#i think they're actively making the game worse

[russeliarat]

So I've encountered some WILD vague posting about the CCCC fandom and it's arguments about gore fics. I haven't directly interacted with this fandom for over a year - not because of anything bad, I just moved on to other interests to be clear, however the fact that this issue that I encountered a full YEAR ago is still a prominent issue in the fandom is crazy. And according to my boyfriend, who still actively engages with the main section of the fandom and their fanfictions, it's apparently gotten a LOT worse.

So I'm gonna be clear, I still engage with CCCC and CJ's media. I still listen to his music, I still engage with art on tumblr, as well as headcanons, I still draw HMSW (plus two of my system's cohosts are directly sourced from the media). I just haven't read the fanfiction or gone on CJFS for a while. Hearing that this has been so bad, it's come to vague posting back and forth on tumblr makes me so fuckin fed up with this shit.

Read to the end of my post before you form an opinion on this, I have nuance, okay?

Hi people, maybe it doesn't take a genius to take a step back and figure out that saying that you should be allowed to make reasonless and intense gore, abuse, and torture fics about a REAL GUY'S personification of his own personal struggles with mental health and suicide is insanely entitled /neg.

Heart, Mind, Soul, and Whole are not just independent characters from Chonny Jash. They are his (self-admitted) personifications of his mental health struggles, thusly, they are him. CJ has said that Whole is just him.

Excusing making fanfiction about intense abuse and gore and torture and cannibalism and god knows what else about HMSW on 'they're AUs' or 'they're interpretations' is not okay. Usually, I'd agree that you should be allowed to make fanfiction freely without people telling you what to do. HOWEVER! This is a real man's struggle with his mental health so I think that there are certain lines and boundaries that should be placed out of respect for CJ. Reasonless gore isn't necessarily bad, but reasonless gore about a real person's struggles is above and beyond disgusting. I've seen someone argue that saying that is government state censorship...

Guys, there is a distinctive difference between 'reasonless fluff' and 'reasonless gore'. One is wanting them to get along and be nice. The other is wanting them to torture each other. I don't think it takes a genius to understand there's a huge difference between 'I want them to snuggle' and 'I want violence to be done upon them'.

I think over the past year, I've kept this idea to myself because I wasn't directly involved and I didn't want to face the backlash at the time. Then my boyfriend got slammed in dms by someone who had these views, so now I'm pissed. I have personal shit in the game now and I cannot hold myself at bay anymore because I'm at my wits fucking end.

I think a lot of writers who delve into these intense topics should keep in mind 'what would CJ think if he saw that I was making fics about gore/abuse/torture with characters that personify himself?' Not because all gore or abuse is bad, they can be used for some wonderful symbolism or tension when pulled off with meaning and though and tact - rather, it's because some people take it way too far, sometimes without realising. I've seen a lot of people I was close to get stuck in an echo-chamber and not realise they spiraled from the headcanon that The Juno Incident was a violent blinding to something as intense as frequent abuse or gore between HMS.

I want the people on the opposing side to realise that I'm not going after gore or violence or intense themes. Some of my favourite pieces of media contain very violent, gory, abusive, intensely triggering themes, and sometimes, they are reasonless and because the developer or writer wanted to explore different forms of horror and fear. I don't personally believe that those kinds of themes should carry over to CCCC because (for the fifth time I'm mentioning it but I feel like I really need to drill it into some people's heads) the album is about a real person's struggle with suicide and his own mental health.

I'm not trying to censor anyone's views, it's just that I think sometimes there's just general common sense boundaries surrounding fandoms that are about someone's mental health.

An additional point is how often these fics tend to be quite ableist and I do see these writers project their internalised ableism onto HMS, which is a much bigger issue in the fandom since about 90% of people headcanon Heart as being somewhere on the blind spectrum and Mind as having some sort of issue with his voice that means he needs to use a vocal implant/Mind being a robot (which can very quickly spiral into ableism depending on how it's used).

Frequently, I see people portray Heart's blindness as making him weak or helpless and the same with Mind and Soul if people headcanon them as having implants or prosthetics or some form of disability and use it in their gore fics. Due to a lot of gore/torture fics using helplessness from injury as horror, it can very easily become quite ableist. I've been in fandoms with a whole month dedicated to harming their faves, and this can be an issue with them as well, not just the CCCC fandom. It can be done without ableism, but more often than not (especially in the CCCC fandom) people aren't looking for it when they write and can create ableist fics about a helpless character because their new/old disabilities.

I also saw someone talking about mischaracterisation and how that ties into this whole thing, but that's for another time because it's partially a separate topic that I could do a full length thesis essay on, so I'll do it another time.

TLDR; Don't make gore/torture/abuse fics about a real person's personifications of himself and his mental health/suicide struggle. That's fucked???

[frootbyethefoot]

halfway through v3 right now. it sure is a game.

[ID: a digital drawing of kaede akamatsu and shuichi saihara from danganronpa v3: killing harmony standing back to back. kaede is facing forward, and looking back at shuichi with a happy expression as they hold hands. shuichi is looking at kaede with a small smile. end id/]

[emdotcom]

My brain is so full of Bees about Post-Shift 2.

It's a fan game that was delayed for 4 years -- by the time it released, fnaf fangames as a whole were not as popular as they had been, & most people in the scene had forgotten about Post-Shift 1, so not a lot of people heard about it/played it.

Worse still is the people who did talk about the game. Pretty unanimously, the consensus was this: this game is the craziest, most insane fnaf fangame. It's overly difficult with mechanics that have no rhyme or reason to them & tutorials that are wordy, unhelpful, & sometimes actively mislead the player, meaning you need to comb through a lot of text only to be misinformed. It's not as infamous as some other fangames, but it definitely was talked about very poorly.

