#published 11/27/2023

[thevikingwoman]

Fandom: Final Fantasy XIV | Words: 918 | Read on Ao3

Part 1 | Part 2 | Part 3

Meryta Khatin x Emmanellain de Fortemps | start of HW | fluff/romance Rating: Gen (overall explicit). Morning after, Fortemps thoughts

Reprieve - part 3

“Ahem.”

Meryta opens her eyes slowly, blinking the sleep from her eyes. She’s pleasantly warm, snuggled beneath heavy blankets, against a soft warm body.

Ah.

Heat rises in her cheeks; she really did follow him back last night. She wills it away. It was lovely and enjoyable, and she has nothing to be ashamed of.

Now she’s in Emmanellain’s bed though, in this big house full of tall windows and thick carpets and perhaps she doesn’t quite know what everyone will think of her.

It’s not like she bedded a noble before, and she only had thoughts for Emmnellain’s eager sweetness and not his station last night. Truthfully, it’s hard to wrap her head around what that means – maybe it means nothing at all – but she doesn’t really understand how Ishgard functions. Haurchefant only spoke of a refuge from the situation in Ul’dah, and very little of the politics of Ishgard; save its isolationism. He probably did not have in mind that she would bed his brother.

“Excuse me!”

Someone is interrupting her thoughts, the same voice that woke her. Meryta sticks her head out of the blankets; Honoroit is at the foot of the bed, his face a perfectly polite mask.

Perhaps it’s not the first time he’s found someone in his Lords bed, but that doesn’t help with the embarrassment. Perhaps it’s normal for servants and retainers to barge into their liege’s rooms, but at home such a thing would be unthinkable, no-one would dare to disturb a khan, even if there were only a tent wall between them and the world. She curbs the need to hide under the blankets.

“Can you pass me my shirt, please,” she says instead. It is tossed aside in the middle of the room, on top of the scattered flowers. Her pants, at least, should be next to the bed.

Honoroit finds her shirt without directions, and wordlessly hands it to her.

“My lord Emmanellain. The Count except you for breakfast. Anon.” Honoroit speaks a little louder, steadfast averting his eyes from her.

Emmanellain finally stirs, reaching for her, mumbling into the pillow. He tightens the grip around her, and she shakes his shoulder, pulling the blanket down from his face.

“My Lord –,” Honoroit begins again.

“Pray wait outside, Honoroit.”

“Please do hurry, Emmanellain. Or I shall return with a bucket of water.”

The youngster gives a short bow, and leaves, closing the door firmly with a pleading look to Meryta. She moves out from the blankets, free to find the rest of her clothes, but Emmanellain’s hand reaches for her.

“Meryta. Must you leave. It is still so very early.”

His hand wanders over her arm and across her belly, the caress pleasant and enticing. She forces herself to move.

“Your father and Honoroit are waiting. I should go, Emmanellain.”

She leans over and kisses him just once more. As she leaves, her tail flicks across his chest and pulls the blankets off him. He’s quick, quicker than she thought, and manages to catch it, giving a slight tug. She lets out a small yelp as it elicits a sheer bolt of want from her.

As tempting as it is to stay, she does not want to keep him from his duties, and she does not want to be the cause of further ire from his father. Meryta appreciates the Count’s kindness more than she can ever hope to repay, but it is evident his kindness does not always extend to his youngest son.

Emmanellain lets go with a huff, and sits up, rubbing his eyes. She shimmies on her pants, before she can change her mind.

“I’ll see you later,” she says, and slips out the door. She’s certainly not going to join him for breakfast with his father and most likely Atoriel too. She does not want the eldest brother’s stern gaze on her, nor witness his disdain for Emmanellain right now.

Meryta takes a moment to orient herself in the hallway, jacket over her arm and work boots in her hand. She does not want the risk of running into anyone else from the household – or pray forbid, Alphinaud – but she realizes that she does not know quite how to get back to her own room. Why does the manor have to be so large, with the same plush carpet in every direction?

A hand reaches for her arm and stops her before she can hurry down the hall to look for a familiar portrait or decoration. Honoroit has an anxious look on his face.

“Mistress Khatin. Please do let my Lord down gently.”

She frowns and doesn’t know how to reply. She had not thought of engaging with him again, or needing to let him down in any way. She will see him here, of course, but she had expected no more than a night of shared enjoyment.

She wouldn’t say no though. Not after last night. Meryta doesn’t know how lordlings work but he seems to romance where he can, throwing his affections towards people who cross his path without second thoughts. Mayhap Honoroit’s concern is not unwarranted, she wonders how often those affections are returned. They must be though, as he certainly seemed to know what he was doing.

She flushes and turns her thoughts back to the present, nodding silently at Honoriot. Satisfied, the boy disappears before she can ask him for directions. Meryta sighs, and goes left.

She’ll be gentle with Emmanellain – and hopefully he will be with her.

[breelandwalker]

2024 Witches' Calendar

For all my witches out there, here's a handy list of the 2024 dates for the solstices, quarter days, full and new moons, and special events. I've listed my sources at the bottom.

Dates and times for all events are calculated for Eastern Standard Time, USA, Northern Hemisphere. Adjust for your location as needed and check the DarkSky Placefinder to see what special events will be visible in your area. Enjoy!

Solstices, Harvests, and Quarter Days

February 1-2 - Imbolc / Candlemas

March 19 - Spring Equinox / Ostara

April 30-May 1 - Beltane / May Day

June 20 - Summer Solstice / Midsummer / Litha

August 1 - Lughnasadh / Lammas / Summer Harvest

September 22 - Autumn Equinox / Mabon / Fall Harvest

October 31 - Samhain / Halloween / Final Harvest

December 21 - Winter Solstice / Yule

Full Moons

January 25 - Wolf Moon ♌

February 24 - Snow Moon ♍

March 25 - Worm Moon ♎

April 23 - Pink Moon ♏

May 23 - Flower Moon ♐

June 21 - Strawberry Moon ♑

July 21 - Thunder Moon (aka Buck Moon) ♑

August 19 - Sturgeon Moon* ♒

September 17 - Harvest Moon* ♓

October 17 - Hunter's Moon (aka Blood Moon)* ♈

November 15 - Frost Moon (or Beaver Moon)* ♉

December 15 - Cold Moon ♊

*- Supermoon

Fun Fact: The title of Harvest Moon is given to either the September or October full moon, whichever falls closest to the autumn equinox. Once again this year, that month will be September.

New Moons

January 11 ♑

February 9 ♒

March 10 ♓

April 8 ♈

May 7 ♉

June 6 ♊

July 5 ♋

August 4 ♌

September 2 ♍

October 2 ♎

November 1 ♏

December 1 ♐

December 30 (black moon) ♑

Special Celestial Events

January 3-4 - Quadrantids meteor shower peak

March 25 - Penumbral Lunar Eclipse

April 8 - Total solar eclipse

April 22-23 - Lyrids meteor shower peak

May 6-7 - Eta Aquarids meteor shower peak

August 11-13 - Perseids meteor shower peak

August 19 - Sturgeon Supermoon / Seasonal Blue Moon

September 17 - Harvest Supermoon / Penumbral Lunar Eclipse

October 2 - "Ring of Fire" solar eclipse

October 17 - Hunter's Supermoon

October 21-22 - Orionids meteor shower peak

November 15 - Frost Supermoon

November 16-17 - Leonids meteor shower peak

December 13-14 - Geminids meteor shower peak

December 30 - Black Moon

(Check the DarkSky Placefinder to see what will be visible in your area!)

Mercury Retrogrades (in case you need them)

April 1 - April 24

August 4 - August 27

November 25 - December 15

Happy Witching!

SOURCES & FURTHER READING:

Bree's Lunar Calendar Series

Bree's Secular Celebrations Series

Moon Info - Full Moon Dates for 2024

Calendar-12 - 2024 Moon Phases

Full Moonology - 2024 Full Moon Calendar

AstroStyle - All the 2024 Full Moons

Your Zodiac Sign - Astrology Calendar 2024

Old Farmer's Almanac - Mercury Retrograde Dates 2023-2024

Lonely Planet - Best Star-gazing Events of 2024

Sea and Sky - Astronomy Calendar of Celestial Events 2024

DarkSky International - Dark Sky Placefinder for Stargazing

Pagan Grimoire - Wheel of the Year: The 8 Festivals in the Wiccan Calendar (2024 Edition)

=

If you're enjoying my content, please feel free to drop a little something in the tip jar or check out my published works on Amazon or in the Willow Wings Witch Shop. 😊

EDIT: Mercury is stationed direct on Jan 1st, 2024. The source I used which stated it was in retrograde until the 18th had a typo.

