#Internet Marketing Examples

[deancasforcutie]

Kripke knew. that’s the post. Kripke knew

[just-someone-online]

lowkey, I don't think I can ever watch the first Frozen movie again. I don't think it's bad or anything, but when I watched it for the first time last year, I felt like I was having war flashbacks every time one of the songs came on lol

[raziraphale]

can't find it rn but I'm thinking about that post that was going around recently that pointed out that claiming anime is uniquely sexist or sexual and attributing that to japanese culture is racist as hell. that post is correct -- this isn't to dispute that but to add onto it -- and I think a part of that perception is how "anime" has been shaped into this weird consumer category by corporations, where it gets treated more like a genre than a medium (animation) of a particular style and context.

what comes to mind when we think of "anime" in the english-speaking world largely depends on what shows get licensed, translated, dubbed, and merchandised outside of japan. fan translations and bootlegs have always existed, but sanctioned releases from large companies bring larger audiences, so companies dictate to a certain extent what gets popular, and therefore the popular perception of "anime" as a category.

a lot of cool and unique things make their way over here, but do you know what a lot of it is? shounen. light novel adaptations about increasingly specific male power fantasies. action series. a lot of it is stuff made with teenage boys as the target demographic in mind. again, a lot of other anime exist, but when you think of the "blockbuster" series every season, it definitely skews more towards one gender.

if my exposure to american media was mostly limited to its most juvenile action movies and the lobbies of popular online shooters, I would also conclude that america is uniquely horny and has an issue with women. the only difference between america and japan in this respect is that, for whatever reason, the U.S. has largely relegated mainstream 2D animation to the kids' table outside of specific adult cartoons. there just really isn't a good american equivalent to the kind of shows people are most likely to think of when they think of "anime"

like this doesn't mean that popular anime don't have these issues with them -- you can (and should) critique media no matter where they come from. it also doesn't mean that attitudes and beliefs don't vary between countries and cultures. but the instinct to attribute the issues with (your idea of) anime to the country it came from first rather than considering the target audience of the specific show you're watching and comparing it to similar media in other parts of the world is definitely rooted in racism

you are sitting on your laptop watching the shounen anime du jour and thinking "wow, this is a country with no respect for women" while your younger brother is in the other room running over hookers in gta. maybe broaden your perspective of the issue beyond national borders

[beingmash]

At its core, cloud computing refers to the delivery of computing services—such as storage, processing power, and software—over the internet, rather than on local servers or personal devices. In essence, it allows users to access and utilize computing resources on-demand, without the need for extensive infrastructure investments.

[rajkhateek]

[patriotjunkie00]

If You Are Doing Online Marketing

But choosing the best course is somewhat challenging. It will also cover a little history of this field. No sign up fees, registration fees, or submission fees are required. Stop! Before you even consider dropping out of the online marketing "game", consider whether you have an action plan for success. SEM is a combination of paid or sponsored listing and organic results in search engines e. Along with this one has to monitor the apparent trends such as which pages are visited most frequently thus planning accordingly for the promotion of business. This highlights the product in the competitive world. The small business houses will find their own segment of consumers with the increased popularity of web clusters and widgets in the future. Gates points out precisely how in the future decade the companies who have the best and the most content could be the ones to reign over the online markets Many people are making very significant amounts of money from internet marketing so keep in your mind just what your success will mean to both you and your family. You will have tough days and exasperating failures at times but, if you are able to accept these and be prepared to learn from your mistakes, success will eventually come. You can only reap what you sow On the other hands, it will be more time and labor saving as well. If newspaper and TV are your Advertising tools, it may take a lot more steps to know how your customers think about your product. This could be a simple report, or you could actually have a physical product that you sell online He was in New York during a bitter cold spell and saw a long line of people ("the crowd") waiting for cabs at the airport. The foundations of success in any business lie in the mindset of the budding entrepreneur. You still have to learn how to sell. You wouldn't do that, now would you? I know I have, and the results were NOT pretty. There are a lot of internet marketing training programs these days that teach people to get started with affiliate marketing and just "share" their link on Facebook, forums, and search engines

[pdbrebbe]

