#Video Engagement Metrics

[theseoblogspace]

Leveraging Video Content for Small Business Growth

Are you a small business owner in Australia finding it hard to stand out online? Video content could be the answer. It’s a powerful tool that helps businesses of all sizes connect with their audience and drive traffic to their sites. Video offers an immersive experience that grabs your customers’ attention. It lets you show off your products and share your brand story. This way, you can build a…

[pangolinmarketing]

Unlocking Video Engagement: Essential Metrics to Monitor for Optimal Performance

Enhance your video strategy with these key metrics for monitoring engagement. Discover insights into viewer behavior, optimize content, and drive audience interaction. Stay ahead in the competitive digital landscape by tracking crucial performance indicators.

Visit https://pangolinmarketing.com/video-marketing-for-saas-product/

[neturbizenterprises]

Supercharge Your YouTube Channel with VidIQ!

Unlocking YouTube success is within reach with vid IQ, the ultimate analytics and optimization tool designed for creators at any stage. This video dives into how vid IQ can supercharge our channels by enhancing keyword research, competitor analysis, and video performance insights. Whether we’re aspiring YouTubers or established creators, vid IQ offers features that help us optimize titles, descriptions, tags, and even thumbnails to boost engagement. With real-time statistics and trend alerts keeping us informed about what’s hot in our niche, it’s time to leverage these powerful tools for growth!

#VidIQ #YouTubeSuccess

[maxlearnmicrolearningplatform]

Tips to Create Compelling Videos for a Microlearning Lesson

In the age of digital learning, creating compelling videos for microlearning lessons is an essential skill for educators, trainers, and content creators. Microlearning, which involves delivering educational content in small, focused segments, is particularly well-suited to video format. Videos can enhance engagement, improve retention, and provide a versatile medium for conveying information. Here are some detailed tips to help you create impactful microlearning videos.

1. Understand Your Audience

Before you begin creating a video, it's crucial to understand who your audience is. Consider their age, educational background, professional experience, and learning preferences. Tailoring your content to meet the specific needs and preferences of your audience will make your videos more engaging and effective. For instance, younger audiences might prefer fast-paced, visually dynamic content, while professionals might appreciate a more structured and information-dense approach.

2. Define Clear Learning Objectives

Every microlearning video should have a clear and concise learning objective. What do you want your audience to learn or achieve by the end of the video? Defining this objective will help you stay focused and ensure that your content is relevant and purposeful. Clear objectives also help learners understand the value of the lesson and what they can expect to gain.

3. Keep It Short and Focused

Microlearning is all about brevity and focus. Aim to keep your videos between 2 to 5 minutes in length. This duration is long enough to cover a specific topic or concept thoroughly, yet short enough to maintain the learner's attention. Break down complex subjects into smaller, digestible chunks to fit the microlearning format. For example, if you're teaching a software tool, create separate videos for each feature rather than one long, comprehensive tutorial.

4. Engage with Storytelling

Storytelling is a powerful tool to make your videos more engaging and relatable. Begin with a scenario or problem that resonates with your audience, then guide them through the learning process as they solve the problem. This narrative approach helps to contextualize the information and makes it more memorable. For instance, a microlearning video on conflict resolution could start with a workplace dispute and demonstrate step-by-step how to address it effectively.

5. Use High-Quality Visuals and Audio

The quality of your visuals and audio can significantly impact the effectiveness of your video. Use high-resolution images and video clips, and ensure that your audio is clear and free from background noise. Invest in a good microphone and consider using background music sparingly to enhance the viewing experience without overwhelming the content. High production quality helps to establish credibility and keeps learners engaged.

6. Incorporate Interactive Elements

Interactive elements such as quizzes, polls, and clickable links can make your videos more engaging and help reinforce learning. These elements encourage active participation and provide immediate feedback, which can improve retention. For example, you could insert a quiz question midway through the video to test understanding before moving on to the next segment.

7. Leverage Animation and Graphics

Animations and graphics can simplify complex concepts and make your content more engaging. Use animations to illustrate processes, demonstrate ideas, or bring abstract concepts to life. Infographics and diagrams are also effective tools for visual learners, helping them to understand and remember information more easily. Tools like Powtoon, Vyond, and Adobe Spark can help you create professional-looking animations and graphics without extensive technical expertise.

8. Optimize for Mobile Devices

Many learners access microlearning content on their mobile devices, so it's essential to optimize your videos for mobile viewing. Use a responsive design that adjusts to different screen sizes, and ensure that text and graphics are large enough to be easily readable on smaller screens. Additionally, consider the length of your videos, as shorter content is more suitable for on-the-go learning.

