#play nyc 2022

[kenpiercemedia]

Play NYC 2022: Discussing "Clear The Decks" with Creator Christopher Pinyan

PiercingMetal was in attendance at the annual Playcrafting Play NYC event which this year was held at the Chelsea Industrial event space. This video features the “Clear The Decks” game with an overview by its creator Christopher Pinyan. We ask all of our viewers to kindly “Subscribe” to the Channel if they haven’t done so already and click the Notification Bell and Like/Comment on the video. This…

[eddie-redmayne-italian-blog]

Vogue cover!!

Eddie Redmayne and Cara Delevingne together for the Burberry Spring Summer 2012 campaign!! Today in 2024 they are far but close as they are both in Theater with Cabaret same production in NY and London.

Life is Beautiful!!!

[jdubleyou]

https://youtu.be/OgfpwO9YsQ8

[mostlysignssomeportents]

Why Millennials aren’t leaving Tiktok

I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me TOMORROW NIGHT (Mar 22) in TORONTO, then SUNDAY (Mar 24) with LAURA POITRAS in NYC, then Anaheim, and more!

The news that Gen Z users have abandoned Tiktok in such numbers that the median Tiktoker is a Millennial (or someone even older) prompted commentators to dunk on Tiktok as uncool by dint of having lost its youthful sheen:

https://www.garbageday.email/p/tiktok-millennials-turns

But "why are Gen Z kids leaving Tiktok?" is the wrong question. The right question is, why aren't Millennials leaving Tiktok? After all, we are living through the enshittocene, the great enshittening, in which every platform gets monotonically, irreversibly worse over time, and Tiktok is no exception:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

To understand why older users are stuck to Tiktok, we need to start with why younger users relentlessly seek out new platforms. To some extent, it's just down to youth's appetite for novelty, but that's only part of the story. To really understand why people come to – and leave – platforms, you have to understand switching costs.

"Switching costs" is the economists' term for everything you have to give up when you change products or services. Switching from Ios to Android probably means giving up a bunch of your apps and purchased media. Switching from an airline where you're a high-status frequent flier to another carrier means giving up on free checked bags and early boarding.

In an open market, rivals have lots of ways to lower these switching costs (it's an open secret that you can call an airline and say, "Hi, I'm a 33rd Order Mason on American Airlines, will you make me a Triple Platinum Diamond Sky-Baron if I switch to Delta?"). Of course, big incumbents hate this, and do everything they can to increase their switching costs, finding ways to impose high switching costs that punish disloyal consumers who have the temerity to go elsewhere.

With social media, lock-in comes for free, thanks to the "collective action problem." Getting people to agree on a given course of action is hard, and as you add more people to the picture, the problem gets harder. It's hard enough to get half a dozen people in your group-chat to agree on where to go for dinner or what board-game to play. But once you're reliant on a social media service to stay in touch with friends, relatives around the world, customers, communities (say, rare disease support groups), and coordination (like organizing your kid's little league car-pool), the problem becomes nearly insoluble. Maybe you can convince your overseas relatives to switch to a Signal group, but can you do the same for your small business's customers, or your old high-school pals?

https://pluralistic.net/2022/10/29/how-to-leave-dying-social-media-platforms/

Taken together, switching costs and collective action problems make platforms "sticky," and sticky platforms inevitably enshittify.

Platforms, after all, generate value. They connect end-users with each other (say, little league parents) and they connect end-users to business customers (you and your small business's customers). That value needs to be parceled out among end users, business customers, and the platform's shareholders. A platform can make life better for business customers at its end users' expense by increasing the number of ads (hello, Youtube!), and it can make life better for its shareholders at its business customers' expense by decreasing the share of ad revenue given to publishers or performers (oh, hello again, Youtube!).

From a platform's perspective, the ideal state is one in which end users and business customers get no value from the platform, because it's all being captured by the platform's shareholders. But if Youtube interrupted every 30 seconds of video for ten minutes of ads and paid the video creators nothing, both users and creators would ditch the platform – and advertisers would follow:

https://www.youtube.com/watch?v=Dab8sKg8Ko8

So platforms seek an equilibrium: "what is the least value we apportion to end-users and business customers without triggering their departure?" Maybe that means giving more value to end-users (for example, keeping Uber fares low by suppressing wages), or to business-customers (crowding more ads into your social media feed).

Every business – including brick-and-mortar, non-digitized ones – wants to find some kind of equilibrium between the value going to its suppliers, its customers and its owners, but digital businesses have an advantage here: digital systems are flexible in ways that analog, hard-goods businesses are not. Digital businesses can alter pricing, payouts and other dynamics from moment to moment – second to second – and make a different offer to every supplier and customer. They have a bunch of knobs, and they can twiddle them at will:

https://pluralistic.net/2023/02/19/twiddler/

Well, not quite at will. Businesses face constraints on their twiddling. If they get too greedy, users or business customers might weigh the cost of staying against the switching costs and decide it's not worth it. But the more expensive – the more painful – a platform can make leaving, the more pain they can inflict on the people who stay.

In other words, there's two ways to keep a customer or supplier's business: you can make a better service so they won't want to leave, or you can make leaving the service so painful that they stay even if you mistreat them.

There's three ways a digital company can make things worse for their customers and users without losing their business.

First, they can eliminate competition (think of Mark Zuckerberg buying Instagram to recapture the users who'd fled Facebook to escape his poor management):

https://pluralistic.net/2023/09/03/big-tech-cant-stop-telling-on-itself/

Second, they can capture their regulators and avoid punishment for trampling their suppliers' or users' legal rights (think of how Amazon has raised the price of everything we buy, both on- and off Amazon, through its "most favored nation" deals):

https://pluralistic.net/2023/04/25/greedflation/#commissar-bezos

Third, they can use IP law to prevent competitors from modifying their services to claw back some of that value (think of how Apple used legal threats to block an Android version of Imessage, blocking Apple customers from having private conversations that included non-Apple customers:

https://pluralistic.net/2024/01/12/youre-holding-it-wrong/#if-dishwashers-were-iphones

Companies can't just use this tricks at will, of course. Antitrust laws can block companies from making anticompetitve acquisitions or mergers. Regulators can punish companies for cheating their customers, workers and users. Technologists can come up with clever ways of modding or reconfiguring existing services with "interoperable" add-ons that let users bargain for better treatment by refusing to accept worse:

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

Day in, day out, the decision-makers at tech companies test these constraints, twisting the knobs that shift value away from users to shareholders. Their bosses and boards motivate them with "KPIs" that dangle the promise of huge bonuses and promotions for any manager who successfully enshittifies part of the company's products:

https://pluralistic.net/2023/07/28/microincentives-and-enshittification/

Decades of pro-corporate, pro-monopoly policy has loosened those knobs. 40 years of lax antitrust meant that companies had a lot of leeway to buy or merge with rivals – that's changing today, but it's tough sledding:

https://pluralistic.net/2023/07/14/making-good-trouble/#the-peoples-champion

As sectors grew more concentrated, they found it easier to capture their regulators, so that they no longer fear punishment for price-gouging, spying, or wage-theft, so applying the same amount of torque to the "break the law" knob cranks it a lot further:

https://pluralistic.net/2022/06/05/regulatory-capture/

Once you've captured your regulators, you can aim them at your competitors. A monopoly-friendly policy environment has transformed IP law into a bully's charter, allowing powerful companies to strangle would-be competitors who dare to offer their customers tools to shield themselves from enshittification, like scrapers, ad-blockers and alternative clients. Big companies can crank the enshittification knob all the way over and know that smaller rivals knobs won't turn at all:

https://pluralistic.net/2022/10/20/benevolent-dictators/#felony-contempt-of-business-model

At one point, bosses faced one more constraint on knob-twiddling: their workforce. Many tech workers genuinely cared about their users' welfare, something bosses encouraged as a sneaky trick to get techies to put in long hours without exercising their leverage by quitting rather than destroying their lives to meet arbitrary deadlines. These workers would fearlessly slap their bosses' hands when they reached for the enshittification knob, threatening to quit rather than allowing the products they'd given so much for to be enshittified. Today, after hundreds of thousands of tech layoffs, tech workers are far less like to challenge their bosses' right to twiddle, and far more likely to get fired if they try:

https://pluralistic.net/2023/09/10/the-proletarianization-of-tech-workers/

All this means that tech bosses don't have to change their approach at all, and yet, their services will grow steadily worse. The boss who twiddles the enshittification knob in exactly the same way as he did a year or a decade ago will find it turning much further, because his customers are locked into his platform, his regulators won't protect them, the same regulators will stop his competitors' attempts at countertwiddling, and his workers fear losing their jobs too much to speak up for their users.

