#posts with a target audience of one: the original poster

[suchacomet]

scene vi - the awakening of spring: a tragedy of childhood by frank wedekind, 1899, trans. francis j. ziegler, 2011 // episode 4: switch hitter - a league of their own, 2022

[gacha-incels]

the otome gacha “Love and Deepspace” made a shit ton of money last month and apparently it scared the guys on gachagaming so shitless their thoughts instantly went to “being replaced by sexbots” for some reason. Does this happen when any all female gacha or female banner would top the charts? No, I’ve never seen women immediately make paranoid posts about being replaced with sexbots when this happens or discussing “well it made money, BUT….” I’ve seen men think women will freak out en masse about the thought of being replaced by some “sexbot” but I’ve never seen it actually happen, at least not as much as men freak out and think it’s the end times when like…a gacha game with a male cast makes a lot of money. It’s very telling.

I posted this here for a few examples in english/more western SNS of what we’ve been seeing while looking at the specific incel groups in South Korea and to a lesser extent China recently. Some of the posters may even be from those communities, in which case it’s also worth it to note how these ideas may travel from community to community. A big one is “this doesn’t count because the money is actually not even from women to begin with it’s from (male in her life)” - in this way it doesn’t matter how much or how little the game makes, the financial success will always be due to the powerful finances of a man. they flatter themselves thinking they own the industry in this way, even the games that pander to women. Newer ones I’m seeing are “actually it only makes this much money because men can spend on different gachas/vtubers(?)/games and this is the only thing women can spend on,” and “women are really hard to market to that’s why no one does it” - the first one you can tell is coping. the second one is also ridiculous as the reply says, women spend on male character banners and merch like crazy and the data is, again, right in front of you. The panic of “I hope this doesn’t catch on globally 😰😰😰” from the OP in one of the replies is funny but reminiscent of the “(if there are) men don’t play (the game)” fear of “genshinification” of gacha where male characters pandering to female players will be increasingly be added to gacha games.

Finally (and I’ve mentioned this in previous posts)I added the last one because it’s something I’ve witnessed frequently in all of these “communities,” if there must be male characters in the game they need to be “manly” and “masculine” - these things meaning looking strong, buff, built “proper men.” they will describe Genshin/mihoyo male characters as “femboys” or “twinks”, on a related note I have no idea how that term has gotten so far away from its original meaning and community that these anime nerds throw it out left and right like it’s nothing. You are probably looking for the term “bishounen”. anyway this poster says “women want masculine men” and I’ve seen a lot of guys say this regarding these games though the data absolutely does not show it. this is just the type of male design that they want because the bishounen male that panders to women in “their” game makes them uncomfortable. Look at the male characters who are designed for women in these games. Project Sekai, Ensemble Stars, Genshin, etc. they’re typically lithe and beautiful, mischievous, cute looking. Look up the type of fanart women and girls from a big target market like China make on Lofter, they’re not making these guys in the western ideal of “proper masculine man.” But frequently I see guys pretending the majority of women hate these types of designs that they actually hate. I mean you can already tell what kind of guy this is when he writes “modern woman is not feminine” lol. But there is absolutely a consistent hatred shared between all these men from different communities on male characters that pander to women in this way, part of this is definitely hating the fact that this character has been made for the female audience who they don’t even want playing the game.

[toychest321]

Yet another rare MGA post from me, but this Twitter (no I will NOT say "X") user's point actually really disgusts me having been a fan and supporter of Naturalistas for a while

Naturalistas may not be targeting especially young children like their Healthy Roots or Littlelistas dolls, but they're still roughly the same size and proportions as Barbie, who no one attempts to argue isn't targeting a younger audience in her current era.

Their creator, DeeDee Wright-Ward, has said in an interview with EEW magazine: “There is an over-representation of long straight hair and long loose curls across the Black doll category ... The reality is that many African American children actually have gorgeous, tightly coiled hair" Proving that the line was, in fact, meant to provide that representation for children.

Of course I agree with the original poster's point regarding younger target audiences deserving quality just as much as older target audiences, assuming that Naturalistas must have had "older collectors" in mind ascribes maturity simply on the basis of their prioritization of black features and textured hairstyles.

Just as children deserve high-quality dolls too, black children deserve dolls with features they can see in themselves.

Anyway, with my rant over, I'd like to remind all of you to support these peoples' GoFundMe's so they and their families may escape Gaza safely

[duhragonball]

Cab you check out my post?

There are only two posts on your blog. The first one is a short video clip of Goku and Bardock set to a song I've never heard before. I don't really understand it, but I'm a middle-aged man who listens to dadrock all the time, so I'm probably not the target audience. I can't really offer an opinion on this.

The other is you introducing yourself and inviting people to follow your blog. That's... not really how this works. I'm guessing you're new to tumblr, so I'll try to explain.

Basically, you have to earn followers. You can't just ask people to follow your blog. Well, you can, but it probably isn't very effective. You have to give people a reason to want to follow your blog. You're trying to get people to look at the stuff that's already on it, and get them to think: "Hey, this is some cool stuff, I wonder what cool thing will show up on here next? I'd better follow this blog to find out."

Of course, for that to work, you actually have to post some stuff in the future, to pay off that notion. If you don't post cool stuff fromt time to time, then there isn't any point in following your blog, because there's nothing new to look forward to. A person could just skim through your archives and never come back. They've seen everything there is to see, so why bother following?

Okay, so you have to post cool stuff over time, how do you do that? Well, you've already started by making that video clip. You make your own stuff and post it and tag it so people can find it. You can make more video clips, or make a gif, or post screencaps, or draw a picture, or write your thoughts on a particular character or storyline. It can be whatever you want as long as you don't just copy someone else's material.