9. Include Closed Captions and Transcripts

Adding closed captions and providing transcripts not only makes your videos accessible to a broader audience, including those with hearing impairments, but also improves comprehension for non-native speakers. Captions can also be beneficial in noisy environments where audio might be difficult to hear. Many video editing platforms offer automated captioning features, but it's important to review and correct any inaccuracies.

10. Promote Active Learning

Encourage learners to apply what they've learned by including prompts for reflection or action. For instance, after explaining a concept, you might ask viewers to pause the video and write down how they would apply the concept in their own context. This approach fosters active learning and helps to reinforce the material.

11. Test and Iterate

Before finalizing your video, test it with a sample audience to gather feedback. Pay attention to their comments on content clarity, engagement, and overall effectiveness. Use this feedback to make necessary adjustments. Iteration is key to improving the quality of your videos and ensuring they meet the needs of your audience.

12. Utilize Analytics

Many video hosting platforms provide analytics that can give you insights into how your videos are performing. Pay attention to metrics such as viewer retention, average watch time, and engagement rates. These insights can help you understand what is working well and where there might be opportunities for improvement.

13. Maintain Consistency

Consistency in style, tone, and branding helps to create a cohesive learning experience. Use the same fonts, colors, and visual styles across all your videos. A consistent tone of voice also helps to build a connection with your audience and establishes a recognizable brand identity.

14. Ensure Easy Access and Shareability

Make sure your videos are easy to access and share. Host them on platforms that are accessible to your audience and provide links or embed codes for easy sharing. Consider uploading your videos to multiple platforms, such as YouTube, Vimeo, or your own learning management system (LMS), to reach a wider audience.

15. Provide Additional Resources

Enhance the learning experience by offering additional resources such as downloadable guides, articles, or related videos. These resources can provide deeper insights and further reinforce the learning objectives. Including links to these resources in the video description or within the video itself can guide learners to explore the topic more thoroughly.

Conclusion

Creating compelling videos for microlearning lessons involves a blend of understanding your audience, setting clear objectives, and employing effective storytelling and visual techniques. By keeping videos short, engaging, and high-quality, incorporating interactive elements, and ensuring accessibility and consistency, you can enhance the learning experience and maximize the impact of your microlearning initiatives. As you continue to develop and refine your videos, leveraging feedback and analytics will help you to continually improve and adapt to the evolving needs of your learners.

[prokopetz]

It was inevitable that "can I pet the dog?" would evolve from a basic litmus test for a video game's willingness to permit the player to engage in non-productive interaction with the game's world to a cynical marketing device, but I think the basic idea is sound. We just need to refocus on types of non-productive interaction that are inherently unphotogenic or otherwise difficult to turn into marketable video clips, like "if the game's level layouts include bathrooms, can you use them?". I propose calling this the "Can You Shit" metric.

[ohnoitstbskyen]

re: Somerton

Not for nothing, but I think we should remember that James Somerton's fans and subscribers are normal people, just like you. They are people who received his output in good faith, and extended to him a normal amount of grace and benefit of the doubt, which he took advantage of.

I don't think it's helpful to respond to the exposé on Somerton with sentiments along the lines of "wow, how could anyone ever think THIS GUY'S videos were any good, ha ha ha, how did he ever get subscribers?" because 1) you have the substantial benefit of hindsight and a disengaged outsider perspective, and 2) it's a rhetoric that creates a divide between you (refined, savvy, smart, sophisticated) and Somerton's audience (gullible, unrefined, easily taken advantage of, terrible taste), which is a false divide, with a false sense of security.

Somerton's success happened because he stole good writing. He found interesting, insightful, in-depth work done by other people, applied the one skill he actually has which is marketing, and re-packaged it as his own. He targeted a market which is starving for the exact kind of writing he was stealing, and pushed his audience to disengage from sources that conflicted with him.

Hbomberguy makes this point in his exposé video: good queer writing is hard to find and incredibly easy to lose. The writers Somerton stole from were often poor or precarious, writing freelance work for small circles under shitty conditions, without the means or the reach or the privileges necessary to find bigger markets. And, as Hbomb demonstrated, when people did discover Somerton's plagiarism, he used his substantial audience to hound them away and dissuade anyone else from trying to hold him accountable.

He stole queer writing by marginalized people, about experiences and perspectives that people are desperate to hear more about, and even if his delivery and aesthetics were naff, his words resonated with people because the original writers who actually wrote them poured their goddamn hearts and souls into it.

Somerton also maintained a consistent narrative of persecution and marginalization about himself. He took the plain truth, which is that queer people and perspectives are discriminated against, and worked that into a story about himself as a lone, brave truth-teller, daring to voice an authentic queer perspective, constantly beset by bigots and adversaries who sought to tear him down. As @aranock, who works with some of the people he targeted, writes in this post, Somerton weaponized whatever casual bias and bigotry he could find in his audience to reinforce his me vs them narrative (usually misogyny and various forms of transphobia), which is what grifters do. They find a vulnerable thread in a community and pull on it. And while you may not have the particular vulnerability that he exploited, you do have vulnerabilities, and they can be exploited too.