That's the contagion that produced the enshittocene: the forces that constrained companies (competition, regulation, self-help and labor – all melted away, allowing every company's MBA-poisoned knob-twiddling leaders to shamelessly caress their knobs with every hour that God sends:

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel

Which is why people want to leave platforms. When a platform loses its users, those users have weighed the switching costs against the pain of staying and decided that it's better to bear those costs than to stay.

So why have Tiktok's younger users found the costs too high to bear, and why have their elders remained stuck to the platform?

For that, we have to look at the unique characteristics of young people – characteristics that transcend the lazy cliche that kids are easily bored, fickle novelty-seekers who hop from one service to another with unquenchable restlessness.

Whether or not kids are novelty-seekers, they are, fundamentally, a disfavored minority. They want to do things that the platforms don't want them to do – like converse without being overheard by authority figures, including their parents and their schools (also: cops and future employers, though kids may not be thinking about them as much).

In other words, kids pay intrinsically lower switching costs than adults, because a platform will always do less for them than it will for grownups. This is a characteristic kids share with other supposedly technophilic, novelty-seeking "early adopters," from sex-workers to terrorists, from sexual minorities to trolls, from political dissidents to fascists. For those groups, the cost of mastering a new technology and assembling a community around it is always more likely to be worth bearing than it would be for people who are well-served by existing tools:

https://pluralistic.net/2022/06/21/early-adopters/#sex-tech

Pornographers didn't jump on home video because of its superiority as a medium for capturing flesh-tones. Home video was a good porn medium because it was easier to discreetly get into the hands of porn consumers, who could, in turn, discreetly view it. The audience for porn in the privacy of your living room is larger than the audience for porn that you can only watch if you're willing to be seen marching into a dirty movie theater.

Every new technology is popularized by a mix of disfavored groups and neophiles, who normalize and refine it – and yes, infuse it with their countercultural coolth – until it becomes easy enough to use to become mainstream. As more normies drift into the new system, the switching costs associated with leaving the old system declines. It gets easier and easier to find the people and services you want in the new realm, and harder and harder to find them in the old one.

This is why tech platforms have historically experienced sudden collapse: the platform that gets more valuable and harder to leave as it accumulates users gets less valuable and easier to leave as users depart:

https://www.zephoria.org/thoughts/archives/2022/12/05/what-if-failure-is-the-plan.html

If you're a Gen Z kid on Tiktok, you experience the same enshittification as your Millennial elders. But you also experience an additional cost to staying: as late-arriving adult authority figures become more fluent in the platform, they are more able to observe your use of it, and punish you for conduct that you used to get away with.

And if you're a Millennial who isn't leaving Tiktok, it's not just that you experience the same enshittification as those departing Gen Z kids – you also face higher switching costs if you go. The older you get, the more complex your social connections grow. A Gen Z kid in middle school doesn't have to worry about losing touch with their high-school buddies if they switch platforms (they haven't gone to high school yet – and they see their middle school friends in person all the time, giving them a side-channel to share information about who's leaving Tiktok and where they're headed to next). Middle-schoolers don't have to worry about coordinating little league car-pools or losing access to a rare disease support group.

In other words: younger people leave old platforms earlier because they have more to gain by leaving; and older people leave old platforms later because they have more to lose by leaving.

This is why Facebook is filled with Boomers. Yes, their kids bolted for the exits to avoid having their parents (or grandparents) wading into their sexual, social and professional lives. But the reason the Boomers were late joining younger users' Facebook exodus – or the reason they never joined it – is that they stand to lose more by going. Facebook deliberately cultivated this dynamic, for example, by creating a photo hosting service designed to entice users into uploading their family photos while disguising how hard it would be to take those photos with them if they left:

https://www.eff.org/deeplinks/2021/08/facebooks-secret-war-switching-costs

The irony here is that tech has intrinsically low switching costs. All other things being equal, a new platform can always build a bridge to ease the passage of users from the old one. There's no (technical) reason that moving to Mastodon, or Bluesky, or any other platform should mean cutting ties with the people who stayed behind.

A combination of voluntary interoperability (where old platforms offer APIs to allow new services to connect with them), mandatory interop (where governments force tech companies to offer APIs) and adversarial interop (where new companies hack together their own API with reverse-engineering, scraping, bots, and other guerrilla tactics) would hypothetically allow users to hop between networks as easily as you change phone carriers:

https://pluralistic.net/2022/12/19/better-failure/#let-my-tweeters-go

Tech platforms tend to offer APIs when they're getting started (to ease the inward passage of new users) then shut them down after they attain dominance (locking the door behind those users). The EU is tinkering with mandatory APIs through the Digital Markets Act (though bafflingly, they're starting with encrypted messaging rather than social media). Restoring adversarial interoperability will require extensive legal reform, which is getting started through Right to Repair laws:

https://www.techdirt.com/2024/03/13/oregon-passes-right-to-repair-law-apple-lobbied-to-kill/

The people who are stranded on social media platforms shouldn't be mistaken for uncool, aging technophobes. They're not stubborn, they're stranded. Like the elders who can't afford to leave a dying town after the factory shuts down and the young people move away, these people are locked in. They need help evacuating – a place to go and a path to get there.

Name your price for 18 of my DRM-free ebooks and support the Electronic Frontier Foundation with the Humble Cory Doctorow Bundle.

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/2024/03/21/involuntary-die-hards/#evacuate-the-platformsr

[arimiadev]

why does aniplex want mahoyo to fail

I love visual novels. being a long time fate/stay night fan and only having heard of mahoyo from hushed whispers about its cinematography, I was super invested when it was announced to be coming to the west and I could finally play an official version of it.

however, a lot of people interested in type-moon works had never heard of mahoyo, let alone it getting an official english translation. but how? aniplex is publishing the game and they're one of the largest anime distributors in the world.

with the console release of mahoyo being almost exactly a year ago and the steam release being just 10 days away, I want to look over some of aniplex USA's bizarre and nonexistent marketing for one of my favorite visual novels.

let's clear up a few things, first.

mahoyo is the shortened form of mahoutsukai no yoru (not to be confused with mahoutsukai no yome, i.e. the ancient magus bride), which has been localized as witch on the holy night. mahoyo was a linear non-eroge visual novel released by type-moon in 2012, being one of the first scripts kinoko nasu (co-founder of type-moon) wrote back in 1996 and adapted into a VN many, many years later.

in April of 2022, a console remaster (switch, playstation 4) was announced with HD assets and voice acting, to be published by aniplex. notably, this console release would contain an english translation and was later confirmed in June to be sold in the west via online retailers. this was huge news, as this meant mahoyo would be the first type-moon visual novel (not including gameplay-oriented titles like fate/extella or fate/grand order) to be officially released in the west, as despite numerous fan translations, their more recognizable visual novels tsukihime and fate/stay night still had not received a localization.

type-moon is the developer behind mahoyo and aniplex is the publisher, meaning that type-moon made the game and aniplex is in charge of distributing (and marketing) the game worldwide.

timeline:

April 11 2022: Mahoyo rerelease announced for consoles (Switch & PlayStation 4), including English translation

July 4 2022: Aniplex confirms Mahoyo will be available to the West, localized under the name Witch on the Holy Night

October 14 2022: 2nd trailer released, more voice actor info announced

November 3 2022: physical pre-orders launched, demo version available

November 18 2022: Aniplex attends Anime NYC with Mahoyo

December 7 2022: Mahoyo released digitally on Switch / PlayStation 4 (Dec 8th in Japan, Dec 7th in America)

December 12 2022: Mahoyo reaches 110k units sold worldwide

January 27 2023: Mahoyo physicals release

July 5 2023: Mahoyo reaches 150k units sold worldwide

September 10 2023: Mahoyo announced for Steam via a now unlisted Aniplex livestream

