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[pastellieria]

The latest round of AO3 comment discourse crossing my dash made me suddenly realize that people are just taking it as a given that AO3 is a "fandom community website". AO3 is often directly compared to Livejournal and other older fandom hubs amidst laments about how "no one cares about participating in their community anymore".

But AO3 is not a "community" website. It's not social media. It's a fanfic archive that was designed to center the fics first and foremost. There is no space on the site for general, casual fandom discussion. You can't even DM other users. The site was designed this way on purpose to protect writers, because its creators were familiar with the ways in which writers have been harassed on other sites and wanted to minimize direct access to writers as much as possible, but that decision comes with the tradeoff of limiting the amount of communication and discussion between fans that is possible on the site.

This is, to be clear, not a criticism of AO3. It accomplishes its goal of being an archive very well. I don't particularly want DMs or larger discussion forums on the site, and I enjoy how it centers the writing it hosts. But as it exists now, it is simply not built to be a "community" and does not function as one. Unlike sites like Livejournal where fic posting and general interpersonal fandom interactions all took place in the same space, fics are posted to AO3 while the "community" for any given fandom now largely takes place on Twitter, Tumblr, Discord, or another site, depending on the fandom.

You're free to personally dislike those spaces and voice valid criticisms about how they function as communities, but they are undeniably where the actual "community" parts of most fandoms currently reside. These sites, not AO3, are where most fans talk to one another, form friendships, and express themselves. It's not impossible to do these things on AO3, but it is not the norm because the site simply is not designed that way.

The latest posts I have seen about commenting culture have gotten this dynamic exactly backwards. If readers are discussing a fic amongst themselves on Twitter or Discord, they're characterized as antisocial and accused of "not participating in the fandom community". But Twitter and Discord are the fandom community sites! The "bookclub" servers and Twitter threads are where the community bonds are being forged between fans! These spaces are the modern analogue to the old Livejournal groups and web rings, not the comments section of any one individual fanfic on AO3.

If an author's only interaction with their fandom is to post fics to AO3 and passively wait to be found, and they aren't seeking out their fellow fans in these other spaces and interacting with them... they are the ones who are "not participating" as much as the readers that are so readily being cast in so much of this discussion as "selfish" or deliberately spiteful for not commenting "enough".

I understand why many of my fellow writers feel this way. I too often find socialization on sites like Twitter and Discord draining and difficult. It takes time and effort to build friendships organically, discuss ideas and share snippets to pique people's interest in a fic before it is posted, and provide reciprocal effort when it comes to everyone else's ideas and snippets and stories, and there are many days when I just don't have the energy for it all. At the same time, I'm also very curious about my readers' thoughts on my stories, and if I learned that they were being discussed in a server I couldn't access, I would want to know what was being said. It's a natural impulse to feel curiosity like this when it comes to one's creative work. And of course, I also love getting comments on my own fics and I'm not immune to feeling disappointed when a fic seems to "flop".

However, it's not fair to take out feelings of disappointment and frustration on readers for participating in their fandom in the spaces where their fandom's community actually exists. If you find out that fandom discussions are happening in a place where you are not present, you have a choice in what action you will take. You can either make the effort to join the discussion, or you can knowingly distance yourself from it. Neither of these choices are objectively correct for every single individual's situation, but you, the AO3 denizen, are the one who needs to choose whether or not to engage with your fandom's community, because AO3 is not where the community lives.

If you choose not to join your fellow fans in their actual community hubs because of low social battery, annoying features, or a site culture you dislike, that's perfectly fine and a valid choice... but you shouldn't be surprised when the author who is participating in their fandom outside of AO3 gets more comments on their fics. And you certainly don't have the right to project your own social withdrawal onto your readers and accuse them of maliciously withholding "community" from you.

Comments are wonderful, and positively encouraging people to leave comments on the fics they enjoy is completely fine, but comments are not community. AO3 is not a community website and in fact is designed to put us writers behind a wall for our own protection. We are the ones who need to choose whether or not to venture out from behind the wall and join our communities, instead of getting angry that the community isn't spontaneously appearing in our comments sections.

[derinthescarletpescatarian]

hi derin! i’ve been following you for a little while, and also bemoaning the nature of publishing fiction (indie or trad) for a little bit longer than that, and i only just realized today that…of course web serials are a thing i can also do!

i really love the idea of publishing serially (though i’m not totally sure i CAN, i’d like to try), so while i add this to my list of potential paths, do you have any advice for getting started? building an audience? marketing? figuring out if writing/publishing this way will work for you to begin with?

i know that’s a lot of questions, and you don’t have to answer all of them! i’m throwing spaghetti at a wall out here. i hope you have a good day though, and thanks in advance!

Getting started in web serial writing

Web serial writing has the lowest barrier of entry of any major method of publishing your story. You can literally just start. There are two steps:

start writing your story

decide how/where you want to publish it

The writing part, I assume you have handled. The important thing to note here is that you gotta see the project through. Start and don't stop until you're done. For publishing, you have a few options:

1. Publish on a website designed for web serial novels

There are a few of these around, they're usually free to publish on (although most offer a paid account to give you ad space or boost you int he algorithm or whatever), and your best choice generally depends on which one happens to gravitate to a niche that best suits your kind of work. The big names in this industry are Royal Road and Scribblehub, which, last I checked up on them (about a year ago) tended towards isekai and light erotica respectively. (You absolutely can publish outside these niches on these sites, it's just much harder to get traction.) Publishing somewhere like this comes with multiple advantages. Firstly, there's a writing community right there to talk to; there's usually a forum or something where people gather to talk about reading or writing on the site. Second, the site itself is designed specifically to publish web serials, and will come with a good layout and hit trackers and 'where you left off' buttons for the reader and all that; generally all you have to do is copy-paste the text of a chapter into the page and the site will do everything else for you. Third, there's an audience sitting right there, browsing the 'latest arrivals' or 'most popular' page of the site; if you can get high in the algorithm, you have to do little if any marketing.

The downsides of such places usually come down to the same things as the advantages. Such sites are a flooded market. Your story absolutely will drown in a sea of other stories, a great many of them terrible, and most of them with the advantage of catering to the site's niche. Gaining an audience there is often a matter of trying to game an algorithm, and the community can be... variable. Some of these places are nice but most of them are a bunch of authors trying to tear down everyone around them to make their own work look better by comparison int he hopes of poaching audiences for their story instead. If you go this route, I'd recommend shopping around for a site that fits you personality and writing style (or just posting on many sites at once; you can also do that).

