What's good, it's Fevir. Today we're talking again about Bless Online - and going over some of the new information, confirmed stuff that we learned during the Bless Online press event.. that's of note, there was a lot of non-news given.. as well as some thoughts on the whole thing.
So out the gate with the pertinent stuff. Wednesday the 30th of May is the soft launch- no wipes .. price for the game is $30. Before then.. you can buy one of their founder's packs.. 3 tiers - 40, 70 and 200 dollars.. for some assorted extras.. some premium currency, cosmetics and the like. $200 seemed to shock a lot of people.. and while I do think it's ridiculous.. it's also not abnormal for the genre https://drainingsouls.net/. On top of this.. all founder's packs get a 2 day head start.. being able to play on Monday, the 28th... AND... they tease off their premium subscription as each pack gives a different amount of subscribed months to it. This is what you'd call a soft subscription - it's planned for about $15 a month.. and you call it soft because you shouldn't need to pay it to play the game .. although that rarely ends up feeling like the case. When questioned about exactly what is included in this.. they mentioned some sort of rotating monthly cosmetic or pet.. as well as convenience.. like boosts... you know, definitely not pay to win, convenience. In fact.. That was kind of the story of the whole event in regards to monetization.. repeated time after time after time after time.. was.. definitely not pay to win.. then when pressed by any of the people there on what exactly is in the subscription or what will be in the cash shop.. which for important reasons.. wasn't there.. the questions were dodged or answered in a way which was just a rewording of.. just convenience. And instead of probing deeper.. you had the emissaries turn to chat and say, see that guys, no pay to win. We're golden... I don't remember the streamer but at one point I remember seeing something that basically went like.. look guys, about the game being pay to win.. I had drinks with some of them last night.. and they seemed cool.. passionate people.. so, I think we're good. I remember another saying.. ok so they said boosts.. but maybe there is a language barrier and they didn't mean boost... like.. It was just so.. to shift from monetization to impression of the event.. so amateurish. Without an official live feed or I couldn't even find an official press release .. Being fed information through people who were trying to build up their personas and being swept up in the excitement and basically vlogging and not making use of this direct time was.. frustrating I'd say. The actual presentation from Neowiz, the set up of the playtesting and game clients beforehand.. even referencing some of the last few months.. with weird timing of posts, black out periods, official social media channels going down, information leaks on official channels, not using official channels, the selection process of the emissaries and drama surrounding that.. I see a lot of people disappointed.. and to me it's interesting because.. while I might just be making a wild speculation.. this is the kind of stuff that happens when you don't use a publisher.. whose job and expertise is in doing this stuff.. if the handling of all of this looks like the first time someone in your office had to run a meeting or give a presentation.. it's because.. that may very well be the case here. It's the other side of the coin.. pros and cons of not using a publisher.. That said.. especially after speaking with some of the people who got their hands on it. For me.. I'm more interested than I was. Performance seemed much better and that was confirmed from a couple people first hand, that I trust, and has always been my main concern.. and I'm only looking for the game to be fun for a month.. now they were using pretty high end hardware.. they had 1080 gpus.. so who knows how that plays out with lesser stuff as the minimum requirement they do show are a bit steep.. but even on these streams I'm seeing less lag and hitching than I have, with a 1080 on the other versions I've played and they said they made progress by altering some interface stuff, which in a lot of cases is a culprit, and while we don't see a new interface they did let on they are working on a new interface... although watching areas of the game I've been in.. it looks like they removed stuff and NPCs to maybe make the game run smoother not to mention less people are online and in those areas.. I don't know but it's not like I'd imagine a short duration press event to be 100% representative of the general experience. We got a better and more exhaustive look at combat - it's what it looks like and what we all gathered from watching the gameplay previews earlier this month.. but we got a bunch of things confirmed.
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So I did a series of improvisational projects that were based on "seven African powers." And these are all monoprints. There are a combination of monoprint and wood cut, where I would do a monoprint and then look at the monoprint and decide from the monoprint what kind of woodblock needed to be cut to go along with it and print those both those things just one time. So there's a series of those. This would be the one that's SU. And this one's actually in the show, the Mastry show that's traveling.