December 13 2023: Mahoyo will be released on Steam (Dec 14th in Japan, Dec 13th in America)

some of the dates might be a little fuzzy, especially the release dates, as some sources go by japanese time and some go by american timezones, so just be aware of that.

now, let's talk a bit about mahoyo itself.

mahoyo is a masterpiece. it's a niche game not meant for everyone. its cinematography is top notch among visual novels. its writing style can be off-putting to people who want faster-paced stories. it's one of my most beloved visual novels I've ever played, and I've been in this field for almost a decade and have played well over 100 VNs.

mahoyo is a completely linear visual novel—meaning it has no choices or gameplay—that follows aoko, a high schooler mage trying to balance her perfect school president facade with her secret life as a mage, something she has to keep secret at the risk of death. this is one of the lesser known type-moon works but it's well beloved because of the care put into it.

if you've ever heard someone talk about it, it's almost impossible for them to not mention the visuals. mahoyo is one of the most visually impressive visual novels I've ever seen, with its inspired use of artwork and in-game animations. I cannot recommend this VN enough if you like modern fantasy and don't mind linear VNs.

before we dive into aniplex USA's marketing, I want to clarify a few marketing terms for people who don't market visual novels as a job. marketing is not just advertising—it's everything related to how a product communicates with potential users, including its branding, its packaging, its everything. when marketing a game, you have several different avenues: social media, press & influencers, trailers, store pages, and more.

today I want to show you how, based off what I have researched after a long, manic day, aniplex USA has failed mahoyo on all of these accounts.

so let's go back to its western release.

mahoyo has a few official english channels:

website

twitter

facebook

aniplex also has an official english twitter with almost 500k followers where they shared mahoyo very rarely—only 9 tweets about the game ever.

well, surely their other pages are more maintained right—

both accounts stopped posting July 10th/11th, with their last post being about mahoyo going on sale on consoles. let's look at their posts prior to this, though, starting with the twitter.

we can see that the twitter account was made in december of 2022. if we scroll down far enough (it's not hard, given they only have 33 tweets), we can see that their first tweet was on december 6th 2022:

let's go back to our timeline. can you tell me when mahoyo's remaster released digitally?

yes they made both of the english mahoyo social media accounts the day before the game launched

we can very easily add up the entire social media posts for the game thus far:

mahoyo english twitter - 30 tweets and 3 retweets

mahoyo english facebook - 27 posts

aniplex english twitter - 9 tweets

aniplex english facebook - 2 posts

no other english social media accounts were tied to the website, so these are the only ones I looked at. this means in total, there were only 68 social media posts for the console release of mahoyo by the publisher for english audiences.

but what about the steam release? after the game sold over 150k+ units on consoles, surely aniplex was ready to market it a bit more for pc users—

neither account has made a post about the upcoming steam release.

if we look at the twitter, they have 3 tweets since July that do talk about the upcoming steam release- however, these are retweets from the japanese mahoyo account.

we know that this twitter and this facebook account are the official social media for mahoyo as they're linked on the website, so they're definitely meant to be followed for game updates in the west. well, maybe the english aniplex twitter has posted about it—

none of the english aniplex or mahoyo accounts have made a single post about the steam release

that's right, the social media posts I counted above are the only posts for mahoyo on their english accounts, all dating back before the steam release was announced. since then, they have not made a single original post even mentioning the steam release.

meanwhile, the japanese mahoyo twitter has been hustling hard to promote the upcoming steam release—reposting trailers, character bios, and more almost every day with pretty good numbers.

in fact, the japanese mahoyo twitter did such a good job at marketing it that the aniplex USA twitter never mentioned the english mahoyo twiter, instead only @ ing the japanese one in tweets (despite the english one being linked on the website).

why they even bothered making social media accounts and then not running them despite being one of the largest anime distributors in the world I have no clue.

well, maybe they didn't need to rely on social media presence. maybe they were going for the in-person approach and marketing it at conventions.

mahoyo had basically no anime convention presence

the only reference I can find to aniplex notably promoting mahoyo at any western convention is this tweet of them at anime NYC. from someone who was at anime NYC, I've been told that they pushed the game heavily at their booth with TV screens promoting the game.

however, anime NYC is only one anime convention. you cannot hope to sell a game by just attending one anime convention. mahoyo might have had a presence at other american conventions, but I'm unable to find any images or news about this.

maybe they don't understand type-moon

aniplex is the publisher for fate/grand order, one of the most successful mobile games ever created. they're also the distributor for a majority of type-moon related anime, ranging from fate to garden of sinners to side series. aniplex's marketing team should have lots of experience with type-moon properties.

maybe it was promoted in other aniplex titles

I was also unable to find a news post in fate/grand order related to mahoyo's release, despite news posts for other type-moon series (namely fate but also things like melty blood) getting news posts in fate/grand order. I might've missed the news posts when looking back through FGO but I don't believe there was one.

maybe it sold well in other regions but not western ones

(I'm going to be referring only to the console release for these stats, keep in mind)

mahoyo released December 7th/8th 2022 with an english, japanese, simplified chinese, and traditional chinese translations. at the end of the release week, mahoyo's japanese twitter announced the game had sold 110k copies worldwide and famitsu reported that 66,344 of these units were sold in japan. this means we have around 43k units unaccounted for.

we know the game was available in english, japanese, and chinese languages but we don't know what regions. mainland china has a very large visual novel playerbase (I say this as someone who sells visual novels), which means if it were sold there then it's easy to say that a big chunk of that 43k units could be attributed to them—this also means it would be easy to believe that aniplex saw mahoyo selling worse in western countries and took this as a sign to not promote the game any more there.

but was it ever sold in mainland china? from what I could tell—no.

looking at pricing charts for the nintendo eshop and the playstation store, china is not listed on either. furthermore, searching the game's chinese title on the chinese playstation store does not bring back any results. it looks like the only predominantly chinese-speaking regions that were able to buy it are hong kong, taiwan and possibly singapore (the playstation store page for it doesn't look like it's available for purchase anymore).

so what does this tell us?

without any other numbers it's hard to tell how many of the 43k launch week sales came from english-speaking players, but even if we conservatively say that only around 20k of the 110k launch week units were from western countries, that's still almost a million in revenue (and remember, the physical limited edition of the game was available in english for $60, which is $20 more than the digital base version).

maybe the store page is so good they don't need to market it

here's a little secret: store pages matter a lot more than you'd think. there are entire job positions dedicated to tailoring store pages (like a steam game page) to make it perfect for the game's target audience. there's a science to it that includes the artwork, descriptions, tags, screenshots, and more.

let's see what aniplex did for the steam page of mahoyo.

A tale told with vivid colors and rich sound in a classic TYPE-MOON visual novel.

I don't know how to describe this short description charitably other than to say it sounds like a person who's never heard of a visual novel has been tasked with describing a visual novel.

this tells me nothing about the game other than it's a visual novel. I hope you know what type-moon is, because if you don't then you've learned nothing else from this. alright, well, let's look at the screenshots—

there's only 1.

currently as of writing this, there's 10 images uploaded as screenshots (no trailers, they keep adding and removing the trailers for some reason). 9 of these images are just the full artworks from the game while 1 is an actual screenshot.