The Evolution Of An Internet Marketing Guru

To make your business website stand out amidst competitors and make it accessible to potential online buyers, equipping it with search engine optimization measures is very important. Without adequate and the latest Internet marketing methods, a website may get lost in the ever growing crowd of websites that belong to the same niche. To optimize the website in the right magnitude, a suitable agency well versed in the job should be hired. At times, modifications to the site may be necessary to cater to the current trends. In such situations, the entity you hired should be available to make necessary changes to the website to optimize it correctly. Nowadays, a lot of firms offer online web marketing services for clients and you need to select a professional SEO Company. Digital marketing industry is very volatile and new trends replace older ones frequently. Therefore, you need to hire an agency that keeps itself updated with the latest industry trends. What is hot in the industry may become obsolete a few months later. Search engine optimization is an ideal and systematic method for business websites to earn excellent profit and sales leads by achieving greater visibility on the World Wide Web. Websites that are effectively optimized rank high in search engine result pages. A professional internet marketing company implements innovative marketing plans and sales promotions to make your online business successful. Online marketing services include marketing of articles/blogs, building of effective links through social networking sites and email marketing. This article provides certain useful tips for finding the right online marketing company for your website enhancement purposes. Always hire the best company that can provide customized services catering to your specific requirements. Check the credibility of previously completed projects including keyword analysis, page optimization, natural build linking and more. Also, confirm whether the work portfolio of the company satisfies your requirements. The right viral marketing company can bring you many tangible benefits. A professional, experienced internet marketing firm can provide value-added services to its clients. The SEO professionals in such a company keep themselves updated with the latest trends of online marketing to provide premium SEO services. The above listed tips for finding the right internet marketing company should help you in identifying the right provider for your search engine optimization requirements. It is not just one strategy that works, but there are combinations of efforts that bring results overtime in the world of Internet marketing. For example, search engine optimization would promote your search engine rankings for the selected keywords. Pay per click would attract traffic from where you don't even have your presence and it would be effective right from the day one. Social media will create a fan following and build a long term clientele for your business. Micro-communities marketing will attract customers from the smaller but organized online communities. Offline marketing will increase the hits from outside the virtual world and would add local audience to your website. For example, you can advertise your website URL in print media or through mobile phone sms marketing. You can also place banners at prominent locations. You can paste car stickers and window stickers for everybody to notice your URL. All these kinds of strategies (except the offline ones) for Internet marketing are successfully implemented by the Internet marketing companies that employ all the diverse techniques. So the results achieved are nothing short of a miracle. You cannot achieve those results by hiring an in house team or by doing it yourself. In case you are able to match the results for Internet marketing then the budget of it would skyrocket to three to four times of what an SEO company would charge you. The Internet is huge. No one will deny that, and the role it plays in business is becoming more and more important as well. It is no longer sufficient to do business offline, if you want to succeed in this technology driven new age, then you will have to do a bit of Internet marketing. There are a number of Internet marketing services available to you, whether it is in the form of companies that specialise in it, or various standalone apps or tools that, if you have the time and knowledge to do so, can provide information on number of visitors, clicks, purchases and such forth. If you are looking for Internet marketing services for your business then, what aspects of it should you particularly focus on? Design will be more important than ever this year. It could be a wise idea therefore, to look for companies specialising in internet marketing services that also offer web development and design as part of the service.

[centrally-unplanned]

We (somewhat rightly) mock the 2000's era fansub translation notes for their otaku fixations and privileging of trivia over the media, but they should be understood as serving their purpose for a bit of a different era in the anime fandom. Take this classic:

Like, its so obvious, right? Just say "pervert", you don't need the note! Which is true, for like a 'normie' audience member who just wants to watch A TV Show - but no one watching, uh *quick google* "Kamikaze Kaitou Jeanne" in 1999 is that person. The audience is weebs, and for them the fact that show is Japanese is a huge selling point. They want it to feel as 'anime' as possible; and in the west language was one of the core signifiers of anime-ness. 2004 con-goers calling their friends "-kun" and throwing in "nani?" into conversations was the way this was done, and alongside that a lexicon of western anime fandom terminology was born. Seeing "ecchi" on the screen is, to this person, a better viewing experience - it enhances their connection to otaku identity the show is providing, and reinforces their shared cultural lexicon (Ecchi is now a term one 'expects' anime fans to know - a truth that translator notes like this simultaneously created and reflected).

But of course your audiences have different levels of otaku-dom, and so you can't just say 'ecchi' and call it a day - so for those who are only Level 2 on their anime journey, you give them a translation note. Most of the translation notes of the era are like this - terms the fansubber thought the audience might know well enough that they would understand it and want that pure Japanese cultural experience, but that not all of them would know, so you have to hedge. The Lucky Star one I posted is a great example of that:

Its Lucky Star, the otaku-crown of anime! You desperately want the core text to preserve as much anime vocab as possible, to give off that feeling, but you can't assume everyone knows what a GALGE is - doing both is the only way to solve that dilemma.

This is often a good guideline when looking at old memetically bad fansubs by the way:

This isn't real, no fansub had this - it was a meme that was posted on a wiki forum in 2007. Which makes sense, right? "Plan" isn't a Japanese cultural or otaku term, so there is no reason not to translate it, it doesn't deepen the ~otaku connection~.

Which, I know, I'm explaining the joke right now, but over time I think many have grown to believe that this (and others like it) is a real fansub, and that these sort of arbitrary untranslations just peppered fansub works of the time? It happened, sure, but they would be equally mocked back then as missteps - or were jokes themselves. Some groups even had a reputation for inserting jokes into their works, imo Commie Subs was most notable for this; part of the competitive & casual environment of the time. But they weren't serious, they are not examples of "bad fansubs" in the same way.

This all faded for a bunch of reasons - primarily that the market for anime expanded dramatically. First, that lead to professionally released translations by centralized agencies that had universal standards for their subs and accountability to the original creators of the show. Second, the far larger audience is far less invested in anime-as-identity; they like it, but its not special the way its special when you are a bullied internet recluse in 2004. They just want to watch the show, and would find "caring" about translation nuances to be cringe. And since these centralized agencies release their product infinitely faster and more accessibly than fansubs ever did, their copies now dominate the space (including being the versions ripped to all illegal streaming sites), so fansubs died.