People felt compelled to support him, even if his work was sometimes shoddy, because he presented himself as a vulnerable, marginalized person in need of help, he pulled on that vulnerable thread.

Again, he has a degree in marketing, and just like propaganda, nobody is immune to marketing.

YouTube as a system is set up to push for more, constantly more. More content, more videos, more output, more more more more, and part of Somerton and Illuminaughty's success was their ability to push out large amounts of content to the hungry algorithm, even if it was of inferior quality. The algorithm rewarded their volume of output with more eyeballs and attention, and therefore more opportunities to find people who were vulnerable to their grift.

It is a system which quite literally rewards the exact kind of plagiarism that they do, because watch-time and engagement are easily measurable metrics for a corporation, and academic rigor is not. There is pressure to deliver, and a lot of rewards to gain from cutting corners to do it.

Somerton and Illuminaughty and Internet Historian are extreme and very obvious cases, so blatant that you can make a four hour video essay exposing what they've done, but the vast majority of this kind of plagiarism isn't going to be obvious - sometimes it might not even be obvious to the people who are doing it. Casual plagiarism is endemic to the modern internet, and most people don't get educated on what the exact boundaries are between proper sourcing and quoting vs plagiarizing. We had an entire course module at my university aimed at teaching students the exact differences and definitions, and people still made good faith mistakes in their essays and papers that they had to learn to correct during their education.

All of this to say: it is extremely easy in hindsight to call Somerton's work shitty and shoddy, his aesthetics flat and uninspired, and to imagine that as a sophisticated person with good taste and critical faculties, you would never be taken in by this kind of grifter. It is extremely easy to distance yourself from the people he preyed on, and imagine that you will never have to worry about your fave doing your dirty like that.

But part of the point of Hbomberguy's video is that plagiarism is extremely easy to get away with, and often difficult for the average person to spot and call out, and with the rise of AI tools blurring the lines even further, it is not going to get any easier.

So I think we should resist the temptation to think of Somerton's audience as people with bad taste and poor faculties. We should resist the temptation to distance ourselves from the perfectly normal people he preyed on. Many times in your life, a modestly clever man with a marketing degree has fooled you too.

On a personal note, by the same token, I am resisting the temptation to assume that I am too good to be vulnerable to the systemic pressures that produced Somerton and Illuminaughty. No, I've never made a video by word-for-word reciting someone else's work, but I know for a fact that I could do a better job of double-checking my work and citing my sources. I feel the exact same pressure to get a video out as fast as possible, I have the exact same rewards dangled in front of me by YouTube as a platform, and I can't pretend it doesn't affect my work. To me, Hbomb's video felt like a wake-up call to do better.

[monkey-wrench-series]

One month on; The future of Monkey wrench as a fully animated indie series.

It’s been exactly one month since Ep 3 of Monkey was released to the public, and as the ever want to be as transparent as possible with indie production it’s time we sat down and had a very important discussion on the future of the series…

So, as we said above, one month has passed from the public release of episode 3, and everything hinges on how well it does.

Below are the metrics for it on Youtube;

Our hope was to have ep 3 hit 500k in two weeks. After 31 days we’re still under 470k views, ad rev as you can see is pitiful and engagement has evaporated. Maybe we set our hopes a little too high?

It’s not all doom and gloom though, this is the first ep to get this many views in this amount of time. Our patreon support has grown by 1/3 after the ep came out and our Scratch & Scritch plushies did ok, see images below;

So as of now, we have enough money for voices, sound and music for episode 4. Voice recording begins next week and I hope to start the animatic for the ep sometime after.

As for the animation portion of production… things are looking a little tricky.

As you should know, animation, especially frame by frame stuff like we do, it’s obscenely time intensive and expensive. For ep 3 we had a rough animation rate of $20.83 per 1 second of animation and the same for clean up with very minimal edits and redos.

Seeing the recent animation pay discourse has honestly shaken us up pretty bad, we had no idea how pitiful our pay had been compared to other indies and we in no way want to exploit anyone for their work on the series.

With both Ash and I putting everything we had saved in Eps 1, 2 and 3 and seeing how below average they’ve all performed and with how little we can afford to pay our animators, on top of burning myself out horrifically doing 3 eps in a row, we’ve sadly had to come to the conclusion that full animation for this series is no longer financially possible at our current support level.

That does not mean we’re stopping production, however.

There are two possible routes we can take;

Route 1; Animatic hybrid.