These places also tend to get targeted by scrapers who will steal your story and sell it as an ebook, which is very annoying.

2. publish on another site

Plenty of people publish web serials here on Tumblr. I do not know why. This site is TERRIBLY set up for that. It makes tracking stories and updates a pain in the arse (people end up having to *manually tag every reader whenever they post an update*), building and maintaining archives are annoying, community building is surprisingly difficult for a social media site, and it's just generally far more work for both writer and reader than it needs to be. You often do have a ready-made audience, though.

This does tend to work better on other sites. Reddit has multiple communities for reading and writing various types of fiction; publishing on these is a bit more work than somewhere like Royal Road, but not very much, and many of these communities are very active. There aren't as many forums around as there used to be, but you might be able to find fiction hosting forums, if that's what you prefer. And of course, many writers who simply want to write and don't mind not being paid choose to write on AO3.

These sites are a good middle ground compromise for people who want a ready-made community and don't mind putting in a bit of extra work.

3. make your own site

This is what I did. You can make a website for free, giving people a hub to find you and all your work, designed however you like. You can also pay for a website if you want it to be a little bit nicer. This option is the most work, but gives you the most control and leaves you free of having to worry about any algorithm.

The obvious downside of this is that there's no community there. If you host your work on your own website, you need to bring people to it. You need to build an audience on your own. This is not an easy thing to do.

Building an audience (general advice)

Here is some general advice about building an audience:

1. Consistency. Consistency. Consistency.

If you want people to read your writing, the best piece of advice I can possibly give you is have an update schedule and update on time, always. If you need to take a break, give people as much warning as possible and tell them exactly when you will be back, and come back then. Do not take unnecessary breaks because you don't feel like writing. (Do take breaks if you get carpal tunnel or need time off for a major life event or something -- your health is more important than the story.) If you're taking a lot of breaks to avoid burnout, you're doing it wrong -- you need to rework your whole schedule from the start and slow down updates to make these breaks unnecessary. Two chapters a month with no breaks is a billion times better than four chapters a month with frequent burnout breaks.

Consistency. Consistency. Consistency.

A reliable schedule is the #1 factor in audience retention. If readers need to randomly check in or wait for notifications from you to check if there's an update, guess what? Most of them won't! They'll read something else. You want your audience to be able to anticipate each release and fit it in their own schedule. I cannot overstate the importance of this.

2. If you can, try to make your story good.

We writers would love to live in a world where this is the most important thing, but it actually isn't. Plenty of people out there are perfectly happy to read hot garbage. How do I define 'hot garbage'? It doesn't matter. Think of what you would consider to be just a terrible, no-effort, pointless garbage story that the world would be better off without. Someone is out there writing that right now, making US$2,500/month on Patreon.

It is, however, a real advantage if you can make your story good. At the very least, it should be worth your audience's time. Preferably, it should also be worth their money, and make them enthusiastic enough to try to get their friends into it. Managing this is massively advantageous.

3. Accept that you're not going to get a big audience for a really long time. Write consistently and update on schedule every time anyway.

It took me over a year to get my second patron. For the first year, I updated Curse Words every single week, on schedule, for over a year, and had maybe... four readers. One of them was a regular commenter. One of them was my first patron. There was no one else.

My audience has grown pretty rapidly, for this industry.

You're not gonna start publishing chapters for a big, vibrant community. You're just not. And you have to keep going anyway. These days, I have a pretty good readership, and those couple of loyal readers (who I appreciate beyond words) have grown into a much larger community, who hang out and debate theories with each other and liveblog and drag in new readers and make fanart. My discord has over 550 members, with volunteer moderators and regular fan artists and its own little in-jokes and games and readers who make a point of welcoming newcomers and helping them navigate the discord, all with very little input from me. I start crying when I think about these people, who do the bulk of my social and marketing work for me just because they want to help, and my patrons who, after writing for over 4.5 years, have recently helped me pass an important threshold -- my web serial (via patreon) now pays my mortgage repayments. I can't live off my writing alone, but boy is that a massive fucking step.

You're not gonna have that when you start. You're gonna have a couple of friends. And that's it. Maybe for a year. Maybe less, if you're good at marketing and lucky. Maybe longer.

You have to update on schedule, every time, anyway.

Building an audience (more specific advice)

"Yeah, that's great, Derin, but where can I find my fucking audience?" Well, if you publish on a web serial site, then the audience is there and you jsut need to grab their affention using the tools and social norms offered to you by the site. I utterly failed at this and cannot help you there. You can still use these other tips to bring in readers from off-site.

1. Paid ads

I've never paid for ads so I can't offer advice on how to do it. I've Blazed a couple of posts on Tumblr; they weren't helpful. This is, however, an option for you.

2. Actually tell people that your story exists and where they can find it.

I used to have a lot of trouble with this. I didn't want to bother people on Tumblr and soforth by telling them about my personal project. Unfortunately you kind of have to just get over that. Now I figure that if people don't want TTOU spam, they can just unfollow me. If you're like me and want to just politely keep your story to yourself... don't. You're shooting yourself in the foot doing that.

You need to mention your story. Link your story in your bio on whatever social media sites you use. Put it in your banner on forums. Make posts and memes about it. Eventually, if you're lucky, extremely valuable readers will start to talk about your story and meme and fanart it for you, but first, you need to let them know it exists.

It will always feel weird to do this. Just accept that people can unfollow you if they want, and do it anyway.

3. Leverage existing audiences and communities

Before I started doing this web serial thing, I used to write a lot of fanfic. The original audience that trickled in for Curse Words comes from AO3, where I was doing a full series rationalist rewrite of Animorphs. They knew how I wrote and wanted more of it. Nowadays, I still occasionally pull in readers through this route. Most of my new readers these days come from a different community -- people who follow me on Tumblr. Occasionally I bring in people who don't follow me because we'll be talking about how one of my stories relates to something different, and fans of that thing might decide they want to check my stories out.

Your first readers will come from communities that you're already in and that are already interested in something similar to what you're doing (people reading my fanfic on AO3 were already there for my writing, for instance). Keep these people in mind when you start out.