My advice is to tag the relevant characters in those posts, along with the name of the show they're in. That way when people search for those tags, they'll run across your stuff. If they like it, and if you demonstrate a willingness to make more, then they'll stick around and see what you've got.

Reblogs are also important. The nice thing about tumblr is that you can reblog cool stuff that other people made, and present it on your own blog as a sort of tribute to the original poster. Of course, it helps to follow other blogs to find the sort of stuff you want to reblog. Find artists you like and follow them. Reblog their posts when you like them, and reblog the things they reblog. The only rule is that you have to enjoy it.

This is what people mean when they talk about "curating" a blog. You're deciding what to put up there every day. One day it might be a poem you wrote, the next day it might be a YouTube video you wanted to talk about, the next day it might be a reblog of some fanart you liked. The next day it might be nothing, because you didn't feel like posting or reblogging anything that day. It's all up to you.

Over time, you'll develop a certain "flavor" to your blog, a style that visitors can come to expect, and some of them will decide they like it enough to stick around. But that doesn't happen overnight. It's something you build, and that's why I say you have to enjoy it. Because if you just post and reblog content for clout, you'll only make yourself miserable. Your audience begins with you, so focus on the material that you want to see, and find out who's interested enough to check it out. That might be a solitary process for a while, but that's the way it goes.

[problematicfactive]

https://www.tumblr.com/problematicfactive/733976132482891776 -> the OP excludes factkin for some reason, just want to let you know

I do not dislike factkin. I don't have anything against them and also have no intentions of hurting people. That being said, this isn't a factkin blog. It never has been, and the message of this blog has never been angled towards factkin.

I'm aware that some of my viewers found me through blogs that are explicitly pro factkin or, in the case of one blog, factkin oriented. But as npc has said, we keep our stance on most things quiet because that isn't what the blog is about. And in the case of that factkin blog, I really wish they didn't reblog my posts in the first place. Nothing against factkin folk, my content is for problematic factives specifically. That's who I cater my content towards.

If it helps you, that's amazing, I'm glad you're able to take something on the internet and turn it into a way to positively affect your life, all I ask is that it be understood that you aren't the target audience. (You being any nonfactive factkin in my audience.)

I see on the daily posts along the lines of "here's how to disconnect from your source" "here are tips on source disconnecting" "here's what helped me disconnect from my source" and that's not what I want.

For problematic factives, postfactivehood is expected. People will pretend to be in your support and absolutely turn on you when they find out you have no intentions on being a postfactive. They only support you for you when you're actively seeking to not be yourself. It causes problematic factives to try to rip themselves from their identities.

A lot of them do. Or at least, they try. Then they realize the pain or discomfort of being someone else is worse for them than just being who they are. Then they're miserable and theyre stuck, and as someone who's been there, I hate the idea of it. I thrive on pushing the idea that it's okay not to seek postfactivehood. My blog is not for postfactives. It's for factives.

I reposted that for the problematic factive following me that's in that weird state of. Not really being themselves anymore. And being miserable about it. I want them to know they can come back if they want. And I want them to know that I'll take them in.

I know factkin probably go through very similar things. If a problematicfactkin blog were to pop up, I'd very much support the concept. But that's not me. I'm not factkin and I can't speak for factkin, we aren't the same. My best friends are factkin and I'm reminded everyday that they're factkin and I'm a factive and, yeah, there are similarities. Big ones. But we are not the same.

I was not aware of the original posters stance on factkin, but that doesnt change the fact that Its a good list. I couldn't think of much more to add to what they had or I'd make my own. Unless I come up with enough to make my own, I'm not going to take that one down. I'm sorry if that's upsetting.

[remidyal]

I'm yoinking this from twitter because I don't post there anymore but I still occasionally check on things there and I thought it was fun. Apologies if the original is on tumblr somewhere but I looked around and didn't find it circulating:

Row 1: Ditch Bloodkeep even though it's great because look what it's up against, especially since the sequel seasons aren't on here so I'm counting those with.

Row 2: Ditch Tiny Heist, which I consider the only actually bad D20 season.

Row 3: Ditch Misfits and Magic because... yeah I've talked about this before. If not for that, it'd be a little close between the two M&M seasons, but Mice and Murder doesn't have that baggage for me.

Row 4: Shriek Week, though it's close between that and Coffin Run. ASO against those two is kind of wild.

Row 5: Close between Ravening War and Dungeons and Drag Queens, but I'm not really the target audience for the latter and I'm ditching it. ACoFaF outdistances the other two by a mile for me.

Row 6: Ow, this feels like cheating since it's the potential of Burrow's End against the completed versions of the other two. For the moment, I'd ditch Burrow's End but my feelings on Never After are mixed and that one might change. (Also worth mentioning the original poster made the last two harder by switching Dungeons and Drag Queens and Never After in the order - I'd easily drop Ravening War and Dungeons and Drag Queens out of the last six otherwise.)