Over the past week and a half I managed to solo out 5 minutes and 15 seconds of animatic keyframe animation for our recently released outtakes video.

At our current support level I can do the animatic keyframe route for most of the mundane stuff in an ep, and then go into full animation for the ‘good bits’, that way we can pay our animators an actual decent wage. Over time if our support grows we can return to full animation.

Route 2: Kickstart ep 4 for $100k

We have thought about doing a kickstarter type thing to get the $100,000 we’d need for the animation portion of the ep. We want to pay our animators properly for their time and skill and this would be the best route to go if we want to have ep 4 fully animated.

However with our current viewership and engagement with eps 1, 2 and 3 I’m not sure we could hit a goal of $100,000 in the 30 days we need.

Is it a risk worth taking?

What would we do for rewards?

Physical rewards would take money away from animation production and things like animated rewards would take time away from myself working on the ep.

That’s pretty much where my mind has been at the past few days. I’d love to hear your input and thoughts on how you would like us to proceed.

[writingquestionsanswered]

how does one manage when there's no feedback, no engagement, no... anything? the last few things i've published have gotten zero. it's frustrating. it's discouraging.

Getting No Feedback/Engagement

It's frustrating when you put your work out there and don't get any engagement or feedback. However, what to do about it (if anything at all) depends on how you're publishing and what you want the feedback for.

Whether you're publishing books/e-books or publishing online via your blog or a fiction-sharing site like AO3, it's never a good idea to rely on reader comments for feedback to help you improve your writing. If you want feedback for improvement, it's best to utilize alpha and beta readers, critique groups, critique partners, and feedback exchanges with other writers.

If you want the feedback an engagement because you want to know that someone is enjoying your work, or because you want to make sure you're building a following, you'll need to spend some time learning how to build an audience on the platform you're using. It's so important to remember that there are over 6 million registered users on AO3, for example, and over 11 million stories. Kindle Direct Publishing on Amazon hosts a couple million authors, with millions of books being sold each year. Tumblr has 135 million active users with 21 million new posts created each day. So, you no matter where you're publishing your stories, there is an unimaginable amount of competition. Unfortunately, you can't just post your stories and expect people to flock to them. That's why it's so important to learn how to build an audience on the particular platforms you're publishing on, and then you'll want to learn how to utilize social media to help get your work out there. For example, if you publish on a fiction-sharing site or your blog, you'll want to make sure you're using all the right tags and other metrics to draw people to your story. It's also extremely important that you support and engage with other writers... read and comment on their stories, boost them when appropriate. You might also consider starting a social media page specifically to find more readers. For example, let's say you write Supernatural fic and post it to AO3. You might make an Instagram page for your fiction, post SPN related memes and content, and update potential readers when new stories go up. Again, symbiosis is super important. If you don't engage with others, they won't engage with you.

If you're publishing books/e-books, you'll want to spend some time learning the best ways to promote your books, which will include things like figuring out who your audience is and where to find them, learning the proper tags, figuring out what kind of advertising speaks to them most, and learning to create promotional images and videos.

No matter what, it's really a matter of taking the time to get your work out there and find your audience. Because regardless of where you publish, they're unlikely to find you if you don't do the work to find them first.

Best of luck! ♥

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[ot3]

kind of an insane thing to say about spirit of justice. the game is a HUUUUGE improvement over dual destinies by any metric, but particularly the color design which i think goes an extremely long way to making the game look nice. for all spirit of justice's faults I actually don't think it's ugly really. but it's nothing more that serviceable, especially in terms of the animations.

despite switching to 3D they don't make use of the medium particularly well for character animation, and they tend to stick to the snappy character poses and expressions that work very well for 2d sprites but just come across as underbaked and stiff in a 3d medium. DGS doesn't suffer from this in the same way because they tend to go for a more naturalistic style of character animation. i originally wanted to attribute this to the fact that DGS used mocap as part of its animation process but it actually seems to be the case that this is true of ace attorney 6 as well so i'm just gonna chalk it up to intentional stylistic choices.

ace attorney 6, like dai gyakuten saiban 1, has 2d rendered cutscenes. DGS2 renders cutscenes in engine, which i honestly prefer because it feels less jarring. but that means outside of the sprite animations we don't have a huge amount to judge ace attorney 6 on in terms of 3d animation. i think the fairest thing to take a look at in this context would be the divination seance bit

now i think it's more than fair to say that the mocapped animation is very good here. the poses movements are strong and fluid. it looks great on that front. but as for the rest of the artistic choices happening here? the quick cuts and rapidly changing camera angle are just kind of jarring and seem to be an attempt to artificially make the sequence feel more interesting and i do not think it's functionally accomplishing that. it feels like someone playing with 3d environments for the first time and just kind of showing off the fact that they Can do all of these pov changes that weren't previously possible.

compare that to the dance of deductions from DGS1, which came out before SOJ

there's significantly less character movement here but there's a much more intentional use of space and framing. holistically, i think this makes something much more visually compelling and engaging than the divination seance.

like i said i think SOJ is a game that looks perfectly fine despite my gripes with the writing, but it's absolutely not anywhere close to the best kind of 3d animation video games have to offer, and it definitely falls way behind DGS.