One additional critical source of existing communities is your readers themselves. A huge number of my readers are people I've never been in any group with -- they were pulled in by their friends, relatives, or community members who were reading my stories and wanted them to read them too. This is an absolutely invaluable source of 'advertising' and it is critically important to look after these people. enthusiastic readers, word-of-mouth advertisers, and fan artists are the people who will bring in those outside your immediate bubble.

4. Your "where to find me" hub

If you're publishing on your own website, you can simply link everything else to your homepage, and put all relevant links there. For example, I can link people to derinstories.com , which links out to all my stories, social media I want people to find me on (you don't have to link all your social media), patreon, discord, et cetera. If you don't have your own website, you're going to have to create a hub like this in the bios of every site where you garner audiences from. This is the main advantage of publishing on your own website.

Monetisation

There are a few different kinds of monetisation for web serials, but most of them boil down to 'use a web serial format to market your ebook', which to be honest I find pretty shady. These authors will start a web serial, put in enough to hook an audience for free, and then stop posting and release an ebook, with the intention of making readers pay for the ending. Now, to be clear, I am absolutely not against publishing and selling your web serial -- I'm doing exactly that, with Curse Words. I am against intentionally and knowingly setting up the start of a web serial as a 'demo' without telling your audience that that is what you are doing, soliciting Patreon money for it, and then later yanking it away unfinished and demanding money for the ending.

Monetisation of these sorts of stories is really just monetisation for normal indie publishing with the web serial acting as an ad, and I have no advice for how to do that successfully.

Your options of monetisation for a web serial as a web serial are a bit more limited. They essentially come down to merchandise (including ebooks or print books) or ongoing support (patreon, ko-fi, etc.) Of these, the only one I have experience with is the patreon model.

This model of monetisation involves setting up an account with a regular-donation site such as patreon, providing the base story for free, and providing bonuses to patrons. You can offer all kinds of bonuses for patrons. Many patrons don't actually care what the bonus is, they're donating to support you so that you can keep writing the story, but they still like to receive something. But some patrons do donate specifically for the bonuses, so it's worth choosing them with care.

The most common and most effective bonus for web serials is advance chapters -- if people are giving you money, give them the chapters early. You can also offer various bonus materials, merchandise, or voting rights on decisions you need to make in the future. 'Get your character put in the story' is a popular high-tier reward. If you're looking for reward ideas, you can see the ones I use on my patreon.

Patreon used to offer the ability to set donation goals, where you could offer something when you were making a certain amount total or had a certain number of subscribers. They recently removed this feature because Patreon hates me personally and doesn't want me to be happy, so you kind of have to advertise it yourself now if you want to use these goals. I release chapters of unrelated stories at donation goals, and I found this to be far more effective than I thought it would be.

The important factor for this kind of monetisation is that it's ongoing. The main advantage of this is that it makes your income far more regular and predictable than normal indie publishing -- your pledges will go up or down over a month, but not by nearly as much as book sales can. The main thing to keep in mind is that it's not a one-time sale, which means that however you organise things, you want to make sure that donating keeps on being worth it, month after month. Offering bonuses that aren't just one-time bonuses, but things that the patron can experience every month, helps here. So does making sure that you have a good community where patrons can hang out with other patrons. (Offering advance chapters does both of these things -- the patron can stay ahead in the story and discuss stuff with other patrons that non-patrons haven't seen. I've found that a lot of my patrons enjoy reading an emotionally devastating chapter ahead of time, discussing it, and then all gathering a week or two later to watch the unsuspecting non-patrons experience it for the first time.)

Whatever method you use for monetisation, rule #1 is (in the words of Moist Von Lipwig): always make it easy for people to give you money. The process of finding out how to give you money should be easy, as should the process of actually doing it. And, most importantly, the spender should feel like it's worth it to give you money. This is a big part of making it easy to give you money. Make your story worth it, make your bonuses worth it, make sure that they're happy to be part of your community and that they enjoy reading and supporting you. And remember that support comes in many forms -- the fan artist, the word-of-mouth enthuser, the person who makes your social hub a great place to be, the patron, all of these people are vital components in the life support system that keeps your story going. And you're going to have to find them, give them a story, and build them a community, word by word and brick by brick.

It's a long process.

Good luck.

.

[hells-greatest-performers]

Oh.... It would be ... Funny.... If Vox were to go into labour during that presentation... I mean he is 36 weeks pregnant now and full-term already starts at 37 weeks so the baby wouldn't be very premature and be able to survive

*At the V-Tower presentation room — Televised and streaming on web*

Vox: *standing in front of the large crowd, presenting his latest technological advancements, feeling a bit more uncomfortable than usual.*

Audience Member 1: *raises a hand* Excuse me, Mr. Vox, can you elaborate on the integration of your new system with existing infrastructure?

Vox: *forces a smile, feeling a sharp pain in his abdomen* Of course. The integration is designed to be seamless, minimizing downtime and ensuring a smooth transition.

Audience Member 2: *noticing Vox's discomfort* Are you alright, Mr. Vox?

Vox: *gritting his teeth, trying to maintain composure* Yes, yes, I'm fine. Just... *another sharp pain causes him to double over slightly* ...a bit of discomfort.

Audience Member 3: *concerned* Maybe you should sit down, Mr. Vox.

Vox: *shakes his head, trying to push through* No, I... *suddenly, his water breaks, causing a gasp from the audience* ...oh no.

Audience Member 1: He's going into labor!

Vox: *panic setting in* No, no, not now... not here...

Audience Member 4: Someone call for help!

Audience Member 5: *rushes to Vox's side* Hang in there, Mr. Vox. We'll get you through this.

Vox: *breathing heavily, gripping the podium for support* I need... I need to get to the hospital...

Audience Member 2: There's no time! The baby is coming now!

Audience Member 3: *takes off their jacket, preparing to assist* We need to help him. Everyone, stay calm.

Vox: *screaming in pain, feeling the contractions intensify* Please... make sure the baby is okay...

Audience Member 1: *guiding Vox to lie down on a makeshift bed of jackets* Just breathe, Vox. We're here with you.

Audience Member 4: *on the phone with emergency services* We have a man in labor at the tech presentation. We need medical assistance immediately!

Audience Member 5: *holding Vox's hand* You're doing great, Vox. Just focus on breathing.

Vox: *sweat pouring down his face, gripping the hand tightly* I... I can't believe this is happening...