In general, I think most of these criticisms were blown up out of proportion, but I can't really disagree with most people's problems -- it is difficult & wordy, & rather hard to understand. I think, however, that the game is still 1. Really fun, 2. Not a bad game at all, &, most importantly, 3. Is a free fucking game that was clearly a passion project. Most damn fangames never get off the fucking ground when made in groups because the creators will never make a red cent off the thing -- this game was made by one dude for 4 years & delivered to people for free. It didn't ask anything of you except to accept it as a difficult game & to not go in with wild expectations. The dev just wanted to make a game that was rough, but he also wanted to make a game that felt unique & was fun. & It is fun, too, is the damn thing.

[welcometoteyvat]

jing yuan and yanqing are giving zhongli and xiao if the latter’s canon relationship was Actually fanon’s made up father figure/adopted child dynamic

[happi-tree]

we love silly gays in THIS household!!! gimme the sweet sweet oakworthy and swiftli thoughts 👉👈

Aye aye, Nyx!!! o7

Oakworthy up first! Absolutely tragic that they don't have a bingo </3

Now for the Swiftli stans out there... also no wins hell is REAL

[marklikely]

letterboxd app apparently has added video ads bc i tried to view my activity and got hit with a 15 second unskippable ad... and deleted the entire app within 10 seconds of encountering this...

[pukicho]

lets hear ur hottest take and see if you gain or lose followers. like SAW

I've got hot video game takes,

I don't think hades is even top 5 roguelikes. I actually think, as roguelikes go, it's really shallow and boring (as a pretty-looking game with sexy characters, it's fine)

I think using summons in Elden ring IS a bad thing, not because of some 'git gud' shit-ass mentality but because the bosses AI can't handle having two targets on screen at once so it becomes a lot easier, a lot less interesting and the experience feels less polished.

Ghost of Tsushima is just as boring as any Assassins creed game and idk why it gets a pass when it is practically built 1:1 to those games.

Spiderman 2 was boring as shit and I realize I am getting tired of these on-rails lame-o experiences. Also the writing was shit.

Mario rocks

Satisfactory is systematically worse than factorio in every conceivable way and the only upside it has is that it's 3d

Tears of the Kingdom was a big-ass letdown, how do you make a world so devoid of callbacks to the prior game?? No guardians, no mention of your past activities? did everyone get fucking amnesia? Also it's boring.

'You can pet the dog/cat' thing is fucking stupid, I don't give a god damn shit, make a good GAME first then make the animals pettable. Also don't give a game credit for adding an easy-ass feature, its like people who laugh when they hear the Wilhelm scream like they're in on something we're not, GROW UP.

[grimrester]

i am really so sorry to continue harping on about the watcher entertainment streaming service. but this kind of stuff (internet content as a business & marketing it as such) is truly my obsession, and i think i will implode if i don't talk about some of the takes i'm seeing.

i'd like to emphasize again i don't have strong feelings about watcher either way. i like ghost files, i watch mystery files sometimes, i watched worth it back in the buzzfeed days. i don't watch any of their shows religiously.

anyway, here's the main things i keep seeing crop up and my thoughts on each:

"watcher has 25 employees they have to pay, and employing people in this economy is good, so we should be banding together to pay them."

employing people is good if you currently have the capacity to pay them. i checked watcher's linkedin page, and many of their employees were hired within the last year or two. if they hired people they cannot pay with the business model they had before, something is seriously wrong with their internal bookkeeping/decision making. it means they either didn't know they couldn't pay these people long term, or they did know and were content with risking newly hired employees' livelihoods on a huge content pivot in the next year.

of note is that none of their employees' titles have anything to do with managing the finances of the company. they are the size of a small business but have no one aside from the figureheads of the company in charge of their finances.

this is the kind of company decision making that leads to downsizing and layoffs, which can be devastating. but you know what's worse than laying off a portion of your staff? laying off everyone because your business is going under.

"not everyone can afford the subscription, but those who can should pay it to support the watcher team."

no. $6/month for a couple hours of content (depending on what shows you actively watch and the natural fluctuation of their release schedule) is a fundamentally bad value. i can pay that much for a few movies on amazon. i can pay that much for dropout, if i want to support a smaller business instead.

and to be totally frank, even if people do sign up, i don't think they'd get enough to compete with the amount they get through patreon/sponsorships. and the fact that they didn't know how many of their subscribers would realistically sign up is a bad sign.

a pretty good conversion rate of free to paid subscribers of a service or content is 3% (usually accomplished through a free trial). given the very poor reception of the announcement, let's say about 1% of their 3 mil youtube subs pay for their service. that's 30k people paying for their new platform. that's $180k a month in their pocket.

(they currently only have 12k subs on patreon so we are being generous here.)

a sponsorship deal (based on my googling, i have less direct experience with this) is anywhere from $10-50 per 1000 views. they've gotten about 1 mil views on their last few videos. 3 mil subs is nothing to shake a stick at, but let's say they're on the lower end of the payscale at $25 per 1000 views. that's $25k a video, $100k a month if they release 1 video a week. their lowest patreon tier is 5 bucks, so even if all their subs are at that tier, that's another $60k, so $160k total. it's entirely likely they're bringing in much more than that when you factor in merch, adsence, etc.

did anyone on their team crunch numbers on how many people would need to sub to make the switch worth it? did anyone do market research on how many people they could convert to paid users? because if not, if they really didn't have a game plan for this, the subscription service was always doomed to fail.