[monocotyledons]

i couldn't stop thinking of that ateez as touken ranbu swords fanart so i showed it to @lilplilplilp and we ended up brainstorming what sword school designs would work best with txt. (no gous because picking the sword school that is literally Idol Swords is cheating.) this is what we came up with so far:

soobin: kunihiro. this is purely based on vibes and aesthetics? i think he would look good in the trademark kunihiro pinstripes with some additional layers + details to give it lots of depth. but also his shyness & insecurities remind me of yamanbagiri, while his dependability reminds me a bit of horikawa!

yeonjun: sanjou. ok confession time my original choice for him was kotetsu for purely self-indulgent reasons -- nagasone is my oshi (yes i know he's technically not a kotetsu but still) and yeonjun is my bias so ofc i'm gonna combine the two and ascend straight into heaven. but we also thought of sanjou bc yeonjun gets teased a lot for being old and sanjou is the school of old man swords. and i think he'd pull off the heavy, dramatic draping of sanjou outfits well! specifically i'd put him in a kogitsunemaru-esque design bc 1) they are both foxes and 2) kogi's sleeveless IA outfit with the low neckline??? yeonjun would rock that and also i would die

beomgyu: kanesada. this was the easiest one to match tbh? kanesadas in the game have two overarching traits: 1) they are serious / passionate about the arts and 2) they are unhinged. kasen is the poster child for this but i think ningen mukotsu is also a good example: he's loud and wild on the battlefield but very serious and polite when it comes to things like calligraphy and tea ceremonies. beomgyu is also loud and unhinged on variety shows but give him a serious art project and he will work on it intensely & give it his all (see: to do ep 67. also any time he produces a song). and in general there's something about beomgyu's styling that is SO kanesada coded to me?? my pfp is literally kasen wearing his fairy of shampoo mubank performance outfit (thank u @/riukki for the comm)

taehyun: kotetsu. this one is also based on vibes and it was lilp who came up with this! idk taehyun is very sturdy-looking and reliable (like nagasone) but he can also be cute and playful (like urashima) so he could pull off the kotetsu vibe. plus that this is kang "tinnitus dance break abs flash secret weapon" taehyun himself so i think the skin-showier stuff would work on him just fine

huening kai: okay we haven't decided on one for him yet?? my first instinct is awataguchi because there's something very homey and familial and sunshiney about kai that fits the awataguchi vibe. also he could wear shorts and it would be reminiscent of his first mix & max outfit? BUT ALSO we think he'd make a really good yari. he's tall and a bit awkward but also fits in with his peers & is loved, and we sense otegine vibes from that

anyway if you made it this far thank you for reading my silly little crossover post, i honestly don't know who the target audience for this even is lol. i just wanted to talk about this bc it's been on my mind a lot today.

[melonthesprigatito]

I think it's funny how the Pokémon fandom sometimes…. forgets about how there's an entire younger part of the fandom too?

Funniest thing I saw was before Brilliant Diamond and Shining Pearl came out when the Pokémon YouTube released a trailer introducing Team Galactic. The top comment of the video was this.

And there were lots of other comments all mocking Gamefreak for releasing a trailer about Team Galactic, essentially commenting things like "Everybody knows about that, why would you even show us this."

Except…. Sorry to make people feel ancient, but a ten year old kid interested in playing BDSP when it came out wouldn't have even been born yet when the original Diamond and Pearl came out.

Heck, I was a literal infant when Ruby and Sapphire came out. I had no fucking clue who Team Magma or Team Aqua were around Omega Ruby and Alpha Sapphire's release. If I had've saw a trailer for them I probably would have been like "Oh wow these guys look cool. I wonder what their deal is." (Actually I probably would more likely have been like "OMG PIRATES!!!!!!!!" And BDSP is post MCU making space look awesome so I can almost guarantee there was at least one kid who was like "OMG SPACE!!!!!!!!!" when they first saw Team Galactic.)

So releasing a trailer for Team Galactic made sense to me because a lot of the target audience probably never heard of them.

(And that's not even getting into the fact that the Pokémon fandom is pretty vicious to anything post Gen 5 despite them being a lot of younger fans' first games.

It was pretty miserable being a young Gen 5 fan in 2013 because everywhere I looked people were calling it the worst game ever and harassing people who enjoyed them. But now history is repeating itself with the newer games and I'm really worried about my youngest brother (who's first game was Sword) interacting with the fandom in the future. Just makes me sad, you know?

I'm just glad his experience of Sword so far was me trading him cool Pokémon, giving him tips on how to beat the Gym Leaders and me pretending to be a Gym Leader and making up a team of Electric Types so he could battle me online with his team and giving him a paper Gym Badge when he won. His favourite Pokémon is Boltund and he has a poster of it from a Pokémon magazine that he has in his bedroom.

He is entirely unaware of all the negativity surrounding Sword and Shield. I hope it stays that way for now. )

[kylesvariouslistsandstuff]

ELEMENTAL Projections

So apparently ELEMENTAL is on track to flop-a-doo this coming June, huh?

Recent projections made by Box Office Pro have it opening at $28m minimum, $38m maximum. They note that the picture has the chance to have those usual Pixar summer legs and break the 2020s Disney theatrical animation bad streak at the box office, and make it to around $155m domestic, which would be a fantastic total for a post-outbreak original animated movie. COCO, back in early 2018, finished up with around $209m domestically. $200m is usually an easy threshold for Pixar. Only one picture in the 21st century that wasn't a sequel missed it, that was THE GOOD DINOSAUR, which still made over $120m domestically. ONWARD I do not count, because that was cut off one week in by the pandemic.

Box Office Pro has a history of lowballing animated movies on their opening weekends, though. They also had THE SUPER MARIO BROS. MOVIE pegged for a roughly $65-90m opening, when the thing cruised well past $140m+ for the three-day alone... I knew it would top $100m easily, and I'm no box office pro... I've only made predictions for fun for about a decade, many of which concerning animated movies, haha.

