In this episode, Xero reflects on a quote often attributed to Rick Warren: “If you live for the approval of others, you’ll die by their rejection.” He explores how this idea applies not only to everyday life but especially to the challenges of being a creative person.

He argues that modern culture publicly criticizes the desire for approval while simultaneously encouraging it through social media, where likes, shares, and algorithms reward external validation. Although creators often chase engagement for practical reasons, he believes the underlying danger of tying your self-worth to other people’s reactions still remains.

The discussion shifts toward art and ministry. Drawing from a recent Bible study, he reflects on the idea that God doesn’t need our creative work; instead, creativity should naturally flow from a relationship with Him. He recalls that his favorite music came from songs written as prayers and worship rather than attempts to impress people.

From there, he challenges what he sees as a growing sense of entitlement among creators. Whether it’s appeals to support someone because they’re Black, Christian, or part of another identity group, he argues that audiences are never obligated to buy or support work simply because of shared demographics or beliefs. Creators earn audiences; they don’t own them.

A significant portion of the episode examines his own experiences making comics. He describes years of investing money into commissioned artwork that received little attention, leading him to adopt AI tools as a more affordable and practical alternative. He discusses the realities of commissioning artists—high costs, inconsistent quality, long waits, and communication frustrations—while acknowledging that AI also comes with trade-offs and isn’t a perfect solution.

He concludes that artists shouldn’t make every decision based on gaining universal approval. Instead, they should accept that every creative path involves compromises, create work they personally believe in, and stop seeking permission from communities that may never accept them. The episode ends with encouragement to choose an audience intentionally, avoid entitlement, and continue creating without letting rejection determine one’s identity.

Timestamps

* 00:00 – Rick Warren quote and introduction to the theme of approval vs. rejection

* 00:01 – Social media, algorithms, and the pursuit of validation

* 00:05 – Creativity as an outgrowth of a relationship with God

* 00:06 – Why worship-inspired music became his strongest work

* 00:06:40 – Creator entitlement and why audiences don’t owe anyone support

* 00:09:20 – Artists don’t choose their audience—the audience chooses them

* 00:11:00 – Personal experiences with indie comics and feeling ignored

* 00:12:00 – Why AI became a practical tool for comic creation

* 00:14:20 – Problems hiring artists: portfolios, pricing, and communication

* 00:17:00 – Feeling rejected by parts of the art community

* 00:18:40 – Making art for personal fulfillment instead of external approval

* 00:19:30 – Every creative workflow involves trade-offs

* 00:20:20 – Finding the right audience instead of pleasing everyone

* 00:21:30 – Criticism over AI and refusing to seek permission

* 00:23:15 – Closing thoughts and teaser for future projects

In this episode, XERO reflects on a recurring pattern he’s begun noticing in everyday conversations with coworkers, customers, and the general public. What starts as a discussion about needing a notebook to capture ideas evolves into a deeper exploration of what he calls “jokes that aren’t really jokes”—comments people make that reveal unhealthy beliefs about life, family, work, and relationships.

Using several real-life interactions, he argues that many people normalize brokenness by laughing about it instead of confronting it. He describes conversations with parents who excuse laziness in their children, people who insist strained family relationships are inevitable, and married individuals who jokingly discourage young women from getting married. In each case, he sees the humor as masking genuine despair rather than offering comedy.

XERO explains why he pushes back against these assumptions instead of simply agreeing. He argues that hard work, competence, healthy family relationships, and marriage should be viewed as worthwhile goals rather than unrealistic ideals. From his perspective, these cultural attitudes reinforce failure instead of encouraging people to pursue better lives.

The episode concludes with a new direction for the podcast. Rather than only commenting on politics or current events, he wants to study these everyday patterns of thinking through a biblical lens. He plans to collect examples, organize them in a notebook, and examine the psychological, logical, and spiritual roots behind them while offering practical wisdom from Proverbs and Scripture as an alternative.

Timestamps

* 00:00 – Introduction and why a physical notebook may be better than using a phone for ideas.

* 02:00 – The concept of “jokes that aren’t really jokes” and what they reveal about people’s worldview.

* 03:26 – Example: Parenting, teaching children hard work, and the importance of competence.

* 06:19 – Example: Challenging the idea that teenagers naturally stop talking to their parents.

* 07:09 – Example: Jokes about avoiding marriage and what they communicate beneath the humor.