"this was their only option to continue making the content they want to make, with the production value they want."

i watched their announcement video. a key point in that video is that they have done sponsored videos and that's what used to pay for their content, but they did not like the amount of creative control the sponsor had over the content.

look, i get that's no fun. we'd all love creatives to be able to make whatever they want. but when you are a small business with a team of employees relying on you, you have to think about making money, sometimes at the cost of creative liberties.

and they had so many other options to make money for the projects they want to make without jumping to a subscription platform.

they could have started actually promoting their patreon, and maybe done some restructuring of the tiers. why not a highly produced, special series just for patreon members? or a special high-budget episode of each series, while the main series is lower budget?

bite the bullet and continue taking sponsorship deals on some less-produced shows, while axing sponsorships from the ones the crew feels more passionate about.

schedule larger, blowout-production shows only when they can be afforded. this is what Notorious Amongus Guy streamer jerma does. he saves up for big productions like his baseball or dollhouse streams, so he can really get creative with them.

they had other options and they've tried very little, especially when you compare them to other content house business at similar scales. try guys and good mythical morning both put out significant content with significant staff, and have had to diversify their income streams with auxiliary products, shows with widely varied levels of production, etc. but it seems to be working for them. watcher has merch and that's about it, and seems to only want to increase the production quality of ALL their shows.

really, all this just boils down to a terrible business decision. it's hard to say if the watcher team is working with a consultant or anyone outside of their team, but they certainly don't have anyone internally who is experienced with running a business like this. to me, it seems very much like they got in a room together and did some extremely optimistic income ballparking with no research behind it.

and that might have been fine for three dudes running a channel alone, but if they're a business, they have to start making decisions like one.

[mostlysignssomeportents]

Conspiratorialism as a material phenomenon

I'll be in TUCSON, AZ from November 8-10: I'm the GUEST OF HONOR at the TUSCON SCIENCE FICTION CONVENTION.

I think it behooves us to be a little skeptical of stories about AI driving people to believe wrong things and commit ugly actions. Not that I like the AI slop that is filling up our social media, but when we look at the ways that AI is harming us, slop is pretty low on the list.

The real AI harms come from the actual things that AI companies sell AI to do. There's the AI gun-detector gadgets that the credulous Mayor Eric Adams put in NYC subways, which led to 2,749 invasive searches and turned up zero guns:

https://www.cbsnews.com/newyork/news/nycs-subway-weapons-detector-pilot-program-ends/

Any time AI is used to predict crime – predictive policing, bail determinations, Child Protective Services red flags – they magnify the biases already present in these systems, and, even worse, they give this bias the veneer of scientific neutrality. This process is called "empiricism-washing," and you know you're experiencing it when you hear some variation on "it's just math, math can't be racist":

https://pluralistic.net/2020/06/23/cryptocidal-maniacs/#phrenology

When AI is used to replace customer service representatives, it systematically defrauds customers, while providing an "accountability sink" that allows the company to disclaim responsibility for the thefts:

https://pluralistic.net/2024/04/23/maximal-plausibility/#reverse-centaurs

When AI is used to perform high-velocity "decision support" that is supposed to inform a "human in the loop," it quickly overwhelms its human overseer, who takes on the role of "moral crumple zone," pressing the "OK" button as fast as they can. This is bad enough when the sacrificial victim is a human overseeing, say, proctoring software that accuses remote students of cheating on their tests:

https://pluralistic.net/2022/02/16/unauthorized-paper/#cheating-anticheat

But it's potentially lethal when the AI is a transcription engine that doctors have to use to feed notes to a data-hungry electronic health record system that is optimized to commit health insurance fraud by seeking out pretenses to "upcode" a patient's treatment. Those AIs are prone to inventing things the doctor never said, inserting them into the record that the doctor is supposed to review, but remember, the only reason the AI is there at all is that the doctor is being asked to do so much paperwork that they don't have time to treat their patients:

https://apnews.com/article/ai-artificial-intelligence-health-business-90020cdf5fa16c79ca2e5b6c4c9bbb14

My point is that "worrying about AI" is a zero-sum game. When we train our fire on the stuff that isn't important to the AI stock swindlers' business-plans (like creating AI slop), we should remember that the AI companies could halt all of that activity and not lose a dime in revenue. By contrast, when we focus on AI applications that do the most direct harm – policing, health, security, customer service – we also focus on the AI applications that make the most money and drive the most investment.

AI hasn't attracted hundreds of billions in investment capital because investors love AI slop. All the money pouring into the system – from investors, from customers, from easily gulled big-city mayors – is chasing things that AI is objectively very bad at and those things also cause much more harm than AI slop. If you want to be a good AI critic, you should devote the majority of your focus to these applications. Sure, they're not as visually arresting, but discrediting them is financially arresting, and that's what really matters.

All that said: AI slop is real, there is a lot of it, and just because it doesn't warrant priority over the stuff AI companies actually sell, it still has cultural significance and is worth considering.

AI slop has turned Facebook into an anaerobic lagoon of botshit, just the laziest, grossest engagement bait, much of it the product of rise-and-grind spammers who avidly consume get rich quick "courses" and then churn out a torrent of "shrimp Jesus" and fake chainsaw sculptures:

https://www.404media.co/email/1cdf7620-2e2f-4450-9cd9-e041f4f0c27f/

For poor engagement farmers in the global south chasing the fractional pennies that Facebook shells out for successful clickbait, the actual content of the slop is beside the point. These spammers aren't necessarily tuned into the psyche of the wealthy-world Facebook users who represent Meta's top monetization subjects. They're just trying everything and doubling down on anything that moves the needle, A/B splitting their way into weird, hyper-optimized, grotesque crap:

https://www.404media.co/facebook-is-being-overrun-with-stolen-ai-generated-images-that-people-think-are-real/

In other words, Facebook's AI spammers are laying out a banquet of arbitrary possibilities, like the letters on a Ouija board, and the Facebook users' clicks and engagement are a collective ideomotor response, moving the algorithm's planchette to the options that tug hardest at our collective delights (or, more often, disgusts).

So, rather than thinking of AI spammers as creating the ideological and aesthetic trends that drive millions of confused Facebook users into condemning, praising, and arguing about surreal botshit, it's more true to say that spammers are discovering these trends within their subjects' collective yearnings and terrors, and then refining them by exploring endlessly ramified variations in search of unsuspected niches.