Audience Member 2: *checking the progression* The baby's crowning! Keep pushing, Vox!

Vox: *screaming with the effort, pushing with all his might* I... can't... believe... this...

Audience Member 3: One more push, Vox! You're almost there!

Vox: *with one final, powerful push, the baby is born* Ahhhhhh!

Audience Member 1: *gently cradling the newborn, wrapping them in a jacket* It's a boy! He's beautiful, Vox.

Vox: *exhausted but relieved, tears streaming down his face* Thank you... thank you all...

Audience Member 4: *hearing the sound of sirens approaching* The ambulance is here. Hang in there, Vox. You're both going to be fine.

Vox: *holding his newborn son close, whispering softly* Welcome to Hell, Virgil…

[thisisthiago]

WeHeartIt is dead.

It died in 2023, during a sunny June, though the process started taking place way before that date. It’s unclear, though, the reason why it started to happen. And, since I’m not a journalist, I might focus on why it meant so much to me for so long.

WeHeartIt, famous for embracing thousands of people around the idea of creating personal galleries and sharing them with friends, was born in 2008 from a Brazilian developer. He came up with the idea of creating a platform where people could save, share and, most importantly, heart images.

And didn't that work out? At its peak, the social network had 25 million monthly users and partnered with brands such as Teen Vogue to promote content and increase that reach. Of course, there was always Pinterest, but this wasn’t it. WeHeartIt was a hot mess of posting and hearting and expressing ourselves through the images we saved or the postcards we sent or even the collections we built. Of course, you could open Pinterest and organize your ideas, wishes, and... crochet templates, I guess? But at WeHeartIt, what looked like a mess would then become a gallery with layers of meanings and feelings, resembling the rings of trees. Our profiles, as rings of trees can tell us about a harsh winter or a particularly hot summer, would have layers composed of travel dreams, romantic ideas, or heartbreaking moments. It was safe and, as a 2018 article from Women’s Forum would point out, it was a mood booster.

Can you imagine such a lovely mess? "Dancing On My Own" was at the top of the parades (at least for hipsters worldwide), Tumblr was the next most favorite network, and Facebook wasn’t as cringe as it is now. In the middle of all that, WeHeartIt was thriving. Saving us from the boredom and helping us all to create a gallery where we could go back to see (and feel) all that was there to remember.

But then, things started to go somewhere out of the road, and we learned that good and new features don’t necessarily mean improvement. The app didn't have to try and be anything else. Of course, a design refreshment is always welcome, but some of the updates were simply needless or had no sense at all. All of that led to what we encounter today when we go into the platform website.

I won’t refer to all of the annoying-but-still-not-changing-the-core-of-the-app updates and features. I’m talking about ads, postcards, articles and yes, podcasts. Though all of these were meaningless and even annoying, they never interfered in my possibility of using the core functions of the app: managing my profile, visiting other people’s profiles, and hearting images.

Then, all of a sudden, WeHeartIt starts rolling out a message saying that the app will now focus on other features and so, they would do part with profiles and hearting. Yes, you read that correctly. The owners of the app decided that the main functions of the website should no longer be available, in order to redirect the main focus of the app to photo editing.

As I said in a rather harsh review of the latest version of the app in Apple’s App Store:

The so-called "photo editing" capabilities are laughable, barely a patch on dedicated apps in that domain. It's utterly disheartening that even a relic like the 1967 app surpasses WeHeartIt as a creative tool at this point. There appears to be an overwhelming lack of satisfaction with this so-called "upgrade."

Though scattered around the web, many of the platform users have shown their discomfort with the current state of the app. A quick search on Twitter, Reddit, App Store Reviews, and even Tumblr shows us. Even though some users still try to make some of the old features of the service work, it’s only a matter of time until the database is updated and we no longer have access to any image at all.

It’s sad that WeHeartIt is dying. The idea was great, and the execution worked for a while, but now it just looks as if the owners of the platform are looking for an excuse to shut it down permanently. We might as well just end up with a page like the former ffffound.

[wholelottatransbians]

Spiderbite snippet?

"-And that should do it." Tightening the last screw, Melissa aimed her latest creation at a nearby can and fired. A long white web shot out and snagged it, allowing her to yank on the web to pull the can closer. "Success!"

"What are you working on?"

"Oh, hey dad." She held up the bracelet on her wrist, "Highly pressurized sheer-thinning semi-adhesive fluid. Or, webs." She then shot a web up towards the ceiling of the workshop, before climbing it. "Stronger than steel too, smells awful though. Should look into that."

"Neat." He walked over towards her notes, and she could see him flipping through her designs. "You're serious about switching over to the Hero Course, aren't you?"

"Of course I am." She dropped back down in front of him. "Why wouldn't I be?"

"Just being thorough. Do you have a name?"

"Not yet, only so many good spider based named. Or at least the ones that aren't trademarked yet." She flipped through her costume designs, tragically still trying to nail something down. At least she had a color scheme. Blue and pink were original enough, right.

"Anyway, since the web-fluid is nearly done, do you want to help me work on my other web based ideas?"

[godlizzza]

for an "imagine me & you" (which i'm loving, by the way) prompt, maybe something more with the spiderman AU from chapter 52?

Dan adjusted his badge as he was ushered through the door by Hill's personal assistant, Mallory Mead. Her bob of blonde hair and pretty face reminded him of Meg. Just the thought had him wrinkling his nose as he followed her through the sleek, high-ceilinged lobby. Had Hill hired her just for that reason? Had he suggested she get a haircut and take to calling him Carl?

He shuddered involuntarily.

Mallory must have noticed. "Yes, we keep the facility quite cool. It helps with all the heat from the workshops, you see."

"I do," Dan replied, straightening up. He couldn't afford to get distracted and slip up now. He'd worked too hard to be chosen as the delegate for the proposed collaboration between the hospital and Hilltop. He had to be on his best game. "I'm used to it from working in the hospital."

Mallory smiled an artificial smile, making her look like a new model of lifelike android Hilltop had just developed. "Of course."

Dan smiled back at her, though hopefully without the plastic quality. "I'm looking forward to see all the facilities with you."

They came to a halt at the far wall of the lobby, adjacent to where scientists and mechanics were filtering in and out of elevators. Even in her heels, Mallory still barely reached Dan's chin, but the curve of her painted lips was assured as she surveyed him. He itched for his mask but he wasn't here as Funnel Web. No. Today he was regular ol' Dan Cain.