* 08:40 – Why misery becomes self-reinforcing and why these attitudes concern him.

* 10:18 – Looking to Proverbs and biblical wisdom for practical solutions.

* 11:35 – A new vision for the podcast: analyzing unhealthy cultural assumptions through Scripture.

* 14:18 – Closing thoughts, invitation for listener feedback, and sign-off (”Stay holy”).

In this episode of The Xeroforhire Podcast, XERO gives an update on the development of the Apocalyptiverse website and explains how it is evolving from a simple author page into a complete publishing ecosystem. He introduces a new browser-based e-reader that allows readers to borrow digital books using an on-site token system, discusses his plans to expand the platform with comic book support, games, trading cards, and community features, and shares why he’s shifting away from relying solely on Amazon for book sales. The episode is a behind-the-scenes look at building an independent platform designed to help readers discover, enjoy, and support his creative work directly.

Timestamps:

00:00 – Website development update and overview of Zeroforhire.com vs. Apocalyptiverse.com

01:17 – Launching the new browser-based e-reader

01:39 – How the wallet and token system works

02:08 – Borrowing books with tokens like a digital library

02:30 – Building an interconnected publishing ecosystem

03:11 – Plans to add a comic book reader and release The Last Day Part Two

03:40 – Why moving away from Amazon as the primary storefront

04:23 – Selling physical books directly through the website

04:48 – Creating a better reader experience and breaking the traditional publishing mold

05:17 – Community features, messaging, and building an independent platform

06:13 – Closing update and what’s coming next

Episode Summary – The Xeroforhire Podcast

In this episode, XERO discusses the reported poor box office performance of the upcoming Supergirl film, making it clear that he is not reviewing the movie itself because he has not seen it. Instead, he examines why he believes audiences rejected it, focusing on marketing decisions, pre-release publicity, and broader trends in modern superhero films.

He argues that lead actress Millie Alcock’s promotional comments distracted from the film and became part of the story surrounding its release. While acknowledging that some of her remarks were misunderstood, he believes the controversy hurt audience interest. He also criticizes media outlets for dismissing negative reactions as “toxic fandom” rather than considering that audiences may have simply disliked the marketing or the film itself.

The discussion expands into a critique of recent superhero movies in general. XERO explains that he was already turned off by Supergirl’s portrayal in the recent Superman film, saying the character failed to inspire him. He contrasts this with female heroes he considers strong and admirable, arguing that audiences respond better to competent, aspirational characters than to protagonists defined by trauma or self-destructive behavior.

He then turns to other recent comic-book films, including Thunderbolts, expressing disappointment that major studios have, in his view, mishandled beloved characters and stories. This frustration, he says, motivated him to build his own superhero universe rather than rely on Hollywood to tell the kinds of stories he wants to see.

The final portion of the episode focuses on the growth of the Apocalyptiverse project. XERO shares updates on his expanding website, including an interactive terminal system inspired by his fiction, multiple mini-games, comics, stories, and future video projects. He notes that he has been less active on social media because he has been busy creating and is happier focusing on building his own universe. He closes by celebrating his website surpassing 10,000 views and invites listeners to join the world of Rivers through the Apocalyptiverse website.

Timestamps

* 00:00 – Introduction and why he isn’t reviewing Supergirl

* 01:25 – Learning about the film’s reported poor performance

* 02:40 – Why he believes the movie underperformed

* 04:07 – Millie Alcock, promotion, and “toxic fandom”

* 06:16 – Why he chose not to watch the film

* 08:42 – Comparison to other recent superhero movies

* 09:46 – Why he began creating his own superhero universe

* 10:55 – Updates on the Apocalyptiverse website and interactive features

* 12:09 – Upcoming comics, games, and video projects

* 12:39 – Why he’s spending less time on social media

* 12:59 – Celebrating 10,000 website views and closing remarks

In this episode of the Xeroforhire Podcast, I revisit a question I thought I had already answered: Is AI finally capable of making comic books? A few months ago my answer would have been no. Today, after experimenting with the latest generation of AI tools, my answer has changed.

I walk through my journey from early frustrations with AI image generators to discovering workflows that produce remarkably consistent comic pages. Along the way I discuss the strengths and weaknesses of tools like ChatGPT, Midjourney, and Perchance, why storyboards and character reference sheets are becoming essential, and how AI is shifting from a novelty into a legitimate production tool.