(If you know anything about AI, this may remind you of something: a Generative Adversarial Network, in which one bot creates variations on a theme, and another bot ranks how closely the variations approach some ideal. In this case, the spammers are the generators and the Facebook users they evince reactions from are the discriminators)

https://en.wikipedia.org/wiki/Generative_adversarial_network

I got to thinking about this today while reading User Mag, Taylor Lorenz's superb newsletter, and her reporting on a new AI slop trend, "My neighbor’s ridiculous reason for egging my car":

https://www.usermag.co/p/my-neighbors-ridiculous-reason-for

The "egging my car" slop consists of endless variations on a story in which the poster (generally a figure of sympathy, canonically a single mother of newborn twins) complains that her awful neighbor threw dozens of eggs at her car to punish her for parking in a way that blocked his elaborate Hallowe'en display. The text is accompanied by an AI-generated image showing a modest family car that has been absolutely plastered with broken eggs, dozens upon dozens of them.

According to Lorenz, variations on this slop are topping very large Facebook discussion forums totalling millions of users, like "Movie Character…,USA Story, Volleyball Women, Top Trends, Love Style, and God Bless." These posts link to SEO sites laden with programmatic advertising.

The funnel goes:

i. Create outrage and hence broad reach;

ii, A small percentage of those who see the post will click through to the SEO site;

iii. A small fraction of those users will click a low-quality ad;

iv. The ad will pay homeopathic sub-pennies to the spammer.

The revenue per user on this kind of scam is next to nothing, so it only works if it can get very broad reach, which is why the spam is so designed for engagement maximization. The more discussion a post generates, the more users Facebook recommends it to.

These are very effective engagement bait. Almost all AI slop gets some free engagement in the form of arguments between users who don't know they're commenting an AI scam and people hectoring them for falling for the scam. This is like the free square in the middle of a bingo card.

Beyond that, there's multivalent outrage: some users are furious about food wastage; others about the poor, victimized "mother" (some users are furious about both). Not only do users get to voice their fury at both of these imaginary sins, they can also argue with one another about whether, say, food wastage even matters when compared to the petty-minded aggression of the "perpetrator." These discussions also offer lots of opportunity for violent fantasies about the bad guy getting a comeuppance, offers to travel to the imaginary AI-generated suburb to dole out a beating, etc. All in all, the spammers behind this tedious fiction have really figured out how to rope in all kinds of users' attention.

Of course, the spammers don't get much from this. There isn't such a thing as an "attention economy." You can't use attention as a unit of account, a medium of exchange or a store of value. Attention – like everything else that you can't build an economy upon, such as cryptocurrency – must be converted to money before it has economic significance. Hence that tooth-achingly trite high-tech neologism, "monetization."

The monetization of attention is very poor, but AI is heavily subsidized or even free (for now), so the largest venture capital and private equity funds in the world are spending billions in public pension money and rich peoples' savings into CO2 plumes, GPUs, and botshit so that a bunch of hustle-culture weirdos in the Pacific Rim can make a few dollars by tricking people into clicking through engagement bait slop – twice.

The slop isn't the point of this, but the slop does have the useful function of making the collective ideomotor response visible and thus providing a peek into our hopes and fears. What does the "egging my car" slop say about the things that we're thinking about?

Lorenz cites Jamie Cohen, a media scholar at CUNY Queens, who points out that subtext of this slop is "fear and distrust in people about their neighbors." Cohen predicts that "the next trend, is going to be stranger and more violent.”

This feels right to me. The corollary of mistrusting your neighbors, of course, is trusting only yourself and your family. Or, as Margaret Thatcher liked to say, "There is no such thing as society. There are individual men and women and there are families."

We are living in the tail end of a 40 year experiment in structuring our world as though "there is no such thing as society." We've gutted our welfare net, shut down or privatized public services, all but abolished solidaristic institutions like unions.

This isn't mere aesthetics: an atomized society is far more hospitable to extreme wealth inequality than one in which we are all in it together. When your power comes from being a "wise consumer" who "votes with your wallet," then all you can do about the climate emergency is buy a different kind of car – you can't build the public transit system that will make cars obsolete.

When you "vote with your wallet" all you can do about animal cruelty and habitat loss is eat less meat. When you "vote with your wallet" all you can do about high drug prices is "shop around for a bargain." When you vote with your wallet, all you can do when your bank forecloses on your home is "choose your next lender more carefully."

Most importantly, when you vote with your wallet, you cast a ballot in an election that the people with the thickest wallets always win. No wonder those people have spent so long teaching us that we can't trust our neighbors, that there is no such thing as society, that we can't have nice things. That there is no alternative.

The commercial surveillance industry really wants you to believe that they're good at convincing people of things, because that's a good way to sell advertising. But claims of mind-control are pretty goddamned improbable – everyone who ever claimed to have managed the trick was lying, from Rasputin to MK-ULTRA:

https://pluralistic.net/HowToDestroySurveillanceCapitalism

Rather than seeing these platforms as convincing people of things, we should understand them as discovering and reinforcing the ideology that people have been driven to by material conditions. Platforms like Facebook show us to one another, let us form groups that can imperfectly fill in for the solidarity we're desperate for after 40 years of "no such thing as society."

The most interesting thing about "egging my car" slop is that it reveals that so many of us are convinced of two contradictory things: first, that everyone else is a monster who will turn on you for the pettiest of reasons; and second, that we're all the kind of people who would stick up for the victims of those monsters.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/29/hobbesian-slop/#cui-bono

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[artsekey]

I really hate how ads have taken over the internet. On one hand, I know that hosting a website costs money, right? And ad revenue is one of the simplest ways for free-to-use websites to cover their operating costs.

My question is-- and I would genuinely love an answer-- is this ever going to stop? Tumblr ran for a long time without ads. So did Youtube. I know that the cost of hosting so much media has gone up, but there are a lot of users on these websites that make the content that drives people to use the service that don't see any of the money generated by this revenue. On Youtube, there's at least a way for creators to make some money from what they do. For most, it isn't much, but the opportunity is there. On Tumblr, well... the ability to convert the visibility of my blog into any financial gain practically nonexistent, though they did at one point promise that users would be able to make money from ads run on their blogs (whatever happened to that, Staff?).

"You can pay to avoid seeing ads!" Tumblr says, as if the views on my main blog alone over the past few years have not generated more than enough ad revenue to cover the price they're asking me to pay, the person who is actively making content that brings eyes to their ads.