They also weirdly note that the picture, being a romantic comedy, will have a hard time appealing to young boys... Okay, are young boys the ones with the money buying tickets? You know, Walt Disney had once said in an interview with the BBC in 1959:

"Well, no, you have to appeal to the adult, or... Well, the adults have money, the children don't have any money."

Interestingly, Walt had kind of cracked it when it came to making movies by that point in time. As he saw it, anyways. He had theorized that appealing to "mom" was the way to go, the target to hit. Because mom takes dad and the kids, the whole family, to check out the movie... And mom tells her friends... So on, so forth... Maybe it's not young boys that Disney should be appealing to. Remember when they tried very hard to appeal to that demographic in the late 2000s? Making major changes in animation because of that? Nearly jettisoning fairy tale stories for good and messing with movie titles for fear of boys finding them to be too girly? (I still dislike "TANGLED" as a title, to be completely honest.) I guess the romances of classic Disney animated movies were a hard sell, huh? Because boys under the age of 13 might not like them?

I'm not trying to knock the good people at BOP, by the way. I frequently enjoy their podcast and analyses, but sometimes I think they can be a little off with animated movie, and because there's a lot of internet dogpiling on this one Pixar picture that no one except the film crew has even *seen* yet... I just wanted to weigh in.

As BOP noted, and many others have noted as well, ELEMENTAL has a big uphill battle to face in the form of the Disney+ problem. We all know what that is... A lot of people, especially those who are tight on money and have to narrow their moviegoing choices every calendar year, might've been conditioned to just wait for these family movies to come to Disney+. No need to spend $100 at the multiplex on tickets, snacks, and of course take a gamble on whether the experience in a theater will be good or not... It's right there, at home, in a few months, and we got all the snacks without having to spend a mortgage on!

I've stated on here many times before that I work at a movie theater, and a major chain movie theater at that. A Cinemark. Been there for almost 8 years, and I feel I get the first-hand idea of what audiences want to see as opposed to very-online "experts" on twitter and elsewhere.

And it seems like people are digging ELEMENTAL. "Ah cool, a water and fire people movie! Looks cute!" Most of my co-workers think it looks like it's worth watching. I've seen some customers walk up to the posters and say "Is this INSIDE OUT 2?" "Hah, looks like Sharkboy and Lava Girl."

A lot of people online are writing ELEMENTAL off as generic-looking, but that might be... In a weird sense, its secret weapon.

Familiarity sometimes works for movies, and sometimes it doesn't. LIGHTYEAR, I'd argue, had trouble having some kind of longevity at the box office because of how much it deviated from what people associate with TOY STORY and the titular character. Of course, if you're me, and you knew full well what that movie was going to be (read: an actual sci-fi space adventure where Buzz is actually a space ranger, not a toy), that wasn't much of an issue. Some just genuinely didn't like the execution of it. It rung more INTERSTELLAR and '70s sci-fi movies than anything, Buzz was a little more serious here, he wasn't his toy counterpart at all nor was he the fun cartoon hero in the 2000s TV series BUZZ LIGHTYEAR OF STAR COMMAND. I get that. I myself quite enjoyed the movie, but I can totally see it how it just wouldn't gel with most audiences.

TURNING RED, I feel, would've done okay at best at the box office, not because of its perceived quality (I loved the movie), but because of - again - most audiences being very careful with their money. I keep thinking it would've made around BAD GUYS/ENCANTO numbers, $90m domestic and around $200m worldwide. Not enough to cover the usual Pixar budget... Which is typically a gargantuan $150m+... I feel they, and Walt Disney Animation Studios for that matter, shouldn't spend so damn much on their movies... It puts an unnecessary strain on them, gives them a sometimes impossible task to achieve. It soooo ain't 2003 anymore, when any CG animated movie you dropped in front of an audience was 99.99% guaranteed to make a blockbuster amount of money...

ELEMENTAL also shares June with... ACROSS THE SPIDER-VERSE, TRANSFORMERS LIVE-ACTION MOVIE #7, THE FLASH, RUBY GILLMAN *comma* TEENAGE KRAKEN, and INDIANA JONES 5... Wowee... And a good chunk of those movies weren't supposed to open in June 2023 in the first place, they all just ended up landing there. Pixar usually locks mid-June for a movie years in advance, and the movie could be anything, be it ELEMENTAL or TOY STORY 5. It just so happened to be ELEMENTAL... Maybe they should've moved it, just to be safe...

So, opening weekend could make or break it... But the legs will be the most important thing... And we don't know what those will be like... We have to know first and foremost, come opening day... Did audiences like it?

LIGHTYEAR got a not-so-hot A- CinemaScore, and had abysmal legs thereafter... STRANGE WORLD from WDAS was the rare family friendly animated movie release to score less than an A...

It's hard to gauge off of two animated sci-fi action movies, which have a history of... Not making blockbuster totals meant to cover ludicrously high budgets... Just ask TITAN A.E., ATLANTIS: THE LOST EMPIRE, and TREASURE PLANET. WALL-E was a sci-fi romance movie with cute robots, and that did very well. Also had that Pixar goodwill that was very strong back then. The name's not a guarantee anymore.

How do I think ELEMENTAL will do?

Animated movies that aren't sequels are usually kind of hard to track, and they seem like they'll do okay-ish at first... Until the week of release, the tracking shoots up... And word-of-mouth kicks in after opening day...

So, $28m for ELEMENTAL could very well be looking like $40m minimum within a week of its release... Opening at Cannes this coming week, if the picture is acclaimed, will look nice too. I don't see why it can't open below $40m, the only thing that could hurt it is just SPIDER-VERSE and LITTLE MERMAID being out, and families having to make tough choices. Adults w/o families will be the ones to get, if they're not as choosy. The romantic comedy angle might just make it a date movie.