I also explain why I don’t believe AI replaces great artists. Instead, I argue that the future belongs to creators who combine AI with skilled human artists to build faster, more consistent, and higher-quality comics. This episode explores where I believe the comic industry is headed, how my own creative process has changed, and why I’m more excited than ever about the future of independent storytelling.

Example Proto-Comic

Timestamps:

* 00:00 – Is AI finally ready to make comics?

* 00:57 – My experience with Midjourney and early AI image generation

* 03:06 – ChatGPT’s evolution and improving image quality

* 10:16 – Guardrails, creative limitations, and changing AI policies

* 13:34 – Why Perchance became one of my favorite AI tools

* 19:15 – Storyboards, character sheets, and professional workflows

* 23:01 – Testing AI-generated comic pages from my own scripts

* 25:04 – Can AI replace comic artists?

* 26:54 – Why serious art requires serious craftsmanship

* 31:08 – A hybrid future: AI working alongside talented artists

* 35:10 – The future of indie comics and creative studios

BONUS MATERIAL

The 95-5 rule for AI comics

This episode uses a spice rack as a simple metaphor to explain the difference between reality and political idealism.

The speaker describes a country where each spice rack shelf represents a region and each spice represents a political office or leader. In the current arrangement, every region has an equal number of representatives, creating a balanced system. The speaker then explores how ideological movements often imagine a "better" arrangement and spend considerable effort arguing for it.

Using the example of adding a sixth spice to each shelf, the speaker points out that achieving an idealized vision would require moving people, removing others from positions of power, disrupting communities, and reshaping existing relationships. Even if the end goal appears more balanced on paper, the process carries real-world costs because every political change affects actual people and their lives.

The central argument is that many political ideologies focus on forcing reality to conform to a theoretical ideal, while the speaker believes it is better to understand and work within the realities that already exist. The episode concludes by defining idealism as the attempt to reshape reality around a vision of how things should be, rather than adapting to how things are.

In this episode of the Xeroforhire Podcast, I revisit an earlier article series on the TradCon movement and reflect on what still holds up in it. Rather than treating it as a fixed political critique, I look at it again through a broader lens: how people construct ideological frameworks around visions of how society ought to function, and how those frameworks show up differently in belief versus behavior.

From there, the episode shifts into a deeper through-line: the role of idealism inside ideology itself. I explore the idea that some ideological systems are built primarily around aspirational models of society—systems that are powerful in imagination, but often unstable when disconnected from grounding structures. In this sense, ideological change is less about switching “sides” and more about moving between different expressions of the same ideal-driven mode of thinking.

I also examine how certain people appear to be anchored not purely by ideology itself, but by external stabilizers—relationships, communities, or influential figures. When those anchors shift or disappear, the underlying idealism doesn’t vanish; it often reorganizes around a new framework that better fits the person’s evolving sense of what society should be.

This episode is not a conclusion, but an ongoing attempt to map a pattern: how idealism operates inside ideology, and why some belief systems seem to shift more fluidly than others even when individuals feel internally consistent.

Finally, I provide an update on the rewrite of Shadow of the Night. The revision restructures the back half of the story, removes the original third-act resolution involving Project Eden, and expands the narrative focus toward character development, family dynamics, and the lived cost of becoming a vigilante. The goal is to ground the story more deeply in consequence—what it means to balance ordinary life with extraordinary responsibility.

Timestamps

* 0:00 - 0:53 — Introduction and revisiting the TradCon article series

* 0:53 - 2:54 — Defining TradCon culture and its online expression

* 2:54 - 5:16 — Reflections on belief versus behavior in ideological spaces

* 5:16 - 7:57 — Introducing idealism as a structural feature of certain ideologies

* 7:57 - 10:55 — The concept of external “anchors” in maintaining belief systems

* 10:55 - 14:21 — Public figures and visible shifts in ideological expression

* 14:21 - 15:27 — Open question: how belief systems reorganize under change

* 15:27 - 16:08 — Transition to Shadow of the Night rewrite update

* 16:08 - 17:29 — Structural revision and removal of the original third-act framework

* 17:29 - 18:00 — Expanding themes of responsibility, family, and vigilantism

* 18:00 - 18:18 — Beta reader invitation and closing remarks

In this episode of the Xeroforhire Podcast, XERO responds to a recent article from indie comic creator Raven’s Loft titled “Why I Had to Disappear From Social Media.” While agreeing that social media can be exhausting and often rewards outrage, clickbait, and endless engagement, he argues that social media is not the real problem facing most independent creators.