[pangolinmarketing]

Unlocking Video Engagement: Essential Metrics to Monitor for Optimal Performance

Enhance your video strategy with these key metrics for monitoring engagement. Discover insights into viewer behavior, optimize content, and drive audience interaction. Stay ahead in the competitive digital landscape by tracking crucial performance indicators.

Visit https://pangolinmarketing.com/video-marketing-for-saas-product/

#VideoEngagement#DigitalMarketing#MetricsMonitoring

[srbachchan]

DAY 5973

Jalsa, Mumbai June 25/26, 2024 Tue/Wed 2:07 AM

Birthday - EF - Anamika Gupta .. 🙏🌹

Ef Özen Eren Wednesday, 26 June .. and all ur prayers and wishes for this special day for the Ef ..

the Agenda .. an act of predetermined thought and conveyance .. what shall bring attention recognition be the intent .. any express that can remotely be given the spin, and mastered is the guile and expertise of such ..

it is lamentable , ignominious to witness the impotency of content .. to somehow in any which manner , to be able to draw attention in storied form, just so it can be put up and seen or read , in favourable condition to them that devise it ..

devise .. for the right is not needed to be devised ..

pity ..

never ever underestimate the generation that follows , or is about to follow .. they are aware and alive to every situation and knowledged to hold their own in debate or discussion ..

we are enriched by the circumstance that often fall upon us .. and then we find a way .. even when there be none ..

"In today's digital age, the ubiquitous nature of content has paradoxically led to a dilution of its potency. With the democratization of content creation, anyone with an internet connection can produce and distribute information, leading to an oversaturation of the digital landscape. This phenomenon has profound implications, rendering content less impactful and more ephemeral.

First, the sheer volume of content available online has created a paradox of choice. Every minute, hundreds of hours of video are uploaded to platforms like YouTube, thousands of blog posts are published, and millions of social media updates are posted. This relentless flow of information makes it difficult for any single piece of content to stand out. The audience, overwhelmed by options, often resorts to skimming or entirely ignoring vast amounts of content, diminishing its overall impact.

Moreover, the quality of content has become highly variable. While the ease of content creation has empowered many voices, it has also led to an influx of low-quality, poorly researched, and sometimes misleading or false information. This glut of mediocre content competes with high-quality, well-researched pieces, making it challenging for audiences to discern value and trustworthiness. As a result, even content of genuine worth can struggle to achieve the recognition and engagement it deserves.

Another critical factor contributing to the impotency of content is the algorithm-driven nature of content distribution. Social media platforms and search engines prioritize content based on engagement metrics such as likes, shares, and comments rather than the inherent quality or informational value. This prioritization often leads to the virality of sensational, clickbait content at the expense of substantive, insightful work. Consequently, the attention economy favors superficial engagement over deep, meaningful interactions with content.

Additionally, the fast-paced consumption habits of modern audiences further erode the potency of content. The average attention span has dwindled in the face of constant digital distractions. People increasingly consume content in bite-sized formats, such as tweets or short videos, which limits their exposure to in-depth analysis or comprehensive narratives. This shift towards brevity undermines the ability of content to foster nuanced understanding or sustained engagement.

The commercialization of content also plays a significant role in its diminishing impact. Content marketing has become a dominant strategy for businesses, leading to a proliferation of branded content. While this can provide value, it also contributes to the noise and can sometimes prioritize promotional messages over genuine, informative content. The blending of editorial and advertising content can lead to skepticism and diminished trust among audiences, further reducing the impact of the content they encounter.

Lastly, the fleeting nature of digital content means that it often has a very short lifespan. Unlike traditional media, which could have a lasting presence, digital content is quickly buried under the avalanche of new information. This ephemeral existence means that even impactful content can be forgotten rapidly as attention shifts to the next trending topic.

In conclusion, the impotency of content in today's times is a multifaceted issue stemming from the overwhelming volume of information, variable quality, algorithm-driven distribution, changing consumption habits, commercialization, and the ephemeral nature of digital content. To reclaim the potency of content, creators and platforms must prioritize quality, foster trust, and find ways to engage audiences meaningfully and sustainably amidst the cacophony of the digital age."

Love and more ..