Not the first time that happened... That's what Disney took total advantage of during the Disney Renaissance in the early '90s, pushing BEAUTY AND THE BEAST and ALADDIN as date movies for young adults... Oh, and it paid off nicely... A lot of people tend to overlook this, but... It's *adults* who make animated movies huge, too. Not just "kids dragging their parents" to the cinema. If that were the case, every kids' movie would be a FROZEN or MINIONS-sized blockbuster. No! Those movies make so much because a lot of adults like them, too, and there's stuff in them that appeals to adults. A novel concept, I know!

A movie like THE BAD GUYS didn't need to worry about that, being a much lower budget endeavor, ditto DC LEAGUE OF SUPER-PETS. Even Illumination's movies don't have to worry about that, either... But Disney Animation and Pixar? They gotta hook everybody if they want to make back the $150m+ they spend on each and every movie. LIGHTYEAR seemed to turn families away and had a hard time getting adults, STRANGE WORLD seemed to appeal to no one. ENCANTO dealt with Delta and Omicron, RAYA was still a bit too early to be a theatrical release. SOUL, LUCA, TURNING RED, all straight to Disney+ releases.

It's like each new Disney animated movie release is some kind of test... ELEMENTAL is next line, and WISH will follow... And do I think ELEMENTAL can get that adult appeal?

I think so. ACROSS THE SPIDER-VERSE already has it built in (projections are saying $85m minimum for the opening weekend, which sounds about right, could go even higher), but does anything else coming out in June other than INDIANA JONES have it? I think audiences are largely burnt out on the Autobots, THE FLASH comes on like some big NO WAY HOME-esque event for DC but I sense a real "who cares?" aura around it, plus superhero fatigue seems to have kicked in... That's about it? RUBY GILLMAN seems muted and quiet, it probably doesn't need to make a blockbuster gross... It's very possible ELEMENTAL is the most appealing June release to... Normal people.

Online, it looks like some crap generic Pixar movie... But normal people? Who aren't there for TRANSFORMERS 7 and a DC movie that happens to have Michael Keaton Batman in it? They might be digging it. For what it's worth, when I caught the trailer in theaters before GUARDIANS VOL. 3, I heard some of the adults in the crowd laugh at the funny bits.

It's kind of a wild card, but I have kind of a good feeling about this one. Maybe... Or, come late summer, I'll be eating crow on here. I'm sure Disney Co and Pixar don't want it to fail. Especially since the smarter of the two Bob CEOs came back, the very Bob who wants to focus much more on theatrical releases than sending massive-budget movies quickly to Disney+.

So, rough prediction. Around $40-45m on opening weekend, very solid legs, over 3.5x multiplier, $140m minimum domestically and double that overseas, $400m+ worldwide finish. We shall see...

[ohoethoughtsandabsurdities]

Visual presence analysis

(ongoing social media campaign for The Bellflowers)

Which audio/visual elements are characteristic of your client’s social media presence?

Having analyzed my target clients social media presence this is what I have gathered:

The most common audio/ visual elements they use:

in both Instagram and tiktok, the band shares snippets of original audio (preview of their upcoming songs) as well as some clips of previous/ their latest shows. They also use some of their favorite songs from other musicians on tiktok (They cover some of their favorite songs and share the video to tiktok and Instagram)

This is mostly both visually and audio wise the band really promotes video and audio footage more than they do just image sharing. Which considering that my clients are musicians it makes sense as to why they need to promote video and audio as priority.

I also took note that both tiktok and Instagram videos are very short, they get to the point, showcase their original material, and it's both entertaining and promotional.

2. Would you consider your client’s content to be optimized for the platforms on which it is shared?

I've noticed that Bellflowers tend to post very little, but enough to keep it up-to-date for their followers:

They post recent pictures of event posters, then within a few dates after their shows they post clips of fans or friends who helped record their show to instagram and tiktok. But I do think that having a more planned outline of potential content could definitely garner them more interactions and recognition. They could look more into posting already published songs of theirs to indie streaming platforms like bandcamp. Or create a reddit community for their fans or other musicians to interact and learn from one another.

I think it would be very beneficial for them to post some of their covers to youtube even as a short or a reel on Instagram. As well as look in to creating a twitter or facebook other platforms they can expand their listener audience to for all age demographics by being a little more connected to different audiences.

Here I have shared some of what I think is their most successful posts content wise as well as audience numbers.

I appreciate looking at how tiktok is formatted because you are able to see view counts and you can see the difference in audience interaction and reaches:

[ridiculoustrainsofthought]

The Phantom of the Auditorium Musical

Okay, so hilariously, a friend of mine made a post that joked about making a kid’s version of Phantom of the Opera and while I wanted to make a Wishbone joke that it already exists, I suddenly remembered there actually was a “retelling” of sorts with the Goosebumps series. So I went to look it up and ended up discovering there’s a musical version of this with a full cast album and everything.

This was the original poster I saw at least. But anyway, I've been listening to the full album that was produced in 2021 and it's given me a lot of feels. So spoilers ahead although I will also add a disclaimer that I haven't seen the actual show yet so I'm just going off the impression from the soundtrack. But let's go over the plot:

 Now given my love of Phantom of the Opera, my mind has somewhat been racing over the comparisons. I love how fascinating of a take this is to have a ghost story about some kids who are preparing to perform the play but the specific script they're using hadn't seen the light of day in 70 years because the first and last time the show was done, the lead actor died in a staging accident before the curtain went up on opening night. Naturally there have been rumors at the school that the place has been haunted for years by the boy who was meant to play The Phantom as an effort to keep the play from ever being performed. And the production does seem to be cursed when rehearsals start and strange happenings occur. So our leads decide to investigate since it seems whoever is doing this is targeting Zeke, the boy playing The Phantom this time.

