#concept of content analysis

[flowersio]

Understanding Content Analysis: A Comprehensive Guide

In the digital era, content is king. From blogs and articles to social media posts and product descriptions, content drives engagement and fuels online conversations. But how do we know if the content we’re creating is effective? This is where content analysis comes into play.

Content analysis is a systematic technique used to analyze and evaluate the content produced for various platforms. It helps to assess how well content is performing, whether it’s meeting objectives, and how it aligns with the target audience’s preferences. In this article, we’ll break down the concept of content analysis, why it’s essential for businesses, and how to conduct one effectively.

What is Content Analysis?

At its core, content analysis is the process of studying and interpreting content — be it text, video, images, or any other form of media. It’s used to identify patterns, trends, and insights that can inform content strategies and improve future content creation.

Content analysis can be both qualitative and quantitative. Qualitative content analysis focuses on interpreting meaning, context, and themes in content. It involves understanding the nuances of language, tone, and the emotional appeal of the content. On the other hand, quantitative content analysis is more about measuring and counting certain elements, such as keywords, hashtags, or engagement metrics (likes, shares, comments, etc.).

In essence, content analysis is about understanding both the “what” and the “how” of the content, and how it impacts its audience.

Why is Content Analysis Important?

Improves Content Strategy Through content analysis, businesses can gain valuable insights into what type of content resonates with their target audience. Whether it’s blog posts, social media updates, or email newsletters, knowing what works allows content creators to focus on producing high-performing content. By tracking trends in user engagement, companies can optimize their content strategy for better results.

Enhances SEO Efforts One of the key aspects of content analysis is keyword analysis. By analyzing the keywords used in the content, businesses can improve their search engine optimization (SEO) strategies. If certain keywords are overused or underused, adjustments can be made to rank higher on search engine results pages (SERPs). Additionally, content analysis can highlight gaps in content that may be affecting SEO performance, helping businesses stay ahead of their competition.

Aligns Content with Business Goals Every piece of content created should serve a purpose. Whether it’s driving traffic to a website, increasing brand awareness, or converting leads into customers, content needs to align with the company’s overall business objectives. Through content analysis, companies can measure how well content is supporting these goals. If it isn’t, adjustments can be made to improve outcomes.

Audience Understanding Content analysis helps businesses understand their audience better. By examining how different segments of the audience interact with the content, marketers can tailor future content to meet their needs. Analyzing metrics such as engagement rates, click-through rates (CTR), and bounce rates can help identify audience preferences, behaviors, and pain points.

Competitive Advantage Keeping track of competitors’ content can provide a huge advantage. Through content analysis, companies can analyze the type of content their competitors are producing, how it’s performing, and where there might be opportunities to differentiate. This gives businesses a clear picture of the market and helps them stay competitive.

How to Conduct Content Analysis?

Now that we understand the importance of content analysis, let’s explore how to carry out an effective content analysis. While the specifics may vary depending on your objectives and tools available, the following steps outline a general approach.

1. Define Your Goals

Before diving into the analysis, you need to know what you want to achieve. Are you trying to improve engagement? Boost SEO? Understand your audience better? Defining clear goals will guide the entire analysis process.

2. Choose Your Content Type

Decide what content you want to analyze. Are you focusing on blogs, social media posts, videos, or product reviews? Different content types may require different analysis techniques, so it’s important to have a clear focus.

3. Select Key Metrics

Choose the metrics you’ll analyze. For qualitative analysis, this could include tone, sentiment, themes, or visual elements. For quantitative analysis, consider metrics like traffic, engagement (likes, shares, comments), CTR, bounce rate, or conversions.

4. Collect Data

Gather all the content you plan to analyze. This could involve using tools like Google Analytics, social media analytics platforms, or specialized software for in-depth content analysis. Make sure you collect enough data for a comprehensive analysis.

5. Analyze the Content

Now, dive into the actual analysis. Start by identifying trends in the content — look for patterns in engagement, language, visual elements, or even sentiment. In quantitative analysis, you’ll be counting occurrences of certain words, hashtags, or engagement types to identify trends.

6. Evaluate Performance

Compare the results to your defined goals. How well is the content meeting your objectives? Are there areas for improvement? This step will guide your next move — whether it’s tweaking your SEO strategy, shifting your content focus, or adjusting your messaging to better connect with your audience.

7. Make Improvements

Based on your findings, make adjustments to your content. If certain topics are performing well, create more content around those themes. If certain keywords are underperforming, adjust your strategy accordingly.

Conclusion

Content analysis is a powerful tool for anyone creating digital content, whether you’re a small business owner, a content marketer, or a blogger. By regularly analyzing your content’s performance, you can ensure it aligns with your business goals, engages your target audience, and drives measurable results. With the right tools and techniques, content analysis becomes an invaluable resource for refining your content strategy, optimizing SEO, and gaining a competitive edge in today’s crowded digital landscape.

So, start digging into your content today — there’s a wealth of insight waiting to be uncovered!

[kathairoscloset]

Yknow, I know we like making fun of Kaiba for being so obsessed with Atem that he builds a portal to the afterlife "just to challenge the pharaoh to a card game", but I find it so fascinating at the same time because in many ways, Kaiba's grief feels a bit like a reflection of the fans' grief about Atem's departure.

Granted none of us can do the insane bullshit that Kaiba can lol, but many fans do think that having Atem depart isn't real closure, no? For many, Atem dying in this way isn't him 'moving on', it's him just, dying. He was a boy who never got to be a man, a boy who never got to live, and according to the narrative the only way he gets to live is to... die? The hell does that mean, bish he should've stayed! He should've gotten to experience life's ups and downs, play card games, eat falafel, just live life. This is absolutely unfair, it doesn't fit with the story's theme of choice vs. fate, and so and so forth.

And so going to Kaiba, I think a bit of his grief represents that. His lack of closure in his relationship with Atem, the one person who managed to understand him, whose strength he respected, hoped to surpass... is just fucken dead? The hell does that mean, bish he should've stayed! I needed to beat him! I needed him to be here! I need my fucken friend rival back!

And because of that, he goes through everything possible to bring him back. He takes the Puzzle, he disregards Yuugi's worth as just "a vessel", and even after, he still builds that damn elevator just to see Atem again. It's that wish of "he needs to come back" that fans have, only to its absolute extreme, and I find that parallels to it very interesting.

[butchsophiewalten]

It always feels kinda strange to me positing this level of analysis for a series where like. So little of it exists right now, and it has had only such a small opportunity to actually introduce and develop its themes as a work. But I still love to think in part that The Walten Files' narrative can represent the way capitalism enables human abuses and stifles and silences stories of individual suffering.

It's Robot Murder webseries but I think it has a lot of threads that connect to themes of workplace coercion and abuse, to the bystander effect, to the way that individuals looking to cause harm will seek out positions of power and will be granted them out of corporate convenience. The way that victims' stories will be silenced and scrubbed from discourse, perpetuated only through exploitative rumor. And I don't even think these corollaries are necessarily unintentional?