Amitabh Bachchan

[luckthebard]

So this is a very niche rant that is probably only something I've noticed or been annoyed by, but:

The longer Critical Role has gone on and the more changes they've made/content they've created, there's been an increase in weird people who are desperate and determined to prove that changes or content they don't like are "an objective failure" - but often lie or deliberately misunderstand viewership statistics to do so.

There are a few big "facts" I see repeated by people to argue that CR has "gone in the wrong direction" that are just plain wrong, and I think what annoys me most is seeing so many people engage with those "facts" without bothering to double-check them or push back against the certainty with which people state them. An example of one I keep seeing now is "twitch streaming numbers are down" and it's like, yeah, sure, in comparison to when they didn't simultaneously air on YouTube. If you add up the YT and Twitch numbers these days it's about the same as mid-late C2, but people love to act like YT streaming doesn't exist to make a point that "people don't like C3". And I tbh don't care if people like or dislike C3 but why this determination to falsely quantify and validate a personal preference?

The earliest I saw this was an intense agreement on reddit that Exandria Unlimited was a "failure" for CR, "unlike Undeadwood," because viewership numbers were lower. And it was tbh baffling to not see pushback against that narrative, because it's just objectively untrue. Original EXU's VOD streaming numbers are higher than every single episode of Undeadwood, and it premiered literally years later. It also has a lower "drop-off" in viewership (comparison of how many views episode 1 vs the finale has) than Undeadwood, despite frequent claims to the contrary. And don't mistake me here, I really enjoyed Undeadwood, but it actually was a viewership misstep for CR to the degree that they didn't try anything like it again for a while after and significantly changed how they approached marketing and airing miniseries. (A big one being: don't air a long miniseries simultaneously with the main series, it's too much content for most people to invest in during a week.)

(Sidebar, but another great miniseries CR did that didn't get a lot of viewership love is the Elder Scrolls Online trilogy, so I'm going to plug it here. It has some weirdly low viewership numbers on episodes 2 and 3 and I promise you they're both well worth it.)

The other one I keep seeing is "4 Sided Dive has lower numbers than Talks" which is also just not true. Most 4 Sided Dive VODs have nearly twice as many views as Talks VODs (and I'm using the ones that aired directly on the CR channel as a metric here, not the ones re-uploaded from G&S which lost numbers in the change-over). And I'll tbh chalk that up to the fact 4SD airs much less frequently - people are more likely to think it's necessary to watch whereas with Talks if you weren't interested in the guests you might skip a week. I'm not making any claims about the quality of either show, but the use of false viewership statistics to support "one of these sucks" is so rampant and so weird.

All this to say that yesterday I saw a weird viewer-hungry YouTube clickbait video titled "Midst a FAILURE for Critical Role!!" with a truly absurd confidence on what the VOD streaming numbers for the Midst YouTube videos mean for the series mere days after the premier and snapped.

tl;dr, people just make shit up and say whatever on the internet all the time and we hopefully all understand and expect that BUT (and here's the more annoying thing) 9 times out of 10 people just engage with that WITHOUT LOOKING INTO IT THEMSELVES

[guncelgun]

Youtubepanel - Mega+

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[byoldervine]

Writing Tips - What Kind Of Writer Are You?

Not all writing tips work for everyone, you need to learn to give things a try and accept when they aren’t helpful. Ask yourself these questions to see what writing practices might work best for you - and be sure to experiment if you want a better understanding!

1. Does your word count motivate or discourage you?

If seeing your word count motivates you, stick it everywhere! I like to constantly check word counters, add up my chapter word counts, section word counts and total word count, calculate what my word count will be by the time I’m done with my current writing session, etc

But if the word count is intimidating and discouraging to you, like it is to many people, measure your productivity by time spent on your project rather than the word count; dedicate a certain amount of time to the project every day/week/whatever works for you, try writing sprint videos on YouTube, anything that doesn’t mention your word count. It can always be edited later on

2. How much/often can you write before it’s a chore?

It’s well-known that the vast majority of people can’t consistently keep up with NaNoWriMo’s 1667 words per day practice, so how far can you push the metrics before it gets overwhelming? I personally find that writing daily isn’t something I can do without it feeling like I’m forcing myself to do a task rather than engaging in a fun project, but I can commit easy enough to meeting a weekly goal. At the moment I’m on 1000 words per week, but you can also change how many words are needed, you just need to be able to consistently meet said goal without feeling overwhelmed by it, even if it feels too small

3. Where do you fall on the plotter scale?

A true pantser has no plan for their story and goes in head-first with a confidence I envy - a good amount of writers aren’t that. Chances are you’re a plotter of some variety, but how much so? It’s always worth testing the waters with how much or how little you can work with as a set plan. Personally, I like to plot five chapters in advance and then write them before plotting the next five - it gives me the freedom to see where my writing deviates from my anticipated plan and adapt it from there, which has been critical to many big changes in the story

[mariacallous]

The Israeli attack on a humanitarian convoy in Gaza in early April that killed seven aid workers with the U.S.-based aid group World Central Kitchen has ignited a fierce global backlash against Israel’s policies of engagement in the territory. The attack involved the successive firing of three missiles at three vehicles, driven by suspicions of a Hamas combatant’s presence within the convoy, according to reports.