Drawing from his own experiences in comics, music, publishing, and online media, XERO explores the difference between visibility and sustainability. He challenges the common belief that success is simply a matter of being seen by more people, suggesting that many creators are actually struggling with unstable business models, changing cultural trends, and dependence on platforms they do not control.

The discussion expands into the rise and decline of various creative trends, from culture-war comics and Kickstarter booms to the “Bad Girl” comic era of the 1990s. XERO argues that many creators mistake temporary waves of popularity for permanent opportunities and are now confronting the reality that those audiences have moved on.

A major theme of the episode is what he calls the “cover band problem.” Using examples from music, YouTube, and comics, he examines how creators often build audiences around existing intellectual property, nostalgia, parody, or derivative concepts. While these approaches can attract attention quickly, they can leave creators dependent on borrowed recognition rather than building something they truly own.

The conversation ultimately shifts toward infrastructure, ownership, and audience psychology. Rather than focusing exclusively on algorithms and social media growth, XERO argues that creators should be asking deeper questions about what audiences are actually seeking. People do not gather around comics, books, movies, or games simply because of the medium itself; they gather around the ideas, fantasies, values, identities, hopes, and experiences those mediums deliver.

The episode concludes with a call for creators to think beyond visibility and trends, build stronger foundations, and focus on creating work that can survive long after the current platform, algorithm, or cultural moment has passed.

Timestamps

00:00 - Introduction and why this episode is being re-recorded

00:37 - Raven’s Loft’s article and recent manga creators leaving social media

02:27 - Agreeing with the frustration while questioning the structure of the complaint

03:30 - Social media exhaustion, family responsibilities, and the realities of adult life

05:24 - “Nobody cares” and the changing realities of online creative work

06:19 - When artists accidentally become business owners

07:23 - The end of the 2013 indie comic boom and the importance of positioning

08:37 - Creating a comic versus finding an audience for it

10:12 - Culture-war comics, market shifts, and changing consumer interests

12:06 - The rise and decline of Kickstarter-driven comic trends

14:48 - Why infrastructure matters more than platforms

15:52 - The “cover band problem” and derivative creative work

16:04 - Public domain characters, parody comics, and borrowed recognition

18:17 - Lessons from local cover bands and original music

21:20 - YouTube covers, reaction content, and derivative media

23:23 - The cycle of building an audience around someone else’s ideas

25:22 - Critiquing derivative comics while praising artistic talent

26:50 - Collaboration, shared platforms, and the cafeteria analogy

30:05 - Social media as a symptom rather than the core problem

31:06 - Comics as a vehicle rather than the destination

32:24 - What audiences are actually buying when they buy media

33:43 - Meaning, identity, hope, escapism, and the hidden audience

34:34 - Borrowed recognition versus ownership

35:18 - Why creators mistake trends for permanence

35:49 - Understanding what people truly want from creative work

36:42 - Closing thoughts and preview of future discussions on infrastructure and audience building

In this episode, the host provides an update on the ongoing revision of The Last Day: The Shadow of the Night, reflecting on the creative process of revisiting a completed work and reshaping it into something stronger. What began as dissatisfaction with the ending has evolved into a substantial rewrite, including major revisions to the prologue, adjustments to early chapters, and significant cuts that streamline the story while expanding its emotional depth. The host discusses giving greater presence to key characters, particularly Silas’ mother, and focusing on the human elements of the narrative rather than simply adding more plot.

The conversation then shifts toward a surprising discovery: how modern AI systems perceive and catalog a creator’s body of work. After accidentally prompting an AI search engine with his website name, the host finds that it can accurately summarize years of creative output, including music projects, podcasts, novels, comics, and older online content. This experience sparks a broader discussion about AI-powered indexing, discoverability, and the changing landscape of online visibility.

Drawing from a marketing book he’s currently studying, the host explores how AI search differs from traditional SEO. He argues that creators who consistently publish work and maintain a coherent online presence may benefit from AI’s ability to connect disparate projects into a unified identity. Using his own career as a case study, he examines how AI has already begun organizing his creative footprint into recognizable themes and categories.