"Unfortunately, I won't be able to show you our stunning facility today," she said. "Or Dr. Hill. He has some unexpected urgent meetings to attend to in regards to the development of our latest model. He sends his apologies. He was very much looking forward to meeting you, Dr. Cain."

Dan told himself that the hard look in her eye was just his imagination. That she probably just looked at people like that all the time. It certainly wasn't an indicator that she- and by extension, Hill- knew anything particular about him.

So, he simply nodded and said, "That's a shame. I suppose we'll have to arrange for another time then-?"

"Not at all," Mallory cut in smoothly. "We've already got someone else who can give you the grand tour. He's a doctor, like yourself, so he'll doubtless be able to answer any questions you have better than I could."

At that moment the elevator closest to them dinged open. Dan glanced over and had to fight to keep his expression neutral as Herbert West of all people emerged, his pristine lab coat fluttering behind him. Mallory motioned for him to come closer and Herbert begrudgingly complied, flicking a glare Dan's way as he approached.

"Dr. West," Mallory began once Herbert was between them. "This is Dr. Cain from Miskatonic Hospital. He's here to tour our facilities today, so I want you to show him everything you can and tell him all he wants to know, alright?"

"Of course," Herbert answered with a roll of his eyes. "Why get any actual work done when I could just babysit all day?"

Dan had to bite down on the smile threatening to split his face. It was just such a Herbert thing to say, right down to his insulting drawl. He couldn't help the surge of fondness that swept through him, seeing that characteristic ire directed unknowingly at his ally, Funnel Web.

"I'll try not to be too much trouble," Dan promised, though Herbert didn't look convinced.

"I know you'll take good care of him," Mallory said to Herbert with just enough sternness for Dan to not miss it.

Herbert remained silent, staring stonily at the back of her designer blazer as she sauntered away, leaving Dan alone with him. They stood in silence, smartly-dressed Hilltop employees swarming past them like a current around a rock. Dan cleared his throat, hoping to break the tension, but Herbert just turned his glare on him.

"Great lobby you got here," Dan tried with a charming smile.

Herbert just gave him a withering look and turned on his heel. "Come along," he said, waving over his shoulder for Dan to follow. "We'd best just get this over with."

It wasn't the warmest reception but Dan would take it. He followed Herbert over to the elevator, up to the higher floors, where Dan was showed the assembly line of some of Hill's lesser robots. Posters of the CEO were hung up on every wall, his grinning face accompanied by various company slogans, such as: Life made easy with Hilltop Robotics, and Why live hard when you can live on top?

Dan snorted at that last one.

"There you have it," Herbert said after rattling off a long list of electronic jargon at Dan. "Some of the greatest advancements in the history of robotics, reduced to performing household chores."

He flapped his hand with disgust at the line of AI-infused vacuum cleaners being taped up into premade, Hilltop branded boxes.

"Interesting," was all Dan said as he watched Herbert grip the railing.

"Is it?" Herbert demanded, eyes shooting over to squint at Dan. "Because you don't sound all that interested. I've heard of this supposed partnership with Hilltop and Miskatonic. A laser drill, wasn't it?"

Dan nodded. "To assist in craniotomies. Director Halsey seems to think it'll be financially beneficial for the hospital."

Herbert scoffed. "Beneficial in lining Hill's soiled pockets, more like it."

He shook his head, pushing his glasses up the bridge of his nose. Dan did the same with his own glasses. He didn't need to wear them anymore, not since his vision had been enhanced by the spider bite that gave him his powers, but he thought it was easier to keep up his appearance of his old self. Surely, no one would suspect a man with a vision impairment of being Funnel Web.

"Hill would only ever do something if it benefitted him," Herbert went on. "If the hospital gets something out of it then it's a pleasant--though unintended-- consequence. Nothing more."

"Do you really not remember me?" Dan asked.

He hadn't planned on saying it, but it was all that had been running through his head as he'd stood there, listening to Herbert talk. Did Herbert not remember him? They'd been in med school together for nearly two years, had interacted quite often during that time. Truth be told, Dan hadn't thought much of Herbert during that time. He'd viewed him as stuck-up and unnecessarily mean (two assumptions he stood by after getting to know Herbert).

But that had been before their...professional relationship as Dr. West and Funnel Web had developed. And, of course, something else.

He still recalled the soft press of Herbert's lips against his. The roar of the rain around them, the cold seeping through the thin fabric of Dan's costume as he'd hung upside-down from his webbing. He'd only felt warm the places where Herbert had been touching him. Funnel Web hadn't been able to visit him again since then, being too tied up with his day job, but that didn't mean Dan didn't think about it.

He did. Often.

Herbert just looked at him strangely. "Of course, I remember you." He paused, then added with emphasis, "Daniel."

Dan shivered at the sound of his name falling from Herbert's lips. He rarely got to hear it. Herbert mostly called him 'Web' or 'Spider.' Not Daniel.

"Oh, well," Dan fumbled to say, growing hot under Herbert's scrutiny. "I, uh, wasn't sure. That you did."

Herbert rolled his eyes, but he was smiling. "Well, I'm very sorry for not greeting you like an old, dear friend. Now, come along. Let's finish this tour so I can get back to work."

He turned his back to Dan and Dan felt the irrational urge to reach out and grab him, turn him around and tell him who he really was. I'm Funnel Web! he wanted to scream. I'm not just some nobody you went to school with! We know each other. We've worked together.

You've kissed me.

But, of course, he couldn't say any of that. He could never reveal his secret identity to Herbert or anyone else. It was for the sake of everyone's safety, not just his own. To put Herbert in more danger than he already was just so he could maybe kiss him again was beyond selfish. Definitely not the kind of thing a hero should do, or even consider doing.

Herbert seemed to realise Dan wasn't following him as he stopped and looked over his shoulder at Dan's frozen form.

"Are you coming?" he asked, like he couldn't care less either way.

Dan swallowed the knot forming in his throat and nodded. "Yeah," he said, ungluing his feet from the metal flooring and stepping after Herbert. "I'm coming."