EDIT: Fixed the zodiac signs for the full moons using a new source.

[mostlysignssomeportents]

MIT libraries are thriving without Elsevier

I'm coming to BURNING MAN! On TUESDAY (Aug 27) at 1PM, I'm giving a talk called "DISENSHITTIFY OR DIE!" at PALENQUE NORTE (7&E). On WEDNESDAY (Aug 28) at NOON, I'm doing a "Talking Caterpillar" Q&A at LIMINAL LABS (830&C).

Once you learn about the "collective action problem," you start seeing it everywhere. Democrats – including elected officials – all wanted Biden to step down, but none of them wanted to be the first one to take a firm stand, so for months, his campaign limped on: a collective action problem.

Patent trolls use bullshit patents to shake down small businesses, demanding "license fees" that are high, but much lower than the cost of challenging the patent and getting it revoked. Collectively, it would be much cheaper for all the victims to band together and hire a fancy law firm to invalidate the patent, but individually, it makes sense for them all to pay. A collective action problem:

https://locusmag.com/2013/11/cory-doctorow-collective-action/

Musicians get royally screwed by Spotify. Collectively, it would make sense for all of them to boycott the platform, which would bring it to its knees and either make it pay more or put it out of business. Individually, any musician who pulls out of Spotify disappears from the horizon of most music fans, so they all hang in – a collective action problem:

https://pluralistic.net/2024/06/21/off-the-menu/#universally-loathed

Same goes for the businesses that get fucked out of 30% of their app revenues by Apple and Google's mobile business. Without all those apps, Apple and Google wouldn't have a business, but any single app that pulls out commits commercial suicide, so they all hang in there, paying a 30% vig:

https://pluralistic.net/2024/08/15/private-law/#thirty-percent-vig

That's also the case with Amazon sellers, who get rooked for 45-51 cents out of every dollar in platform junk fees, and whose prize for succeeding despite this is to have their product cloned by Amazon, which underprices them because it doesn't have to pay a 51% rake on every sale. Without third-party sellers there'd be no Amazon, but it's impossible to get millions of sellers to all pull out at once, so the Bezos crime family scoops up half of the ecommerce economy in bullshit fees:

https://pluralistic.net/2023/11/06/attention-rents/#consumer-welfare-queens

This is why one definition of "corruption" is a system with "concentrated gains and diffuse losses." The company that dumps toxic waste in your water supply reaps all the profits of externalizing its waste disposal costs. The people it poisons each bear a fraction of the cost of being poisoned. The environmental criminal has a fat warchest of ill-gotten gains to use to bribe officials and pay fancy lawyers to defend it in court. Its victims are each struggling with the health effects of the crimes, and even without that, they can't possibly match the polluter's resources. Eventually, the polluter spends enough money to convince the Supreme Court to overturn "Chevron deference" and makes it effectively impossible to win the right to clean water and air (or a planet that's not on fire):

https://www.cfr.org/expert-brief/us-supreme-courts-chevron-deference-ruling-will-disrupt-climate-policy

Any time you encounter a shitty, outrageous racket that's stable over long timescales, chances are you're looking at a collective action problem. Certainly, that's the underlying pathology that preserves the scholarly publishing scam, which is one of the most grotesque, wasteful, disgusting frauds in our modern world (and that's saying something, because the field is crowded with many contenders).

Here's how the scholarly publishing scam works: academics do original scholarly research, funded by a mix of private grants, public funding, funding from their universities and other institutions, and private funds. These academics write up their funding and send it to a scholarly journal, usually one that's owned by a small number of firms that formed a scholarly publishing cartel by buying all the smaller publishers in a string of anticompetitive acquisitions. Then, other scholars review the submission, for free. More unpaid scholars do the work of editing the paper. The paper's author is sent a non-negotiable contract that requires them to permanently assign their copyright to the journal, again, for free. Finally, the paper is published, and the institution that paid the researcher to do the original research has to pay again – sometimes tens of thousands of dollars per year! – for the journal in which it appears.

The academic publishing cartel insists that the millions it extracts from academic institutions and the billions it reaps in profit are all in service to serving as neutral, rigorous gatekeepers who ensure that only the best scholarship makes it into print. This is flatly untrue. The "editorial process" the academic publishers take credit for is virtually nonexistent: almost everything they publish is virtually unchanged from the final submission format. They're not even typesetting the paper:

https://link.springer.com/article/10.1007/s00799-018-0234-1

The vetting process for peer-review is a joke. Literally: an Australian academic managed to get his dog appointed to the editorial boards of seven journals:

https://www.atlasobscura.com/articles/olivia-doll-predatory-journals

Far from guarding scientific publishing from scams and nonsense, the major journal publishers have stood up entire divisions devoted to pay-to-publish junk science. Elsevier – the largest scholarly publisher – operated a business unit that offered to publish fake journals full of unreveiwed "advertorial" papers written by pharma companies, packaged to look like a real journal:

https://web.archive.org/web/20090504075453/http://blog.bioethics.net/2009/05/merck-makes-phony-peerreview-journal/

Naturally, academics and their institutions hate this system. Not only is it purely parasitic on their labor, it also serves as a massive brake on scholarly progress, by excluding independent researchers, academics at small institutions, and scholars living in the global south from accessing the work of their peers. The publishers enforce this exclusion without mercy or proportion. Take Diego Gomez, a Colombian Masters candidate who faced eight years in prison for accessing a single paywalled academic paper:

https://www.eff.org/deeplinks/2014/07/colombian-student-faces-prison-charges-sharing-academic-article-online

And of course, there's Aaron Swartz, the young activist and Harvard-affiliated computer scientist who was hounded to death after he accessed – but did not publish – papers from MIT's JSTOR library. Aaron had permission to access these papers, but JSTOR, MIT, and the prosecutors Stephen Heymann and Carmen Ortiz argued that because he used a small computer program to access the papers (rather than clicking on each link by hand) he had committed 13 felonies. They threatened him with more than 30 years in prison, and drew out the proceedings until Aaron was out of funds. Aaron hanged himself in 2013:

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

Academics know all this terrible stuff is going on, but they are trapped in a collective action problem. For an academic to advance in their field, they have to publish, and they have to get their work cited. Academics all try to publish in the big prestige journals – which also come with the highest price-tag for their institutions – because those are the journals other academics read, which means that getting published is top journal increases the likelihood that another academic will find and cite your work.

If academics could all agree to prioritize other journals for reading, then they could also prioritize other journals for submissions. If they could all prioritize other journals for submissions, they could all prioritize other journals for reading. Instead, they all hold one another hostage, through a wicked collective action problem that holds back science, starves their institutions of funding, and puts their colleagues at risk of imprisonment.

Despite this structural barrier, academics have fought tirelessly to escape the event horizon of scholarly publishing's monopoly black hole. They avidly supported "open access" publishers (most notably PLoS), and while these publishers carved out pockets for free-to-access, high quality work, the scholarly publishing cartel struck back with package deals that bundled their predatory "open access" journals in with their traditional journals. Academics had to pay twice for these journals: first, their institutions paid for the package that included them, then the scholars had to pay open access submission fees meant to cover the costs of editing, formatting, etc – all that stuff that basically doesn't exist.

Academics started putting "preprints" of their work on the web, and for a while, it looked like the big preprint archive sites could mount a credible challenge to the scholarly publishing cartel. So the cartel members bought the preprint sites, as when Elsevier bought out SSRN:

https://www.techdirt.com/2016/05/17/disappointing-elsevier-buys-open-access-academic-pre-publisher-ssrn/

Academics were elated in 2011, when Alexandra Elbakyan founded Sci-Hub, a shadow library that aims to make the entire corpus of scholarly work available without barrier, fear or favor:

https://sci-hub.ru/alexandra

Sci-Hub neutralized much of the collective action trap: once an article was available on Sci-Hub, it became much easier for other scholars to locate and cite, which reduced the case for paying for, or publishing in, the cartel's journals:

https://arxiv.org/pdf/2006.14979

The scholarly publishing cartel fought back viciously, suing Elbakyan and Sci-Hub for tens of millions of dollars. Elsevier targeted prepress sites like academia.edu with copyright threats, ordering them to remove scholarly papers that linked to Sci-Hub:

https://svpow.com/2013/12/06/elsevier-is-taking-down-papers-from-academia-edu/

This was extremely (if darkly) funny, because Elsevier's own publications are full of citations to Sci-Hub:

https://eve.gd/2019/08/03/elsevier-threatens-others-for-linking-to-sci-hub-but-does-it-itself/