You can probably guess the twist a mile away that after our leads, Zeke and his best friend Brooke, discovered the trap door that had been built for the original production, a new boy appears at their school like in the next day or so. Gee, how strange. But he and Brooke hit it off right away and when it seems Zeke is being framed as the one behind the pranks at rehearsal, new kid Brian is happy to help! (Unrelated but the idea of these guys paralleling Erik, Christine and Raoul, just hanging out and Erik playing dumb while actually helping in the Phantom mystery is kind of hilarious.) They aren't really subtle about there being something weird with Brian either since we hear very early on that while everyone knows about the ghost, very few have ever seen him. Then in the song where he and Brooke meet, he brings up little asides like how he's not new very often and you'd think after all these years he'd learn to keep his mouth shut since he's so socially awkward. It's kinda cute and makes sense he wouldn't really know how to interact with people considering his situation.

So naturally, you'd think the big reveal is they'd find out Brian is actually the ghost and the one behind all the mishaps, right? Well, sorta. Turns out there's someone else who is actually behind all the warnings and pranks that's trying to get the show closed. Well! There's no ghost then! Mystery solved~!

The show goes on like normal and opening night finally arrives. Everyone is off to their corners getting ready in the mad dash before curtain rises when suddenly Zeke gets attacked by The Phantom! The show starts and everyone goes on without him because someone has deftly slipped into his place. Brooke has an idea of who when she sees The Phantom for the first time and the bright green eyes behind his mask proves it's DEFINITELY not Zeke. But she doesn't want to disrupt the play and things go off without a hitch until suddenly the ending comes and The Phantom decides to address the audience. Yes, he is the boy who died all those years ago, but it's time for him to tell the whole town the truth of what happened that fateful night. And with that, he's gone, disappearing in a cloud of smoke. End scene. Standing ovation. Everyone is happy. Brooke immediately rushes backstage to find Zeke and confirms that he's okay but that wasn't him out there. She thinks it might have been the REAL Phantom! Speaking of... Brian? Why are you dressed like that? You stole Zeke's role?? Why??? Which... Both are right. It was him that stole Zeke's role. And he's the real Phantom. See, while the prankster may have been determined to keep the play from being performed, Brian has wanted nothing more all these years than to get his spotlight. He WANTED the school to do the show so he could get the opening night that was stolen from him. His unfinished business, if you will. But all these years, the school and the town had forbidden the play to honor his memory. So now he can be at peace having finally gotten to say those lines and hear that roar that he had so looked forward to as a kid. But... Unfortunately since he's completed his business, even if he's been falling for Brooke, he feels like it's time for him to move on. They'll all see each other again some day. And this time he disappears for real, the curtain call is in a cemetery where we see Brian's name on one of the head stones.

"That's all fine and dandy, but is there a point to this story?" Actually yes. I wanted to give some background to this since it really only makes sense in context and I feel like the show / story might still be pretty obscure. But it's eaten my mind. The one thing that I like while there's the overhanging tragedy and mystery going on, the main theme of this show is about getting closure. And maybe in a way, redemption. For Brian, of course, but this is something seen with other characters too. Brooke and Zeke have their opening number saying they've always been in the ensemble and this needs to be THEIR year to get named roles. And to be the leads was just icing on the cake. Their teacher, Ms. Walker, says that her grandmother was the teacher back in Brian's day. And not only did she never get to do the show they worked so hard on, but, despite the school demanding every copy of the script be destroyed so it could never be performed again, she saved a copy and hung onto it the rest of her life. Why? Because she had always hoped to have another chance? Because unlike everyone else, she thought Brian would want it to survive? It's not coincidence that Ms. Walker decided to do THIS play when she got the chance. She's giving her grandmother some closure and maybe forgiveness for what happened. (Brian never blamed her. Rumor says that when she died, the script was discovered with a mask and rose lovingly laid beside it.) Brian of course gets his closure with starring in the show he always dreamed of, but more importantly, he's been alone all these years. Zeke and Brooke gave him a few months to do things he never got to do including making friends, falling in love, encouraging him to face his fear with the trap door that killed him, and working with Ms. Walker probably gave him some closure with what happened to his teacher / her grandmother when he knows it wasn't her fault.

And of course the whole town can heal in a way because the school is no longer haunted, and after generations knowing about this "cursed play" legend, the audience also finally got to see it in full and maybe take away some of the sting that's hung over the town all these years. Especially when the song about The Legend says how the princpal didn't want to do the show in the first place and wouldn't give them the proper funding, but the teacher was determined to do it anyway, I'm sure there was plenty of blame going around for those details to have survived all these years. Was it the poor funding that caused the staging accident? Was it proof they shouldn't have gone through with it in the first place if it was so dangerous? Was it foul play? I have a feeling the town knew he didn't "vanish" that night, finding him later in the aftermath, but that's how the legend goes. But hey! No incidents, standing ovation, and Brian's speech about what happened finally giving some closure to all the rumors. Closure. In the sweetest sense of the word.

I included links to the songs above, but if you'd like to just listen, I'm also sharing them here.