Though we haven't seen this happen in earnest in the series yet, I think a very basic and obvious example comes from the implication that Jack and Felix reached some kind of 'truce' after Edd & Molly's deaths, arranged specifically for the sake of Bon's Burgers' success as a business. We know for a fact, now, that the Founder's Photo was taken after the crash. They are mutually roleplaying an amicable relationship, and in doing so lessening the consequences of meaningful human injustices, (Felix, let's say, deserves to go to prison, or to have his business fail, or to at least be denied the profit and reward from the success of his business, or some other consequence for his actions that isn't just the dissolution of his friendship with Jack,) for the sake of securing a profitable business venture. And I alluded to the aspect of coercion within this. We can imagine from Jack's perspective, say, that he's poured a lot of resources into Bon's Burgers as a financial project, and legitimately cannot afford to see it fail. It would ruin the lives of him and what is left of its family to leave it a crashing burning wreckage, so he sets aside, to some degree, his desire to seek justice, and passes a threshold where he becomes a wilful (note: not "willing") participant in the silencing of injustice.

I think this is going to become, like, an incredibly obvious recurring theme as the series continues. Which it already kind of is. Individuals being forced to adopt some level of complicity in their own suffering. For the sake of capital. We've seen this to some extent with Hillary's Findjackwalten page, where she airs out some of her guilt with having been associated with BSI for such a long time, despite her level of awareness of the company's shady business practice and rumored history of actual crime. One of her friends went literally missing, and she continued working for the company for years.

Another point is that I anticipate part of the reason Charles and Susan sort of kept silence about their discomfort with Felix and his behavior post-crash is so that they could keep their jobs. Sure, that whole inner group of BSI members were a tight-knit "Family", but I think after a certain point the true dynamic became more evident, that Felix was their boss, and that he was only going to put up with so much scrutiny. Which obviously emulates a dynamic that exists in the real world, of an overly friendly corporate environment getting people in a lot of trouble when they realize too late that their boss is still their boss, and that their job will take advantage of the friendliness or charity they decide to show to their "friends" at any and every opportunity.

Just fundamentally, Bon's Burgers, as a business, and as a narrative mechanism, and as a literal front for serial murder, chews through people for the sake of success and profitability, and to guarantee access to more victims. In a way that is sometimes maybe a little bit more literal or fantastical than what tends to happen in the real world. But not that much more literal, because real-world capitalism also kills people all the time.

[maryasmorevna]

so, folks. you're probably wondering why i changed my pfp and mobile theme and why tf is the joker's clown face in it. well! it's because i may be in my batjokes era (again)

[paradife-loft]

istg every time I'm trying to wrap my head around legal rules and restrictions based on the concept of "(rights to) private property ownership of land", I feel like the stupidest person alive

[bl4ckbox]

rewatching squid game. why on earth did everything that happened to this show happen

[sophieswundergarten]

Woke up with immense feelings about SQ, and a... vision of a theoretical scene in Season 2, if he'd actually been there

Okay, so, Curtain is doing some incredibly inadvisable stupid thing as a panic reaction to the compound being infiltrated (Shocking, I know /s) and the kids basically grab SQ and abduct him for a minute to ask some questions and figure out what to do.

(This is a hypothetical situation where Constance isn't whammied and the children all arrive together and of sound mind)

However, SQ is incredibly and inordinately terrified. Following every direction or light suggestion like they have a gun to his head.

They try and sort out what's going on, if he knows anything about Curtain's plan, where the adults are (They got separated), if he's okay, when the kid breaks down crying.

Now, they were slightly concerned because he seemed oddly scared of a group of kids he's at least tangentially met all of before and who are several years younger than him, and he kept cringing like he expected to be hit or screamed at.

At this point we find out the Curtain has swept and fiddled around with SQ's brain enough that he has no memory of the Institute and thinks he's just been living at the compound with his dad his whole life. And as such he's been indoctrinated that everyone from Outside is cruel and awful, and he really is scared out of his mind that the kids are going to hurt him

[doom-nerdo-666]

Note: I’m posting someone else’s art without asking because i thought it looked cool and want to leave source and credit, while making sure the artist gets some support and love.

But just in case: If the artist wishes for me to delete this post, i will.

notramilopak did these D3/4 skins for InfinityPilot and it made me think of various things related to D3 and skins.

Doom 3 skins

I've seen people want a D3 skin and podium for Eternal and it reminded me of something: RoE's marine also had his own unique armor.

Helmet

Thanks to QC, people portray the D3 helmet differently than it actually was in the game.

Probably because the visor was barely noticeable but i wonder if id in that time expected the visor to be seen differently.

(Comparison image by GuyMcBrofist i believe)

D4 marine design

It seems D4 marine did have a helmet but i recall this concept art where the potential player character looked like a very generic military guy.

Like i said in my "ideal Doom 3 sequel" post, at least leave these designs for "the resistance" and come up with better looking UAC guys to be a bigger focus.

CroTeam's Canned Cain

Speaking of Doom 4, you know the Canned Cain in Serious Sam?

I think everyone heard the story of how CroTeam was going to work on a Doom game and why certain designs in Serious Sam look like something out of Doom.

(Also here's this post for reference)

"Deep space Slayer"

QC added elements to Doom skins that weren't in any other Doom game.

Imagine if a new Slayer game was made and the Praetor suit had these upgrades from QC.

(Don't know who made this specific render so feel free to tell me)

But imagine this in a game with more mobility and crazier level design.

Also, here's yet another D4 findings post on Doomworld.

[star-anise]

Disclaimer: I like Anita Sarkeesian.

But also, I just saw a writeup of a Youtuber whose content has come a long way from his Gamergate days, and to explain that, the wiki says, "Anita Sarkeesian is a radical feminist who created a webseries about sexist tropes in video games"

AHAHAHAHAHA ANITA SARKEESIAN, RADICAL FEMINIST

HOO HEE EXCUSE ME THAT'S A GOOD ONE

Radical feminist. Feminist extremist. Anita Sarkeesian.

Anita Sarkeesian did her Master's Thesis in Social and Political Thought in 2010 on the trope of the "Strong Woman" in fantasy and science fiction TV shows, and produced Tropes vs Women, a series of online videos breaking down her work in a way that was accessible to a lay audience. She found a ready audience in geek feminist circles, since this was exactly the kind of thing we wanted and needed right then.

Tropes vs Women was extremely bog-standard cultural critique, what you'd find expressed in discussion between scholars of literary theory or media analysis anywhere, and exactly what 99% of feminists were saying at the time. It certainly talked about patriarchy as the complex system of sexism fused into our cultural matrix, so it's not like it wasn't radical feminism from that viewpoint, but it wasn't "radical" by way of being especially militant. Sarkeesian frequently pointed out how individual occurrences of a trope weren't harmful in themselves, but that a media landscape completely saturated with only that trope and nothing but that trope is, in the aggregate, a big feminist issue.

And the internet

HAAAAAAAATED

her for it.

Like, geek feminists got flak a lot anyway, especially when we wanted things like properly enforced policies against sexual harassment at science fiction conventions. And yeah, there totally were toxic keyboard warriors who said stuff about all men being scum - but Sarkeesian wasn't one of them.