Meanwhile, scholars kept the pressure up. Tens of thousands of scholars pledged to stop submitting their work to Elsevier:

http://thecostofknowledge.com/

Academics at the very tops of their fields publicly resigned from the editorial board of leading Elsevier journals, and published editorials calling the Elsevier model unethical:

https://www.theguardian.com/science/blog/2012/may/16/system-profit-access-research

And the New Scientist called the racket "indefensible," decrying the it as an industry that made restricting access to knowledge "more profitable than oil":

https://www.newscientist.com/article/mg24032052-900-time-to-break-academic-publishings-stranglehold-on-research/

But the real progress came when academics convinced their institutions, rather than one another, to do something about these predator publishers. First came funders, private and public, who announced that they would only fund open access work:

https://www.nature.com/articles/d41586-018-06178-7

Winning over major funders cleared the way for open access advocates worked both the supply-side and the buy-side. In 2019, the entire University of California system announced it would be cutting all of its Elsevier subscriptions:

https://www.science.org/content/article/university-california-boycotts-publishing-giant-elsevier-over-journal-costs-and-open

Emboldened by the UC system's principled action, MIT followed suit in 2020, announcing that it would no longer send $2m every year to Elsevier:

https://pluralistic.net/2020/06/12/digital-feudalism/#nerdfight

It's been four years since MIT's decision to boycott Elsevier, and things are going great. The open access consortium SPARC just published a stocktaking of MIT libraries without Elsevier:

https://sparcopen.org/our-work/big-deal-knowledge-base/unbundling-profiles/mit-libraries/

How are MIT's academics getting by without Elsevier in the stacks? Just fine. If someone at MIT needs access to an Elsevier paper, they can usually access it by asking the researchers to email it to them, or by downloading it from the researcher's site or a prepress archive. When that fails, there's interlibrary loan, whereby other libraries will send articles to MIT's libraries within a day or two. For more pressing needs, the library buys access to individual papers through an on-demand service.

This is how things were predicted to go. The libraries used their own circulation data and the webservice Unsub to figure out what they were likely to lose by dropping Elsevier – it wasn't much!

https://unsub.org/

The MIT story shows how to break a collective action problem – through collective action! Individual scholarly boycotts did little to hurt Elsevier. Large-scale organized boycotts raised awareness, but Elsevier trundled on. Sci-Hub scared the shit out of Elsevier and raised awareness even further, but Elsevier had untold millions to spend on a campaign of legal terror against Sci-Hub and Elbakyan. But all of that, combined with high-profile defections, made it impossible for the big institutions to ignore the issue, and the funders joined the fight. Once the funders were on-side, the academic institutions could be dragged into the fight, too.

Now, Elsevier – and the cartel – is in serious danger. Automated tools – like the Authors Alliance termination of transfer tool – lets academics get the copyright to their papers back from the big journals so they can make them open access:

https://pluralistic.net/2021/09/26/take-it-back/

Unimaginably vast indices of all scholarly publishing serve as important adjuncts to direct access shadow libraries like Sci-Hub:

https://pluralistic.net/2021/10/28/clintons-ghost/#cornucopia-concordance

Collective action problems are never easy to solve, but they're impossible to address through atomized, individual action. It's only when we act as a collective that we can defeat the corruption – the concentrated gains and diffuse losses – that allow greedy, unscrupulous corporations to steal from us, wreck our lives and even imprison us.

Community voting for SXSW is live! If you wanna hear RIDA QADRI and me talk about how GIG WORKERS can DISENSHITTIFY their jobs with INTEROPERABILITY, VOTE FOR THIS ONE!

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/2024/08/16/the-public-sphere/#not-the-elsevier

[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

[vinecradle]

ditto - do you want somebody, like i want somebody?

pairing :: kazuha x gn!reader

summary :: a cosplay event at the mall was announced, you were waiting for this moment!! taking lots of pictures with people, but then you saw someone who cosplayed your character's partner.. and his friend asked you both to take a picture together and it goes viral on social media- and now you're faced with the cosplayer's twitter handle..

genre :: college au (reader & kazuha are in their first year), modern au, social media au, strangers to friends to fake lovers to lovers, playfully flirty x cant handle it trope, and also she fell first he fell harder trope, mutual pining, sets place after the scaramouche smau ends

warnings :: little angst, loneliness, alcohol mentions, reader is pretty touch starved, honestly not that many problems most of it is fluffy 🫶🏻

status :: on hold until i finish my scaramouche smau!

official playlist :: is linked here!

notes :: published 23 feb 2023, taglist is open! either send an ask/comment preferably so i could keep track easier and also please specific if you'd like to be in this taglist only or my permanent taglist

profiles :: ice ice baby | still a dottore hate club

teaser :: is linked here !

ACT I - music is what feelings sound like.

01. a cosplay event!!

02. character.. hunting?

03. 200 playlists

04. cosplay found!

05. cosplay received.

06. a sudden project (✿)

07. why is there a random kid

08. it's nearly time!!

ACT II - i lost myself, but you found me.

09. the cosplay event (✿)

10. post-cosplay

11. wait- im trending?

12. reporters (✿)

13. his twitter

14. bro's mesmerizing

15. this mess

16. he's actually fun to talk to

ACT III - i told the stars about you.

17. just a friendly hangout..! (✿)

18. stayed on the low

19. a priv notification

20. loveliest couple award! (✿)

21. a different cosplay?

22. when will i experience

23. she fell first he fell harder?

ACT III - cause you're so lovely

24. you are out of this world

25. second friendly hangout.. yes! (✿)

26. anything but friendly

27. him, in my dreams

28. talk (✿)

29. let's keep it a secret

30. the new event (✿)

31. we're on the news!!

ACT IIII - hm? he said it, "ditto"

32. you make me feel safe (✿)

33. a playlist for you

34. guitarist x violinist

35. my home

-> bonus! my love, my love (✿)

[kining-the-evil]

2023 Kinktober Masterlist

It is spooky time everyone! I'm super excited, this is my first big event as a writer, and I have been putting a lot of work into it! If everything goes right, a fic will be published one a day every day this month. This a mature event, so if you can't handle please don't interact.

⁙⁙⁙⁙⁙

Day 1- Cockwarming with Sam Carpenter

Day 2- Edging with James Wilson

Day 3- Knife Play with Tara Carpenter

Day 4-Phone Sex with Billy Loomis

Day 5- Mutual Masturbation with James Wilson

Day 6- Gagged with Finnick Odair

Day 7- Marking/Hickeys with Daisy Johnson

Day 8- Uniform with Bucky Barnes

Day 9-Dumbification with Jason Dean

Day 10- CNC with Stu Macher

Day 11- Thigh Riding with Kate Bishop

Day 12- Overstimulation with Greg House

Day 13- Dirty Talk with Valkyrie

Day 14- Bondage with Natasha Romanoff

Day 15- Ruined Orgasm- Johanna Mason

Day 16- Dacryphilia with Haymitch Abernathy

Day 17- Breeding with James Wilson

Day 18- Humiliation/Degration with Katniss Everdeen

Day 19- Gun Play with Jason Dean

Day 20- Praise with Peggy Carter

Day 21- Spit with Billy Loomis

Day 22- Sex Pollin with Leo Fitz

Day 23- Somnophilia with Loki

Day 24- Car sex with Daisy Johnson

Day 25- Mirror Sex with Randy Meeks

Day 26- Lactation with Dewey Riley

Day 27- Cum Play with Scott Lang

Day 28- Purity with Chad Meeks

Day 29- Pet Play with Stu Macher

Day 30- Double Penitration with Stucky

Day 31- Dry Humping with Randy Meeks

[seoul-bros]

Jikook Week 11 Complete ✔️(20/02 - 27/02/2024)

Their eleventh week in the military is now complete. It's time to celebrate this milestone with a look back at this week in 2023.

On 21/02/2023 Part 2 of Run BTS Mini Field Day came out. Part 1 was released the previous week and both Tae and Jungkook were on excellent form. Part 2 began with a ping pong challenge which was frankly ridiculously difficult although Jungkook made it look really easy

Things didn't go quite so well for Jimin however. J-Hope was determined to put Jimin off and he succeeded in spades.

It was definitely not Jimin's day to shine.

The final game was Slippery Soccer. The teams were Jin, Tae and JK on the Red Team and Suga, RM, J-Hope and Jimin on the Blue Team. The Red Team were all over the game from the start and it was difficult to see how the underdogs would ever fight back.

Especially when J-Hope and Jimin's body parts were working for the opposition at various points in the game.

But who is going to complain when it led to this celebration hug.

After a few rounds though the blues levelled up and things descended into chaos.