[shosiblog]

Essential Tools of Social Media Marketing in Digital Marketing

Social Media Marketing (SMM) has become a cornerstone of digital marketing strategies for businesses aiming to connect with their target audiences on various platforms. To effectively manage and optimize social media campaigns, marketers rely on a variety of tools that streamline tasks, analyze performance, and enhance engagement. Here are some essential tools used in Social Media Marketing:

 1. Social Media Management Tools

Social media management tools are central to any SMM strategy, offering features like scheduling posts, managing multiple accounts, and analyzing performance metrics. Popular tools include:

 Hootsuite: Allows scheduling posts across multiple platforms, monitoring mentions, and analyzing engagement.

 Buffer: Enables scheduling and analyzing posts, as well as managing social media accounts from one dashboard.

 Sprout Social: Provides scheduling, publishing, and analytics capabilities, with CRM tools for better customer engagement.

 2. Analytics Tools

Analytics tools provide insights into social media performance, audience demographics, engagement metrics, and more. These insights help refine strategies and optimize content. Key tools include:

 Google Analytics: Tracks website traffic originating from social media, measures conversions, and provides audience insights.

 Facebook Insights: Provides detailed analytics about your Facebook Page, including reach, engagement, and demographic data.

 Twitter Analytics: Offers insights into tweet performance, audience engagement, and trends.

 3. Content Creation Tools

Content creation tools help marketers design visually appealing and engaging content for social media platforms. Examples include:

 Canva: Allows creation of graphics, posters, infographics, and social media posts with customizable templates.

 Adobe Spark: Enables creating graphics, videos, and web pages easily, suitable for social media campaigns.

 Piktochart: Helps in creating infographics and presentations, ideal for sharing datadriven content.

 4. Social Listening Tools

Social listening tools monitor mentions, keywords, and hashtags across social media platforms to gauge brand sentiment and track industry trends. Some notable tools are:

 Brandwatch: Offers realtime monitoring and analysis of brand mentions, sentiment analysis, and competitive insights.

 Hootsuite Insights: Provides social listening capabilities to track keywords and brand mentions across multiple platforms.

 Sprout Social: Includes social listening features to track conversations and monitor brand mentions.

 5. Advertising Tools

Advertising tools facilitate running targeted ads on social media platforms to reach specific audiences and achieve marketing objectives:

 Facebook Ads Manager: Enables creating, managing, and optimizing Facebook and Instagram ads, targeting specific demographics.

 LinkedIn Campaign Manager: Allows running targeted ads on LinkedIn, leveraging professional data for B2B marketing.

 Twitter Ads: Provides options to promote tweets, accounts, and trends to increase visibility and engagement.

 6. Social Media Monitoring Tools

Social media monitoring tools track mentions, comments, and discussions about your brand across social media platforms, helping in reputation management and customer service:

 Sprout Social: Offers monitoring of brand mentions and engagement with realtime notifications.

 Mention: Monitors mentions of your brand, competitors, or industry keywords across social media and the web.

 Hootsuite: Provides monitoring features alongside scheduling and analytics tools for comprehensive social media management.

 7. Influencer Marketing Platforms

Influencer marketing platforms help connect brands with influencers to collaborate on campaigns, promote products, and reach targeted audiences:

 InfluencerDB: Facilitates finding influencers, managing campaigns, and measuring impact through analytics.

 Upfluence: Offers tools for influencer discovery, relationship management, and campaign tracking.

 AspireIQ: Provides influencer search, campaign management, and performance analytics features.

 Conclusion

These tools are indispensable for modern digital marketers looking to harness the power of social media platforms effectively. Whether you're managing multiple accounts, analyzing performance, creating compelling content, or engaging with influencers, these tools streamline processes and optimize results.

Ready to master Social Media Marketing and other essential digital marketing skills? Enroll in the Best Digital Marketing Course in Palakkad today. Gain handson experience with these tools and elevate your career in digital marketing and take your social media marketing efforts to the next level!

[onenettvchannel]

#OnlyOnK5NewsFM: Show Creator of 'High Guardian Spice' indefinitely resigned and cancelled after One Season due to mass criticism of anti-LGBT, yet sold by force to a different independent animation company [DEVELOPING STORY]

BURBANK, CALIFORNIA -- Crunchyroll Originals' Cuba-American animated cartoon show 'High Guardian Spice' was cancelled after one season without ever receiving any remakes or revivals to the web series.

Show creator and executive producer of Crunchy Onigiri named Mr. Raye Rodriguez, expressed in a combined Instagram and X Network social media webcomic art posts (owned by Meta Platforms Inc. [MPi] and X Corporation) on Monday (June 3rd, 2024 -- Pacific local time), that he is now ready to quietly resign and cut ties indefinitely with Crunchyroll Onigiri as a show creator of HGS.

This developing decision comes in the wake of a wave of hate-bombing, online harassment, death threats and mass cyber-gaslighting targeting him to Mr. Rodriguez and the show due to its LGBTQ+ representation: "High Guardian Spice is imperfect, I knew it while we were making it. I never needed years of mean comments, direct messages, and YouTube videos to make me see its flaws. Even so, I still believe there is something special and good at the core of HGS, and it's why people are so obsessed with its faults. They can see its potential too. It's been nearly 5 years since I finished working on HGS and I've have to move on for my own sanity. I wish I could remake it closer to my original idea, but I don't own the rights to that story anymore. I can't do anything with it. So I'm focusing my creative energy on the characters, I can move forward with instead", Mr. Rodriguez said in a public statement via Instagram webcomic post.