Though not totally - a lot of those fansub groups are still around! Commie Subs is still kicking for example. They either do the weird nuance stuff, or fansub unreleased-in-the-west old or niche anime, or even have pivoted to non-anime Japanese content that never gets international release. But they used to be the taste-makers of the community; now they are the fringe devotees in a culture that has moved beyond them. So fansubs remain something of a joke of the 90's and 2000's in the eyes of the anime culture of today, in a way that maybe they don't deserve.

[fans4wga]

Is it true Tumblr is crossing the picket line by marketing One Piece?

It's unfortunate to have that show's ads blasted on all our dashboards, to be sure, but it doesn't exactly fit the definition of "crossing the picket line", which is specific strike terminology that's been muddied a bit by talk on the Internet.

Crossing a picket line generally means crossing an actual, physical picket line to work at a struck company, thereby disregarding the strikers. [Updated 1 September to clarify that crossing a picket line is specifically referring to workers crossing picket lines, not patrons.] (Recent example in the news: hotel workers on strike in California picketed hotels and called for a boycott; therefore, staying at those hotels was crossing a picket line.) It can also be used figuratively, and in that case it differs from strike to strike, depending on the specific union demands.

[Side note: there's no call for a boycott from WGA/SAG-AFTRA, so subscribing to streaming services/going to movie theaters isn't crossing a picket line at this time; however, people canceling streaming services in solidarity and leaving a note that explains they're canceling in support of the strikes is a move we wholeheartedly support! See WGA negotiating committee co-chair Chris Keyser's interview about that here.]

Tumblr is a company, not a person, so SAG-AFTRA can't discipline it for marketing a Netflix show like it would discipline an individual (a stern talk from the board, or prohibiting them from SAG-AFTRA membership, etc.) There's no legal way for any union to enforce a no-marketing rule for companies. If Tumblr had a strong solidarity ethic, they'd turn down studio marketing campaigns, but that's a lot to expect from any profit-driven company and shouldn't come as a surprise to anyone.

So, tl;dr: crossing the picket line? Not exactly. Still a not-great thing to do? Absolutely, and you can always send Tumblr a feedback form expressing your disapproval that they're marketing for Netflix during the strikes.

[mostlysignssomeportents]

A profoundly stupid case about video game cheating could transform adblocking into a copyright infringement

I'm coming to DEFCON! On Aug 9, I'm emceeing the EFF POKER TOURNAMENT (noon at the Horseshoe Poker Room), and appearing on the BRICKED AND ABANDONED panel (5PM, LVCC - L1 - HW1–11–01). On Aug 10, I'm giving a keynote called "DISENSHITTIFY OR DIE! How hackers can seize the means of computation and build a new, good internet that is hardened against our asshole bosses' insatiable horniness for enshittification" (noon, LVCC - L1 - HW1–11–01).

Here's a weird consequence of our societal shift from capitalism (where riches come from profits) to feudalism (where riches come from rents): increasingly, your rights to your actual property (the physical stuff you own) are trumped by corporations' metaphorical "intellectual property" claims.

That's a lot to unpack! Let's start with a quick primer on profits and rents. Capitalists invest money in buying equipment, then they pay workers wages to use that equipment to produce goods and services. Profit is the sum a capitalist takes home from this arrangement: money made from paying workers to do productive things.

Now, rents: "rent" is the money a rentier makes by owning a "factor of production": something the capitalist needs in order to make profits. Capitalists risk their capital to get profits, but rents are heavily insulated from risk.

For example: a coffee shop owner buys espresso machines, hires baristas, and rents a storefront. If they do well, the landlord can raise their rent, denying them profits and increasing rents. But! If a great new cafe opens across the street and the coffee shop owner goes broke, the landlord is in great shape, because they now have a vacant storefront they can rent, and they can charge extra for a prime location across the street from the hottest new coffee shop in town.

The "moral philosophers" that today's self-described capitalists claim to worship – Adam Smith, David Ricardo – hated rents. For them, profits were the moral way to get rich, because when capitalists chase profits, they necessarily chase the production of things that people want.

When rentiers chase rents, they do so at the expense of profits. Every dollar a capitalist pays in rent – licenses for IP, rent for a building, etc – is a dollar that can't be extracted in profit, and then reinvested in the production of more goods and services that society desires.

The "free markets" of Adam Smith weren't free from regulation, they were free from rents.

The moral philosophers' hatred of rents was really a hatred of feudalism. The industrial revolution wasn't merely (or even primarily) the triumph of new machines: rather, it was the triumph of profits over rent. For the industrial revolution to succeed, the feudal arrangement had to end. Capitalism is incompatible with hereditary lords receiving guaranteed rents from hereditary serfs who are legally obliged to work for them. Capitalism triumphed over feudalism when the serfs were turned off of the land (becoming the "free labor" who went to work in the textile mills) and the land itself was given over to sheep grazing (providing the wool for those same mills).