There is even a compilation video of all jikook's chaotic interactions.

At the end of the day, everyone was happy for the match to end in a draw.

Jimin was soaked through having spent a disproportionate amount of time on the floor.

Medal placements were J-Hope - Bronze, Jungkook - Silver and the man of the hour V - Gold.

This show was the last Run BTS filmed before members started enlisting and Jin took the opportunity to accept an honorary gold and say his goodbyes to ARMY but not without some interference from Jimin and Jungkook.

I'm not sure what Run BTS would look like after the military but I hope we might get a few special episodes even if it isn't such a central part of their work together.

Now you may accuse me of burying the lead but there was another very important piece of news released this week in 2023.

On the 21/02, Big Hit announced that FACE Jimin's debut release would be out on 24th March. The promotional schedule came out on 22/02 and the tracklist and behind video came out on the 23/02.

We got a first glimpse of how closely Jimin had been involved in all aspects of his solo debut and an indication that this was going to be a new and exciting departure for him. We understood this, even if we didn't quite grasp quite how momentous this release would be for Jimin and for South Korean music in general.

I'm running out of images but let's not forget that Elle Magazine Hong Kong published some amazing shots from Jimin's Dior photoshoot on the 22/02/2023. Jimin's fashion god/goddess era was well underway.

Post Date: 27/02/2024

[mpchev]

You like reading fanfics? How about reading about fanfics? 😏

Here’s what I've read so far (or am currently getting through) for my dissertation on fanfiction bookbinding! I'll be updating it as I go until the end of July. If you have any recs to add to the towering pile or any questions/opinions about something on there, I’m all ears!

on fan studies & ficbinding ✔

Alexander, Julia, ‘Making fanfiction beautiful enough for a bookshelf’, The Verge, 9 March 2021 <https://www.theverge.com/22311788/fanfiction-bookbinding-tiktok-diy-star-wars-harry-potter-twitter-fandom> [accessed 12 June 2024]

Buchsbaum, Shira Belén, ‘Binding fan fiction and reexamining book production models’, Transformative Works and Cultures, 37 (2022)

Dym, Brianna, and Casey Fiesler, ‘Ethical and privacy considerations for research using online fandom data’, Transformative Works and Cultures, 33 (2020)

Jenkins, Henry, Textual Pochers: Television Fans and Participatory Culture (New York: Routeledge, 1992)

Jenkins, Henry, ‘Transmedia Storytelling 101’, Pop Junctions, 21 March 2007 <http://henryjenkins.org/2007/03/transmedia_storytelling_101.html#sthash.gSETwxQX.dpuf> [accessed 12 June 2024]

Hellekson, Karen, ‘Making Use Of: The Gift, Commerce, and Fans’, Cinema Journal, 54, no. 3 (2015), 125–131

Kennedy, Kimberly, ‘Fan binding as a method of fan work preservation’, Transformative Works and Cultures, 37 (2022)

Minkel, Elizabeth, ‘Before “Fans,” There Were “Kranks,” “Longhairs,” and “Lions”: How Do Fandom Gain Their Names?’, Atlas Obscura, 30 May 2024 <https://www.atlasobscura.com/articles/fandom-names> [accessed 12 June 2024]

Penley, Constance, Nasa / Trek: Popular Science and Sex in America (London: Verso, 1997)

Price, Ludi, ‘Fanfiction, Self-Publishing, and the Materiality of the Book: A Fan Writer’s Autoethnography’, Humanities, 11, no. 100 (2022), 1–20

Schiller, Melanie, ‘Transmedia Storytelling: New Practices and Audiences’, in Stories: Screen Narrative in the Digital Era, ed. by Ian Christie and Annie van den Oever (Amsterdam: Amsterdam University Press, 2018), 99–107

on folklore, the internet, other background reading ✔

Barthes, Roland, ‘La mort de l’auteur’ in Le Bruissement de la langue: Essais critiques IV (Paris: Éditions du Seuil, 1984)

Blank, Trevor J., Folklore and the Internet: Vernacular Expression in a Digital World (Logan, Utah: Utah State University Press, 2009)

Mauss, Marcel, ‘Essai sur le don. Forme et raison de l’échange dans les sociétés archaïques.’, L’année sociologique, 1923–1924; digital edition by Jean-Marie Tremblay, Les classiques des sciences sociales, 17 February 2002, <http://classiques.uqac.ca/classiques/mauss_marcel/socio_et_anthropo/2_essai_sur_le_don/essai_sur_le_don.html> [accessed 10 June 2024]

McCulloch, Gretchen, Because Internet: Understanding How Language is Changing (Random House, 2019)

Niles, John D., Homo Narrans: The Poetics and Anthropology of Oral Literature (University of Pennsylvania Press: Philadelphia, 1999)

hopefully coming up next (haven't started yet)

A Companion to Media Fandom and Fan Studies, ed. by Paul Booth (Hoboken: John Wiley & Sons, Inc., 2018)

A Fan Studies Primer: Method, Research, Ethics, ed. by Paul Booth and Rebecca Williams (Iowa City: University of Iowa Press, 2021)

Dietz, Laura, ‘Showing the scars: A short case study of de-enhancement of hypertext works for circulation via fan binding or Kindle Direct Publishing’, 34th ACM Conference on Hypertext and Social Media (HT ‘23), September 4–8, 2023, Rome Italy (ACM: New York, 2023)

Fathallah, Judith May, Fanfiction and the Author: How Fanfic Changes Popular Cultural Texts (Amsterdam: Amsterdam University Press, 2017)

Finn, Kavita Mudan, and Jessica McCall, ‘Exit, pursued by a fan: Shakespeare, Fandom, and the Lure of the Alternate Universe’, Critical Survey, 28, no. 2 (2016), 27–38

Hjorth, Larissa et al., eds. The Routledge Companion to Digital Ethnography (New York: Routledge Taylor & Francis Group, 2017)

Jacobs, Naomi, and JSA Lowe, ‘The Design of Printed Fanfiction: A Case Study of Down to Agincourt Fanbinding’, Proceedings from the Document Academy, 9, issue 1, article 5

Jenkins, Henry, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006)

Jenkins, Henry, Spreadable Media: Creating Value and Meaning In A Networked Culture (New York: New York University Press, 2013)

Kennedy, Kimberly, and Shira Buchsbaum, ‘Reframing Monetization: Compensatory Practices and Generating a Hybrid Economy in Fanbinding Commissions’, Humanities, 11, no. 67 (2022), 1–18

Kirby, Abby, ‘Examining Collaborative Fanfiction: New Practices in Hyperdiegesis and Poaching’, Humanities, 11, no. 87 (2002), 1–9

Kustritz, Anne, Identity, Community, and Sexuality in Slash Fan Fiction (New Work: Routeledge, 2024)

Lamerichs, Nicolle, Productive Fandom: Intermediality and Affecive Reception in Fan Cultures, (Amsterdam: Amsterdam Universtiy Press, 2018)

Popova, Milena, ‘Follow the trope: A digital (auto)ethnography for fan studies’, Transformative Works and Cultures, 33 (2020)

Rosenblatt, Betsy, and Rebecca Tushnet, ‘Transformative Works: Young Women’s Voices on Fandom and Fair Use’, in eGirls, eCitizens: Putting Technology, Theory and Policy into Dialogue with Girls’ and Young Women’s Voices, ed. by Jane Bailey and Valerie Steeves

Soller, Bettina, ‘Filing off the Serial Numbers: Fanfiction and its Adaptation to the Book Market’, in Adaptation in the Age of Media Convergence, ed. by Johannes Fehrle, Werner Schäfke-Zell (Amsterdam: Amsterdam University Press, 2019), 58–85

[myheartalivewrites]

(Some of) My favourite fics of 2023

2023! What a year, eh? Jesus fucking Christ.

There's no way I can start this list without making a huge caveat: unlike last year, I have NOT read all the RWRB fics that have come out in 2023, not even close, not even a little bit, not even at all. There's just been SO MUCH, and I have in no way kept up.

Anyway. These are my favourite things that I HAVE read. Rules (because who am I if not an extremely organised rule follower?): fic has to have been published in 2023; no more than one per author (some of you gave me real trouble here). Last year I only let myself put five fics on the list, this year I’ve been slightly more generous. Here we go:

muscle memory by @dumbpeachjuice: (E, ~30k) pining while fucking so good it makes me a little bit insane.

Going Platinum by @cricketnationrise: (E, ~20k) OMG the camboy!Alex AU I never knew I needed.

With so much of my heart (that none is left to protest) by @kiwiana-writes: (E, ~65k) Shakespearean actors goodness!