In Israel, the event is being portrayed as an accident, “a grave mistake stemming from a serious failure due to a mistaken identification, errors in decision-making, and an attack contrary to the Standard Operating Procedures,” as the Israeli military’s investigation team concluded. In humanitarian circles, it is seen as evidence of a culture that “treats Gaza as a free-fire zone with total impunity for gross attacks on civilians,” as Jeremy Konyndyk, the president of Refugees International who served in both the Obama and Biden administrations, has suggested.

But for the discussion to be useful, it should progress beyond these immediate interpretations to examine the deeper cultural patterns underlying such incidents. Most crucially, it must scrutinize the shift in military policy and ethos that can be traced back to the Elor Azaria affair of 2016-17. Azaria was an Israeli conscript who was captured on video executing a wounded and immobilized Palestinian assailant in Hebron. The Israeli military prosecuted Azaria for manslaughter and sentenced him to 18 months in prison.

While the case demonstrated the military’s commitment to its own ethical codes, it also sparked widespread protests from right-wing factions and a general backlash against military procedures. The army was accused of failing to support Azaria and creating a culture in which soldiers would hesitate to use force against Palestinian militants. To counter this claim, and from that point forward, the military began to announce the number of Palestinian fighters killed in its operations, demonstrating that its forces did not hesitate to engage.

Under the leadership of the military’s chief of staff, Aviv Kochavi, from 2019 to 2023, the killing-based criteria were reinforced. Kochavi’s goal was to remake the army into a “lethal, efficient, and innovative” fighting force—in other words, a death-generating army. He promoted this vision by enhancing the precision of weapon systems, improving the coordination between forces and intelligence, and increasing the rate of fire.

Kochavi’s directive for field commanders to assess, at the end of each combat phase, the number of enemy forces killed and objectives destroyed—rather than solely focusing on territorial conquest—signified a shift toward necrotactics, where the primary goal of military engagement is killing the enemy. Killing becomes not just an outcome of warfare but its principal aim.

The approach of using body counts as a metric of success has notably intensified during the current war. Soon after the Oct. 7 attack, the Israeli military began consistently reporting the number of Hamas fighters killed, echoing the way U.S. generals announced enemy fatalities during the Vietnam War—a scenario where traditional metrics for evaluating combat success are elusive, thus making the body count, rather than the strategic objectives achieved, the primary indicator of success. This was particularly evident as the Israeli death toll ticked up and the stated objective of dismantling Hamas appeared increasingly unattainable.

In fact, the military appears to have established a quantitative goal from the outset. According to the journalist Yuval Abraham in +972 Magazine, the Israeli army developed an artificial intelligence-based program named Lavender, designed to identify targets for assassination. This system tagged approximately 37,000 Palestinians in Gaza as suspected militants, marking their residences (and therefore their families as well) for potential airstrikes. The deployment of Lavender contributed to the deaths of around 15,000 Palestinians in the war’s first six weeks, according to the report.

By setting a numerical target, the Israeli military shifted from viewing outcomes as a measure of progress—like neutralizing the threat posed to Israel from Gaza—to making body counts the main standard. The trend has been reinforced by a pervasive adoption of the language of killing among military commanders. “Now we will go forward and kill them all,” Brig. Gen. Roman Goffman was quoted as saying just before the ground operation in Gaza began, in just one prominent example.

As Israel faces an impasse in Gaza, lacking a politically articulated exit strategy, the reliance on killing and its quantification as a metric for success becomes increasingly pronounced, leading to the erosion of operational constraints. This shift was evident in the recent raid at Shifa Hospital in Gaza City, which inflicted extensive damage to Gaza’s most crucial health care infrastructure. The hunt for Hamas members has, to a significant degree, become an end in itself, complicating the dynamics of the conflict and placing military objectives above political resolutions.

This shift provides some context for the tragic killing of the aid convoy team—though it makes it no less disturbing. Once one or two armed individuals were spotted in the convoy, their neutralization became a top priority, apparently eclipsing overarching strategic considerations—factors that should have been incorporated at the tactical level. Fundamentally, such a situation warranted an approach aimed at preventing civilian casualties, especially along a deconflicted route designated for humanitarian aid delivery and when no direct threat was posed to Israeli troops. Moreover, the overarching political rationale should have prioritized safeguarding humanitarian missions, given the potential repercussions for Israel’s global standing amid the crisis in Gaza.