But that doesn't mean that the industrial revolution invented profits. Profits were to be found in feudal societies, wherever a wealthy person increased their wealth by investing in machines and hiring workers to use them. The thing that made feudalism feudal was how conflicts between rents and profits cashed out. For so long as the legal system elevated the claims of rentiers over the claims of capitalists, the society was feudal. Once the legal system gave priority to profit over rent, it became capitalist.

Capitalists hate capitalism. The engine of capitalism is insecurity. The successful capitalist is like the fastest gun in the old west: there's always a young gun out there looking to "disrupt" their fortune with a new invention, product, or organizational strategy that "creatively destroys" the successful businesses of the day and replaces them with new ones:

https://locusmag.com/2024/03/cory-doctorow-capitalists-hate-capitalism/

That's a hard way to live, with your every success serving as a blinking KICK ME sign visible to every ambitious person in the world. Precarity makes people miserable and nuts:

https://pluralistic.net/2024/04/19/make-them-afraid/#fear-is-their-mind-killer

So capitalists universally aspire to become rentiers and investors seek out companies that have a plan to extract rent. This is why Warren Buffett is so priapatic for companies with "moats and walls" – legal privileges and market structures that protect the business from competition and disruption:

https://finance.yahoo.com/news/warren-buffett-explains-moat-principle-164442359.html

Feudal rents were mostly derived from land, but even in the feudal era, the king was known to reward loyal lickspittles with rents over ideas. The "patents royal" were the legally protected right to decide who could make or do certain things: for example, you might have a patent royal over the production of silver ribbon, and anyone who wanted to make a silver ribbon would have to pay for your permission. If you chose to grant that permission exclusively to one manufacturer, then no one else could make it, and you could charge a license fee to the manufacturer that accounted for nearly all their profit.

Today, rentiers are also interested in land. Bill Gates is the country's number one landowner, and in many towns, private equity landlords are snappinig up every single family home that hits the market and converting it to a badly maintained slum:

https://pluralistic.net/2024/05/22/koteswar-jay-gajavelli/#if-you-ever-go-to-houston

But the 21st Century's defining source of rent is "IP" – a controversial term that I use here to mean, "Any law or policy that allows a company to exert legal control over its competitors, critics and customers":

https://locusmag.com/2020/09/cory-doctorow-ip/

IP is in irreconcilable conflict with real property rights. Think of HP selling you a printer and wanting to decide which ink you use, or John Deere selling you a tractor and wanting to tell you who can fix it. Or, for that matter, Apple selling you a phone and dictating which software you are allowed to install on it.

Think of Unity, a company that makes tools for video-game makers, demanding a royalty from every game that is eventually sold, calling this "shared success":

https://pluralistic.net/2023/10/03/not-feeling-lucky/#fundamental-laws-of-economics

Every time one of these conflicts ends with IP's triumph over real property rights, that is a notch in favor of calling the world we live in now "technofeudalist" rather than "technocapitalist":

https://pluralistic.net/2023/09/28/cloudalists/#cloud-capital

Once you start to think of "IP" as "laws that let me control how other people use their real property," a lot of the seemingly incoherent fights over IP snap into place. This also goes a long way to explaining how otherwise sensible people can agree on expansions of IP to achieve some short-term goal, irrespective of the spillover harms from such a move. Hard cases make bad law, and hard IP cases make terrible law.

Five years ago, some anti-fascist counterdemonstrators hit on the clever idea of blaring top 40 music during neo-Nazi marches, on the theory that this would prevent Nazis from uploading videos of their marches to Youtube and other platforms, whose filters would block any footage that included copyrighted music:

https://memex.craphound.com/2019/07/23/clever-hack-that-will-end-badly-playing-copyrighted-music-during-nazis-rallies-so-they-cant-be-posted-to-youtube/

Thankfully, this didn't work, but not for lack of trying. And it might still work, if calls for beefing up video copyright filters are heeded. Cops all over the place are already blaring Taylor Swift songs and Disney tunes to prevent their interactions with the public from being uploaded:

https://pluralistic.net/2022/04/07/moral-hazard-of-filternets/#dmas

The same thinking that causes progressives to recklessly argue in favor of upload filters also causes them to demand that web scraping be treated as a copyright crime. They think they're creating a world where AI companies can't rip off their creation to train a model; they're actually creating a world where the Internet Archive can't capture JD Vance's embarrassing old podcast appearances or newspaper editorial boards' advocacy for positions they now recant:

https://pluralistic.net/2023/09/17/how-to-think-about-scraping/

It's not that Nazi marches are good, or that scraping can't be bad – it's just that advocating for the use of IP to address either is a cure that's not just worse than the disease – it's also not a cure.

A problem can be real, and still not be solvable with IP. I have enormous sympathy for gamers who rail against cheaters who use aftermarket hacks to improve their aim, see through buildings, or command other unfair advantages.

If you want to tell a stranger how they must configure their PC or console, IP ("any law that lets you control your competitors, critics or customers") is an obvious answer. But – as with other attempts to solve real problems with IP – this is a cure that is both worse than the disease, and also not a cure after all.