Sweetheart Grips by @orestespdf: (E, ~13k) I am a little bit in love with trans Alex.

coyote ugly series (part 1 part 2) by @smc-27: (E, ~12k) *the rules are being bent, no one look over here. I'm already screaming at myself for not choosing the tennis AU or the stripper!Henry entry* Pining that's worth its weight in gold.

Taste the Way You Bleed by @cha-melodius: (T, ~4k) *again it pains me to not go with spy bois or cheesemonger Henry* The Halloween Huh! fic that nearly ended me in the best way. So funny I could scream.

The Edge of Glory by @historicallysam (T, ~10k) fantastic post-canon exploration of: what if Alex got asked to back into politics, after they've had a kid?

a rich and complex tapestry by @everwitch-magiks (E, ~9k) Henry hosts a radio show about sex and relationships, Alex fucks his way through his bisexual crisis. Delightful.

And of course I couldn’t leave out these babies I helped birth (gross, I beta read them):

Underground by @zwiazdziarka: (T, ~4k) If you love Labyrinth (and Henry in tights, which--who doesn't!) then I've got the fic for you!

why are you googling vampires? by @daisymae-12: (E, ~14k) vampire Henry goodness starring Twilight obsessed Alex

***

As for my favourite out of my own fics, I'm gonna go for an outlier: Down by the Water, I Saw You (E, ~63k). I love all my fics, and the numbers on some of the post-August 11 fics speak for themselves, but this one has my heart. The journey from sad/angry exes to trusting each other again and getting over all the past hurts; to being able to dig into their hearts and find that love that they'd both buried but never managed to get rid of. I wrote it because it was what I wanted to read and it still kills me. Of all my fics, it's the one I miss the most.

***

Thanks to all of you who've read my stuff, everyone who’s sent a nice comment or message my way; everyone who started reading RWRB fic this year, everyone who watched the film then found the book then turned to ao3 because they needed MORE. I know the feeling. What a ride it's been.

[pillowfort-social]

Site Update - 11/27/2023

Hi Pillowfolks, 

We hope you are safe and healthy.  Our Developers released a small site update today which addresses recent bugs that appeared after our Drafts update. Thank you for your patience while our team patched these bugs. Please let us know if you are still experiencing issues. 

Also, we wanted to take another moment to thank our community for your support during our End of Year Fundraiser. Can you believe we’re at 67% of our goal with over a month remaining? You have made it very clear you believe our Platform deserves to exist and we will continue to work hard to keep our platform online. 

We will be revealing fundraiser rewards very soon! 

New Features / Improvements

Premium Frames Update - Add a little color to your avatar with three new premium frames inspired by synthwave, vaporwave, and citypop. These frames were designed by our Customer Service Manager, Midnight!

Fundraiser Pop Up - We’ve added a notification banner for our End of Year Fundraiser. (Psst: There is still time left to help us meet our goal!) 

Bug Fixes

Infinite Posts in Communities -  Fixed a bug where the last post in a Community repeated infinitely. 

Drafts Tagging - Fixed a bug where posts that were published from Drafts wouldn’t show up in the tag search results despite being tagged. This change will also retroactively fix posts that were affected by this bug since the release of the Drafts feature, though it may take some time for these changes to populate. Please wait a few hours before checking if your published posts that were not previously showing up in tags have been fixed.

Gaps in Home Feed - Fixed a bug causing temporal gaps in the home feed when loading more posts. This also fixes an issue where some posts would display twice in the home feed.

Dark Mode Drafts Improvements - Fixed a bug that caused the site’s dark theme to fail to display properly when viewing the Drafts index page.

Community Index Fixes - We improved the efficiency of Community browsing, so searching for communities via the Community index should now be faster. We also altered the search so that it no longer sends a data request if no search term has been entered and the search sorting method is set to “Relevance”.

[storyofthenauseouseye]

The Duality of Woman: Anais Nin

Vogue Magazine, Anais Nin talks about being a woman, 15 October 1971

Anais Nin is a woman of duality. It's been a well-known fact for those who know or love her that she is truly a two-sided coin. She said it herself in her book Henry and June,

"I will always be the virgin prostitute, the perverse angel, the two-faced sinister and saintly woman"(bookquoters.com).

From her intense marriages to two different men on opposite sides of the country, to her literary career, to even her personal reflections and essays, Nin was a figure bathed in duality. How does one split the image of Anais Nin ideally in half? You just have to find the seam between diarist and eroticist.

The Diarist

Anais Nin is most well-loved by her adoring fans because of her published diary. As a young girl, Nin wrote her father a letter begging him to return to the family he had abandoned (The Anais Nin Foundation). This was the beginning of Nin's diary, which would be published in seven volumes, with four unexpurgated diaries later appearing after their original publication.

Her diaries were incredibly personal, full of secrets and thoughts she never thought would come to light. The biggest secret within these diaries was that she was married to two different men simultaneously, something she would remove from the diaries upon initial publication. Years later, Nin compiled the removed sections into one volume, the first of her unexpurgated diaries. It was called Henry and June, and detailed the letters and writings the two shared. The duality of Nin stretched throughout every aspect of her life.

These highly intimate journals struck twentieth-century American women directly in their souls. As one journalist famously put it in an article for The Conversation,

Anaïs Nin dreamed, in all senses. She dreamed of lives and possibilities. She dreamed in slumber and allowed her dreams to leak into the day. As I regularly committed the cardinal social sin of recounting my dreams over breakfast, she seemed a soulmate across oceans and generations (Gorman).

These teenage girls and their daydreams were instantly hooked on Nin's likeminded wonder and splendid prose. She became a sensation after the diary publications almost instantly, giving her a decent seat in literary history.

It wouldn't be long until something else gave her another boost of fame.

Ramon Casas, Decadent Young Woman. After the Dance, 1899

The Eroticist

In the late 1970s, Anais Nine published three volumes of erotic short fiction, each containing approximately ten stories. Despite their popularity, the term erotic is a tad inappropriate. Although she wasn't a follower of the transgressive art movement like Georges Bataille, Anais Nin's erotic stories are more disturbing and controversial than actually arousing.

Nin wrote about such topics as sexual abuse, incest, pedophilia, and other forms of sexual violence within her stories. These works would go on to shock and challenge readers even today (Maza).

Lost Lenore Antiques, Anais Nin ~ Little Birds and Delta of Venus ~ 1st Edition Books ~ Vintage Erotica, 27 August 2021

Works Cited

The Anais Nin Foundation. “bio — The Anais Nin Foundation.” The Anais Nin Foundation, https://theanaisninfoundation.org/bio. Accessed 11 December 2023.

Gorman, Alice. “The book that changed me: journeying to the self with Anaïs Nin's sensual, transgressive diaries.” The Conversation, 25 April 2022, https://theconversation.com/the-book-that-changed-me-journeying-to-the-self-with-ana-s-nins-sensual-transgressive-diaries-176135. Accessed 11 December 2023.

Maza, Sarah, and Paul Herron. “Swinging: The Double Life of Anaïs Nin.” Public Books, 19 February 2018, https://www.publicbooks.org/swinging-the-double-life-of-anais-nin/. Accessed 11 December 2023.

Nin, Anaïs. “Quotes from Henry and June: From "A Journal of Love"--The Unexpurgated Diary of Anaïs Nin by Anaïs Nin.” BookQuoters, https://bookquoters.com/book/henry-and-june-from-a-journal-of-love-the-unexpurgated-diary-of-anais-nin. Accessed 11 December 2023.

Further Reading

[satinekryzeweek]

It's super exciting to see a character focus week that isn't ship centric or doesn't feel unwelcoming to smaller, usually queen ships, or alternative headcanons that don't fit Canon or main stream fanon.

(If you know you know)

Satine has grown on me entirely because of friends though I'm still learning all the related lore.

The Mandalorian women like Satine, Ursa, Bo, the Armorer and Sabine are some of favorite characters so I'd love to see more about her. (Are there any Satine or even Bo books? Comics? Anything?!)

I wish everyone luck and hope to see more Satine content in Jan!

Hi Revan,

We're happy to see Satine love growing!

The good and bad news regarding Satine Kryze: there isn't much canon content for her out there. It's sad because we would all love to know more about her character, but at the same time, minimal backstory means there is a lot of room for everyone to develop their own complex fanon lore.

To help everyone prepare for Satine Kryze Week, we've put together a collection of official Star Wars content and fan made resources that feature her! The list is quite long, so we've put it under the cut to spare everyone's dash.