I really hate this, as you're not actually shown what the game looks like unless you look at the very last screenshot. this will absolutely lead to some people not understanding what they're getting into. what's worse is that some of these CGs are spoilers, especially one in particular featuring my wife touko.

why are we spoiling people instead of showing them screenshots? why not show people what mahoyo actually looks like??

there's also absolutely no use of the announcements section on steam. each game on steam can post announcements related to the game, including upcoming releases, new updates, and more. it's customary to post a steam announcement when a game has a release date announcement. mahoyo's steam page has none.

well they probably released the trailers in english for hype

I wish I had that much hope.

on mahoyo's english website, all of the videos listed are from the official type-moon youtube, which is their japanese channel. type-moon went through the effort to translate these videos. aniplex didn't upload these to their own youtube, where they already upload everything related to the fateverse and nasuverse.

searching up witch on the holy night brings up no results for the trailer—aniplex never uploaded the trailer to their channel.

maybe they got influencers to play it

according to steamdb, the max amount of viewers mahoyo streams have had on twitch was 71 viewers.

furthermore, if we check twitch and look for vods attached to mahoyo, we only find 4 videos total, all of which were posted in the past week. it looks like they didn't even reach out to streamers to play the console release, much less pay them.

over on the press side, it does look like they reached out to at least a few reviewers. for example, on the review by noisy pixel, they clarify that a review copy was provided by the publisher for review purposes. we can add that to the bare minimum of marketing—reaching out to press.

however, they did get for some other influencers to share the game! ...twitter game sale influencers, that is.

there's actually a lot more of these types of tweets for mahoyo than I was expecting when I searched it on twitter. as a friend pointed out, just because it says "#ad" doesn't necessarily mean these were paid for by aniplex—a lot of these links look to be referrals, which means they're getting a cut of any purchases.

let's recap

mahoyo released over 110k copies in the launch week for it's worldwide console release despite very, very limited marketing efforts from its publisher aniplex. now that the game has proven it can sell very well despite being a lesser known linear visual novel, aniplex has done no marketing for the steam release- no tweets, no influencer outreach, no localization of trailers, no announcements via steam, nothing.

so why?

why does aniplex want mahoyo to fail?

even after all of this, I still do not know why. to me, it's clear that the marketing team at aniplex were (most likely) given no budget for this game and just couldn't do anything with it, deciding to spend what little money they had on press outreach and an anime NYC booth.

but why? why didn't aniplex give them a budget, even a small one? why was their budget so tiny they couldn't even afford to tweet? to RT more posts from the japanese twitter? to share the already translated trailers to their own accounts?

I've heard a few excuses like "type-moon hates western fans and probably caused it" but this doesn't make any sense either. why would you authorize a translation of your game and allow your publisher to sell the game overseas but specifically make them not market the game (and what publisher would agree to that)? I've even heard excuses like "they just forgot it was coming out", to which I ask "how does an entire marketing team (a company the size of aniplex absolutely has a team(s) for marketing and not a singular person) forget a release for a game that's already sold over 150k copies?". the only excuse I've seen that I somewhat buy is that they did not have much faith in the game and relied almost entirely on fans doing word of mouth marketing for the game.

I don't think we'll ever get an answer. while I do believe the marketing team at aniplex was most likely given no budget for mahoyo, it still begs the question of why. why did someone at aniplex not want to give mahoyo a marketing budget? why are the japanese accounts for mahoyo and type-moon the only ones doing the marketing?

I hope the information I've provided here is accurate—if it's not, I'll try to update with corrections. I don't want this piece to cast hate towards the staff at aniplex or anyone involved with this projects, I'm just trying to assemble the pieces on what feels like a game being left to word of mouth. I've tried to include as many links to my sources as I could so you could come to your own judgements about what has happened regarding mahoyo's worldwide release.

mahoyo is a visual novel that's dear to me and will absolutely sell well on steam—with an estimated 50-80k wishlists, it's going to have a solid launch despite the zero marketing for its steam release. if you love other type-moon works or want to see an absolutely visually stunning visual novel, please check it out.

— arimia

[cityofmeliora]

about Terzo's height...

while i LOVE LOVE LOVE short king Terzo (as a short king myself), he might actually be the tallest brother and the implications are SO FUNNY.

so the idea of short king Terzo seems to have gotten really popular because of the clip from Unholy / Unplugged in Los Angeles where he says:

"Now look... people have had the decency to comment on the fact that without my hat being on, I'm a little bit, uh... short." Los Angeles, CA (Unholy / Unplugged, 2015)

but the thing is, he says that right before he raises the microphone. he was joking about the fact that, at all of the Unholy / Unplugged shows, the mic stand was set way too low for him.

in Baltimore and Phoenix he makes it more clear:

"But these last couple days, I've come out... you've noticed me not wearing a hat. Some people have noticed that, 'He's a little bit shorter than I thought!' [...] But what has happened a couple days in a row now is that I come out and the microphone is like, [gestures at chest height] about here. I'm not that short!" Baltimore, MD (Unholy / Unplugged, 2015)

"Now... we've got a fundamental problem here. [...] It is my– what people expect my height to be. Yes, I will– I will agree that myself without hat is not very, uh... imposing. But I am a little bit taller than this." Phoenix, AZ (Unholy / Unplugged, 2015)

the joke was that people were assuming he was much shorter than he actually was.

he doesn't appear to be super short! if you consider every Papa to be the height that they are in real life, they'd all be the same height as TF (about 5'8" / 173cm) due to the fact that they are all played by him. BUT there have been occasions when two Papas have been present at the same time: during the coronation ceremonies. in Secondo's coronation, he's shown to be about the same height as Primo. and in Terzo's coronation, he's shown to be MUCH taller than Secondo.

Metal Myths: Ghost pt. 2 (April 2022)

Metal Myths: Ghost pt. 2 (April 2022)

Youtube Video

so Terzo might be the tallest brother. he is still insecure about his height, though.

"Is there a sound engineer here? Hello. Could you please give me a little spooky reverb. Just a slight. I need to sound taller than I am." Brooklyn, NYC (Unholy / Unplugged, 2015)

not so insecure that he can't joke about it, but he will joke about it and then remind you that he's not that short!

and Terzo wanting to be taller seems so in-character for him. for the pursuit of better, y'know? hahaha

obviously, he's not a very tall guy either. he's a little short. just a little below average. he's a perfectly normal height, but he seems to have become more insecure about it because he has a reputation for being short, and every time people see him in person they're like "huh. you're taller than i thought you'd be!" and he's like "wtf?? uhhh. thanks???? 🤨😓"

i genuinely think it's sooo so so so funny that the fandom does this to him too LOL.

for the record: the thing about Terzo allegedly being 4'9" is totally fake. there are no sources for that. and i hate misinformation, so i will not stand for people spreading that as if it's canon. that said, if you headcanon Terzo being 4'9" anyway, i think you're incredibly based and that rules actually–

again, i love short king Terzo and i accept all headcanons!! i just think this particular angle has not been explored a lot and it is simply hilarious to me.

[ialwaysknewyouwerepunk]

queer signalling: louis and harry living their beautiful queer lives, collected by me

since we must take note of our fellow queers when they signal that they are very much one of us, despite being closeted. since i've had a very very queer few years thanks to them, thanks to their signalling, thanks to them being brave.

(!! this list isn't exhaustive, and if i've forgotten your favorite, by all means let me know. there's always room for another edition. it's been a while since i made a compilation and felt there was a need of a new one on my blog. this one goes a few years back, since my last one dates from 2021 :'o. so yeah. here we go.)

harry in my policeman, playing a closeted queer man, based on the book that's long been one of his favorites. lauded by the director and co-stars for how well he portrayed this character, how well he understood.

harry wearing a green flower on his chest for the mp premiere, placing himself (once again) in the same line of history as oscar wilde.

louis's green flowers on his initial 28clothing jersey at the first afhf, which includes bonus roses and 28s all around

the entire late night talking mv bc!!!!!

louis's rainbow stage lights during sibwawc. he really did that. every single night.

the entire dazed magazine happening. “I’ve always tried to compartmentalise my personal life and my working life,” he explains. / “I have unlocked an ability to be myself completely, unapologetically,” he says with conviction." / “I think through my own sense of self and personal journey, I am realising that happiness isn’t this kind of end state.”

louis's gay exit songs: most notably 'ever fallen in love (with someone you shouldn't've)'

harry flirting with stanley tucci

louis and his gay ass tank tops !!! we must point it out !!!!!!

all along

harry kissing a pride flag during harry's house ono in nyc

rainbow flare during the btm mv

harry being gifted a mask of his own face at munich n2, which prompted him to say that he feels like he's wearing a mask sometimes

28 in a triangle for 28clothing!!!!!!!!

kit connor soft launching 28 clothing. a young actor starring in a queer coming-of-age series, who was forced to come out after being accused of queerbaiting. he was the first one, besides louis, to wear 28clothing

harry's grammy's speech "people like me" (which ppl sadly misunderstood), echoing what he's been saying on tour for years. this doesn't happen to people like him. if they only knew, right?