I'm not mad at Tumblr for hosting ads. I get that it has to happen because it's the easiest way to keep the site free, and honestly, I imagine Tumblr's staunch opposition to monetization has been a real obstacle for the team building Tumblr. But at the same time, it feels like yet another small concession in the usability of the site. I'm tired of ads that auto-play with blaring audio while I'm scrolling. I'm tired of adds that, if I touch them while trying to scroll past them, take me to an external site. Outside of tumblr, I'm tired of looking for information online only to get a webpage that's 95% ads and otherwise illegible. Hell, I recently got an ad on Discord. Was it unobtrusive? Maybe. But it was there, for the first time, and I know that won't be the end.

I know the first reply I'm going to get on this is "use adblock", and yes, that's a solution, but think about how much the landscape for media has changed in just ten years.

Popular forums are basically gone outside of reddit.

Youtube, without Red, is ad hell. You can't watch more than 3-4 minutes of video without getting sent to marketing hell.

Instagram, Tumblr, Twitter-- it's terrible. I firmly believe they've manufactured a worse experience through the implementation of ads to convince you to buy into their premium services.

Just Check out this video of Penguinz0 trying to watch a video on a third-party site.

There's discussion of putting ads into video games.

Remember when games didn't include micro-transactions? Blizzard is charging $70 for one mythic skin. You could almost buy Overwatch 1 twice-over at that price-point.

Influencers make a living by making their lives into advertisements.

Youtube has retaliated against users using ad-block on non-chrome browsers by artificially inflating the load times of it's videos.

What can we do about this? I imagine companies see it as an infinite money hack; users can't stop companies from hosting ads, and the action they could take to voice their displeasure-- leaving the site, using other competitive services-- has been all but obliterated thanks to the homogeneity of popular social media outlets. If someone is truly so incensed about ads, well-- it isn't like they have to engage with them, right? They can enroll in a cheap, auto-renewing service to get rid of ads entirely. Well, wait, the price of premium might just have to go up. Don't worry, it's auto-renewing! You won't even notice it. Oh, no, it's got to go up again, you won't even notice it.

There's no incentive for them to cap this behavior, and no way for us as users to pressure them to do so. We create these spaces; we fill them with color, art, activism, community, and the companies that ride on the tailcoat of the spaces we create tell us to give them more. What comes next?

[rubberduckyrye]

You know I've seen quite a few people say they're wanting to make v3 rewrites lately--and as someone who is actively working on one by myself, I feel like I should give some advice. I know I'm nowhere NEAR done with Twins AU, but I've made a ridiculous amount of progress and I think these things have greatly helped me out personally

So here are my tips for making a V3 rewrite and actually making it stick/not to burn out before the first chapter!

This is important. Don't try to please everyone. You will never please everyone. Write this for yourself, and you will find an audience. People can and will hate your fic no matter what you do. Don't try to please them, they are not your target audience-- so Write this story for, first and foremost, yourself. It'll feel so much more rewarding if you do I promise.

V3's main theme is extremely muddied due to how the narrative was and how open ended the game was left, and from my own research, no one can agree on what V3 was trying to say about truth and lies, or Reality and Fiction. If you want to rewrite this story, you're going to need to narrow down what you want your rewrite to say about the themes presented.

PLAN THE EVIDENCE AND MURDERS AS THOROUGHLY AS YOU CAN. I think not knowing what I was going to do for the cases and trials really scared me for the longest time until I essentially sat myself down and fleshed out all of the cases for Twins AU. Make evidence lists, do research on how your murder cases might go, the works. It's a lot of work but I personally followed this post and also made an evidence list to help me out plot out the murders for Twins AU. This is also a great way to flesh out your protagonist as well, since you get to explore their note-taking style and what kind of language they'd use for taking notes and if they have opinions about certain things.

Write a summary of each character in the story. DR games have a big cast and V3 has an even BIGGER cast than usual, so it's good to write down summaries for all of the characters. I also suggest really studying each character too, even if you plan on changing a character to better suit your tastes (or to get rid of offensive material.... looking at you Angie) you still want to keep the core of their character intact for fans of that character.

Speaking of characters, make sure to try and remember to write each one as a human being, even if they aren't human (Kiibo for example). Develop them, give them quirks and flaws, motivations and wants and desires and dreams. Even if you hate a character, doing this much character study will help you keep them in character and keep their motivations reasonable and understandable.

If you don't have a good grasp on a character, study harder. Don't go looking for other people's interpretations or try to be a crowd pleaser. Make your own interpretation, and that interpretation becomes special to your rewrite.

If you plan on changing a character, for the love of GOD do your research first. Don't go accidentally making Angie into a worse racist caricature of Pacific Islanders Please and Thank You. Actually, just do a ton of research in subject you think might be relevant to a character or the plot--like Gonta and how ableism prevails in his story. Like how Shuichi has anxiety up the wazoo and how Maki has learned helplessness. Study and research hard.

Pace yourself--I don't think people realize how GIANT a V3 rewrite project is--remember that this game is extremely long and you cannot write this in a single month. Once all of your planning is done, write a reasonable amount for it each day. For me, I'm able to crank out 2k a day because I type absurdly fast, but most people would probably want to start at maybe 500 words a day.

If you're not having fun, step back. You might be burnt out and need a break, or maybe the scene you're writing is just not working. Take time to assess your own feelings and do what is appropriate to resolve them.

Don't feel too discouraged if you need to rewrite a whole scene--it happens to the best of us and sometimes things are just not working. It's not lost progress to retry--consider the scene you are replacing as a rough draft you need to remake. I've had to erase huge 1k chunks due to this.

Reward yourself for big accomplishments! When I finished the prologue, I threw myself and my editor ( @trans-shuichisaihara ) a pizza party, and I plan on doing something like that again, albeit probably cheaper. Reward yourself for huge milestones! Hell, I owe myself at least one treat for two chapters I've written, but tbh I've been having so much fun just writing that doing so is rewarding within itself. That doesn't mean external factors can't help, so if you finish a chapter and you're proud of it, buy yourself a treat for working so hard!