[vivalgi]

👀 It looks like my notifications suddenly blew up overnight due to my latest Insiders post where I mentioned that the female LI's CG sketch had some Getty Images watermarks on her face. People seemed very disappointed and blamed PB for all kinds of sins so I thought I should clarify a few things in defense of the artists.

Sure, it's a bit funny to see "getty images" written in reverse on the lady's face (and the man also has Dreamstime watermarks). No matter how amusing it is though, otherwise it's actually totally normal. It's OK to use references for your artwork. Artists have been doing it all the time. At first it used to be real models and objects in the studio, then the camera was invented in the 19th century and now people also use whatever they can find on the web. That's also what the artist has done here: searched for some images online that reflect their vision, combined them together into a collage and then traced over some parts to get the poses and proportions right for the CGs (if only PB did the same with in-game sprites). The face, body and the hand reaching towards the viewer all seem to be from separate images and the hair looks almost identical to her in-game sprite.

Similar thing with the man. The image is only a reference but the outfit and the likeness will be painted based on the character design.

Yes, most of us are extremely infuriated that PB has been using AI generators for a lot of its artwork recently, and rightfully so. However, I'm fairly confident that it's not the case with TGOU artwork. Although, I must say that the early sketches are getting repetitive and boring at this point and in the future Insiders I would like to see more different stages of art creation. Unless, of course, the sketches are the final stage before PB feeds them into AI image generators. Then I'll be mad again 😠

[dailyanarchistposts]

Innovation and Cooptation

With Musk’s purchase of Twitter, we see the conclusion of a cycle of innovation and cooptation in the field of communications. In the late 20th century, the dominant political and technological models were monolithic and unidirectional: network television, mass-based political parties. In response, anarchists and other rebels experimented with independent media and underground networks, producing innovative horizontal and decentralized models like indymedia.org. Tech corporations eventually monetized these models as the participatory media of Web 2.0, such as Facebook. Yet from the turn of the century through the uprising of 2020, the lingering horizontal and participatory aspects of the internet in general and social media in particular continued to empower those who sought to achieve more self-determination—witness the “Thank you Facebook” graffiti in Tunisia after the so-called “Arab Spring” uprisings of 2010-2011.

Over the past decade, however, corporations and governments have introduced more and more online surveillance and control. Musk’s acquisition of Twitter is the latest stage in a reactionary clampdown with grim implications.

Musk and his colleagues see capitalism as a meritocracy in which the shrewdest and most hardworking competitors inexorably rise to the top. Hence, presumably, their own success.

Of course, if Musk wishes to prove that his success is not just the consequence of privilege and luck—of fortune and good fortune—he could demonstrate this easily enough by giving away his wealth, cutting his social ties, changing his name, and repeating his supposed rags-to-riches feats a second time. If he were able to climb the pyramid a second time without the benefit of growing up white in apartheid-era South Africa (setting aside the question of his father’s emerald investments for now), we might have to grant a hearing to his claims that the market has elevated him on account of his personal qualities—though that still would not show that capitalism rewards the efforts that are most beneficial for humanity.

According to the Silicon Valley narrative, platforms like Twitter are the inventions of individual entrepreneurs, propelled into being by the finance capital of canny investors.

But Twitter did not simply spring, fully formed like Athena, from the head of company co-founder Jack Dorsey. In fact, it was a modest refinement of a model already demonstrated by TXTmob, the SMS text messaging program developed by the Institute for Applied Autonomy for protests at the 2004 Democratic and Republican National Conventions.[1] Blaine Cook and Evan Henshaw-Plath, anarchist developers who worked alongside Dorsey at his previous company Odeo, helped refine TXTmob and later took the model with them into the conversations with Dorsey that gave rise to Twitter.[2]

If the unrelenting urgency of social media in general and Twitter in particular can be exhausting, that’s to be expected—the infrastructure of Twitter was originally designed for street communications during high-stakes mass mobilizations in which information must go out immediately, boiled down to its bare essentials. It’s not a coincidence that, despite its shortcomings, the platform has continued to be useful to street activists and conflict journalists.

The point here is that innovative models do not necessarily emerge from the commercial entrepreneurism of the Great Men of history and economics. More often, they emerge in the course of collective efforts to solve one of the problems created by the capitalist order. Resistance is the motor of history. Afterwards, opportunists like Musk use the outsize economic leverage that a profit-driven market grants them to buy up new technologies and turn them definitively against the movements and milieux that originally produced them.

We can identify two stages in the capitalist appropriation of the TXTmob model. In the first phase, a framework that was originally designed by volunteers for the use of ordinary protesters was transformed into a publicly traded corporation, around the same time that the open spaces of the early internet were being colonized by the for-profit surveillance systems of Web 2.0. In the second phase, this publicly traded corporation has been transformed into the private plaything of a single entitled tycoon—with consequences that remain to be seen.

Musk claims that his goal is to open up the platform for a wider range of speech. In practice, there is no such thing as “free speech” in its pure form—every decision that can shape the conditions of dialogue inevitably has implications regarding who can participate, who can be heard, and what can be said. For all we might say against them, the previous content moderators of Twitter did not prevent the platform from serving grassroots movements. We have yet to see whether Musk will intentionally target activists and organizers or simply permit reactionaries to do so on a crowdsourced basis, but it would be extremely naïve to take him at his word that his goal is to make Twitter more open.

[skye707]

thanks to your blog i fell in love with YJ riddler (big time, he's my baby), so i opened character.ai in search of his bot and.. couldn't find anything. so i just created one. that made me thinking, what are riddlers' thoughts on chr.ai and ais in general?

(sending all my love to you and your golden brain and hands; big big fan of your blog, hyperfixation level of fan 🩵)

Firstly, thank you for the blessing upon my brain and hands. I’m finding myself in need of it more with each passing day 💙

Now, on to the Riddlers

Unburied - To him, AI is just another tool to be used on the computer. Doesn’t take it very seriously, so I think he’d be the one out of the group to make chr.ai of everyone else without telling them.

ZY - Cool, now his little drones can pinpoint targets with even higher degrees of accuracy! And maybe he can get them to start speaking in riddles as well? Whichever he decides to do first, he’s having a ball.

Dano - He likes AI for recreational purposes, but not to be used in his riddles and traps. That takes all the fun out of designing and making a puzzle! But I think he likes to chat with character ai (which ones, I’ll let you decide).