harry's freddie-inspired outfit for the grammy carpet (which also brought back his theme for clown/jester fits, like harryween 2021 n2. wonder why)

louis's merch graphic where a boy is trying to smash a glass ceiling

harry posing for david hockney, actual living legend, gay artist of the ages. "Styles seems to know how lucky he is, adding, with a tinge of disbelief: “I’m in awe of the man with enough one-liners for a lifetime.” As to what those one-liners might be? Styles and Hockney’s mutual silence on that question suggests that what happens in the studio, stays in the studio."

louis having suspicious visuals during back to you, the only visuals of that type on tour

harry's 2022 harryween outfit: dressed as danny (literally. he did that. he went grease on us.) but wearing sandy's jacket

louis at barricade aka held safely in the arms of strong security personnel

harry singing man, i feel like a woman and still the one with shania twain. while wearing a rainbow discoball jumpsuit (parallel with kacey musgraves wearing a rainbow dress to sing it with him years ago.)

louis's gay ass merch for the away from home festival

harry dressed in nina ricci by harris reed, an explicitly gender-fluid line. "At 18 I found myself living in london creating ruffle blouses, corsets, fabric flowers and flares from my kitchen floor (...). My creations at the time were met with nothing but criticism for being “too feminine” or “costume”, teachers said I should focus on “menswear” or “womenswear”. l remember it really wasn’t until I started dressing for myself and who I was that it all clicked. @harrystyles was my first ever client who embraced the fun, fluid and expressive clothing I was creating."

continuous bluegreening. to name a few: harry's werchter fit, all this time lights, satellite caps in two colors only, louis's smiley flickering bluegreen on tour in 2022, the james cordon shit, louis in uncasville. enjoy this post here

harry's snl shoot unseens: him as ariel

louis out in amsterdam at a gay bar

harry going to the women's only swimming pond (on a day it was open for men, but this is important to me okay)

harry's use of orchids in his visuals during 'she' during love on tour '23

the 'hairy mermaid' tour visuals

harry as a mermaid during the mfasr mv. as a supreme physical manifestation of harry as the mermaid he truly is inside. but in his true form he gets chopped up and consumed. literally

as it was mv and its parallels with the matrix, hints to harry as the woman with the red dress.

louis jumping up on barricade against the one spot where a pride flag was draped over it

oh yeah that exact same thing happened in 2022 too

harry forming a skirt with a pride flag in brasil after his pants ripped

that gay ass denim getup with the fur collar?? while wearing the fucking peace ring????

harry and phoebe breaking gender norms in the tpwk mv dance. no i'm not over it yet shut up

louis wearing a basquiat t-shirt, another famously queer artist joining the ranks

harry bought an actual genuine basquiat. flex

harry dressed in skirts for gucci

"happy pride! happy pride! 'tis the season! can you tell i'm relaxed?"

"isn't all of this sparkly bi music?"

satellite mv rainbow planet tshirt

louis's bigger than me promo where he's literally george michael like??? IM SORRY???????

harry kissing lewis capaldi at the brits

harry kissing nick kroll at the dwd premiere. lol

and... harry as friend of D O R O T H Y. sang over the rainbow. we all cried. especially me at this clip of harry glancing in relief at his band after over the rainbow.

[daresplaining]

Mattea Murdock, the Daredevil Drummer of Philly

In celebration of the forthcoming new Spider-Punk: Arms Race series (not to mention Hobie stealing scenes in "Across the Spider-Verse" last year), I wanted to finally write up my long-overdue overview post on Mattea Murdock! If you haven't read her introductory run yet, check it out here.

Mattea truly stands on her own in the wide canon of alternate universe DDs. She is a female Daredevil, she is Latina, and she somehow managed to escape Marvel's NYC gravity and base herself in Philadelphia, where she defends its citizens from violence and exploitation. Hobie and his self-styled Spider-Band encounter her in Spider-Punk (2022) #3, when they make a detour to fix the busted Spider-Van. They are all immediately-- and correctly-- impressed.

Mattea: "Yo, Kam!" Hobie: "Wait, you know each other?!" Kamala: "Duh! You think I wouldn't know the Daredevil Drummer of Philly?" Hobie: "You're a drummer too?" Mattea: "Best in town." Hobie: "Oh man, my friend Gwen is a pretty dope drummer too. I think y'all would definitely get along." Mattea: "Hope they're ready to get outplayed by a pretty, blind girl." Spider-Punk vol. 1 #3 by Cody Ziglar, Justin Mason, Jim Charalampidis, and Travis Lanham

I talked a little about her killer character/costume design when she was first introduced (I was a fool; of course she's blind), and my love for her look has only grown. It's badass, distinctive, and it slots her beautifully into Hobie's punk rock world while still evoking that trademark Daredevil image (red, sticks, pointy bits...). Her irises are red, which is a visual choice I enjoy in more heightened, fantastical DD stories/art styles, and I think it works for Mattea. Heck, I could even imagine them being colored contact lenses she's chosen to wear for the aesthetic. Also, one detail that wasn't in the previews is the fun little laughing devil face on the back of her jacket (I'm not punk rock enough to get the reference if it is one, but it reminds me of Darkdevil):

Of course, always a big priority for me is Daredevil's power-set, and Mattea provides a quick primer on her unique perspective, mostly focused on hearing and the radar sense:

Mattea: "What? You think just 'cause I'm a blind girl, I can't see? Echolocation, my abuelas used to call it. But it's more intimate. Instinctual. Can hear a kick drum from ten blocks away. Can see it too. If I think hard enough, I can even see what the garage it's being played in looks like." Hobie: "Yo, are you doing it right now?" Riri: "She's definitely doing it right now."

This is not my favorite description of Daredevil's powers, nor-- to be honest-- a particularly informative one. She can gather spatial information through walls...from ten blocks away? I also never love an overuse of visual language in any explanation of these powers, especially as it's implied that Mattea, like Matt, is completely blind. Surprisingly, no direct mention is made here of the hypersenses as a whole, beyond the reference to hearing a kick drum from ten blocks away. Even her hearing doesn't receive that much attention in the story overall, which feels like a missed opportunity for such a musical character. Her blindness, too, is pretty much irrelevant to the story, and never comes up again. But I do LOVE that she uses the term "echolocation", though is still very clearly the radar sense, in all its vague, undefined, semi-magic glory.

And visually? This is great. I'm always a fan of the cross-hatching visual, especially against a black background, and artist Justin Mason doesn't go too overboard on the detail, which is another preference of mine. And thematically, I love the ways in which Mattea's drummer identity is tied into her superheroics-- not just for laying a beatdown on bad guys, but also for channelling and enhancing her echolocation/radar sense. One of my favorite scenes in the comic is when she plays a drum solo on a roof edge to scope out the Kingpin's lair. I'm willing, in that moment, to ignore any gripes about radar sense irregularities out of respect for the coolness and thematic heft of the concept. I mean, this rocks:

Mattea: "Come on, show me the good stuff."

At the end of the day, though, this is not a Daredevil comic and Mattea is not the main character. Plus, it's only five issues long, and introduces a bunch of other new characters as well. There was only ever going to be room for the creative team to offer a cursory introduction, hopefully generating enough interest to prompt these characters to appear again in other comics. In that, I think they fully succeeded with Mattea; we get a cursory sense of her powers (or at least, enough to show that they're the normal DD set), her personality (delightfully cocky, playful, tough, fearless), a few hints of her backstory, and some truly kickass fight scenes. There's a bit of suspension of disbelief required to believe she can use drumsticks as a stand-in for billy clubs (unless her drumsticks are made of something really hefty-- and hey, maybe they are), but this is Spider-Punk. Hobie killed Norman Osborn with a guitar--twice. It's not about realism, it's about style.

Mattea: "Been waiting for this for a long time, Fisk. Real long time." Fisk: "I'm going to break you, li'l girl--AWGGH!" Mattea: "Big, strong man who sends out his band of wackos to push over people too weak to fight back." Fisk: "Wouldn't get too cocky, girlie...you're not the only one who's fast! I'm gonna hurt ya. A lot. Then I'm gonna kill ya. And I'm gonna love every second of it. You know, this is the same look you had when I had your old band clapped a few years back. I like it. Brings out your eyes--GAAAH!" Mattea: "There's something you need to understand about me, papi. I'm not the kinda girl who goes down without a fight."