OFFICAL PUBLICATIONS (CANON & LEGENDS)

1. The Comprehensive Guide to the Star Wars Galaxy (2024) Contains data entries for almost every character featured in Star Wars. This book will be released on November 19.

2. Star Wars: Timelines (2023) Briefly discusses the Mandalorian Civil Wars, the events of Master & Apprentice, and the Siege of Mandalore.

3. The Clone Wars: Character Encyclopedia (2021) Features multiple pages of Satine and Bo-Katan Kryze.

4. Star Wars: Battles that Changed the Galaxy (2021) Details multiple battles and wars involving the Mandalore system, including those that occurred during Satine's life.

5. The Clone Wars: Stories of Light and Dark (2020) Two short stories briefly mention Satine Kryze. Dark Vengeance: The True Story of Darth Maul and His Revenge Against the Jedi Known as Obi-Wan Kenobi and Kenobi's Shadow.

6. Master & Apprentice (2019) A novel that covers Obi-Wan's time as a padawan under Qui-Gon Jinn, with mentions to their shared time on Mandalore with Satine.

7. Rise of the Separatists (2019) Era sourcebook for Fantasy Flight Games' Star Wars roleplaying game system, covering the first half of the Clone Wars.

8. Collapse of the Republic (2019) Era sourcebook for Fantasy Flight Games' Star Wars roleplaying game system, covering the second half of the Clone Wars.

9. Star Wars: Women of the Galaxy (2018) Art of Satine on her throne is included, and a new version comes out April 2025.

10. Star Wars Propaganda: A History of Persuasive Art in the Galaxy (2016) Includes art related to the Neutral Systems and Mandalore.

11. Star Wars: Galactic Atlas (2016) Multiple pages dedicated to Mandalore's history.

12. Darth Maul - Son of Dathomir 3 (2014) Comic that covers Maul's time on Mandalore, brief references to Satine.

13. The Bounty Hunter Code (2013) Contains the Death Watch Manifesto at the end, which includes Legends/Expanded Universe Mandalorian lore.

FAN MADE RESOURCES

1. @fox-trot They have done an incredible job archiving the best bits of published Mandalorian lore from across all SW media! We highly recommend her mandalorian tag.

2. @supertaliart They put together an amazing guide on Mandalorian language and culture! If you're a visual learner, it's perfect for you.

3. @ranahan This account has poured hours of love and time into compiling every piece of information they can on Mando'a. Check out their masterlist for a complete breakdown on the language.

Thank you for making it to the end of this list! It's far from complete or comprehensive, but we hope it helps. If anyone else has resources they'd like to share or books they would recommend, feel free to share in the comments below 💙

Can't wait for the event (January 27-31 2025) to celebrate Satine with all of you! For anyone who missed it, check out our Rules and About for more information too 🌸 We'll be sharing older fandom works featuring Satine leading up to to the week using #pre event showcase as well!

[mostlysignssomeportents]

Kinkslump Linkdump

This is my dozenth linkdump! The world comes at you fast, and even though I'm writing 4-5 essays a week for this newsletter, many's the week that ends with more stray links than will fit in that format. Here's the previous ones:

https://pluralistic.net/tag/linkdump/

I managed to turn out five posts last week, despite being on tour with my latest novel, The Lost Cause, a hopeful solarpunk novel endorsed by Rebecca Solnit, Bill McKibben and Kim Stanley Robinson. The tour went great – the book's now a national bestseller on the USA Today list! Here's an essay I wrote explaining the structure of the feeling that the book is meant to convey:

https://www.torforgeblog.com/2023/11/14/cory-doctorow-the-swerve/

This is a climate emergency novel full of rising seas, terrible storms, wildfires and zoonotic plagues, and yet – it is a hopeful novel. What makes it hopeful? It depicts a future in which we are treating these phenomena with the gravitas and urgency they warrant, with our whole society's focus shifting to moving coastal cities inland, weatherizing and solarizing our housing, and creating permanent housing for internal refugees.

While it would be infinitely preferable to live in a world where none of that is necessary, that's not the world we have. This is an sf novel, not a fantasy novel, so all the climate harms we've locked in through decades of expensively procured inaction are present. But the difference between disaster and catastrophe is how and whether we address those harms. Sure, this is a world where superstorms wipe away whole cities and Miami is a drowned mangrove swamp, but it's also a world in which oil executives do not chair UN climate summits or complain that oil companies are being "unjustly vilified":

https://www.cnbc.com/2023/11/27/opec-says-oil-industry-unjustly-vilified-ahead-of-climate-talks-.html

I write a lot, and it's not just this newsletter. Writing transports me from my anxieties and aches. That's how I came to write nine books during lockdown ("when life gives you SARS, make sarsaparilla"). Lost Cause was one of three books I published in 2023.

I'm going to greet 2024 with another novel, The Bezzle, a sequel to 2023's Red Team Blues, about the hard-charging, high-tech forensic accountant Marty Hench:

https://us.macmillan.com/books/9781250865878/thebezzle

The Bezzle is a story about the shitty technology adoption curve – the way that the worst technologies we have are first rolled out on the people least able to complain about them. After these bad technologies have their sharp edges sanded down on the bodies of prisoners, refugees and kids, they move up to blue collar workers and discount store shoppers, and so on, until we're all living under their thumb.

In The Bezzle, a dear friend of Marty finds himself serving a long sentence in a privatized California prison that flips from one private equity fund to the next, each with even worse, more extractive ways to use technology to bleed prisoners and their families dry. You can read the opening scenes in a just-published excerpt on Tor Books's site:

https://www.torforgeblog.com/2023/11/20/excerpt-reveal-the-bezzle-by-cory-doctorow/

The period immediately before a book's publication is always a tense one, as the first reviews trickle in. Library Journal's Marlene Harris is the first out of the gate, with a spectacular review:

https://www.libraryjournal.com/review/the-bezzle-1802415

Marty’s reminiscences range from obscure financial machinations to heaping helpings of social commentary but always move the underlying thriller story forward in a backwards heist tale that delivers a righteously satisfying ending to the surprise of both the reader and the villain. This novel, like his previous outing, rides on Marty’s voice. He has a jaundiced view of everything, but he tells it with such style and verve that readers are caught up and ride along on the surface until the shark beneath the water jumps out and bites the villain where it hurts.

I'm headed into Skyboat Media's studios on Monday with @wilwheaton to record the audiobook for this one, directed as ever by the amazing Gabrielle de Cuir. Keep your eyes peeled for a presale crowdfunder in January!

I am often asked how I decide when to present an idea through fiction and when to do so with nonfiction. The answer is a complicated one, and I got into it in some detail on Nature's Working Scientist podcast, in discussion with Paul Shrivastava:

https://www.nature.com/articles/d41586-023-03394-8

When it comes to politics, fiction and nonfiction are intensely complementary. Nonfiction can convey the data about a social phenomenon, but fiction can convey the meaning of the data. It's one thing to see a chart about inequality, and another to inhabit it through fiction. Marty Hench's narrative adventures are a way into the feeling of living in a corrupt oligarchy.

There are other ways into that feeling, of course. Take Barry Bowen's "Lifestyles of the Blessed & Famous: Preacher Homes Sold in 2023" for The Roys Report:

https://julieroys.com/lifestyles-blessed-famous-preacher-homes-sold-2023/?mc_cid=9678383b64

If a picture is worth a thousand words, then carefully staged realtor drone shots ganked from the Redfin listing for a "pastor"'s $3.5m mansion in Newport Beach is a full-on sermon about the corruption of the Hillsong megachurch:

https://www.redfin.com/CA/Newport-Beach/503-30th-St-92663/home/12363926

Narratives and photos are all well and good, but there's always room for some data. The USA's weird breed of federalism and devolved power makes for some very interesting data. Writing for The American Prospect, Paul Starr rounds up several studies evaluating the "natural experiments" created by enacting very different policies in otherwise similar states:

https://prospect.org/health/2023-12-08-life-death-cost-conservative-power/

The data is in: conservativism kills. Living in a red state shortens your life expectancy. The redder the state, the worse it is. The bluer the state, the longer you're likely to live:

https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0009.12469

The exemplars here are Connecticut and Oklahoma, whose life expectancies were at par until they began to diverge in policies. Oklahoma got more conservative, Connecticut got more liberal. Today, the average Oklahoman will pop their clogs at 75.8, while a Connecticutensian can expect 80.7 years.