If you got a friend who likes editing/beta reading, invite them to beta read for you! They can help you find errors and typos that you might've missed. If you plan on editing your fic, I highly recommend reading your writing out loud to help you find weird sentence structures and awkward phrases. This should have the bonus of making it easier for people who use screen readers/just prefer audiobooks to enjoy your fic as well!

EDIT! Here are two more:

It's okay to be scared writing something new! Getting out of your comfort zone is going to happen with a giant story like this, and maybe you're going to flop at the best parts. That's perfectly fine!!! You can always edit it later--or even just call it "good enough" and move on! This is fanfic for fun, not a professional project you're making money off of. It's okay if things are less than ideal and incredible imperfect. An imperfect story is at least written. That's better than not writing it at all.

For the love of everything that is holy, remember that the characters should be people--and remember that their talents do not make up their entire personality. Their talents should not solely dictate what they wear, how they act, or the worst offender in this fandom--how their executions go. When writing a character Execution, think instead of what would be the worst way for that character to die--that is to say, what would bring them the most despair upon their death. DR1 and DRV3's executions all play with the despair of the blackened in each execution (with DR2 being noted to heavily miss the mark and to be the set of executions that are the most disappointing to Kodaka, from what I've been told.) So if you're stuck on writing a new Execution, try to think about what each execution from DR1 and DRV3 does to play with the despair of the blackened. What about their executions are giving them despair in their final moments? Do they at all relate to their talents, or are they completely separate from their talent? Study them, and you'll be able to use that information to write your own unique executions that are miles better than most of the fan made executions out there.

And I think that's my advice for now! Happy writing, everyone!

[amuseoffyre]

Finding it interesting that Ed can read other pirates like a book, but Stede is like a locked and sealed volume hidden in a chest under the floor to him.

Ed says of Ned "it's usually a family thing" and yet never once sees that in Stede. Likewise, with Mary and Anne, "I can see what they're doing. This is a game to them".

I suspect part of it is that he doesn't think it's possible Stede could be like them, that he also has some kind of trauma. "You've got it all figured out", he says, never noticing how Stede flinches. A lot of it comes from Stede making very conscious decisions to bottle things up and stiff-upper-lip his way through a lot of stuff.

What Ed sees as whimsical lunacy is actually Stede's desperate need for acceptance and approval as himself. His eccentric behaviour seems more like a charming quirk than a sign of some deeper trauma there. He literally runs headlong into dangerous situations, including piracy itself, because whatever he left behind was so much worse for him.

It's very clear Ed didn't hear him when Stede said he very much knew what it felt like, treading water, waiting to drown, because Ed was too caught up in venting about his life being boring to the first person who showed an interest.

In S1, Stede actively never voiced his concerns - the one time he did briefly lose his temper (after Jack pissed on his shoes), the next thing he knows, Ed is leaving him with that same man. The minute a figure from his past points out all his sins, his self-assurance cracks like glass.

In S2, that fear is still there: the fear of not being enough and that Ed will have a better and happier life without him.

His wife moved on in his absence and found a better life without him. Now, the first time he's been able to stand his ground, do what his father always told him was "a man's work", and slept with the man he loves, he's being told it was "a mistake". Which isn't what Ed is saying, but no doubt it's what Stede hears because it's the lesson beaten and stoned and snarled into him his entire life.

The fact that Ed does have these blank spots about Stede's past is causing a lot of the trouble in their miscommunication. Ed needs to know him if they're going to get anywhere, just as he needs to know Ed and I'm so curious about how they're going to do it.

[utilitycaster]

The thing that I think gets me about Neve the most, and this is past the point where I personally am in the game, is that you can still romance her after you've chosen to prioritize Treviso (which you can't do for Lucanis if you do the reverse). The thing is, it makes sense. Neve judges you negatively for trusting her. There's a dialogue in the Shadow Dragons hideout where Tarquin (Shadow Dragons faction agent) gripes about The Viper (Shadow Dragons faction agent and leader) running background checks on him, before admitting he'd probably do the same. And the thing is, if you tell Tarquin that this seems reasonable he accepts it, but he seems irritated. Neve doesn't.

You meet Neve striking a pose, having frozen her assailants, needing none of your help. Neve does not, on the whole, ever seem to want your help until she begs you to save Minrathous. She approves of you taking her to interrupt the ritual, and seems to be entirely unbothered by the fact that it leaves her badly bruised - indeed, you have to actively choose to leave her behind later when you go looking for Bellara.

Neve loves Minrathous and Dock Town, which means she also hates them. She takes you there, if you do the companion quest, which you should. She invites you after Bellara fangirls out over some news pieces about her (Neve drily remarks they were hit pieces), to go pick up some leads and some serials Bellara wants. For all she's sarcastic, gruff, and even a little snide with Bellara (and with my playing of Rook, who is fairly direct and positive with the Veilguard companions) and doesn't believe a Tevinter serial would ever truly end happily if it were remotely realistic, she still wants to get those serials for her teammates. She's not here to make friends, though she's slowly doing so, but she also believes in working with your allies even when they're sunny and scatterbrained or bracingly positive and you're an exhausted, cynical detective.

Exhausted is I think the most salient point. Neve is fucking tired. She tells you she's lived in Dock Town her whole life, and she became a detective, taking on cases for people who weren't helped by the Templars (who, you learn in one of the core missions prior to your choice to save only one of Minrathous and Treviso, are corrupt all the way up to the top). After solving a missing person case successfully, with an implication that she freed a slave in the process, the Shadow Dragons recruited her, but she's been doing the same work she always done. And the Shadow Dragons, meanwhile, in addition to attempting, with limited success, to infiltrate the Magistrate and fight for abolitionism, also do a lot of work like Neve's: helping people on the street. Their basement is full of unhoused and hungry people with nowhere else to go.