Back in 2002, Blizzard sued some hobbyists over a program called "bnetd." Bnetd was a program that provided a game-server you could connect to with the Blizzard games that you'd bought. It was created as an alternative to Battlenet, Blizzard's notoriously unreliable game-server software that left gamers frustrated and furious due to frequent outages:

https://www.eff.org/cases/blizzard-v-bnetd

To the public, Blizzard made several arguments against bnetd. They claimed that it encouraged piracy, because – unlike the official Battlenet servers – it didn't check whether the copies of Blizzard software that connected to it had a valid license key. Gamers didn't really care about that, but they did respond to another argument: that bnetd lacked the anti-cheat checking of Battlenet.

But that wasn't what Blizzard took to the court: in court, they argued that the hobbyists who made bnetd violated copyright law. Specifically, Section 1201 of the Digital Millennium Copyright Act, which bans "circumvention of access controls to copyrighted works." Basically, Blizzard argued that bnetd's authors violated the law because they used debuggers to examine the software they'd paid for, while it ran on their own computers, to figure out how to make a game server of their own.

Blizzard didn't sue bnetd's authors for pirating Blizzard software (they didn't – they'd paid for their copies). They didn't sue them for abetting other gamers' piracy. They certainly didn't sue them for making a cheat-friendly game-server.

Blizzard sued them for analyzing software they'd paid for, while it was running on their own computers.

Imagine if Walmart – one of the biggest book-retailers in America – had a policy that said that you could only shelve the books you bought at Walmart on shelves that you also bought at Walmart. Now imagine that Walmart successfully argued that measuring the books you bought from them and using those measurements to create your own compatible book-case violated their IP rights!

This is an outrageous triumph of IP rights over real property rights, and yet gamers vocally backed Blizzard in the early noughts, because gamers hate cheaters and because IP law is (correctly) understood as "the law that lets a company tell you how you can use your own real, physical property." Hard cases make bad law, hard IP cases make batshit law.

It's more than 20 years since bnetd, and cheating continues to serve as a Trojan horse to smuggle in batshit new IP laws. In Germany, Sony is suing the cheat-device maker Datel:

https://torrentfreak.com/sonys-ancient-lawsuit-vs-cheat-device-heads-in-right-direction-sonys-defeat-240705/

Sony argues that the Datel device – which rewrites the contents of a player's device's RAM, at the direction of that player – infringes copyright. Sony claims that the values that its programs write to your device's RAM chips are copyrighted works that it has created, and that altering that copyrighted work makes an unauthorized derivative work, which infringes its copyright.

Yes, this is batshit, and thankfully, Sony has been thwarted in court to date, but it is steaming ahead to the EU's highest court. If it succeeds, then it will open up every tool that modifies your computer at your direction to this kind of claim.

How bad can it be? Well, get this: the German publishing giant Axel Springer (owned by a monomaniacal Trumpist and Israel hardliner who has ordered journalists in his US news outlets to go easy on both) is suing Eyeo, makers of Adblock Plus, on the grounds that changing HTML to block an ad creates a "derivative work" of Axel Springer's web-pages:

https://torrentfreak.com/ad-blocking-infringes-copyright-ancient-sony-cheat-lawsuit-may-prove-pivotal-240729/

Axel Springer's filings cite the Sony/Datel case, using it to argue that their IP rights trump your property rights, and that you can only configure your web-browser, running on your computer, which you own, in ways that it approves of.

Axel Springer's war on browsers is a particularly pernicious maneuver, because browsers are the best example we have of internet software that serves as a "user agent." "User agent" is an old-timey engineering synonym for "browser" that reflects the browser's role: to go out onto the web on your behalf and bring back things for you, which it displays in the way you prefer:

https://pluralistic.net/2024/05/07/treacherous-computing/#rewilding-the-internet

Want to block flickering GIFs to forestall photosensitive epileptic servers? Ask your user agent to find and delete them. Want to shift colors into a gamut that accounts for your color-blindness? Ask your user-agent:

https://dankaminsky.com/2010/12/15/dankam/

Want to goose the font size and contrast so you can read the sadistic grey-on-white type that young designers use in the mistaken belief that black-on-white type is "hard on the eyes"? That's what Reader Mode is for:

https://frankgroeneveld.nl/2021/08/24/most-underused-browser-feature/

The foundation of any good digital relationship is a device that works for you, not for the people who own the servers you connect to. Even if they don't plan on screwing you over by directing your user agent to attack you on their behalf right now, the very existence of a facility in your technology that causes it to betray you, by design, is a moral hazard that inevitably results in your victimization:

https://pluralistic.net/2023/08/02/self-incrimination/#wei-bai-bai

"IP" ("a law that lets me control how you use your own property") is a tempting solution to every problem, but ultimately, IP ends up magnifying the power of the already powerful, in contests where your only hope of victory is having a user agent whose only loyalty is to you.