I can't wait to see more of Mattea and learn more about her, her world, her friends, and her enemies. In particular, she seems to have a history (possibly romantic?) with this world's Kamala Khan, and I would love to see more of that relationship. While Mattea Murdock clearly has a lot in common with Matt Murdock, she also seems happy to be a team player, unlike Matt, and I really enjoy that. Though I guess it's not that surprising a distinction. After all, every drummer needs a band.

[foxes-that-run]

Cartier Necklace

Taylor was first seen wearing a vintage Cartier Necklace on 31 May 2023. The necklace is a $27k USD 1980's necklace. As style bloggers commented at the time Cartier had not been part of her street style before. At the VMAs in late 2022 she commented that she does not buy expensive jewellery, then started wearing this very expensive piece, in what seems to be important occasions. Of 8 wears have been at two weddings, twice in a photo that refers to Harry and twice close to Haylor anniversary's.

8 May 2023 - Coincidentally the day before Taylor was first seen wearing the necklace a photo of Harry outside Cartier was shared. Harry had been wearing the same shirt in a fan photo on 8 May. After which he was MIA on a tour break. Between when this photo was taken and it appeared online both he and Taylor were MIA on a tour break.

Soon in June after a fan commented on a Haylor Tiktok (since deleted and reposted) that her father had driven Harry to Taylors RI house 'recently' which may be false, there were also media reports they were hanging out.

20 May - their anniversary, Taylor played Invisible and Question...? Before question she said: "I have just never been this happy in all my life. I just want to thank you for being part of that. It's not just he tour, I just feel like my life finally makes sense. So I want to play this song that brings back a lot of happy memories."

On the same day, their anniversary, and the anniversary of HH Harry posted "I've never been happier than making this album"

But - Matty Healy? IMHO it was over Maylor/Haylor timeline and the promotion for Waglor had not started.

Perhaps Taylor bought the necklace for herself, it's interesting that she wears it for special occasions and that it appeared after Harry was seen near the store and then near Taylor.

31 May 2023 - At Electric Lady Studios the day she is thought to have recorded Fresh Out the Slammer

4 July 2023 - At Rhode Island in her belated Independence Day post, reminiscent of a photo linked to Harry's Mermaid Tattoo.

19 August 2023 - Jack and Margarets Wedding

19 September 2023 - Laura Dern, Greta Gerwig & Zoe Kravitz for Dinner in NYC

3 December 2023 - Kansas City Chiefs versus Green Bay Packers (Harry's team) in Green Bay, where Taylor dressed in a way that looks like the As It Was Music Video

2 May 2024 - At the afterparty of the Mahome's Charity Gala

18 May 2024 - In the pap boat ride at Lake Como, the last time Travis was seen for 6 weeks.

8 September 2024 - Owner of Electric Lady Studios, Lee Foster's wedding with model Karen Elson.

[kenpiercemedia]

Play NYC 2022: Discussing "Scrapeboard" with Blake Andrews

Play NYC 2022: Discussing “Scrapeboard” with Blake Andrews

PiercingMetal was in attendance at the annual Playcrafting Play NYC event which this year was held at the Chelsea Industrial event space. This video features the “Scrapeboard” game with an overview by its creator Blake Andrews. We ask all of our viewers to kindly “Subscribe” to the Channel if they haven’t done so already and click the Notification Bell and Like/Comment on the video. This all…

[landinrris]

oh that was me with the lando & martin timeline anon. the full timeline may make your brain melt more. this is the stuff we know about for sure:

met late summer 2022 at one of martin's gigs in Ibiza - lando was there on vacation with max f, ollie etc. the video going around of them at fisher's gig was a couple of days after martin's.

sept 2022 monza gp - martin was at the race even though he wasn't playing and was with mclaren - they posted pics of him and daniel in their hospitality. after the race, lando posted pics of them him & martin leaving in a heli - he called martin his uber driver 🤣. lando stayed in amsterdam for a few days. both of them posted videos of them on martin's boat on the canals with martin's friend jurrian. local gossip sites mentioned they'd been seen in restaurants with friends. in this time martin bought lando his decks. lando posted pics of himself with them on the plane back to the uk and martin said in an interview a few months later that he had bought them as a gift for lando.

oct 2022 - hang out after the mexico gp - there are clips on tiktok of them at a club.

dec 2022 dubai - martin was playing there on 30th dec, turned up a few days early and hung out with lando. martin posted pics of them on his insta with some masks & there was a video of them playing padel with martin k and someone else. lando's friends all posted from the vip section at martin's gig.

jan 2023 - following martin's gig in thailand, he and louis met up with lando & martin k and they all flew to finland for several days - lots of pics and videos - then on to ibiza for a few more days - martin has a home there and his parents & sister spend a lot of time there and were with them - martin posted a pic of himself with his family and also there were videos of lando and both martins on a hike. martin then flew to nice the same day lando went back to monaco - he posted a pic of himself the next day in nice getting a haircut.

may 2023 miami gp - martin was playing at the miami race. that's where the nipple pinch pics come from & also this gem https://www.tumblr.com/alexi-01/716928290612559872/stop-this-is-so-cute-look-at-martijns-face?source=share

june 2023 - arrive early together in nyc and hang out ahead of lando's press stuff. martin's parents and sister were also with them - there's a pic of them with lando & martin in a japanese tea house. lando stays through to martin's gig and arrives late for thursday media day in canada. martin shows up to play after the gp in canada. he and lando were out together that evening in montreal - a dj in the bar they were in took pics with them both. next day lando posts a pic of video of him, martin & louis on a hotel balcony.

july 2023 - max v & lando go to tomorrowland after the spa gp. max is in vip with his family, lando is up on stage with martin trying but failing to hide behind some speakers. videos of them at the afterpary. lando then goes to amsterdam for a couple of days before he has to be back in spa - posted a pic of the view from martin's place & a pic leaked of them playing pool.

august 2023 - after being on vacation with his family lando goes to ibiza. missed all his friends who had been there all summer, stays with martin's childhood friends incl jurrian from the amsterdam boat. pics of them out celebrating ward and jurrian's bdays and the afterparty of martin's show. lando then flies with martin to his shows in bratislava and then marseille - was pictured in bratislava plus martin posted a story with him in and lando let the marseille detail out in a ziggo interview at the amsterdam gp.

sept 2023 - zandvoort gp martin hanging with lando's dad on the grid. after the race there's a video of the two of them getting out of a van at amsterdam airport and boarding max v's plane which flew to monaco.

oct 2023 - hung out after the mexico gp after lando had had dinner with carlos. i follow a friend of lando & max v's who lives in mexico city who now has a locked account so the pics aren't public but he posted pics of both of them and martin started following him. swedish house mafia guys were also there (assumption carlos may have been there too as even though there were no pics the guy started following him as well though carlos didn't follow back)

nov 2023 - that hug at the vegas gp. local papers reported lando was also in the club with martin and max v but there are no pics and as he was probably still in some pain after his crash it's likely they confused thierry v with lando.

dec 2023 - ski trip with lando's friends. martin flew directly back from gigs in singapore and malaysia to join up with them.

to be continued...

and that's just the stuff we know about lol. bffs of w/e else, anyone's guess at this point, but they really did become very close very quickly.

Anon, I am giving you a big ole fat kiss on the forehead. God bless you for this breakdown ❤️❤️❤️

So much stuff happens throughout the season that I routinely forget tiny details (especially ones you've listed here like the family dinner in New York). To see them all spelled out here is 😘🤌

[thankyouforthememoriesworld]

So I'm watching the game right now (Setalle vs NYC 2022).

In the 3rd quarter, Marine scores a three points bucket which prompts NYC to lead by 1 point (49-50) and Seattle call for her time out, while joining her team for the TO, Gabby runs close enough to Marine to pat her in the back.

Also CRAZY detail I've never realized but the broadcaster were talking about Marine a lot (def the star of the game) and one of the reporter, Holly, says she's talked about Marine with Noelle Quinn (I guess before the match or during) and Noelle said she knows Marine well because she played against and with her overseas. So I went to check and Noelle Quinn played one season in Mondeville when Marine was in her first years (2013). Man, that's so funny. Marine, you're a Seattle Storm! /j

Oh wow, that's crazy, so she really knew about Jojo for a while.