So anyway, you're starting to get the picture. So by the time I started art school in 1977-- so I graduated from high school in 1973. And I was born in 1955. I think Jessica said that. But if you think about what was possible-- so what was available to artists to do in 1955, which was the year I was born, 1955 was a good 41 years after Duchamp had used the ready made object as the emblem of an artwork, when the idea that an artwork wasn't something that had to be made by an artist. It was simply something that could be selected by an artist navigate to this website. That was 41 years before I was born. They had already exhausted almost all of the strategies that were developed out of cubism, surrealism, futurism. All of that stuff had already been exhausted before I was born. Abstract expressionism was almost kind of on its last legs by 1955 when I was born as well. And so all of the options that artists could deploy were already codified and were already on the table. So it wasn't a question of people inventing new things, because if you look at what's happening in the art world from the 1950s on up to now, we're not really talking about the invention of new things, we just simply talking about the way in which things that are already available to us are now deployed for purposes that they hadn't been used for or utilized for up until a particular time. And so when all of-- as somebody had written, you know, writers like Foucault, Benjamin Buchloh, I mean when they write about the way in which all of the options are kind of already on the table and that at the moment in which people arrive at conceptual art, we're engaged in what they call endgame strategies, where you're doing a sort of shifting a little bit here and a little bit there, but you're essentially doing things that have already been codified and defined. I mean, at that moment, then the question becomes how do you choose from the available options you have to do things that those options hadn't been used for up until that time and then to solve some problems or answer some questions about representation that hadn't been asked before? So that's what the question actually becomes at that point. And for me, so the notion of the artist that's the kind of singular expressive individual who is invested in a kind of internal dialogue with himself of which the manifestation is a kind of artwork, that kind of question and that kind of argument that seems sort of out of play. And that at that point, when you know so much about the kinds of things that can be done, you can't make the claim that you don't have a clue when if you are making a work and you end up-- you go through a process and you end up with this thing in front of you that you can't somehow define, that just doesn't work for me, because I don't think you can make that kind of claim any more that you have engaged in a kind of mediumistic practice wherein you go into a kind of a trance, you do some things and when you wake up, there's this thing in front of you and then you subsequently can't define it with language. This doesn't appeal to me. And the history of what I do sort of suggests that. You can find a lot of motivations, a lot of reasons for and a lot of things that will help you to generate a new artwork. So these collages actually happened to be based on the refrain in a poem by Aime Cesaire, called "The Notebook of a Return to My Native Land." They don't look like it. And then I don't know exactly what the time frame is when we're going to start the Q&A session. Somebody is going to have to give me a cue, because if you don't stop me, I'll keep going. But these are some very early works.
And they simply have to do with the way in which you understand the different functions of different modes of representation or image making or object making or painting making. And I had made it my mission from early on that the only way I was going to be able to get where I wanted to go was to know everything that everybody else who seemed to be interested in art knew. So that in a single individual that I would be capable of having a conversation with anybody, no matter where they started, no matter what they were interested in, no matter what they thought was important, that I would have I would be able to be there and I would be able to have something to say about that too. And so I made sure I could do anything that could be done or anything that had been done within the parameters of what we call this idea of art making. And that meant that when I started school in 1977 at Otis and conceptual art was the dominant mode of operating for artists at the time, I understood what that was about too. But there was still something else that needed to be done, there was some unfinished business that needed to be addressed. And that if I was going to solve the problem that I felt existed within the whole historical construction of art history, that the only way I was going to be able to solve that problem was to resolve that first issue first. And that first issue was a kind of invisibility around the representation of blacks objects in painting. And that once I was able to resolve that, then as long as I knew and understood all of the other modalities then I was free to move on to those other things when I needed to and at will. That because I was doing figurative work I wasn't trapped in figuration. Or if I was doing abstraction, I wasn't trapped in abstraction because I couldn't do figuration effectively. That every one of the things that I did had was done because I took what you could call an instrumental approach to what it meant to be making art, that I made art based on its use value within the historical narrative of art making and the function that it could perform in helping to resolve a certain series of inadequacies. And so where minimalism as a kind of device could be used effectively for a particular idea, I adopted that strategy because it seemed to be the best way to communicate that particular idea. So this is a painting called "Two Invisible Men Naked." [LAUGHTER] So and the way in which that those ideas of invisibility are figured have to do with the way HG Wells wrote the novel The Invisible Man and the way Ralph Ellison writes the novel Invisible Man. And the distinction between those two concepts of invisibility matter. And they have something to do with the structure of the picture that I'm going to make. One is an optical invisibility. The other is psychological invisibility. So it's that way of thinking through the work I'm doing, that's how you do work without being lucky because the work is directed and it's self-conscious and it's instrumental in trying to resolve a problem which is all the idea of making art is organized around in the first place. How do you solve a problem about visibility and about representation? And these are just some examples of other things. So there are always phases in which you do a lot of experimentation. And the only way you can understand how some of these things operate is to do them so that you understand how they work from the inside out, as opposed to from the surface and its appearance And so the way that I do it-- that's just another book, sorry, a part of that thing. And we'll come back to this DARPA thing. Maybe I won't come back. Let's do this now. So how many people in here know what DARPA is? What it stands for?