The episode also serves as a moment of reflection on the mission of The Xeroforhire Podcast. Reviewing AI-generated descriptions of the show, the host finds that they accurately capture the podcast’s recurring subjects: faith, theology, culture, technology, artificial intelligence, creative projects, and commentary on social issues. Rather than seeing AI as merely a technological novelty, he views it as a practical tool for helping creators clarify their message and improve the discoverability of their work.

The episode closes with renewed enthusiasm for both the revision of The Shadow of the Night and the broader effort to better organize, present, and communicate the themes that have defined the podcast and the larger Apocalyptiverse project.

Key Themes

* Revising and strengthening existing creative work

* Story structure and character development

* AI search and content indexing

* Discoverability for independent creators

* Marketing and systems thinking

* Building a coherent creative identity

* Faith, culture, and technology

* Re-establishing the core mission of the podcast

Timestamps

00:00 – Update on revising The Last Day: The Shadow of the Night01:16 – Rewriting the prologue and early chapters02:00 – Cutting large portions of the book to improve focus and character depth03:08 – A question for listeners: When was the last time you Googled yourself?03:47 – Accidentally discovering how AI summarizes a creator’s career04:36 – Insights from a marketing book about AI indexing and discoverability05:25 – How AI connected books, podcasts, music, and other creative work06:29 – Live demonstration: Searching for The Xeroforhire Podcast with AI07:35 – AI-generated overview of the Apocalyptiverse and The Last Day series08:24 – Why better indexing gives independent creators new opportunities08:58 – AI’s summary of the podcast’s major themes and content10:01 – Competition, search visibility, and the challenge of online identity12:05 – Applying AI indexing principles to books and creative projects13:13 – Systems thinking, marketing, and long-term visibility13:39 – Re-establishing the core themes and mission of the podcast14:10 – Closing thoughts and future updates on The Shadow of the Night14:13 – “Stay holy.”

In this episode of The Xeroforhire Podcast, I take a hard look at my relationship with AI after nearly seven years of experimenting with the technology. What began as curiosity has evolved into a fundamental part of how I develop ideas, organize projects, and build worlds like The Last Day Universe.

Along the way, I wrestle with some uncomfortable questions. Why has AI generated so much hostility in creative spaces? How much of that criticism is justified? And at what point does resisting a technology become less about principles and more about refusing to acknowledge reality?

I discuss the workflow I use to transform raw ideas into stories, scripts, games, and worldbuilding documents, as well as the role AI plays in helping me structure and iterate on those concepts. I also reflect on my experiences working with artists, creators, and collaborators, and why I’ve become increasingly focused on building relationships with people who want to create rather than argue.

More importantly, this episode isn’t really about AI. It’s about adapting to the world as it exists instead of the world we wish existed. It’s about deciding whose opinions deserve influence over our work, where creators should spend their energy, and why consistency, publishing, and reaching an audience matter just as much as craft.

After years of trying to reconcile competing viewpoints, I’m drawing some lines—not based on ideology, but on results.

Timestamps

00:00 – Why I’m revisiting the AI conversation

01:01 – The rise of AI backlash and what changed my perspective

03:18 – Seven years of experimenting with AI

04:07 – Why The Last Day Universe wouldn’t exist without AI

05:15 – My process for turning ideas into authoritative documents

06:43 – Testing different AI systems, guardrails, and creative limitations

08:03 – Communication breakdowns between creators and AI critics

08:51 – The artist subscription idea that nobody wanted

10:27 – Why accessibility and customer experience matter

12:01 – Artists, marketing, and the fear of creating work nobody sees

13:32 – Accepting that AI is here to stay

14:14 – How AI became part of my writing workflow

15:45 – The idea of a linguistic watermark in AI-generated writing

17:29 – Transparency, disclosure, and using AI openly

18:44 – Adjusting to reality instead of fighting it

19:18 – Why I may lean further into AI-assisted production

20:34 – Community, creativity, and avoiding toxic environments

21:20 – AI, coding, games, and building independent projects

22:03 – Why I’m no longer seeking permission from people who aren’t helping build

22:59 – Consistency, visibility, and finding an audience

23:37 – Revisiting my music and the challenge of being discovered

24:18 – Why other people’s opinions no longer determine my workflow

24:45 – Final thoughts: making bets and moving forward