Different scholars have parsed out different policy outcomes. Giving Medicaid to children, for example, shows benefits for the next 50 years:

https://www.aeaweb.org/articles?id=10.1257/aer.20171671

The big one, of course, is gun control. Here's the topline: "restrictive state gun policies reduce overall gun deaths." Water also wet:

https://journals.lww.com/epidem/fulltext/2023/11000/the_era_of_progress_on_gun_mortality__state_gun.3.aspx

Fact-free spiritual beliefs like "an armed society is a polite society" are key to conservative policymaking. Pesky progressives who confuse the issue with relevant facts are playing dirty, pointing out reality's unfair leftist bias.

But after 40 years of neoliberal deference to corporate power, the worm is turning. Somehow, a world on fire, filled with megapastors in megamansions who brief for lethal policies, has finally inspired a global vibe-shift (and not a moment too soon!). One of the most tangible expressions of that shift is the revival of antitrust, which has been in a coma since the Reagan administration.

All over the world – the EU, the UK, Ireland, Australia, and the USA – there are new competition enforcers challenging corporate power in ways that were unthinkable just a few years ago. If I'd written an enforcer like FTC chair Lina Khan in 2010, critics would have slammed me for wish-fulfillment too unrealistic for science fiction.

But today, Khan is taking big swings at corporate power, fighting against a calcified edifice of decades of bad, pro-monopoly precedent. The pro-monopoly press hate her, which is why the WSJ keeps publishing sweaty op-eds insisting that she is wasting her time and that monopolies are good, actually:

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

But she is still out there, fighting for all of us. After a pro-monopoly judge stymied the FTC's bid to block the rotten Microsoft/Activision merger, Khan re-filed, appealing the decision:

https://www.reuters.com/markets/deals/us-ftc-tries-again-stop-microsofts-already-closed-deal-activision-2023-12-06/

Critics insist that she's on a foolish errand, but Khan is tackling the most promising face of a sheer cliff, and the plainly anticompetitive merger between one of the world's largest console makers (a convicted monopolist!) with one of the world's largest games publishers is the right place to start. If she can get her piton into one of the hairline cracks in that face, her arduous climb gains a solid anchor for the next stage of her assent.

Of course, Khan's highest-profile action is her case against Amazon, the omnipresent, dystopian poster-child for enshittification, a platform we can't avoid, but which is so haphazardly policed that the bestselling bitter lemon energy drink you order might be bottled piss harvested from its immiserated drivers:

https://pluralistic.net/2023/10/20/release-energy/#the-bitterest-lemon

In a world of murderous, community-destroying monopolies, Amazon stands out for the sheer number of ways it makes the world worse. Amazon maims its warehouse workers and kills its drivers with impossible quotas. It poisons Black and brown neighborhoods with truck exhaust from its giant depots. It destroys small businesses that sell on its platform. It was part of the studio cabal scheming to destroy actors and writers' livelihoods with unfair contracts and AI. Its audiobook monopoly stole at least $100m from independent authors. It makes goods and services more expensive at every retailer (not just Amazon), and price-gouges on its own storefront:

https://pluralistic.net/2023/11/06/attention-rents/#consumer-welfare-queens

Keeping that scam going requires a lot of skullduggery. A new set of leaked internal Amazon documents shed some light on how that inedible sausage gets made:

https://www.vice.com/en/article/wxjbm9/amazon-brags-it-cultivated-california-mayor-with-donations-in-leaked-policy-document

Amazon's "Community Engagement Plan 2024" brags about buying off small-town mayors and astroturf groups in its bid to resist regulations that would limit warehouse delivery van emissions in communities of color (Amazon calls this "philanthropic work"). Coincidentally, that "philanthropy" targeted Perris, a town where residents voted for a warehouse tax to repair the roads that had been trashed by fleets of Amazon vans.

But the real focus of Amazon's "Community Engagement" is California's AB1000, a bill that will limit the construction of supersized, 100k+ sqft warehouses near daycare centers, schools or rec centers. Secondarily, Amazon is hoping to get California to make it easier to advertise alcohol around kids, to "unlock" California's liquor market.

This kind of shameless, mustache-twirling villainry can only go on so long before it meets resistance. One of the longest-running, hardest fought struggles against corporate malfeasance is the farmers' right ro repair fight against John Deere. Deere boobytraps its tractors so that after a farmer repairs a Deere tractor, they have to wait for days, and pay hundreds of dollars, for a Deere technician to come out to the farm and type an unlock code into the tractor's console:

https://pluralistic.net/2022/05/08/about-those-kill-switched-ukrainian-tractors/

Despite multiple state right-to-repair initiatives and a pending rulemaking from the FTC, Deere is still fucking around. Now, they've found out. US District Court Judge Iain Johnson just handed Deere a scathing, 89-page memo rejecting the company's bid to kill a class action suit brought by its customers:

https://www.reuters.com/legal/litigation/deere-must-face-us-farmers-right-to-repair-lawsuits-judge-rules-2023-11-27/?ref=404media.co

The memo hearkens back to company founder John Deere, "an innovative farmer and blacksmith who—with his own hands—fundamentally changed the agricultural industry":

https://www.404media.co/a-massive-repair-lawsuit-against-john-deere-clears-a-major-hurdle/

Judge Johnson tells Deere's lawyers that the real John Deere "would be deeply disappointed in his namesake corporation," and calls out their lying. You love to see it.

This kind of thing is happening all over the world as policymakers, regulators and lawmakers take aim at corporate power. The Australian government just announced that it would force Apple to open up iOS to alternative browser engines:

https://open-web-advocacy.org/blog/new-digital-competition-laws-for-australia/

This is obscure and technical, but that's why it's so exciting: rather than mumbling broad platitudes about competition and user choice, the Australian Competition and Consumer Commission's regulation targets a critical leverage point where a small change will deliver huge benefits:

https://www.accc.gov.au/media-release/consumers-and-small-businesses-to-benefit-from-proposed-new-regulation-of-digital-platforms

While there are many browsers in Apple's App Store, they're all just reskinned versions of Safari, all running on the same core engine, Webkit. Webkit is ancient, undermaintained and feature-poor. Crucially, Webkit does not implement the parts of the HTML5 standard needed for WebApps, which would allow app developers a safe channel to offer apps that don't go through Apple's App Store monopoly chokepoint:

https://pluralistic.net/2022/12/13/kitbashed/#app-store-tax

Now, there's a big jump between announcing this kind of regulation and enacting it. As Mark Nottingham points out, Australia's had an "in principle" commitment to enact a privacy regulation for two successive governments, with no actual regulation in sight:

https://techpolicy.social/@mnot/111546662237364754

So we can't take these announcements as a sign to declare victory and stand down. The policymakers who announce these proposals deserve our accolades for the announcement and they require our constant vigilance until they make good on their promises.

That's the case in Ireland, where the Coimisiún na Meán has just published a fantastic regulatory proposal for recommendation systems, requiring recommenders to be turned off by default and that recommendations based on "political views, sexuality, religion, ethnicity or health" have to be switched off by default:

https://www.cnam.ie/wp-content/uploads/2023/12/Draft_Online_Safety_Code_Consultation_Document_Final.pdf

It's especially significant that this is coming out of Ireland, a corporate crime haven that has successfully lured the world's tech giants into flying its flag of convenience, with the guarantee of tax evasion and lax regulation:

https://pluralistic.net/2023/05/15/finnegans-snooze/#dirty-old-town

This rule won't enforce itself. It'll require constant vigilance and pressure. There's plenty of ways to do that on a part-time, voluntary basis, but if this kind of thing enflames you enough to make a career out of it, here's a tenure-track job for an infosec professor at Citizen Lab, fearless slayers of high-tech corporate ogres:

https://jobs.utoronto.ca/job/Toronto-Assistant-Professor-Information-Security-ON/576463017/

That's all for this week's linkdump. It's time for me to go hole up in my office and wrap presents. When I do, I'll be tuning into the latest Merry Mixmas MP3 of Christmas mashups from DJ Riko:

http://www.djriko.com/dls/DJ%20Riko%20-%20Merry%20Mixmas%202023.mp3

Riko's Christmas mashups have been part of my holidays for more than two decades now. He's been making them for 22 years! That's a lot of great holiday mashups:

https://www.djriko.com/mixmases.htm

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/2023/12/09/gallimaufry/#marty-hench-rides-again

[coochiequeens]

Yet another case for SheWon.com. Not just any case, one where a grown ass white dude was allowed to compete against an 11 year old girl of color in the name of inclusiveness.

By Amy Hamm February 22, 2024

A trans-identified male is set to compete against women as the reigning Women’s Snooker Champion at the English Women’s Snooker Championship on May 24 in Walsall, UK. Jamie Hunter, 27, became the top women’s player following a semifinal victory against a young girl last year.