It's probably because of her succinct, matter-of-fact, "this is not a debated issue, feminists have decades of theory and research to back this point up, sources abound if you google for thirty seconds so I won't stop to baby you through all the fundamental concepts" approach that she got such a big reach. She was calm, concise, coherent, and rational, everything feminists are told we need to be.

Unfortunately that just made her seem... attackable, I think. A good target, not actually scary or impassioned, unlikely to respond to violence with violence. The perfect kind of person to play five seconds of, and then spend the next five minutes yelling into your mic because IF ANITA IS RIGHT ABOUT VIDEO GAME SEXIST YOU MIGHT AS WELL SAY THAT EVERYTHING IS SEXIST AND SEXISM IS SYSTEMIC AND ENDEMIC TO ALL OF WESTERN CULTURE AND OTHER CULTURES TOO, WHICH IS CLEARLY RIDICULOUS, ANITA LADY BAD.

She literally spent five solid years as Enemy #1 in online geek spaces. It was completely insane. I am so sorry she had to take the brunt of it, and yet grateful that she did. She held the line and took the shit and kept doing good decent feminist work for years after, though she did admit to burnout and closed up shop on her nonprofit org Feminist Frequency in 2023. I hope to hell she's having a good day.

But even now, more than a decade later, dudes talk about her as though she were Geek Feminist Godzilla, the biggest baddest woman in the universe, off to lay waste to downtown Video Games and cut everybody's balls off.

When people (mostly dudes, but not all) talk like this, it's just very funny and unintentionally revealing because of the absolute averageness of her third-wave, trans-inclusive, western-centric, intersectional feminism. It makes them look absolutely pathetic.

Because it just makes it clear that she is probably the first and last self-described feminist the speaker has ever paid attention to.

[mrchoppedslefthand]

[SPOILERS] Homicipher Is Actually Romantic, Convince Me Otherwise [Analysis/Opinion] [SFW]

Word count: 3,332

Edit: 11/7/2024

[Feel free to skip to the last objective "Individual route discussion + what made it romantic" if you want to get straight to the point]

Homicipher is truthfully a romantic (or platonic) game. It is a game that has to be looked at from a different perspective when it comes to love/romance. A game where you have to take in consideration of the characters and the nature of their 'other world'. Today's post will discuss into what I believe made Homicipher an oddly, but romantic game, despite its shortcoming and abrupt ends.

⚠️[MAJOR LORE/CHARACTER ROUTE SPOILERS] ⚠️

Discussion Objectives:

Definition of Love & how it plays into Homicipher

The nature of the 'other world' and ghosts

Individual route discussion + what made it romantic (thoughts)

What Is Love & How Does It Play Into Homicipher?

Love has many layers of definition and associations. Maybe, that is why some may deem Homicipher to be "unromantic" and some disagree on that thought. It also varies based on the type of content/exposure you had consume in the category of love [whether romantic or platonic]. Socially, from a common standpoint, love is a strong attachment or affection for someone. Often from a social standpoint associated with dates, affection, and intimacy. However, love is always changing, since it is a social script on what its suppose to be, and changes as society progresses. Some notions stay the same but some begin to change (just like how language and certain concepts begin to change in the other world, a different society from our own). For the sake of a "true" definition of love. I will be using the definition offered by the Oxford Language Dictionary. So, what is love?

Love as a noun is...

"An intense feeling of deep affection"

"A great interest and pleasure in something"

"A person or thing that one loves"

Love as a verb is...

"Feel deep affection for (someone)"

"Like or enjoy very much"

Not long after its release there had been a fair number of comments/reviews criticizing Homicipher for its lack of romance. This claim is NOT entirely wrong. From the expectations of a "normal" Otome/dating sim it doesn't necessarily meet the requirements because of its lack of intimacy, affection and interest from a HUMAN/SOCIETAL perspective. We must remember that romance/love does not necessarily equate to kissing, hand holding, and intimacy especially considering that these are the HUMAN (societal) views on what romance/love is. A concept that had become lost in the 'other world'. So how can we call Homicipher romantic if we have to cross out the influence of our society? The answer is that we can't fully avoid it, HOWEVER, we must be open to a different perspective of what 'their' version of love is (platonic love/or romantic). No matter how lacking, dense, twisted and grotesque the moments we have spent with these ghosts are. In some shape and form it CAN equate itself to love (platonic/ or romantic). I think a lot of people forget that time itself can be equate to some complicated level of love. The fact you spend time with someone, and it develops to something further for worse or better, something that even love may not be able to name, is what this game demonstrates.

Homicipher has a consistent theme, the loss of truth, the acceptance of ignorance and the concept of eternity. Which shockingly is where the romance comes from. When we allow ourselves to rot in that world. When we ignore the exit and choose to stay, is where the romance comes through. Love is complicated. What can I say?

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

The Nature of the 'Other World' & Ghosts

Alot of the ghosts we encounter can be friendly, but also just as deadly. We hear it from almost all of the casts warning or discussing about how dangerous a lot of the ghosts (including themselves) roam in this world, and in different endings, succumb to this danger ourselves. The longer we stay in this world, we soon start to become no different. As we, a human, begin to slowly transform into a different entity. We begin to react more violently (though it can be argued that since our MC is a serial killer, she might have just been violent and cruel in general). When angered, or things start not to go her way, she gets filled with bloodlust and takes it out on who she's with. Killing is a common thing to do in this world, especially when experiencing anger, sadness and even boredom. The concept of death is a little complicated as they can easily regenerate themselves back to "life". As the game progresses, we learn that some of these ghosts cannot grasp certain concepts (such as love), remember their own name and self, and don't have exact words (sometimes none) for items.

When sometimes even confessing that you like some of the ghosts they question you, and state that they cannot understand you or that feeling (platonic/ or romantic). We are in a setting that is beyond the mortal realm, there aren't any exactly "ideal" dates in a place different from the moral realm... so you're going to be stuck in a scary place, having a scary "date".

However just because they cannot understand the concept of love, doesn't meant that they can't feel it. It is something that the body may still feel, and the mind not being able to put an identity to that feeling or even situation, since meanings and concepts get lost within this realm. The fact that we are allowed to spend an eternity in this realm, with our handsome casts of ghosts. Is oddly and sadly romantic. For Mr. Crawling it is his devotion and loyalty to you, it is how he worries and cares for you, it is his affection and attempts to soothe you. For Mr. Silvair it is his care for you (as research of course lol), your usefulness (which is why he is attracted to you), but even then, one of his endings he keeps you as a head, when you had become useless to him. For Mr. Gap he finds you intriguing, he wants to play and follow you around, always asking for parts of you with consent, loves to brag about himself to you. For Mr. Chopped it is his want to rely on you, to feel safe with you, to protect him, to spend time with him. For Mr. Hood it his willingness to help you for an eternity, to roam with you forever, keeping you away from danger. For Mr. Machete it is the fact you both spend an eternity searching for a home together, to suffer boredom together, to suffer within each other's presence. For Mr. Scarletella it is his obsession for you and his willingness to spend an eternity with you.