Neve is tired because, I think, she doesn't really believe Minrathous will get much better in her lifetime. She tells you in her companion quest, as you eat street food on the docks, looking out into the ocean, that she treasures the small wins because that's what she gets. Whereas the Crows remember a free Treviso and fight for that, Neve, in particular, feels like she's just trying to keep things from getting worse, and maybe help a few people. She's cynical because dreaming big probably won't pan out and she knows it so she's not going to waste her time.

Her work is her life. Her gift is literally just more evidence. Harding, Lucanis, and Bellara all reminisce about friends and family, but Neve still hasn't yet. You get the sense that Rana, one of the few clean Templars with whom she works, is probably the person she'd put down as an emergency contact. She doesn't even really get along with Tarquin, though, to be fair, doesn't seem like anyone does. Her world is a network of people who are useful.

I'm going somewhere with this, and that's, unsurprisingly, to Critical Role Campaign 3, because after all that here's my thesis: Neve is what people want some of Bells Hells, but especially Ashton, to be.

I've seen defense of Ashton's abrasiveness because many leftists are abrasive people, and the thing is, that's not untrue, but they're abrasive because they're like Neve: they're doing endless difficult work with very little reward or thanks, and at most they get small wins.

What has Ashton done for their communities? The Nobodies and Krook House aren't feeding the hungry or fighting corruption; the former is a group of thieves with no particular cause and the latter a punk co-op house. What was Ashton doing for the people of Jrusar or Bassuras? I struggle to find anything tangible. There's a lot of talk and no action - punk aesthetics and a lot of talk about standing for the weak, but when do they actually do that? It's all very surface level, and so the defenses of Ashton must focus entirely on what and who they are (nb, disabled, punk, had a terrible childhood) and what they say but never, ever, what they do. It's posturing.

Neve? It's entirely what she does. She is, for what it's worth, disabled and queer (and played by a woman of color, though whether she's coded as such in-game probably requires an academic background in both the history of Thedas and the history of the real-world Black Sea region) but we don't know a damn thing about her childhood yet. We don't know if she's been hurt or heartbroken or abandoned until we, as Rook, have to decide whether to do that to her. And when we do? She takes her time (she's not back yet in my game) but in the end, she blames the actual root causes of the elven gods sending the dragon and blight, and the Venatori working with them and, as far as I know, gets back to work. As she always has.

[maxknightley]

confession: i still don't understand what tme/tma js and i dont understand the google definitions because im kinda dumb, so i dont understand the arguments ): i feel like its too late to ask. it means transmysongony exempt right? i just. i dont get what that meabs!!

broadly speaking, TMA - or "transmisogyny affected" - means "amab transgender and nonbinary people." i.e., people who are the "intended target" of transmisogyny in the same way that Jewish people are targeted by antisemitism or gay people writ large are targeted by homophobia.

TME - "transmisogyny exempt" - is basically Everyone Else, including cis people as well as AFAB trans/nonbinary people.

the idea of the construction is to describe the ways in which transfems are harmed by cis people & "TME" trans people as well. but I have a few problems with this language:

I think it's absurd to describe cis men as "exempt from transmisogyny" because a major purpose of transmisogyny is to socially discipline GNC cis boys and men. as a thought exercise, I like to point out that I could have had the exact same experiences as a child/teenager, but if I hadn't transitioned, I would have magically ceased to be "affected by transmisogyny". I think this is Fucking Stupid because a large part of my childhood was defined by transmisogyny I didn't even know was transmisogyny yet.

we already had perfectly good language for what "tma" is intended to represent. namely, transfem. idiots and jerks misusing that language, describing themselves as "afab transfem" or whatever the hell, doesn't matter to me when 1. people are going to play silly little word games with literally any terminology marginalized people use to describe our experiences, and 2. the replacement terminology is actively worse at describing things.

whenever people use "TME" they're usually referring specifically to other people in the trans community, making it a transparent - and, imo, Worse - replacement for "afab." just say "afab" or "transmasc." let's be honest with ourselves.

while I think the ability to describe transmisogyny is necessary in order to express what it's like to be transfem, I feel that people often treat transmisogyny as if it's a separate construct that happens to intersect with other forms of transphobia and sexism. and I think this is silly, because transmisogyny is sexism is homophobia. they're all parts of a self-reinforcing structure and cannot be properly understood until we accept that you don't slay the hydra by continually cutting off its heads

I'm an extremely spiteful person. Every time I see a post that's based on the idea that Everyone Who Dislikes This Is Transmasc, or that Transgender Women Aren't "Allowed" To Be Butch And Therefore Don't Exist At All, my anger gauge fills up a little more. someday it will hit its maximum and I will be able to unleash my ultimate. that or I'll have a stress-induced heart attack

[schneiderenjoyer]

Now that global's getting some more good world lore with the recent two events, I can finally just talk about how much it fascinates me that arcanists, by nature of their genetics, actually are just a different species of their own.

Like, the clear discrimination aside, the fact they definitely stand out among humans truly emphasizes the battle they face to be recognized as equals to humans if you view their race as not a sub-category of human, but as a different species entirely. How like fantasies depict humanoid creatures such as elves and dwarves, but they're never classified as human. That's what arcanists are starting to feel like.

This idea is also supported by the many hints and factoids scattered around the in-game UI. How the Celluloid Activity (the game's energy system) is a form of genetic DNA seen only in arcanists that help them control arcanum. Or how the concept of Gnosis or Deep Thought is their way of focusing their energy and help process the world and the arcanum around them. Blonney's struggle narratively in the event shows just how much arcanists think very differently compared to humans that it's seen as "odd" and "not normal" (also love the neuro divergent subtext of that for arcanists honestly).

But the real kicker of how it makes me confirm that it's not just a human discrimination of a race, but straight up xenophobia for an entire species is the conversations we get from the entire Nightmare in Green Lake, where the majority of the cast is purely arcanists interacting with other arcanists.

