning a set of 3D characters, and that skinning characters – without fail – drives me insane. It doesn’t take much of a leap here for you to realize that you are probably reading the thoughts of a crazy person. So make of this what you like.

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