Yet the events unfolded with a seeming obsession for lethal action, as vividly illustrated by reporting in the Israeli newspaper Haaretz: Upon spotting a gunman or two, Israeli forces targeted three successive vehicles from the air. After the first one was hit, passengers moved to a second vehicle, which was then struck by a missile. And when the wounded were transferred to a third vehicle, it too was fired on. This appears to be a case of obsessive kill confirmation, overshadowing the principles of necessity, proportionality, and the sanctity of civilian life.

Hence, the fundamental issue extends beyond merely revising the rules of engagement or monitoring their application more closely, as such measures alone would prove inadequate to prevent future incidents. The problem also transcends the flawed assumption that every part of Gaza can be considered a free-fire zone where engaging Palestinian militants indiscriminately is justified. What is crucial is dismantling the prevailing culture that equates killing with military success.

Yagil Levy is a professor of political sociology and public policy at the Open University of Israel. His most recent book in English is: Whose Life Is Worth More? Hierarchies of Risk and Death in Contemporary Wars.

[accio-victuuri]

how many cpns can you get from a 7 second douyin by wyb? 💚💚💚

The Douyin King is back! I know i’m not the only one who missed his random ass douyin posts. They are very much welcome, he is free to share one everyday. I’m cackling at the comparison going around between WYB and other people. So, the rest of the celebrities and influencers are posting on a regular basis per month and have different topics.

photos at work, travel photos, interests/hobbies. this line represents the whole year. there is another diagram that shows how many per line, like 1-2 or more. then you have wang yibo 😂😂😂

line 1 : I'm busy at work and have no time. // line 2: I don’t have time to skateboard, ride a motorcycle or play golf // line 3: Visit my gege’s camping site and the volcano scenery is very good and has a lot of material// line 4: happy and don’t have much time// line 5: Shoot whoever is lucky enough to shoot!

then all the lines after is when he will post — shows that he will share a lot towards the end of the year to keep up with KPI. lol. he is rushing his homework again, to the point that on the video, people are searching what wyb’s kpi mean. which is the engagement metrics he needs to reach and now he gotta work on it, even the fans know and expect it.

the memes are also hilarious! 😂😂😂 ( cat memes below ) basically him working on making his “cool” posts to the internet.

Honestly, never change yibo. We love you as you are, Our Gremlin Best Actor. 👏🏼👏🏼👏🏼

That was a long intro, now let’s move on to the sweets & CPN…..

• @rainbowsky already talked about the messenger bird CPN & how it might be for ZZ’s Hennessy endorsement.

• similarity in how sometimes, they just wanna post an emoji for caption. this one is a cute parallel from 2021 and 2023. If you wanna further clown with WYB using kadian 13 for yizhan then go ahead too 😌

• it is being compared to him referencing his shoes before, picking up his shoes ( xie zi ) (xz) ; and now it’s another homophonic clue ( jm ) ⬇️⬇️⬇️

yes we know that you get to meet more often now cause you are both in Beijing! It’s so cool how their language can be used for so many things and you can play with it to send different meanings. international fans could never 💀💀💀💀

• talking about picking up and meeting, cpfs remembered ZZ’s 11/17/21 douyin post. It’s the one with him and a light saber and a sexy transformation. Going by his clothes, I’m thinking it was what he wore during the DC tencent conference and at the time of posting it was already considered as leftover. but I could be wrong, cause he might have worn other leather jackets that year for ads.

anyway, the point is — please compare the background of the rooms. the walls. you know. add the floor too. 👀

look, this isn’t the most unique type of interior. i would say it’s pretty basic like how we clown about hotel curtains. i’m guessing yibo’s is an evisu shoot sometime ago ( cause his hair is not that fluffy anymore idk if his stylist did something to make it like that even with his recent cut ). this place may be a studio of sorts that can be rented out and they just happen to have filmed there.

or… or…..

this could be XZS office. or one of their rented office. Why? this CPN is similar to the one in 2020. How we speculated that the birthday shoot was done in XZS office so ZZ could supervise the direction of the shoot too.

we also love to talk about how xzs and ybo office are right next to each other ( it’s a fact xzs is close to yuehua building actually ) so maybe that can be an explanation too 😂😂😂 it’s not uncommon for an office to have a separate space to do regular photoshoots so maybe theirs have that. or this could have been done after and wyb dropped off their office and took this.

hahahahahaha! so many explanations all because of a wall. that’s the kind of life we turtles have 🙃

Personally, i’m hoping for a 24 hour relay between them. 🙏🏼

-END.