YJ - Ohhhh, that’s pretty cool. But also pretty spooky. He should know better what with being the strategist computer guy, but he can’t help the feeling he’s seen this somewhere in a tv show before. And it didn’t end well there.

Gotham - He’d find a way to break it. Not just on accident. Eventually, he’d be determined to find a flaw in the algorithm. He’d spend days and days pinpointing the program’s weaknesses. He refuses to be bested by a robot any time soon.

BTAA - He’s incorporating AI into everything he can, even when it doesn’t make sense. Coffee maker AI, washing machine AI, microwave AI, etc. It’s now his new favorite advancement in technology.

Arkham - He has gifted artificial intelligence to every single one of his robot children including the roombas. They can now do the one thing he’s always wanted: praise him for his Herculean feats of engineering prowess.

BTAS - At first, he thinks it’s pretty cool, but the more he starts to get into it the more he realizes how powerful it is. And just like that, he’s never trusting another AI for as long as he lives. They’re not getting his data and secrets, no sir. Not the Riddler.

Telltale - A younger him would have been ecstatic to incorporate this tech into his latest scene or trap. Now, he’s just waiting for the idiot that gave computers a mind of their own to realize that they’ve released a force on the web that perhaps no one can stop. Except for him of course.

[thetraingotsetonfireonmidnight]

IM SORRY I ASK SO MANY MARVEL CROSSOVERS I JUST LOVE THEM.

Bakugou x spiderman reader who doesnt show his face :3

DONT APOLOGIZE, I LOVE THEM

AND I LOVE THIS UGH

𝔅𝔞𝔨𝔲𝔤𝔬𝔲 𝔵 𝔪!𝔰𝔭𝔦𝔡𝔢𝔯-𝔪𝔞𝔫 ℜ𝔢𝔞𝔡𝔢𝔯

Warnings: mentions of death, the reader is kinda an asshole at the end my bad, angst cause I got carried away

Let me start this off by saying that he did NOT mean to fall in love with you.

You had crashed into his room while handling a villain.

The villain of course decided to use Katsuki as a hostage, because he was just there, and your villains never seem to give you a break.

You saved him, thankfully.

You dropped him off at his house, quickly telling him to stay safe as you tried to run off and go change

"WAIT!"

You stopped, worried that the blonde angry guy had been hurt.

No, he just felt the need to go on a long rant about how you didn't save him and how he didn't need your help.

Not everyone in the city liked you exactly, but never once had you saved someone and get this as a response.

You found it entertaining for a moment

You kinda tuned out for the most part

Just more Spider-man slander, the usual that you had to deal with

Until he said

"So that's why you owe me!"

You raised a brow, your cartoonishly huge mask eyes following the movement, "I owe you? I think I repaid you by saving you."

The spikey man scoffed, "Yeah and you destroyed my house. And you were the reason why I was in danger in the first place. If you hadn't crashed into my house like a dumbass, we wouldn't be here!"

You stared at him

Was he being serious???

"So," he continued, "make it up to me by checking out my designs."

"Designs?"

"Yeah. I made...designs...for gadgets. They aren't for you, but I guess you could find them useful."

You did in fact check out his designs.

You soon learned that Katsuki Bakugou, the same man who cursed you out, was an absolute genius who had been designing gadgets for you in hopes you two could partner up some day (though he never would admit it).

You visited him regularly to test out his latest idea, web bombs.

You visited him so often that you often forgot that you were supposed to be a superhero, and he was supposed to be a civillian

You both had grown so close. Equals at this point because he did demand that he'd also become a vigilante.

He also demanded that he'd learn on his own and that he would surpass you.

Bakugou was insane, but you loved that about him.

You loved him in general, you soon realized.

And that was bad.

You couldn't do that.

Using his gadgets was bad enough, but to date him?

You'd be putting him in danger.

You tried to hide how you felt as much as you could.

And thankfully, Bakugou was more of a fighter than a lover, so he made things easier by not reciprocating.

At least that's what you thought.

Until Mr. Tough guy started blushing whenever you got too close.

God forbid you compliment him, then he curses you out.

Other than his embarrassed outbursts, you realized that he was...different around you

He didn't yell as much.

He was calm...it was weird.

You tried to ignore the signs, but you couldn't.

Not when you both had been sitting on his bedroom floor, fixing up a few pieces of equipment that had gotten damaged.

"Why won't you take it off?"

You nearly choked, "Excuse me?"

"The mask. Why won't you take it off? That shit can't be comfortable." He wasn't looking at you, instead focused on fidgeting with his tools. He tried to make it seem like he was fixing it, but he wasn't. You could tell.

"I don't get a date first? Jeez, chivalry really is dead."

"Shut up, I'm being serious." He finally looked at you, with those blood red eyes of his. "How come you won't show me your face?"

You frowned. You knew eventually this would be brought up, you just wished you could stall it a little longer.

"It's too dangerous. You know that, Bakugou-"

"Katsuki. Call me Katsuki, damn it. Stop acting like we're just business partners or something! I know how you feel about me, so why won't you show me who you are?"

You froze in place.

So your worst fears had been true.

Bakugou Katsuki fell for you.

Just as you had fallen for him.

It was a shame that Spider-man couldn't afford to fall.

It was a shame that Spider-man had already promised his commitment to his city.

It was a shame that you had to promise your commitment to the city.

"It's not that simple." You set the tools down and stood up. "It's too dangerous."

"And coming to my house everyday isn't? I don't see you giving me a speech about how a villain could follow you here? My safety isn't what you're worried about!"

Perhaps he was right.

Maybe his safety was a scapegoat.

Something you could blame to avoid the underlying problems you had

But if there was anything you hated more than seeing Bakugou upset,

It would be to see Bakugou dead.

Dead like a past lover who you had stupidly thought you could protect.

"I'm sorry, Bakugou."

You turned around, heading to his window.

You opened it, pausing

You wanted to take it back

But you couldn't

You had to do what was right

Bakugou cursed you out.

That was fine

He had every right to

You'd rather him be mad at you than see him get hurt

So you left

And you hoped he'd forget everything the next time you'd need to get gadget updates.

[mariacallous]

We've already discussed how the Israel-Hamas war is the latest conflict where people are poring over social media and news channels looking for updates on what, exactly, is happening. After all, whether it’s news about our neighborhoods or communities on the other side of the world, the web is where we go to find updates.