From the conversation in car of casually talking about Tooth Fairy eating fairies to the point she got cursed to have her teeth stolen like it's a conversation about the weather, to them just glossing over the erratic behavior of Changeling keeping campers hostage and later just getting rid (or throwing them out of the campsite) once she's bored of them. These are seen as normal behavior to arcanists.

Like, forget the members of the foundation probably seeing worse, I'm surprised Blonney didn't react more to the realization, it's honestly hilarious. But that just shows the clear divide of what makes arcanists different from humans. Which also explains why a lot of the arcanists talk so cryptic and artistic, sometimes not making sense unlike the human characters who talk straightforward and direct.

Because to us, as humans, we understand that language better and viewing arcanists' language is hard to decipher since they're a different species with a different culture and way of thinking.

This opens up larger avenues of viewing the struggles of arcanists in a human dominated world and the dark implication of the Foundation potentially experimenting on arcanists not to find the cell to withstand the Storm, but to transplant the ability to use arcanum onto humans through genetic alteration. Which can be backed up with the masks the Manus gives to humans to withstand the Storm, but in exchange turns them into monstrous beings because they can't handle the forced application of Celluloid Activity on their body.

[melodyatlas]

more of the vampire au

since this is a no bats au, we're going with tim having been the wayne's neighbor the whole time, his parents being high society and tim growing up in the same kind of environment, always going to the galas and parties

also oops this one is also got out of hand so heres a read more lmao

tim starts off with one of those cute little kid crushes on dick, and everyone expects it to pass as he gets older, but it doesnt. he ends up being able to hide it from everyone except dick and bruce, dick just finding it amusing and bruce finding it a little worrisome, constantly reminding dick that anyone in their civilian circles is off-limits so as to not draw attention to themselves

but that doesnt generally stop dick when it comes to his meals. its just too easy to compel someone for a taste when they're already throwing themselves at him, which happens All The Time at the various social events they attend

but just because he finds tims crush amusing doesnt mean he wants to drink from the kid. he does play with him a little as he grows up tho, slotting himself into a surrogate older brother role just to make him feel worse about his crush

when tim is fifteen dick is extra bored and decides to take his game with tim a little further, starts actively flirting with him while still playing up the brother role, and he doesnt expect it to actually make tim /mad/

it just makes dick wanna do it all the more

things escalate quickly from there

dick keeps pushing tims buttons and it all comes to a head on a night where the drake's are actually hosting, so dick finds an excuse to get tim alone, some back hallway that not even the staff are traversing right now because everyone is focused on the guests in another wing

still playing with tim, but thinking he might actually take a taste tonight, dick gets tim backed up against a wall, close but not touching, except the lock of tim's bangs that dick is rubbing between two fingers, watching as tim's eyes dilate and his heart quickens

but tim doesn't even look at dick, seemingly looking for a way around him, and it's not really what dick expected after so many years of tim staring at him, it's not what dick /wants/ after all those years either. tim is /supposed/ to still be looking at him

"tim"

"dont make me forget"

and doesnt /that/ catch dicks attention all the more. that sounded like... tim knows.

tim knows what dick can do?

but he's good at playing dumb, has had to for years, so he doesn't just give up the pretense-

"make you forget? what're you talking about timmy?"

but tim's not having it, he just huffs out a little breath through his nose like he always does when he's especially annoyed by dick's antics and finally meets dicks eyes, "dont play stupid, dick. not with me. you can drink from me like you do all those other people, but i dont want to forget. dont wipe my mind like you do with them."

and dick should be denying it. or at the very least asking how he knows- how /long/ he's known- why he's fine with it- why he hasn't told anyone- any number of questions come to mind, and dick should compel tim to tell him the truth in an interrogation but all that comes out is a simple "why?"

"because i want to know what it feels like."

"show me your room, then." tims brow furrows at the request, his turn to ask 'why,' and dick gives him the truth, "you said i can drink from you the same way i drink from others- for that we need a bed."

tims heart beats faster again, but he nods, and leads the way up a back staircase over to the family wing. once they make it to tims room dick locks the door and shows tim a little taste of his strength and speed, picking tim up and laying him out on his bed all in a blink, bracing himself over tim

"dick-"

"sshhh, relax, tim, this is how i start" its not /exactly/ how he starts. there's not always a bed, and theres generally a lot of kissing in the hallways and alcoves. its fun, for him, to indulge in the sexual aspect the people he drinks from are actually expecting, and then only wiping their minds of the parts where he drinks from them, replacing the memories with more kissing and soft bites

but he needed to get tim in a bed right off the bat, didnt want to give him time to change his mind because he doesnt /want/ to compel him into it. not when he just /offered/ himself up like that. not when he can actually be himself with tim without worrying about wiping his mind after

so he leans down to finally kiss tim, doesnt let his fangs out yet- starts the kiss off gentle before biting softly and tugging a little bit. and tim responds beautifully, if not a little more reserved than dick expected from someone who just offered himself up on a silver platter.

but the tentative way tims hands come up to dicks shoulders remind him that tim is young. inexperienced, probably. it makes dick even hungrier. he doesnt normally go for anyone this young, tends to stick to the socialites who throw themselves at him in galas, or people old enough to get into the clubs he frequents for meals

tims mouth opens up so sweetly for him though, and after a few minutes he can tell hes getting worked up. so dick works a leg between tims, rubs down as he moves his kisses down from tims mouth to his neck, his kisses turning rougher, love bites getting a little harder, not quite hard enough to break the skin- not yet

he waits until tim is fully hard in his suit pants, then tugs his collar open further to give dick more access to his neck before finally letting his fangs out to drag along tims neck, tims hands fisted in dick's suit jacket at his sides

his slips a hand into tims pants the same time he sinks his fangs into tims neck, unsure which sensation drags the moan from the younger boy. but it doesnt matter to dick, not right now, not when his blood bursts along his tongue. there's something about it- it tastes richer than anyone else dick's drank from over the years. its /more/.

dick has already decided that he'll drink from tim again. whether or not tim decides he likes it in the end