The monotonic, dangerous expansion of IP reflects the growing victory of rents over profits – income from owning things, rather than income from doing things. Everyday people may argue for IP in the belief that it will solve their immediate problems – with AI, or Nazis, or in-game cheats – but ultimately, the expansion of a law that limits how you can use your property (including your capital) to uses that don't threaten neofeudalists will doom you to technoserfdom.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

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/2024/07/29/faithful-user-agents/#hard-cases-make-bad-copyright-law

[neroushalvaus]

Okay I am going to use the Somerton situation to talk about something that is very important to me. Following the discussion I have seen former Somerton fans being disappointed in themselves and questioning how they can ever trust another video essayist again. I have also seen some people being smug because to them Somerton was obviously unreliable from the start. As a person who also saw the "red flags" in Somerton, I would like to skip the smugness and talk a bit about what the red flags were to me.

Someone else has probably posted something similar and Hbomberguy's & Todd in the Shadows's videos touched a few of these points, but they didn't focus on them or how to spot these things. I think it is a good thing: I think it would have reinforced the idea that Somerton's fans were to blame for being lied to, and these youtubers didn't want to pin any blame on the fans. Also, some of the things I'm going to talk about were not by any means proof of him being unreliable, they were common tropes I personally associate with people who are bullshitting on internet. Think of it as something like spotting terfs: If you consider following a tumblr user and find out they have at some point posted "males will always be a danger to females no matter what they say", it is very possible that they are not a terf. Maybe they were having a bad day and were just wording their post badly – But you should probably search "trans" from their blog before following them, just to be sure.

So, the tropes in James Somerton's content that I consider red flags:

Lack of sources. This one may seem obvious and Hbomb talked about this in his video, but the lack of sources in his videos was outrageous. Video essays are called essays for a reason, they are not supposed to be just a guy talking about whatever comes to his mind, they should be well researched essays. Obviously video essays should contain one's own thoughts and interpretations and those do not need citations. But James Somerton didn't come out of the womb knowing everything about LGBT history, Disney and film theory, if he actually knew something about all this stuff, he should have learnt it from somewhere. There should be sources he could point to. It is very common that even when a video essayist doesn't tell you where they got all their information, they open their video by saying stuff like "when I prepared for this video I read the book Also sprach Zarathustra by Friedrich Nietzsche and this one thrilling blog post about lesbian cruising in 1960s Sweden". From what I've seen, James does not really do this. From watching his videos you could arrive to the conclusion that James Somerton does not read any books, he just knows everything. There are situations where people don't feel the need to add sources, like when the information is considered common knowledge or when the topic relates heavily to the essayist's actual academic field or profession. This is okay and very understandable, but can sometimes be dangerous, since if the video essayist markets himself as a marketing specialist, people are more likely to take his word for stuff that has to do with marketing, even without sources. It is understandable that in many situations an essayist may think "why should I cite a source? I know this thing!", but doing your research well is partly about checking if the information you are certain of is actually true. Also, as Hbomb pointed out, if you can cite a source, your audience can go learn more about the subject. It's not about anyone doubting you know your stuff, it's about learning. That's why well-respected video essayists usually cite their sources very clearly.

Lack of pictures and screenshots. This is about different kinds of sources again, many things on this list are kind of about sources. An example: When James Somerton made a video about JKR, he mentioned something about Rowling at one time saying that trans students in 30-50Feralhogs (or whatever the wizard school is called) could use magic to present as their gender. If this was any other video essayist, you'd expect a tweet to pop up, or something else confirming Rowling ever said this. Nothing pops up, obviously because Rowling didn't say this, but you can't see anything fishy in that because things rarely pop up in Somerton's videos. He doesn't show you court documents when speaking about a court case, he doesn't show you the comments apparently mad at him for implying the gay anime is gay when he is complaining about people being mad at him. There is a reason people show screenshots and tweets in video essays. When a good video essayist says JK Rowling has tweeted that all people who menstruate should be referred to as women, the video essayist shows the tweet so people know they are not making it up. If there were hoards of annoying bitc-- I mean, angry white women whining about gay sex in HuffPost articles or Somerton's youtube comments, he should have no trouble showing you those. Remember that you should not trust someone just because they show you pictures or screenshots. Pictures can be photoshopped, screenshots can be doctored. Many youtubers are aware that you listen to their videos while cleaning or while walking your dog and don't actually see the screen all the time, and some may take advantage of that by saying something like "and here she threatened to kill me" while showing a text message where someone said "die mad about it". A screenshot alone isn't much but you should demand to see the screenshot.

Passive voice. I am once again bitching about this. Somerton repeatedly says things like "it's been said that" or "it was common knowledge that" or "a legend says that" or "according to most interpretations". He doesn't say who says it, making it very hard to fact check and that seems to be his goal in some cases.

Relying heavily on anecdotes. Writing a dense, analytical video about film theory or history can be exhausting and you may want to pepper in little fun facts. However Somerton seemed to rely on these heavily; he can't just talk about how he has totally bought every lie told by The Pink Swastika, he also needs to tell a cute little anecdote about SS men forcing sexual favours out of men. He can't just tell a story about a court case, he needs to add in ridiculous stuff about the jury booing. This is what I mean by not all the things on this list being necessarily proof of someone being unreliable. Many people use anecdotes and little stories in their storytelling, it makes the videos flow better and it's hard to decide which anecdotes are valid and which are not. A source obviously makes an anecdote a bit more believable, but here are some things that instantly make me fact check an anecdote:

It's a bit too convenient, poetic or ironic. Sometimes real life is weirder than fiction but if an anecdote is "perfect" and has an amazing punchline and you could write twelve poems about it, there is a possibility it was invented by pop science books.