And it’s another reminder that misinformation is often big business, and it’s everywhere: fake news and fabrications, half-truths and obfuscations, and flat-out lies and propaganda. The rise in AI-powered deep fakes has only made the problem worse and increased the amount of untrustworthy content out there.

So is it actually still possible to filter truth from lies online? We don’t yet have a foolproof way of checking—perhaps that’s a task AI could be trained on next—but there are ways to limit the likelihood of being fooled.

Know Your Sources

Some online sources are clearly more reputable than others: It’s right to be more skeptical about a post by an unknown X user than it is about something from The New York Times or The Washington Post (or WIRED). That’s not to say citizen journalism can’t be useful, because it absolutely can, but be wary of taking it at face value.

It’s not just the source that’s important, it’s the number of sources. Like Bernstein and Woodward, you need to get information backed up and verified by more than one source whenever possible. If you’re looking at a video of an event, for example, look for more recordings from other people, taken from different angles.

If you’re not sure about a particular source, check its history—which is fairly easy to do on social media. Does their most recent post match up with what they’ve posted before? Are they posting a lot of generic content that can’t really be authenticated? How many followers do they have, and how are they interacting with them? These can all be useful factors to consider.

Check the Context

As well as checking the sources of particular stories, photos, and videos, examine the context around them. You can look at whether a video clip is one of a series, for example, or something that seems to have appeared out of nowhere.

Context can extend to whatever the content is showing. If it’s a demonstration, for example, check to see if there’s any other record of it elsewhere on the web and ask a few questions—do the photos and videos match up with where they’re supposed to have been recorded? Are there any pieces of evidence (like police uniforms) that tell you where this is happening?

Sometimes there are context tools built into the platforms themselves: You might see false information warnings on Facebook, for example, if a post has been flagged by other users. You might also see what are called community notes attached to posts on X (formerly Twitter), adding extra context about what has been posted. These can be useful signals to consider, though they're not fallible.

Spot the Patterns

Fake news is often designed to spread as quickly as possible: If something is shocking, inflammatory, or surprising, we’re more likely to pass it on to other people. On social media especially, that can quickly mean inaccurate content starts trending, which of course means it’s then shared by even more people.

With that in mind, look for posts that seem engineered to go viral—to provoke a reaction—rather than to provide information. Misinformation and fake news will often come without any real context attached, such as a source, a location, or an accompanying link that directs you to something similar (like a longer version of the same video or a related story).

Be particularly cautious with posts and media that are furthering a particular cause or course of action. Sometimes a little bit of cynicism is all you need—and sometimes you just need to take a beat and evaluate what you’re looking at again, rather than instantly assuming it’s correct and sharing it elsewhere.

Do Your Research

There are now several services dedicated to flagging misinformation and fake news reports. You may have heard of Snopes, which doesn’t just dispel urban myths, but also tackles contemporary news stories, complete with background and fact checks. Take, for example, this video that was incorrectly labeled as featuring a Palestinian flag, when it was in fact a Puerto Rican flag.

Courtesy of the Annenberg Public Policy Center comes FactCheck.org, which does exactly what its name suggests. It examines claims and counterclaims put forward by governments and other organizations and explains what’s true and not true about them. Here’s a story about an online video that misrepresented how Ukraine conscripted women into serving in the military, for instance.

There are other resources, including another fact-checking service from Reuters, that can be useful, especially when it comes to photos and video. There’s no guarantee that the content you’re unsure about is going to be covered by one of these sites, but it’s certainly worth checking.

[neonbrutalism]

I really love that Miles will have arm blade on his suit, cause of course Miguel would give Miles as many upgrades that he wants. I really like that Miles suit would still have his design, cause of course, he's doing his own thing, but Miguel would upgrade it to the max with the latest tech, he probably would have those lazer webs thingy that Miggy uses. It's MCU Peter all over again with Stark tech. Although, when designing Miles I also remember that you make sure Uncle Aaron survived so maybe he'll have a little prowler influence, maybe utility belts and all that. You really open a floodgate of interesting possibility and it's so cool

yesss Miguel is definitely gonna upgrade Miles' suit. He might recommend against his bleeding from the armpits look. And Miles might recommend against a fully hard light tech suit for Miguel (by doing the thing where he essentially paralyzes and disco-balls the suit).

Miles might turn down the laser webs for the sake of the aesthetic though.

I haven't thought about how Aaron might work in to the suit.... Maybe that's where Miles can get his other web-tech like Peter usually has? web bombs and the like?

[stuintern1]

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[dhruvgole002]

In the vibrant world of digital opportunities in Delhi, picking the right digital marketing institute can make a huge difference for those looking to start a career. Among the many choices out there, one institute stands out as a top option.

Did You Know Google’s First Name Wasn't Google : Google was originally called "Backrub" because it analyzed the web's "back links" to rank pages. Thankfully, the name was changed before it became a household name!

The Best Digital Marketing Institute in Delhi. Nestled in the heart of the city, this institute has garnered a stellar reputation for its comprehensive courses, expert faculty, and industry-aligned curriculum.

Location and Accessibility Convenience is key when selecting an institute, and the Digital Marketing Institute in Dwarka scores high on accessibility. Situated in Dwarka, a well-connected locality in Delhi, it ensures ease of commute for students from all corners of the city. This strategic location makes it a preferred choice among learners seeking quality education without the hassle of long travel times.

2. Curriculum Designed for Success At the core of its acclaim lies the meticulously crafted curriculum. Tailored to meet the demands of today's digital landscape, the institute offers courses that cover every facet of digital marketing. From SEO and SEM to social media marketing and content strategy, students receive hands-on training on the latest tools and techniques. This comprehensive approach equips graduates with practical skills that are immediately applicable in the industry.

3. Expert Faculty and Mentorship Learning from industry experts can significantly accelerate one's career growth. The Digital Marketing Institute in Laxmi Nagar prides itself on its faculty comprising seasoned professionals with extensive experience in digital marketing. Their insights and mentorship not only enrich the learning experience but also provide invaluable industry connections and career guidance to students.

4. State-of-the-Art Infrastructure A conducive learning environment is crucial for effective education. The institute boasts state-of-the-art infrastructure with modern classrooms, equipped labs, and dedicated spaces for practical sessions. This blend of technology and comfort ensures that students learn in an environment that mirrors real-world scenarios, enhancing their skills and confidence.

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