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Individual Routes + What Made Them Romantic

[Not in any particular order]

Mr. Crawling

If I had to rank who had the most "romantic" route overall, it would be Mr. Crawling. With the definition usage of love from the Oxford dictionary, verb and noun he checks all the list. Not only that, but we spend time with him the most out of all the other casts. He was the very first ghost we meet (briefly in the beginning) and got stuck with. We are like a baby bird imprinting on him because we saw him first and spent time with him the most, so of course we might feel the most attached to him compared to the others. As the game progresses Mr. Crawling doesn't fail to let us know that he cares for us and our safety warning us of the dangers that come and explaining how to navigate our way around danger. He expresses his worries when we disappeared. He seems to have some concept of love (platonic/ or romantic) as he admittedly tells us that he likes us and ask us if we like him. He expresses how he wants to follow and protect us. He also has so many cute scenes! Scenes where he pats our head, scenes where we lay together, chat a lot together. He is devoted and loyal to us, never harming us even once.

We even get a scene where he gets jealous when we called Mr. Chopped cute with the cat headband! So, he also makes an attempt to be cute too! We are always together with him, and that makes us BOTH happy. Although we don't have our traditional romantic dates like shopping, movie night. We get a bed scene and get to take him back home with us.

There are many types of romance. Platonic and romantic. You the reader/player is allowed to view it however you want. The game does not punish you for the lack of interactions with the casts. You just end up missing out on certain scenes/moments with them is all. However, for the sake of this post I will be making attempts to talk about the romantic aspect (but platonic romance can also be put into place).

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Silvair

lt's apparent that Mr. Silvair keeps us as research material and confines us in his lair. He is interested in our body, and also interested in returning our mind/intellect back to its original state. It is this interest in us that makes him "love" us. Does confinement and research count as love? Well...maybe not in terms of human definition but in the Mr. Silvair way, it's the closest thing you can get to romantic (or platonic). Afterall, the concept of love has become lost in this world.

I believe he still has some attachment to us, because in the ending A Head's Life, he still keeps you as a companion along with Mr. Chopped. He claims that you are no longer useful/capable but that it is okay, as long as danger is no longer here. When you choose to ask him why he did what he did and ask if he likes you, he tells you it was for research and that love is something he cannot understand. He also doesn't understand why you get so angry when he helped you return your intellect back. He still though has some sort of concept of empathy, because in his route when you choose to kill him and hide yourself away. He comes follow you and expresses that he's sorry and tells you a little about himself. He allows you free will, at this point, allowing you to leave him or stay with him.

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Gap

Mr. Gap always wants a piece of us, literally. Why does he? Because it's just for fun. The most interaction we get with him is through the multiple crevices within this world and the short route he gets in chapter 4. He takes but sometimes may give. However, he doesn't fail to be thoughtful. It's hilarious how in chapter 4 when he offers us a crowbar in exchange for your heart, you can just smack him for it with no consequences. He also likes to brag about himself to you which honestly is a little cute. With his ending Return, we only have him left in the 'other world'. Our comfort lies with him, although he may be a little annoying, he is the only one we have left. We maybe have become a little codependent on him, but maybe he likes that?

God his annoyed/disgusted face is so hilarious, do it again Mr. Gap! He seems to stick around with us mainly just for funsies and being nosy, and honestly, he is so real for that. But it seems he likes to stay around with us at least. In the return end he is with us, and continues to stay lurking, perhaps watching over us until he is needed. Quite handy am I right? Haha.

He is depicted as quite the gentleman, but also just as fun and teasing. There are times where he does help you with no charge, such as barging into his hole (the face he makes in that scene is hilarious). Again, when presented with beating him for your crowbar, he gets a little upset but, honestly still helps you out. He probably thinks violence is funny which is why he constantly still teases you by asking to take away your body parts. It's just too fun!

Someone had brought up to my attention that Mr.Gap tends to ask for parts that can be easy to part with as we progress. Asking for our feet, legs, and fingers instead, when he seems to still clearly prefer the heart over the other parts. He adjusts his request when he realizes we won’t give our heart.

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Chopped

Mr. Chopped is just a head; how can he possibly be or have anything romantic? Well, not necessarily to the level of Mr. Crawling but, we get to have a few small moments with him and spend some time with him. Since he is just a head, he can't help but need to rely on others. Of course, he has to be selectively about it because falling in the wrong hands devastates him.

Mr. Chopped when he gets forced into playing with the deer child, he seems happy to see a familiar face and calls us out to help him. Our poor baby was in trouble!

His ending head hunt is tragically sad but also bittersweet. MC cares so much about Mr. Chopped that she spends an eternity as an entity searching for a lost head, searching for Mr. Chopped who she failed to rescue.

During his own special route Mr. Chopped does his best to help us, but there is only so much a head can do. To make up for his lack of body though, he seems to be more expressive with his mouth and emotions. We get to take him to get a haircut and wash his hair. This seems pretty date like to me. Although our time was abrupt and short with Mr. Chopped. It makes me happy that we get this small, cute scene with him, which makes him much more lovable.

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Hood

Mr. Hood protects you from harm, and also heeds your commands. He also carries you around. He means no harm and is there to guide. He cares for your safety and seems to dislike anything dangerous or threatening towards him and others that he protects.

At the end of his route, he states how often you get in danger and takes you with him, telling you that he must protect you since you asked him to (referring to an earlier scenario when you asked him to stay with you, when you reunited with Mr. Crawling and the others, but he leaves). So I would assume he would always be by your side now eternally staying together and protecting you from danger when needed. How cute! Some people are into that. But personally, for me Mr. Hood felt more like a father/brother to me. Maybe it was because he was always willing to guide us? But some people are into the brotherly/fatherly type of men, and hey I don't judge.

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Machete

At first, I did not see the appeal to Mr. Machete, he seemed like a ghost that killed for boredom and most of the time we just followed him around aimlessly...WELL, after playing his route and letting it soak in my brain. That is entirely the whole point of his character. He is a ghost that had become bored because he had too much time on his hands and continues to search for his home. He is our tsundere dummy macho ghost, and honestly, I love that about him. He could've killed us again like how he tried earlier, but after that first attempt, he reluctantly allows us to follow him. It's funny how much he runs away if the odds are against him, and when he mocks us it's even more hilarious. Mr. Machete likes us if we are strong opponent for him, he even expresses that he thinks we are fun and likes us when we defeat Mr. Hugeface on our own.

Not going to lie, I fell for Mr. Machete right here. We were low on blood, and he just slices his hand, FEEDING us HIS BLOOD. Like OMG that was so hot, he opens our mouth forceful, and we drink his blood. He somewhat cares about us, to be doing all of that for us. After that we get a timed choice to stall or follow him. When you choose to stall he pauses with you and asks if you're okay and to catch up with him. For someone who had been reluctant and annoyed at us for following him, took a moment of his time to wait for you. He WANTED you to tag along with him. We then venture on with him aimlessly searching for his and our home. Torturing each other with our presences. But maybe, just maybe, they can slowly become that home together that they were searching for.

·:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:··:¨༺ ♱✮♱ ༻¨:·

Mr. Scarletella

I LOVE HIM SO MUCH. At first, he appears to be just any ghost that wants to attack us. It took me a while to warm up to him because of so little we knew about him. I thought he wanted to take our name for fun/or collection, but then it's revealed that he knows us. That he harbors some sort of love and obsession for us and believes that we love him because of all the blood and bodies we "offered" him. In a twisted way, this situation is a cute and romantic misunderstanding. Mr. Scarletella fell in love with us for providing him many blood and bodies. He wants us to spend an eternity with him. He WANTS to spend an eternity with us. He invites us to this other world because perhaps he wants us to become a ghostly being just like him, or maybe he wants to have easier access to us (since his myth that he only appears on rainy days) to meet us. Although we didn't get to have as many interactions with him, that is what makes this love toxic. It is a parasocial love, he fell in love with us from afar. When you piece everything together with your dictionary the words he proposes to you sound like wedding vows when you give your name to him. Which make it all so more lovely, even if he takes our soul away.

(My translation/interpretation of the scene, where he asks for your name)

Chapter 2, Scene 24

Scarletella: "You found your name...?"

Scarletella: "Teach me your name." (ARF ARF WRARF)

Scarletella: "I want you." (YES PLEASE)

Scarletella: "Will you give your name?" (OF COURSE)

Scarletella: "Your name?" (👁️👄👁️)

*You give him your name here*

Scarletella: "I have your name."

Scarletella: "I have obtained you." (YES YOU DID, COME TAKE ME)

Scarletella: "Let's leave together." (ARF ARF WRARFFFFFFFF)

Scarletella: "I love you"

Scarletella: "And you love me."

Scarletella: "You gave it to me...Thank you" (I'LL GIVE YOU IT ALL)

Scarletella: "Forever/eternally together..." (YES SIR)

Scarletella: "Together." (ARF ARF WRARRF ARFA)

He is quite the romancer hehe. It seems like Mr. Scarletella has some form of concept when it comes to love, which is to be together forever, even if you end up as a blood pool. Together is together.

I find it interesting how his two endings: Scarletella and Scarlet Rain parallels each other so well. In the Scarletella ending, we (mc unknowingly) give our consent to being together forever with Mr. Scarletella, but we are still alive. When MC wakes up, she sees a clear umbrella on the floor and picks it up. I believe that we have now embodied or spirited the umbrella, spending eternity with Mr. Scarletella. He owns us now.

However, in the Scarlet Rain end he becomes ours, the umbrella stays red, and we still, eternally are together forever.

[jane-asmo]

Why I think Caitlyn didn’t ask Vi for forgiveness

(Thank 'anons' for your messages. I’ll try to respond to you through this text: )

The importance of Caitlyn’s “I know”

A key moment in Caitlyn’s character narrative is her “I know”—both its content and delivery.

The content: When Caitlyn says, “I know,” it doesn’t just mean “You’re right.” It means, “I’ve taken the time to think about this.” And thinking is what Caitlyn does best. Her “I know” conveys that she has already had this conversation with herself, over and over in her head. She’s thought about it constantly, she’s already told herself these things, and she’s already blamed herself for them.

The delivery: She screams it with violence, and we can see this represented by the boat falling apart. It’s not just that she has thought about it; it’s tormenting her. Her “I know” is incredibly powerful because it’s filled with suffering.

To me, this is as valid as an apology because asking for forgiveness is outward-facing—focused on the other person. "Asking for forgiveness" says, “Whether I’ve forgiven myself or not, whether I feel guilty or not, it’s on you to decide to forgive me.”

But here, Caitlyn’s “I know” is inward-facing. It means, “I’m not asking you to forgive me because I can’t even forgive myself.”

She knows everything you’re saying, and it torments her.

This is followed by:

"I didn’t even have time to think before they hauled her off."

This line is so telling. Everything about Caitlyn is tied to thinking and reflection.

Being a sniper means aiming and shooting. Aiming is the equivalent of thinking, and shooting is the equivalent of speaking. Everything Caitlyn does is deliberate and thought through.

This is why some people dislike her: as I’ve said before, unlike other characters, Caitlyn’s actions can’t be forgiven easily because she doesn’t do anything by accident.

Then we get to:

"We can’t erase our mistakes. None of us."

Caitlyn speak in “we.”

In the prison scene with Jinx:

"No amount of good deeds can undo our crimes."

This scene mirrors the rage she felt when she threw the boat. In this moment, she’s speaking to Jinx, but also to herself.

Caitlyn and Jinx are paralleled so many times throughout the show. Caitlyn quickly realized that, in some ways, she had become like Jinx. And so, in order to forgive Jinx, she would first have to forgive herself.

At this point in the episode, the person Caitlyn hates the most is herself.

But she no longer has the "energy" to hate, neither Jinx nor herself.

Energy comes from fuel. What she perceives as a lack of strength to keep fighting is simply the fact that the fuel that powered her hatred has disappeared. And when you stop feeding a fire, it eventually dies out. She has no energy left; she has no fuel to sustain her hatred.

It's a particular way of saying, I don’t hate you anymore, and I don’t want to hate myself anymore either, because in the end, that hatred corrupts us/everything .

In her own unique way, Jinx also says, I didn’t know your mother was there, even if it wouldn’t have changed anything. And this too is a strange way of taking a step toward the other.

We have two brilliant and intelligent women who express their emotions in unconventional ways. ----------

There’s also a whole analysis that could be done about her concept of justice and rules, "but I don’t have the energy" to dive into that here. Still, it would only lead back to the fact that Caitlyn doesn’t see herself as the right person to free Jinx (and therefore to forgive her) because she believes she herself is beyond forgiveness.

[actuallyjustabiscuit]

*wheezing*

k-keep going

*runs into the room and grabs you by the throat*

While Jax says he likes Gangle better when she's sad, Ragatha, brutally honest off stupid sauce, says Gangle is annoying when she has her happy mask.

She isn't saying she prefers Gangle sad. She's saying she doesn't like her performative masking. Which Ragatha herself is VERY guilty of, with her constant forced positivity, faking it to the point where she comes off as ungenuine at times. She can see right through Gangle's attempt at faking a smile.

*squeezes your neck harder* Hey can u breathe

[writer-logbook]

How I improved my writing style... without actually writing.

Intro : It's just a clickbait title to talk about theory and side techniques - before actually practicing, of course.

LINGUISTIC ISN'T GRAMMAR - AND IT'S BETTER TO KNOW ABOUT BOTH. It's useful for writing impactful dialogue and giving your characters depth. Your characters' language should (ideally) take into account: their social position (rich or poor), the locality (local expressions?) and sometimes their age (different cultural references). And this is best transcribed with linguistic knowledge. In short: linguistics is descriptive, grammar is prescriptive.