[mostlysignssomeportents]

The FTC has Big Pharma’s number

On November 27, I'm appearing at the Toronto Metro Reference Library with Facebook whistleblower Frances Haugen.

On November 29, I'm at NYC's Strand Books with my novel The Lost Cause, a solarpunk tale of hope and danger that Rebecca Solnit called "completely delightful."

The most consistent bright spot in the dark swirl of US politics is the competence of the Biden Administration's progressive enforcers: people like Rohit Chopra, Jonathan Kanter and Lina Khan, who keep demonstrating just how far a good administrator can go. Anyone can have a vision, but knowing how to execute is the difference between hot air and real change:

https://pluralistic.net/2023/10/23/getting-stuff-done/#praxis

Take a minute to contrast Biden's administrators with Trump's: Trump's administrators had an ideological vision just as surely as Biden's do, and Trump himself had a much more pronounced and explicit ideology than Biden, whose governance style is much more about balancing the Democratic Party's blocs than bringing about a specific set of policies:

https://pluralistic.net/2023/03/06/personnel-are-policy/#janice-eberly

But whatever clarity of vision the Trump administration brought to DC was completely undermined by its incompetence (thankfully!). Apart from one gigantic tax break, Trump couldn't get stuff done. He couldn't deliver, because he'd lose his temper or speak out of turn:

https://pluralistic.net/2023/11/14/when-youve-lost-the-fedsoc/#anti-buster-buster

And his administrators followed his lead. Scott Pruitt was appointed to run the EPA after a career spent suing the agency. It could have been the realization of his life's dream to dismantle environmental law in America and open the floodgates for unlimited, wildly profitable corporate pollution and pillaging. But the dream died because he kept getting embroiled in absurd scandals – like the time he sent his staffers out to drive around all night looking for a good deal on a used mattress:

https://www.nbcnews.com/politics/politics-news/epa-s-pruitt-told-aide-obtain-old-mattress-trump-hotel-n879836

Or his insistence on installing a CIA-style "Sensitive Compartmented Information Facility" (SCIF) so he could play super-spy while reading memos:

https://www.cnn.com/2018/04/26/politics/epa-administrator-scott-pruitt-sound-proof-booth-scif/index.html

Or the time he sent his security detail to the Ritz-Carlton to demand that they supply him lots of little bottles of his favorite hand-cream:

https://www.vox.com/2018/6/7/17439044/scott-pruitt-ritz-carlton-moisturizing-lotion

There were other examples in the Trump administration, but Priutt is such a good case-study. He's like a guy who spent his whole life training to compete in the Olympics, and finally got a shot, only to be disqualified for ordering too much room-service in the Olympic Village. Priutt was wildly ambitious, but he was profoundly undisciplined – and wildly incompetent.

Compare that with Biden's progressive enforcers and agency heads, who showed up on the first day of work with an encyclopedic knowledge of their administrative powers, and detailed plans for using them to transform the lives of the American people for the better:

https://pluralistic.net/2022/10/18/administrative-competence/#i-know-stuff

The Biden administration's competence translates into action, getting stuff done. Maybe that shouldn't surprise us, given the difference between the stories that reactionaries and progressives tell about where change comes from.

In reactionary science fiction, we enter the realm of the "Competent Man" story. Think of a Heinlein hero, who is "able to change a diaper, plan an invasion, butcher a hog, conn a ship, design a building, write a sonnet, balance accounts, build a wall, set a bone, comfort the dying, take orders, give orders, cooperate, act alone, solve equations, analyse a new problem, pitch manure, program a computer, cook a tasty meal, fight efficiently, die gallantly."

In Competent Man stories, a unitary hero steps into the breach and solves the problem – if not single-handedly, then as the leader of others, whose lesser competence is a base metal that the Competent Man hammers into a tempered blade:

https://tvtropes.org/pmwiki/pmwiki.php/Creator/RobertAHeinlein

Contrast this with a progressive tale, like, say, Kim Stanley Robinson's Ministry For the Future, where the Competent Man is replaced by the Competent Administration, in which people of goodwill and technical competence figure out how to join forces to create population-scale architectures of participation that allow every person to contribute their skills and perspective:

https://pluralistic.net/2020/12/03/ministry-for-the-future/#ksr

The right's whole ideology insists that the world can only be saved by Competent Men. As Corey Robin writes in The Reactionary Mind, the unifying factor that binds together conservative factions from monarchists to racists to Christian Dominionists is the belief that a few of us are born to rule, and the rest to be ruled over:

https://pluralistic.net/2020/05/25/mafia-logic/#mafia-logic

The Reaganite insistence that governments are, by their very nature, incompetent and malign ("The nine most terrifying words in the English language are, 'I’m from the government, and I’m here to help'"), means that conservatives deny the possibility of a Competent Administration.

When conservatives take office and proceed to bungle the most basic elements of administration, they're fulfilling their own campaign narrative, which starts with "We must dismantle the government because it is bad at everything." Conservatives who govern badly prove their own point, which explains a lot about the UK Tory Party's long run of governmental failure and electoral success:

https://apnews.com/article/uk-suella-braverman-fired-cabinet-shuffle-7ea6c89306a427cc70fba75bc386be79

There's a small mercy in the fact that so many of the most ideologically odious and extreme conservative governments are so technically incompetent in governing, and thus accomplish so little of their agendas.

But the inverse – the incredible competence of the best progressive administrators – is nothing short of a delight to witness. Here's the latest example to cross my path: the FTC has intervened in a lawsuit over generic insulin pricing, on an issue that is incredibly technically specific and also fantastically important:

https://www.fiercepharma.com/pharma/ftc-blasts-pharmas-abuse-fda-patent-system-sanofi-mylans-insulin-monopoly-lawsuit

The underlying case is before the FDA, and it concerns the dirty tricks that pharma giant Sanofi used to keep Mylan from making a generic version of Mylan's Lantus insulin after its patent expired.

There's an explicit bargain in patents: inventors can enlist the government to punish their rivals for copying their ideas, but in exchange, the government demands that the inventor has to describe how the invention works in a detailed patent filing, and when the patent expires, 20 years later, rivals can use the patent application as instructions for freely copying and selling the invention. In other words: you get 20 years of exclusive rights in return for facilitating your competitors' copying and selling your invention when the 20 years are up.

Pharma doesn't like this, naturally: not content with 20 years of exclusivity, they want the government to step in and punish their competitors forever. In service to that end, pharma companies have perfected a process called evergreening, where they dribble out ancillary patents after their initial filing, covering minor reformulations, delivery systems, or new uses.

Evergreening got a moment in the public eye earlier this year, with John Green's viral campaign to shame Johnson & Johnson out of using evergreening to restrict poor countries' access to TB medication:

https://armandalegshow.com/episode/john-green-part-1/

The story of pharma is that it commands gigantic profits, but it invests those profits into medicines that save our lives. The reality is that most of the key underlying pharma research is publicly funded (by Competent Administrators who apportion funding to promising scientific inquiry). Pharma companies' most inventive genius is devoted to inventing new evergreening tactics:

https://pluralistic.net/2023/10/19/solid-tumors/#t-cell-receptors

That's where the FTC comes in, in this Sanofi-Mylan case. To facilitate the production of generic, off-patent drugs, the FDA maintains a database called the "Orange Book," where pharma companies are asked to enumerate all the ancillary patents associated with a product whose patent is expiring. That way, generics manufacturers who make their own version of these public domain drugs and therapeutics don't accidentally stumble over one of those later patents – say, by replicating a delivery system or special coating that is still in patent.

This is where the endless, satanic inventiveness of the pharma sector comes in. You see, US law provides for triple damages for "willful patent infringement." If you are a generics manufacturer eyeing up a drug whose patent is about to expire and you are notified that some other patents might be implicated in your plans, you must ensure that you don't accidentally infringe one of those patents, or face business-destroying statutory damages.