The Defense Advanced Research Projects Administration. It's an arm of the military industrial complex. And the motto, the principles under which DARPA was organized, their motto is to prevent technological surprise-- to prevent technological surprise-- which means that you set up a structure in which you try to guarantee that no other entity, no other person, no other country is able to develop technological advances that you are not aware of and that you don't have a counter response to. Because being on the short end of that kind of an exchange, the consequences are unacceptable and almost unbearable. And in the same way for me, when I was looking at the way the art history books were written, being on the short end of the art historical exchange was also unacceptable and something that I couldn't leave to just dumb luck or to just chance. There had to be a way in which you could guarantee that you would never be on the outside of this exchange, but it had to be something that you controlled as opposed to something that other people imposed on you. And so I made a decision to take charge of the way I would participate and the way I would operate in whatever arena I was going to be a part of, that there was not going to be areas within the art world or within the art history that I wouldn't be aware of and that I wouldn't have something to say about. So this is the way I started out. So and this is the way you sort of erase the consequences of not knowing or not having abilities and leaving oneself vulnerable to simply being lucky. And so the question ends up, then how do you negotiate the meaning the between the difference between the image on my right, your left, and the image on the right? Those two things made by the same person but at different times. Could those two things have been made for the same reason and to perform the same function? Well, the appearance of them suggests that it could not be. But the difference between those two things, in their differences automatically demonstrate that the person who made those things had choices, and that the choices they made must have some reason and that those reasons have some kind of consequence. And so operating between these two spaces is the space in which the value that we assign to art sort of finds its full measure. And the same is the case with two woodcuts. One on the left, on your left, done before the one on the right. And a person who is making the work that's been done on the left, why would you then make a work that looks like the one that's on the right? What is the purpose of that difference? And it's negotiating the reasons for those differences that have driven almost everything that I do. And when we look through the rest of the works that I show, these kinds of differences become a key part of the reason why all of the things that I do look the way they do. And they have something to do with whether or not I feel like the choices that I'm making are the ones that put me in a place where I can participate more fully in the construction of the narrative of art history or whether I am at the mercy of somebody else's generosity. So the first two pieces and this painting are all sort of-- this is a self-portrait. So there are three self-portraits you've seen in this array of pictures that have come before. Each one of them different than the other. And each one designed because they explored a very different kind of idea in a very different way in which the idea representation can be modulated. So now when I'm going to sort of go through the speed round, because I think I have about 40 minutes to talk. And he has a 35, yeah, 34 point take profit. So, finally something balanced here. Pound dollar. He has here a 20 point stop loss, and he has 72 pip take profit, and another balanced one here, with relatively balanced here.