The areas of linguistic analysis are syntax (rules governing the structure of sentences),  semantics (meaning),  morphology (structure of words), phonetics (speech sounds and equivalent gestures in sign languages), phonology (the abstract sound system of a particular language, and analogous systems of sign languages), and pragmatics (how the context of use contributes to meaning). (Linguistics, Wikipedia)

Literary theory isn't as boring as it sounds. Learn more about internal criteria of the text (figure of speech, style, aesthetic...) and external criteria of the text (the author's persona and responsability, the role of the reader and what is left to interpretation...). I refer you to the French Wikipedia page, which you can translate directly via your browser in case you need more information. (Make sure you translate the page not switch language, because the content isn't the same).

Listening to Youtube Video about the analysis of film sequences and/or scenario. Remember when I told you to read historical fiction to learn how to describe a castle properly ? Same vibe.

Novel adaptations of movies. = when the movie exists before the book, and not the other way around. e.g : The Shape of Water ; Pan's Labyrinth. In line with tip n°3, it allows us to see how emotions, scenes and descriptions have been translated into writing - and thus to better visualize concepts that may have been abstract.

Read books about authors' writing experiences. e.g : Stephen King, On Writing: A Memoir of the Craft. Everyone's different, but they can provide some insightful tips not only on the act of writing itself, but on the environment conducive to writing, planning… Comparing completely different authors' experience could also be fun (this video of King and Martin is actually one of my fav)

Ah and many thanks for your ❤ and reblogs on my latest post ! UwU

[shaiyasstuff]

my little demon | rafayel

synopsis : You accidentally summon a demon. He's annoying, endearing, and suddenly leaving. You hate it, hate him. Except, maybe you don't. And maybe that's the worst part. content : demon!rafayel, fluff, poor references to hell, comedy

“Y/N.”

“What?”

“Y/N.”

“What?”

“Y/N.”

“For fuck’s sake, Rafayel, do you not understand what time out means?” you snapped, slamming your pen down like it had personally wronged you. You turned to him, already bracing for the face.

And there it was.

Big eyes. Slight pout. That tragic, kicked-puppy expression that made him look like a freshly scolded Disney sidekick.

“You look like a goldfish,” you deadpanned.

“Hey!” he gasped, hand flying to his chest like you’d just impaled him. “A cute goldfish though?” He double finger-gunned at you, winking.

You blinked. Twice. “You’re so lucky you’re already from hell.”

Rafayel just beamed like you’d complimented him.

“‘Yel,” you groaned, rubbing your temples, “I have three thousand words due by tomorrow, and my prof already hates me because I made a joke about Plato being a drama queen. If I don’t finish this, he’s going to flay me.”

“I still don’t get why you humans do this to yourselves,” Rafayel muttered, kicking his legs from where he was perched upside-down on your desk chair like an overgrown toddler. “You pay to be stressed out. Should’ve just sold your soul like a normal person.”

You gave him a look.

“Oh wait.” He grinned, sharp teeth peeking out. “Too late.”

You considered throwing your textbook at him. Not that it would do anything. He’d just catch it mid-air with a smug smirk and then use it as a coaster for his bubble tea.

Because, yes, your demon—your demon, what the actual hell—had a crippling addiction to boba. Specifically the strawberry milk tea kind. With rainbow pearls. That he insisted on ordering with your credit card.

How did it come to this?

Well. You were trying to write your thesis.

A comparative analysis of ancient summoning rituals and modern occult trends.

Cool, edgy, mildly creepy.

Your professor was thrilled.

You, on the other hand, were downing energy drinks and googling ‘curses that don’t backfire’ at 3AM.

Then you found The Website.

Black background. Red font.

Very ‘do-not-enter-this-site-if-you-value-your-soul’ vibes.

So like anyone with a brain, you clicked it.

You followed the instructions—chalk circle, candles, some vaguely Latin-sounding chants—and when nothing happened, you shrugged and went to bed, convinced you’d wasted twenty bucks on witchy candles and your last shred of dignity.

Then you woke up to glowing eyes staring down at you from your ceiling like some paranormal ceiling cat.

You screamed. Loudly.

Your RA came running, ready to fight a serial killer, only to find you clutching a pillow and pointing at an empty spot on your ceiling like a madwoman.

He backed out of your room slowly, muttering something about, “freshman psychosis” and, “never rooming with a lit major.”

And now?

Now you had Rafayel.

A demon with a temper shorter than your GPA, a weird fixation with glitter, and a total disregard for personal space, deadlines, or the human concept of privacy.

He refused to leave.

Something about your summoning being ‘binding’ and your ‘aura’ being ‘weirdly cozy.’ Whatever the hell that meant.

You sighed and turned back to your laptop, muttering, “Why couldn’t I have summoned, like, a chill ghost? Or a vampire with a tragic past?”

From behind you, Rafayel hummed, “You say tragic past, but I am the reason a small village disappeared off the map in 1437.”

You didn’t even flinch. “Good for you.”

“And yet, here I am. Reduced to being your emotional support demon.”

“Reduced? No one asked you to rearrange my spice rack alphabetically and by Scoville level.”

“Blasphemy tastes better with cayenne.”

You didn’t look up. You didn’t respond.

You simply typed.

And hoped to hell—or heaven, or the void between—that this paper would write itself before you lost your last brain cell.

You felt the faint, ominous creak of your desk chair’s twin moving behind you—the low growl of overworked wheels scratching across old floorboards.

Which meant that Rafayel was on the move.

And sure enough, a second later, he was right beside you, chin practically glued to your shoulder as he peered at your screen like a nosy toddler who had just discovered the concept of YouTube.

“Oh my god,” he whispered in genuine horror. “What is that supposed to be?”

You blinked. “It’s a nineteenth-century etching of a demon.”

“That,” he pointed dramatically, “looks like if a goblin and a melted candle had an unfortunate child.”

“…Well, it is hell,” you muttered under your breath, barely suppressing the eye twitch as he recoiled at the grotesque, horned figure on your laptop like it personally offended his bloodline.

“It’s just—ugh! You humans get it so wrong.” Rafayel flopped back into his chair with a dramatic huff, lacing his fingers behind his head like this was a casual TED Talk and not your descent into academic burnout.

“Lucifer’s not some scary, flaming rage monster. He’s actually pretty chill. Bit moody. Likes jazz. Wears a lot of silk.”

You blinked slowly, fingers hovering over your keyboard. “Wonderful. Shall I cite you as a primary source, then?”

“I mean, I did know him.”

“Of course you did.”

He grinned, cocky and unbothered, like he hadn’t been singlehandedly driving you to the edge of sanity all month.

You slammed your palms onto your desk with the force of a caffeinated raccoon reaching enlightenment.

“Rafayel.”

“Yes?” he said sweetly, as if he hadn’t just derailed your concentration for the fifth time in under ten minutes.

“I am a senior,” you began, voice dangerously calm, “in the final semester of a four-year degree that I am barely surviving. I have not slept in two days. I have eaten nothing but cereal dust and vending machine pretzels. My thesis is currently being held together by three weak metaphors, one questionable source, and the power of denial.”

You took a breath, gaze narrowing.

“So unless you want me to start writing my next section on how modern demons are somehow worse than capitalism—Shut. The fuck. Up.”

There was a beat of silence.

Then he gave you a slow clap.