So pharma companies stuff the Orange Book full of irrelevant patent claims they say may be implicated in a generic manufacture program. Each of these claims has to be carefully evaluated, both by a scientific team and a legal team, because patents are deliberately obfuscated in the hopes of tricking an inattentive patent examiner into granting patents for unpatentable "inventions":

https://blueironip.com/patents-that-hide-the-ball/

What's more, when a pharma giant notifies the FDA that it has ancillary patents that are relevant to the Orange Book, this triggers a 30-month delay before a generic can be marketed – adding 2.5 years to the 20 year patent term. That delay is sometimes enough to cause a manufacturer to abandon plans to market a generic drug – so the delay isn't 2.5 years, it's infinite.

This is a highly technical, highly consequential form of evergreening. It's obscure as hell, and requires a deep understanding of patent obfuscation, ancillary patent filings, generic pharma industry practice, and the FDA's administrative procedures.

Sanofi's Orange Book entry for Lantus insulin listed 50 related patent claims. Of these, 48 were invalidated through "inter partes" review (basically the Patent Office decided they shouldn't have allowed these claims to be included on a patent). Neither of the remaining two claims were found to be relevant to the manufacture of generic Lantus.

This is where the FTC's filing comes in: their amicus brief doesn't take a position whether Sanofi's Orange Book entries were fraudulent, but they do ask the FDA to intervene to prevent Orange Book stuffing because "improper listings can cause significant harm to competition and consumers."

This is the kind of boring, technical, important stuff that excellent administrators can do. The FTC's brief is notice to the FDA that it should amend its procedures to ban (and punish) Orange Book abuse. That will make it possible for you, a person who needs medicine, to get that medicine more cheaply and quickly. In America's pay-for-use privatized healthcare hellscape, this could be a life-or-death matter.

There's plenty of things the Biden administration is getting very, very badly wrong, but we shouldn't lose sight of how its progressive wing is making real, lasting change for the better. Competent Administrations are the true peoples' champions. They beat Competent Men every time.

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/2023/11/23/everorangeing/#taste-the-rainbow

[gthiah-if]

Gone to HELL in a Handbasket - 18+ Interactive Fiction (wip) - by glucosify

tags : urban fantasy (inspired by late 70s / early 80s), romance, supernatural, mystery, satanic and occult themes, cults, 18+ rating for violence, sexual content, mental illness and more

A simple pizza delivery turns sinister when you find yourself trapped with 5 other strangers in a decaying place that hides a dark history and darker secrets.

Demo here on itch.io ⋄ last update: May 2023 ⋄ word count : ~7,400 (~13,100 with code)

Only the prologue is available for now, you won't play as the main character until chapter 1 :^)

Features :

a story that (loosely) takes place in the late 70s, in NYC

custom made UI : dark, light and retro themes, mobile friendly, adjustable fonts, font sizes and weights

customizable MC : play as male, female, non-binary, touch starved, touch averse.. and choose your appearance and personality

figure out the secrets left behind and find a way out - one way or another

choose to forsake an imminent evil or become part of something greater

decide if your companions are trustworthy or simply useful for your own goal

five gender selectable romantic options (male, female, non-binary) - choose their pronouns and appearances separately / romance is optional but will most likely be a big part of the story

Romantic Options :

Mahalia / Marlon / Mars "MOONLANDER" Harris : a sarcastic and pragmatic computer operator; they’re an arcade, tech and sci-fi lover through and through

Amélie / Alexandre / Astin "ACE" Beaulieu : a college athlete with a sunny disposition who's currently feeling lost and going through a difficult time

Gina / Gil / Gera "GUMDROP" Fernández Alfonso : charismatic and resourceful, this social work student's desire to help others always seems to break through their fear of letting people get too close

Ilona / István / Írisz "IRIS" Juhász : though they lack in life experiences due to a sheltered upbringing, they possess a gentle thoughtfulness and vivid imagination

Kat / Kit / Ky "KILLJOY" Miller : a reckless straight-edge hardcore punk with a sharp tongue and an honest heart

LINKS : FAQ ⋄ TAGLIST ⋄ MASTERLIST ⋄ GOOGLE FORM (feedback & bug report)​ ⋄ DISCORD (TBA) ⋄ PINTEREST (TBA)

This blog will be used to post updates and anything related to the IF - answered asks, scenarios, headcanons, short drabbles etc..

started in december 2022 - first update in may 2023 - b&w image from untermyergardens.

[notoriousbeb]

Who is the Lighthouse Keeper

I’m not trying to convince anyone LK is Harry. But if you want to know why I think he is, here are five quick examples why:

Harry's House leaked April 20, 2022 (a month before its official release date). However, LK tweeted this obvious reference to Watermelon Sugar on April 3. (Just an interesting aside: on the same day, he also said he's in self-imposed "exile." Honestly, around this time I just get the vibe of someone writing and reading a ton of poetry while being high as hell, nostalgic and pining).

LK tweeted these Shania Twain lyrics several days before HS performed with her (April 15, 2022) at Coachella—which was a surprise performance. 

There was a blind submitted May 6 that HS was seen making out with someone that was not OW on night of May 4. See LK's string of tweets the following morning between around 8 and noon PST, May 5, pre blind.

Obvi, we all love Grease and Olivia Newton-John, and we’re saddened at her passing; but is it more than coincidence that Harry then went on to sing this exact song during Harryween Nov. 1, 2022?

The below was posted at 8:21 p.m. EST, so the night before Midnights was announced at VMAs. Harry was in NYC, playing MSG and wore a blue star outfit that matched Taylor’s VMA after party outfit.

[dustedmagazine]

Weak Signal — Fine (12XU)

Weak Signal has been my pick for “best rock band you never heard of” for a few years now, and this fourth full-length only strengthens the argument. It pulls their clanking, grinding VU-ish drone in new and intriguing directions—an acoustic blues folk a la Aquarian Blood, a guitar-heavy clangor akin to Crazy Horse—without sacrificing any core competencies. It adds some guests, including Hot Chip’s Alexis Taylor, Doug Shaw of Gang Gang Dance and Cass McCombs, without diluting the locked in synchrony of its three founding members.

To review, Weak Signal is a three-piece led by Mike Bones who is linked to some cool NYC noises via an association with Endless Boogie and a stint with Soldiers of Fortune (Kid Millions is also a member). Sasha Vine plays mostly bass, but also a little violin and sings. Tran, the drummer, also sings. They’ve been a band for about seven years, and Dusted has favorably reviewed two of the three previous albums, 2021’s Bianca and 2022’s War on War.  

Fine is an advance for Weak Signal but not a shock. Though most of its songs sound very much in line with previous albums, it diverges in some fruitful ways. Both “Out on a Wire,” and “Baby” begin in a frenzy of feedback and improvisation, beginning side one and side two of the vinyl edition in exhilarating freefall.

“Out on a Wire” coalesces eventually into Weak Signal’s trademark vamp, a dissolute cousin to “Peter Gunn” that slinks and struts and smirks and all but has a lit cigarette dangling from the corner of its mouth. And yet, it’s pure rock and roll, this cadence, full of menace but also vibrating with heart and vulnerability, talk-sung with bracing cynicism but sweetened by boy-girl harmonies.

“Baby” is more of a surprise, because once the din lets up, a softer aesthetic emerges in jangling folk acoustic chords and soft lyricism. It’s an appealing shift, and it continues through “Terá Tera,” a fragile, pretty but deeply felt cut that puts me in mind of other unplugged psychedelic garage rockers: Aquarian Blood, The Duchess and the Duke and the Gris Gris’ Greg Ashley’s solo work.

The best cut, though, is “Wannabe,” a blown-out guitar-psych tune with shades of ragged glory. That’s the one where Cass McCombs guests, and if it’s him letting the long notes fly at the beginning, they should consider offering him a full-time gig. If Weak Signal’s songs have had a flaw up to now, it’s been a certain dank claustrophobia. This cut blows the doors down and lets some light in.

Weak Signal entertainingly imagines life as a Brian Jones-style figure in “Rich Junkie,” tapping into a pre-digital fantasy of rock ‘n roll excess (and financial rewards). Though spiritually part of a strung-out but brilliant lineage, Fine will likely never buy a mountain villa for anyone involved. It’s just another good one from a band you ought to know but probably don’t. Why not fix that right now? You owe it to yourself.

Jennifer Kelly