Just a little over positive here. So, a bunch of trades with no stop losses. In fact, he had 1, 2, 3, 4, 5, 6, 7 trades with no stop losses. Two of 'em were inverted, one of 'em was balanced, and only three had actually balanced risk to reward ratios Casinoslots South Africa. Here's the third set of trades. These are actually part of his last crude oil trades that were balanced. And then here we are again. He has about a 50 pip, or a 45 pip stop loss, and he ends up adjusting his target into the negatives so he can get out early. Euro-US dollar, he has about a hundred point stop loss, and he has a relatively break-even or slightly negative take profit. So he adjusted that to get out early. This one is balanced. This one, he has a, what is that? 300 and, it's 280 plus, 340 pip stop loss. And he ended up moving his target into the negatives just to get out of the trade. Aussie-Kiwi, he has a 240 pip stop loss, and he has 140 pip target here. So a 2X stop loss in relationship to his target. Same thing here. Relatively same thing here. I grouped these all as one trade. Another Aussie-Kiwi trade. I had anger about this 'cause it was five days later. And it's also a higher price. And he has a 279 pip stop loss, and 100 pip target. So, his stop loss is 2.7 times larger than his take profit. Here he has about a 385 pip stop loss, and he ended up moving his take profit into the negative just so he could get out of the trade. Three group trades on NASDAQ. Here he has a hundred pip, a hundred point stop loss. And he has a 25 point target. So, a 4X, the stop loss is four times greater than his target. Pound-dollar. He has 580 point stop loss, and he has a 120 point target. I just, I don't even know what to say about this. Stop loss is five times greater than his target. And here he has no stop loss, and he has only a take profit. So, not one trade on this page here has a positive risk to reward ratio. He only has one neutral, and he has 1, 2, 3, 4, 5, 6, 7, 8, 9 inverted, and one with no stop loss. So, you do the math on that. Okay, and this is the last page. This dollar-yen is part of the prior page. He has a euro-pound trade, 150 pip stop loss, 48 pip target. His stop loss is three times larger than his take profit. This one is even. This one is, he has a 125 pip stop loss, and he has a 75 pip take profit. So, his stop loss is 2X. DAX trade here, grouped, he has a 300 point stop loss, and he only has a 70 point target. So his stop loss is four times greater than his take profit. Completely inverted. NIKAY trade. No stop loss or take profit. And then finally has a trade with a favourable risk to reward ratio. Now what that ends up coming out to is, while there are a total of 50 individual trades, when you start to group it all together, the real number of total trades was 35. And he had 19 total traded instruments. Now, out of 35 trades, the total number of inverted risk to reward ratio trades: 18. So in other words, one out of every two trades of his has completely inverted risk to reward ratios. I want you to think about that for a second. 51% of Nial Fuller's trades had upside down risk to reward ratios. Out of 35 trades, the total number of trades with no stop loss, no take profit, or both: 10. So in other words, 29% of Nial Fuller's trades had no stop loss, no take profit, or both. One in three chance. And then when we look at it a little bit further, total number of trades with even R to R ratios: five. So only 14% of his trades had an even R to R ratio, meaning that the stop loss was the exact same as the take profit. Total number of trades with favourable risk to reward ratios, mean that the take profit was greater than the stop loss: three. So only nine percent of his trades had a favourable risk to reward ratio. Now we're gonna get into some other stats shortly, but those numbers alone should be horrifying to you. That means he trades nothing like he says in his articles there. In fact, when you start to go over some of these trades, what you start to realise is, you know, look at some of these trades, you know, he enters at 9:48, and he's out six hours later, eight hours later. He was in a 4:25, and this one he actually held for a few days. But look at this one here. He's in a 10:23, he's out an hour and 30 minutes later. He's in at 14:57, he's out roughly a day later. He's in a 10:23, he's out roughly a day later. So, you're talking someone who is constantly managing their trades, not holding them to their stop loss or take profit, not letting them breathe. This isn't someone who's being disciplinary, sticking to their trading plan. This is someone who's frantically getting out of trades, with completely inverted risk to reward ratios. Someone who has no respect for risk management here. This is not a professional trader here. And there's something ironic about, because his most recent article was: Let the market take you out of your trade. In fact, it even says as a bold headliner: Why you should almost never manually close your trades. And then he talks about, and he goes into a nice little recap here, and he says, look, you know, here are the main take-aways from this: Good trades often take time to play out, often longer than you usually want. Okay, if that's the case, then how come you closed the majority of your trades early? When you were heading off to college did you ever ponder what the hell am I truly learning here?!
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