“I love it when you get feisty,” he said, grinning.

You turned back to your screen.

He was lucky he was immortal.

—•

You threw your hands in the air like a malfunctioning robot powering down for the last time and muttered a tired, deadpan, “Yay.”

The kind of yay that carried the weight of sleep deprivation, caffeine addiction, and a vague desire to start life over as a forest hermit.

When you turned, Rafayel was mid-hover above your bed—legs crossed in an upside-down floating genie pose like some unholy yoga instructor. His head hung just low enough to make direct, smug eye contact with you.

“I’m done.” you declared, the kind of joy only reserved for finishing a thesis or surviving a group project with your sanity intact.

“Finally,” he drawled, tossing his ninety-ninth boba cup into the bottomless trashcan of the void like a three-point shot. The lid landed with a soft clink that echoed like judgment.

You stared at him. “Is that my hoodie you’re wearing?”

He shrugged—midair, still upside down. “It smells like you. Very… stressed and academically overachieving.”

You flopped face-first onto your bed with a groan. “Why are you like this?”

“I’m your emotional support demon,” he chirped. “I’m doing my job.”

“Do your job quieter.”

“That’s not in the contract.”

“There was no contract—”

“You summoned me with ancient Latin and expired lavender candles. I’d call that consent.”

You groaned into your pillow. He was unbearable. Infuriating. Downright catastrophic.

But also… a little fun.

Stupid adorable demon.

“How do I even get rid of you anyway?” you mumbled into the depths of your pillow, the words muffled but laced with the kind of dramatic despair that came after surviving both a thesis and Rafayel.

Silence.

Unusual silence.

Suspicious, even.

You lifted your head just enough to peek over your arm. “…Rafayel?”

No answer.

You sat up fully now, squinting toward your desk—where the demon in question was oddly still, back turned, his usual commentary absent.

That was never a good sign.

You got up, padding quietly across the room like one of those horror movie girls who absolutely should not go toward the ominous figure, but does anyway because narrative choices.

There he was, standing in front of your laptop, staring at the still-open tab with the medieval etching of hell. The fire, the grotesque figures, the tormented souls—all frozen in digital interpretation.

You stopped a few feet behind him. “…You okay?”

His posture didn’t shift. He didn’t crack a joke or throw a boba cup into the void.

Just stared.

And when he finally did speak, it was quieter than you expected.

“They always get it wrong,” he said. “They make it all fire and fury. Screaming. Violence.”

You frowned, uncertain.

He turned slightly, just enough for you to see the flicker in his expression. Not anger. Not smugness.

Something else.

“They forget it’s mostly just… quiet down there.”

You didn’t say anything. You didn’t know what to.

So you just stood there, behind the demon you summoned on accident, watching as he looked at a world that feared him—and didn’t understand him at all.

He finally turned to look at you, and there was that flicker of a smile again—gentler this time, almost… nostalgic?

“Hell isn’t that bad, you know?” he said, like he was trying to convince you, or maybe just himself. “I had friends down there.”

You raised an eyebrow, arms crossing. “You? Have friends? Shocking.”

He snorted, shaking his head. “Rude. But fair.”

Still, the sarcasm didn’t fully return. His shoulders relaxed a little, and his gaze dropped for a moment like he was remembering something that didn’t belong in this room, in this world.

“Yeah,” he said. “We may not have souls, but we’re not cold-blooded beings who only love torture.”

A pause.

His lips twitched. “Okay. Maybe some of us are. Gormax really enjoyed the whole spine-peeling thing.”

You blinked. “That’s not a real name.”

“Swear on the Void.”

“…You people need hobbies.”

He grinned again, but this time you noticed the faint sadness beneath it. Not enough to take over, but just enough to linger.

You glanced at your laptop, still glowing with the static, flaming misery of a human’s idea of damnation, and then back at him.

“You miss it?”

Rafayel shrugged. “Sometimes. It’s home. In a weird, messed-up, infernal kind of way.”

You nodded slowly.

And maybe—just maybe—you started to understand.

“I mean, I understand. I miss home too. But,” you sighed, dropping back into your chair with a quiet thud. Rafayel hovered beside you again, floating like some dramatic ghost lamp as he waited—surprisingly quiet, for once.

“My parents passed away two years ago,” you said, voice soft, almost careful, like the words had grown sharp with time. “So I’ve been avoiding going home. It just… doesn’t feel like it anymore.”

You didn’t look at him as you spoke. Just clicked through the open tabs, saving your thesis with methodical clicks. Save as draft. Save to cloud. Back up to your USB, just in case the universe decided to smite your hard drive out of spite.

The silence that followed wasn’t awkward—it was heavy. Like a blanket pulled over your shoulders that you didn’t ask for but kind of needed.

Rafayel didn’t say anything right away.

He didn’t make a joke.

Didn’t deflect.

He just hovered beside you, gaze steady, presence uncharacteristically… grounded.

And for once, you didn’t feel like talking was wasted.

You shrugged off the creeping melancholy with a light chuckle, brushing it off like lint from an old sweater. No need to get all soft and sentimental—this was supposed to be your break from the feels, not a therapy session featuring one floating demon roommate.

Turning to Rafayel, you expected another sarcastic quip, or maybe a comment about your overuse of the word “therefore” in your thesis. But instead, he was just… staring at you.

Not in his usual annoying way.

Not the 'I’m about to tease you for eating dry cereal out of a mug again' way.

Just quietly watching you.

“Tell me more,” he said.

You blinked. “Huh?”

He leaned in a little, expression unreadable. “Tell me more about yourself.”

You froze.

Not because you didn’t want to—but because no one ever asked that. Not like that. Not seriously.

Not with that kind of openness in their voice, like he actually wanted to know.

The demon you accidentally summoned from a sketchy website at 3AM, who drinks boba like it’s holy nectar and thinks your hoodie smells like existential dread, was asking you—you—to talk about yourself.

You were stunned.

Then you did the only thing that made sense.

“…Okay,” you said quietly. “But only if you go first.”

He tilted his head, lips curling into something that wasn’t quite a smile—something more honest. “Deal.”

You lay sprawled on your bed, one leg dangling off the side, your pillow tucked under your chin like a sad little emotional support loaf.

Across from you, Rafayel spun slow, lazy circles in the air like some haunted carousel ride. At one point he did a full backflip and declared it, “aesthetically necessary.”

And somehow, between the jokes and the occasional sarcastic remark, the conversation had slipped into something real.

You told him about your past. Your parents. The quiet house you grew up in. How you always wanted a sibling—not just to share toys with, but to not feel alone when the lights turned off and grief crept in.

You told him about the accident, how it felt like the world just stopped, and you were the only one still moving.

And he listened. Actually listened.

In return, he talked about the Void—though you were beginning to think “hell” was more of a branding issue than a literal place.

He described it like a strange bureaucracy: souls sorted, some punished, others recycled, a few left in the waiting room forever because someone misplaced their paperwork.

“Torture chambers are real, yeah,” he said casually, floating upside down with his hair hanging like a purplish waterfall. “But they’re for the actual evil ones. Not the spicy-sin level ones. Just murdery, unforgivable bastards.”