It assumes your political enemies are stupid. Dunking on conservatives, MRAs and transphobes is always fun and after you've seen a lot of this kind of content it's easy to believe anything about these people. You must resist the impulse to believe everything that may make your opponents look stupid.

The person telling the anecdote implies it is an example of a larger, systemic problem. You know what's worse than taking a random happenstance from human history or internet and basing an entire political theory on it? The said random happenstance being made up. You should in general be wary of people telling one story and explaining why it's an example of everything that's wrong in the world. We live in a huge world. You can always find a white woman who loves cute gays but hates the idea of Nick Heartstopper and Charlie Heartstopper getting nasty but that doesn't mean it's an indicator of a larger issue.

Simplifying complex issues. We all know that "only the boring gays survived the AIDS crisis, and that's why gays started to only care about marriage equality and military" is a horrible, insensitive thing to say, but you also have to think about it for like two seconds to realize that it can't be correct. It kind of reminds me of the "roe v wade caused the crime drop of 1990s" claim in Freakonomics. It sounds logical and simple, like a basic math calculation. Societal issues rarely are like that, though. You should never believe anyone who tells you about a huge societal shift and says it happened because of one thing and one thing only.

These were some of the things I noticed in Somerton's content that caused me to distrust him. I hope these were helpful to you and feel free to add your own "red flags" if you feel like it!

[vexwerewolf]

If I could ask you for some advice, what do you think helps the flavour text of a mech or piece of equipment sell a player on the fantasy of using it?

I'm finding it frustratingly difficult to do so with my own homebrew content: I can come up with lore and backstory easily enough, but re-reading it feels dry, and I can't help but contrast it with how the descrptions in official content and other supplements is more evocative, at least for mechs.

Let's observe some corebook Lancer flavour text and examine the various varieties it comes in.

Purely Functional

While it's usually not the most fun type of flavour text, this just tells us what the weapon is, and - if it has any particular tags or on-hit effects - why it's like that. The Hand Cannon is a good example: here's what it is (modified pistol), here's why it does more damage, and here's why it has Loading.

The main advantage of Purely Functional flavour text is that it provides space for other types of flavour text to breathe. Flavour text is a great place for jokes, but it's not good for every piece of flavour text to be a joke - the pauses between notes in music are just as important as the notes.

Obfuscating Vendorspeak

The Bristlecrown Flechette Launcher this is a great example of dark humour that Lancer uses quite often: marketing fast-talk to cover up something really unpleasant. The joke here is based on us understanding precisely what the equipment does mechanically, and then seeing how the manufacturer tries to sell it. There's a bunch of dense technobabble here meant to obfuscate the fact that this weapon fires knives in every direction specifically designed to kill infantry.

Deadpan Weirdness

The joke here relies on describing something extremely weird like it's the most natural thing in the world. Wait, you're telling me that in a world where I can just print new parts if the old ones break, they put DRM on my fucking knife and I have to apologise to the fucking knife maker to get a new one? What the fuck, dude? Why are you acting like this makes any sense?!

My sword uploads fucking what to the Space Internet?!

Third-Act Twist

This type of flavour text disguises itself as something else - most often Purely Functional - and then hits you with Third Act Twist. It makes you go "wait, what?!" It's very classic setup-punchline stuff. You're telling me my mech can rot?!

As a side note, Lancer loves to use this for its NHPs.

WHY DID YOU PUT THAT IN SCARE QUOTES, LUCIFER

Worldbuilding

This is similar to the Purely Functional, but instead of just describing technical specifications of the weapons, it puts the weapon in the broader context of the setting's history. Okay, so we know what this weapon is and what it does - why was it built? What was the original use case, and why? Most importantly, what can the existence of this weapon tell us about the world that build it?

Whimsical Aside

This is the insertion of a light-hearted, humanising little insertion regarding how this piece of equipment gets used in the field. This serves to remind us that soldiers aren't cold, unfeeling killing machines: they can be as emotional, irreverent and silly as the rest of us, and they do things like name their mobile bombs...

... or call resupply drones "mech snacks."

The Ominous Out-Of-Context Quote That Explains Nothing And Only Raises More Questions

As I've said in multiple textmash memes, this is basically Tom and Miguel's shorthand for "this technology is Intensely Fucked Up in a way that it is more fun and scary not to explain." This is essentially Lancer's version of SCP's [REDACTED].

You might think this is the domain of HORUS, and you'd be right, but every single manufacturer indulges in these - although IPS-N had to wait until NRFaW to get theirs:

What the fuck do you mean by that, Lancer?

[fuckyeahgoodomens]

The Good Omens Card Game is coming out June 5! 🥳❤

Renegade Game Studios will release Good Omens: An Ineffable Game June 5th, charging players with stopping the apocalypse in seven different battle games, each of which you can learn as you play, all in one box! Each of the seven cooperative battle games sees players taking on a different challenge, and each can be played at varying difficulties! 