Hunter first rose to prominence during the English Women’s Snooker Champion finals in 2023 after he came out victorious against Mary Talbot-Deegan, finishing 3-1. Hunter had managed to make it to the finals after he beat out Ellise Scott, an 11-year-old rising star in the snooker world, taking 2-0 against her in the semifinal grouping. The event had been Scott’s debut in the tournament, and, prior to her match against Hunter, she had achieved three match victories against experienced female opponents.

Hunter had been participating in women’s cue sports since 2021, just one year after he “came out” as transgender.

Prior to transitioning, Hunter played in a mixed-sex amateur league for five years. Speaking with Snooker Zone in 2021, Hunter admitted that he had no intention of competing professionally until he discovered that there was a women’s tour.

“Until this year, cue sports was just a hobby, something I done once, maybe twice a week, but now finding out about the Women’s snooker tour, I believe that will change,” he said at the time. “They make out as if I played snooker as a man, I was rubbish, so decided to do it in the women’s instead. I changed my gender for my wellbeing and my life, not for anything else.”

Hunter received significant backlash after his 2022 US Women’s Open win, when former women’s world champion Maria Catalano criticized the policies enabling males to compete against females. In an interview with The Sportsman, Catalano argued that women’s snooker should exclude males from female categories, as some rugby leagues have, to ensure fairness for women. 

“We have fought so hard for our rights in the past – myself, Reanne Evans and others got people to write letters to allow us to play in leagues and clubs that banned women. I don’t believe that women can compete against men on a level playing field in sport. We are wired differently, we think differently. We are mentally different,” said Catalano. 

The World Professional Billiards and Snooker Association (WPBSA) publishes a mixed sex international ranking of players. The highest-ranking female on their current list, Mink Nutcharut, is listed at 119.

In response to the criticism of his wins against women, Hunter has framed the backlash as transphobia.

“Everybody’s human. Regardless of what choices you make. You should treat everybody with respect,” said Hunter speaking to a BBC journalist last fall. Bizarrely, Hunter was interviewed while he sat in a gaming chair in a dark bedroom — which he refers to as “the dark girl cave.” The room has a transgender pride flag pinned up on the wall behind him.

The upcoming English Women’s Snooker Championship is set for May 24, 2024. It is being organized by the English Partnership for Snooker and Billiards (EPSB), which is the national governing body for the sport in England. They describe their goal as creating a “structured coaching environment that will inspire all regardless of gender, ability, or ethnicity to fulfil their potential in our sport.” 

The EPSB has a diversity, equity, and inclusion policy with a lengthy section on discrimination, including a ban on any “condition, rule or practice [that]… particularly disadvantages people who share a protected characteristic.” As for their list of protected characteristics, the EPSB includes “gender, gender identity, marital status, sexual orientation, race, colour, nationality, religion, age, disability, HIV positivity, working pattern, caring responsibilities, trade union activity or political beliefs.”  

The English Women’s Championship is set to take place at the Landywood Snooker Club in Walsall, UK, on May 24.

This is not the first time a male has dominated women’s cue sports, sparking backlash from players and fans.

Last November, a female pool player refused to compete against a trans-identified male opponent at a women’s championship in Wales. Lynne Pinches received an outpouring of support as video began to circulate showing her walking away from the table after being matched to play against Chris Haynes.

Days later, two more female pool players refused to compete against Haynes in solidarity with Pinches during the Ultimate Pool tournament in Blackpool, UK.

In January, Pinches headed an effort to launch a lawsuit against the World Eightball Pool Federation (WEPF) and Ultimate Pool Group (UPG), accusing the governing bodies of subjecting women “to direct sex discrimination and harassment on the grounds of sex.”

What does he have to gain from this?

ENTRY FEES AND PRIZE MONEY

Entry: £30

Winner: £200 

Runner-Up: £100 

Semi-Finalists: £50

[bananaofswifts]

Taylor Swift’s third re-recorded album, Speak Now (Taylor’s Version), has earned over 575,000 equivalent album units in the U.S. in its first four days of release (July 7-10), according to initial reports to Luminate — marking the biggest week for any album in 2023. Of that sum, album sales comprise over 400,000 copies – the largest sales week for an album this year, too.

Speak Now (Taylor’s Version) is a re-recorded version of Swift’s 2010 No. 1 Billboard 200 studio album Speak Now. The 22-track re-recorded edition includes new recordings of the original album’s 14 standard tracks, along with bonus cuts and previously unreleased “From the Vault” recordings. Speak Now (Taylor’s Version) follows Swift’s re-recorded Red and Fearless albums, released in 2021. Both debuted at No. 1 on the Billboard 200 chart.

If Speak Now (Taylor’s Version) debuts at No. 1 on the July 22-dated Billboard 200 chart (which reflects the tracking week ending July 13), Swift’s count of No. 1 albums will rise to 12, surpassing Barbra Streisand (with 11 leaders) for the most No. 1 albums among female artists. Swift would also tie Drake for the third-most No. 1s among all acts, with only The Beatles (19) and Jay-Z (14) ahead of them. (The Billboard 200 began publishing on a regular, weekly basis in March 1956.) The top 10 of the July 22-dated Billboard 200 chart is scheduled to be announced on Sunday, July 16.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.

2023’s previous largest week, by equivalent album units earned, was tallied by Morgan Wallen’s One Thing at a Time, which launched with 501,000 units in the week ending March 9, as reflected on the Billboard 200 chart dated March 18. The year’s largest sales week was held by the debut frame of Stray Kids’ 5-STAR with 235,000 copies sold in the week ending June 8, as reflected on the June 17-dated charts.

Sales: With over 400,000 sold in only four days, Speak Now (Taylor’s Version) already has the largest sales week for any album since Swift’s own last studio album, Midnights, debuted with 1.14 million copies sold last year (week ending Oct. 27, 2022; as reflected on the Nov. 5-dated Billboard charts).

Vinyl sales comprise over half of Speak Now (Taylor’s Version)’s sales – as the three-LP set has sold over 225,000 copies on wax. The latter marks the second-largest sales week for a vinyl album in the modern era (since Luminate began electronically tracking sales in 1991). It is second only to the first week of Midnights’ vinyl LP, with 575,000 sold in its opening frame. Speak Now (Taylor’s Version) is available in three color variants on vinyl – orchid marbled, violet marbled and a Target-exclusive lilac marbled color.

The remainder of Speak Now (Taylor’s Version) sales is comprised of CDs, digital album download purchases and cassette tape sales.

Streaming: The collected 22 songs on Speak Now (Taylor’s Version) generated more than 200 million on-demand official streams in the U.S. July 7-10, according to Luminate. The most-streamed tune on the album, by audio on-demand official streams, is the “from the vault” cut “I Can See You (Taylor’s Version),” with over 13 million on-demand official audio streams in those four tracking days.

[vinecradle]

into you - oh, baby, look what you started

pairing :: scaramouche x gn!reader

summary :: being a rising solo artist, you've gotten lots of support from fans. but you decided that you needed a very well needed break, what if one day your friends are suspicious and curious since you've mentioned that you have a boyfriend? it is now their mission to find out who your boyfriend is.

genre :: modern setting, artist!au, social media au, established relationship, secret relationship

warnings :: tiny angst, mentions of alcohol, cursing, they/them prns but afab reader

status :: on hold until i finish omg & ditto

official playlist :: is linked here!

notes :: published 12 march 2023, taglist is open! send an ask or comment preferably to be added to my permanent/this taglist only

profiles :: 3lectro + yn | 5wirl + scara

teaser :: is linked here !

ACT I - im so into you, i can barely breathe

01. can i stop?

02. peace and quiet

03. cant be around

04. chocolate hazelnut latte

05. time of my life (✿)

06. finally a meeting

07. love, love, and affection (✿)

08. where were you?

ACT II - a little bit scandalous

09. cant believe this

10. my bestie fr

11. jerald, who the fuck is it

12. mission A starts now (✿)

13. meet me behind the mall

14. stop screaming your lungs out (✿)

15. thank goodness

16. finally

ACT III - but baby, dont let them see it

17. caught in 4k! (✿)

18. wanted to go public

19. refreshed

20. mission B up ahead

21. worth 6 days?

22. we're exposed! (✿)

23. i can be a better boyfriend than him.

24. tell me what you came here for (✿)

ACT IIII - a little less conversation

25. got an earful

26. the support of teyvat en! (✿)

27. another day, another date

28. stop being so lovey-dovey (✿)

29. disfuckingpatch

30. what the fuck?

31. deserved (✿)

32. obvious hints

ACT V - cause im so into you, into you, into you

33. couple of the damn industry

34. collab with the bf! (✿)

35. the awards show

-> bonus! my first and last (✿)