He paused, then smirked. “It’s always funny when a priest walks in. So shocked. Like, sir, you were literally laundering money and judging people for existing.”

You gave a snort-laugh, despite yourself.

Then you sat up, narrowing your eyes. “Okay, but—what is your role in all this? Why are you so free to be here, doing aerial tricks in my room and spending thousands on my credit card like it’s demon Black Friday?”

Rafayel floated to a stop, blinking.

Then he stretched out like a cat mid-yawn. “Technically, I’m a scout.”

“A scout?”

“Yeah. Recruits, human surveillance, some possession clearance checks, the occasional ‘make a deal for your soul’ gig—basic intern stuff.”

You gawked. “You’re telling me you’re a hell intern?”

He smirked. “Unpaid, of course. And overqualified.”

You dropped your head into your hands. “Of course you are.”

He floated a little closer, a glint in his eye. “But I was top of my class in emotional disruption and distraction techniques, thank you very much.”

“Yeah. I figured.”

He smirked, all teeth and knowing glint. “You’ll miss me.”

You blinked.

Then immediately scowled. “Fuck no.”

But the twinge in your chest—the subtle little ache—said otherwise.

Betrayal. By your own heart.

Rude.

Rafayel, of course, noticed. He always did. The bastard was like an emotion-sniffing dog, except instead of alerting people, he just smirked more.

“When I get promoted,” he said, reclining into his imaginary armchair like some otherworldly sitcom character, “I’ll finally be able to go back.”

Back to the Void. To hell.

To wherever demons like him belonged when they weren’t terrorizing emotionally constipated college students and draining their boba budgets.

You went quiet, lips pressed together.

Then, softly—almost like you weren’t sure you wanted to hear the answer—you asked,

“What if I want to see you again?”

He turned his head, cocking a brow. “I thought you wanted me to begone?”

“Well, yeah,” you mumbled, rubbing at your neck like you could hide your embarrassment behind muscle tension. “That was before I thought you were… fun.”

Rafayel blinked. Then blinked again, stunned just long enough for you to feel like maybe—maybe—you’d glitched the demon matrix.

“Fun?” he echoed, the grin creeping back slowly. “You think I’m fun?”

“Don’t make it weird.”

“Too late.”

You groaned and rolled back onto your bed, covering your face with your hands.

From above, you heard the soft flick of a boba straw unwrapping. And then—

“You’re fun too, you know,” he said.

You peeked between your fingers.

He was still floating. Still smug. But maybe—just maybe—a little softer.

masterlist

[echoekhi]

I’m Declaring War Against “What If” Videos: Project Copy-Knight

What Are “What If” Videos?

These videos follow a common recipe: A narrator, given a fandom (usually anime ones like My Hero Academia and Naruto), explores an alternative timeline where something is different. Maybe the main character has extra powers, maybe a key plot point goes differently. They then go on and make up a whole new story, detailing the conflicts and romance between characters, much like an ordinary fanfic.

Except, they are fanfics. Actual fanfics, pulled off AO3, FFN and Wattpad, given a different title, with random thumbnail and background images added to them, narrated by computer text-to-speech synthesizers.

They are very easy to make: pick a fanfic, copy all the text into a text-to-speech generator, mix the resulting audio file with some generic art from the fandom as the background, give it a snappy title like “What if Deku had the Power of Ten Rings”, photoshop an attention-grabbing thumbnail, dump it onto YouTube and get thousands of views.

In fact, the process is so straightforward and requires so little effort, it’s pretty clear some of these channels have automated pipelines to pump these out en-masse. They don’t bother with asking the fic authors for permission. Sometimes they don’t even bother with putting the fic’s link in the description or crediting the author. These content-farms then monetise these videos, so they get a cut from YouTube’s ads.

In short, an industry has emerged from the systematic copyright theft of fanfiction, for profit.

Project Copy-Knight

Since the adversaries almost certainly have automated systems set up for this, the only realistic countermeasure is with another automated system. Identifying fanfics manually by listening to the videos and searching them up with tags is just too slow and impractical.

And so, I came up with a simple automated pipeline to identify the original authors of “What If” videos.

It would go download these videos, run speech recognition on it, search the text through a database full of AO3 fics, and identify which work it came from. After manual confirmation, the original authors will be notified that their works have been subject to copyright theft, and instructions provided on how to DMCA-strike the channel out of existence.

I built a prototype over the weekend, and it works surprisingly well:

On a randomly-selected YouTube channel (in this case Infinite Paradox Fanfic), the toolchain was able to identify the origin of half of the content. The raw output, after manual verification, turned out to be extremely accurate. The time taken to identify the source of a video was about 5 minutes, most of those were spent running Whisper, and the actual full-text-search query and Levenshtein analysis was less than 5 seconds.

The other videos probably came from fanfiction websites other than AO3, like fanfiction.net or Wattpad. As I do not have access to archives of those websites, I cannot identify the other ones, but they are almost certainly not original.

Armed with this fantastic proof-of-concept, I’m officially declaring war against “What If” videos. The mission statement of Project Copy-Knight will be the elimination of “What If” videos based on the theft of AO3 content on YouTube.

I Need Your Help

I am acutely aware that I cannot accomplish this on my own. There are many moving parts in this system that simply cannot be completely automated – like the selection of YouTube channels to feed into the toolchain, the manual verification step to prevent false-positives being sent to authors, the reaching-out to authors who have comments disabled, etc, etc.

So, if you are interested in helping to defend fanworks, or just want to have a chat or ask about the technical details of the toolchain, please consider joining my Discord server. I could really use your help.

------

See full blog article and acknowledgements here: https://echoekhi.com/2023/11/25/project-copy-knight/

[encantobrainrot365]

I love this deleted scene.

It feels so in character for the two of them.I love the visuals as well as Bubo’s unique personality.

I can see why they deleted this scene but I also see how it connects to the movie’s premise and the fight the girls have in Isabela’s room.

In this scene it’s clear that Mirabel does care about her sister but she doesn’t know Isabela & she doesn’t respect her. Neither of them do.

You can tell that the argument they’re about to have is going to lead to the same place it does in the film. That Mirabel thinks Isabela is selfish, but Isa has never wanted the life she’s been living, as her Abuela’s Perfect Princess 🌸👸🏽🌸

What Isabela wants, more than anything is the freedom to be herself. We can see this, in the way she’s wearing overalls for this scene instead of the delicate dresses she wears so often in town.

If Isa were to marry a man someday, it would be someone like Bubo Marquez, who is weird and totally unapologetic about it. He is comfortable with who he is and would in turn embrace Isabela for who she is outside of her pretty and perfect persona.

That said, I still head canon that Isabela is queer. 🏵️💛🧡🤍💜🩷🌺 (🏳️‍🌈👩‍❤️‍💋‍👩👭). So in universe, I ship her with Bubo’s female counterpart, Beatriz, who is inspired by Isa’s friend in Birds of Paradise by @cheetee on ao3

Disney’s Encanto | Isabela Goes Into the Woods (Deleted Scene)