“We’re thrilled to be collaborating with Amazon Studios to bring fans a Good Omens game” said Scott Gaeta, President of Renegade Game Studios, “Being a huge fan myself, it was important that we capture the spirit of the show and I think that designer, Matt Hyra, came up with something fans will really enjoy.” 

In Good Omens: An Ineffable Game players will call upon characters, both much-loved and deeply-loathed, in order to defeat the Four Horsemen of the Apocalypse, Fight Heaven, Vanquish Hell, and even prevent Armageddon. The battle games are easy to learn but pack a challenge for any group, and each is themed around the confrontations that take place at the conclusion of Good Omens Season 1. 

Fans can catch up on the first season of Good Omens now streaming on Prime Video ahead of the second season premiering July 28th. The series is co-created by Neil Gaiman and is based on the well-loved and internationally best-selling novel by Terry Pratchett and Neil Gaiman.

“Good Omens: An Ineffable Game promises to bring the world of Good Omens to life in an exciting new way” said Jamie Kampel, Head of Licensing & Merchandising for Amazon Studios, “We are thrilled to be creating this game in collaboration with a well-known board game publisher like Renegade, who is passionate about the property and has adeptly captured the tone and details of the series in a way that will delight fans.” 

Renegade will be producing three versions of Good Omens: An Ineffable Game, each with their own unique box art and bonus items, but all feature the same great gameplay! The Amazon exclusive version will include 12 foil versions of the character cards in the game. (= First Version) The Barnes & Noble exclusive version includes a Heaven & Hell-themed black and silver embroidered Good Omens dice bag (= Second Version), while the Hobby Market exclusive includes an Agnes Nutter Book of Prophecies-themed dice bag, in a luxurious green with gold embroidery (= Third Version). 

Good Omens: An Ineffable Game will be available wherever games are sold and have a suggested retail price of $25. 

Amazon - $25.00 - the exclusive 12 foil character card versions (First Version)

renegadegamestudios.com or Hobby Market- €25.00 - seems like this is the Third Version with the Agnes Nutter bag, they have several internet stores that you can switch at the left corner of the page (for example for EU click on the last one):

The Barnes & Noble (Second Version) didn't publish the product at their pages yet :)

The Agnes Nutter Book of Prophecies-themed dice bag from the third editon:

[beingmash]

At its core, cloud computing refers to the delivery of computing services—such as storage, processing power, and software—over the internet, rather than on local servers or personal devices. In essence, it allows users to access and utilize computing resources on-demand, without the need for extensive infrastructure investments.read more

[valeriehalla]

I don’t know what to do about the internet. It’s getting worse, and getting worse faster than I think any of us ever could have imagined even just six years ago. Tumblr shot itself in the heart at the behest of Apple, at the behest of whichever nameless evangelical finance perverts are in charge of credit card policy, whereupon people like me (artists and people who like art) fled in droves to Twitter, the present state of which I don’t have it in me to be funny about.

Even after that one-two punch, Twitter and Tumblr are still the only (major) social media platforms I can stand to use. I mean, they’re the last ones left where you can, for example, see posts that your friends have made. I might have said that that seemed like the whole point of social media; every digital elsewhere has now collectively agreed that it is, in fact, social media’s greatest flaw. Your friends like to hang out and post weird jokes and titty drawings — they don’t know the first thing about your favorite marketing trends, let alone your unslakable thirst for 30-second phone videos. We have to move on: I’ll die if I think about it.

Uh — I wanna let you in a little. Here’s where I’m at, okay? I’m working on this project. I like it a lot: it’s a writing thing and an art thing and a music thing all at the same time. I’m still struggling with art burnout, but every day I get to sit down and write or compose for this thing is an unending delight, so on the balance it’s been great to work on. It’s taken me a while to get here, though — I’ve blown past all my estimates about when it’d be done. Still, it won’t be much longer.

In the mean time, I keep having these compulsive worries. I feel that I should be posting, but the nature of a long-form project like this is that I don’t have anything to post. I tweet complete nothings now and then, as if to announce my presence, like a lighthouse pulsing in the distance. And every week the websites get worse. They’re bleeding out, and it feels like some of my blood’s in there, maybe. Like, maybe you’d call me naïve, but it wasn’t that long ago that I really, really liked all this online stuff. I never had the hustle culture mindset about it: by good luck alone I managed to make a living posting the stuff I wanted to post on the places I wanted to post it.

The places I liked to post don’t exist anymore. My experience of using the internet feels hostile, alien. The ground beneath all our feet feels eggshell-thin.

But I have to use the internet: it’s where my stuff goes. It’s where all of you are. Here is where art and artists and art-likers live.

The things I love live here, in precarity, as the saw blades and lava traps of our digital dungeon grow every day more numerous.

Anyway, what I’m saying is that the web sucks now, but as long as we’re here — and we will be here — I want to try loving it again anyway. I want to untangle myself from all this disappointment and expectation and try simply “vibing” again. I wanna use cohost more: I’ll even crosspost stuff to Tumblr like I keep saying I should. I’m making a cool thing and I should show it off! I should relearn how to draw a little doodle and post it without feeling like it’s a suboptimal use of my time or whatever!! I want to believe in what joy may find us, though our world be a dumpster.