Despite the worst cartoon series in the world, the Cuban-American cartoon show faced mixed reviews and controversy. Some viewers enjoyed it, while others criticized it so much. DWFH-FM 97.7mhz's K5 News FM: Dumaguete was the first to learn that the likelihood of a 2nd Season turned out to be an absolute bust, scrapped by Crunchyroll in California, United States of America (U.S.A.). The marketing team failed to impress and creativity was never realized, with the wrongfully targeted demographic audience for the undecided take between the anime and cartoons.

Backlash arose online, fuelled by anti-LGBTQ sentiment, that led to a toxic social media environment, with pure negative criticism and hateful comments directed at Mr. Rodriguez and the show. With that, the endangered level of harassment became too much, leading to Rodriguez's stepping away from his project and cancelling the show: "I've got a lot of feelings about the way HGS has gone, from inception to production to release. Maybe one day I'll feel comfortable enough to talk about my thoughts publicly. But also… maybe not. Thank you to the genuine HGS fans out there, the fact that my silly adventure show meant something to you means everything to me", his statement concluded in his social media post by Mr. Rodriguez.

The resignation of Rodriguez and the cancellation of 'High Guardian Spice' shall bring a lawless bad ending to the struggles of the LGBTQ+ content creators within the show business and the importance of safe and diverse spaces for the marginalized voices. Yet, he will soon selling out to a different independent animation company like DillonGoo Studios & Glitch Productions for 'High Guardian Spice', and it will exclusively be distributed to Amazon Prime Video & Apple TV+, instead of the main Crunchyroll streaming platform.

For now, you can still stream the best of 'High Guardian Spice' available on Crunchyroll until it's permanently delisted from the said streaming platform, which hopefully, will be a few to several years from today.

Just a heads-up! This is a developing story. We'll update the rest as new information becomes available. Thank you!

FILE POSTER PHOTO COURTESY: Crunchy Onigiri BACKGROUND PROVIDED BY: Tegna

SOURCE: *https://www.instagram.com/p/C7uI4Vvp9_5/ [Referenced Instagram Webcomic Post via DinoRaye] *https://old.reddit.com/r/HighGuardianSpice/comments/qo2feh/unlikely_to_get_a_season_2/ [Referenced Subreddit Post via Pinolero90 of /r/HGS/] and *https://www.themarysue.com/crunchyrolls-high-guardian-spice-internets-most-unfairly-maligned-anime/ [Referenced Classic Editorial Article via The Mary Sue]

-- OneNETnews Online Publication Team

[church-capital]

Wild Posting in Delaware

Unleashing Creativity: Exploring Wild Posting in Delaware

In the heart of Delaware, amidst the bustling streets and lively neighborhoods, a captivating form of outdoor advertising known as wild posting has taken root. From eye-catching posters adorning building facades to colorful displays in high-traffic areas, wild posting adds an element of excitement and creativity to the urban landscape. In this blog post, we delve into the world of wild posting in Delaware, uncovering its origins, techniques, notable campaigns, and its impact on both businesses and the local community.

Origins and Techniques of Wild Posting:

Wild posting, also referred to as flyposting or bill posting, has its roots in the grassroots advertising efforts of the past. Originating from the practice of affixing posters to public surfaces using adhesive materials, wild posting has evolved into a dynamic and effective form of outdoor advertising. The technique involves strategically placing posters in high-visibility locations such as busy street corners, construction sites, and pedestrian walkways to maximize exposure and reach.

The process of wild posting begins with the design and printing of posters on paper or vinyl material. These posters are then affixed to surfaces using wheat paste, glue, or adhesive tape. By leveraging unconventional and high-traffic locations, wild posting captures the attention of passersby and creates memorable impressions.

Notable Wild Posting Campaigns in Delaware:

Delaware's vibrant and diverse urban landscape provides the perfect canvas for innovative and impactful wild posting campaigns. From promoting local events and concerts to raising awareness about social causes and community initiatives, wild posting offers businesses and organizations a cost-effective and high-impact advertising solution.

One notable wild posting campaign in Delaware is the annual Delaware Arts Festival, which celebrates the state's rich cultural heritage and showcases local artists and performers. To generate buzz and excitement for the event, organizers deploy wild posting campaigns across the state, plastering posters in strategic locations to attract attendees and generate interest.

Impact on Businesses and the Local Community:

Wild posting in Delaware has a significant impact on both businesses and the local community. For businesses, wild posting offers a highly visible and cost-effective advertising solution to promote products, services, and events. By targeting high-traffic areas and pedestrian thoroughfares, businesses can reach a wide audience and generate brand awareness and interest.

Moreover, wild posting campaigns contribute to the vibrancy and cultural richness of Delaware's urban landscape, transforming public spaces into dynamic and engaging environments. From colorful murals to thought-provoking messages, wild posting sparks curiosity, conversation, and creativity among residents and visitors alike.

Conclusion:

Wild posting in Delaware is more than just a form of outdoor advertising—it's a dynamic and engaging expression of creativity, innovation, and community spirit. By leveraging unconventional locations and eye-catching designs, wild posting captures the imagination and attention of passersby, creating memorable impressions and fostering connections between businesses and the local community. As Delaware's urban landscape continues to evolve, wild posting will undoubtedly remain a cherished and integral part of the state's cultural fabric, inspiring creativity and engagement for generations to come.

[krispykroissant]

Original Posts (Week 3)

@npfannen

"Post an image of a style choice you see this week - then discuss the lexical, rhetorical, and/or designed choices"

The style of the first tweet about the Cars 3 movie poster is rhetorical, as it aims to be relatable to the target audience of the OP, which likely consists of a discourse community that expects pop culture content to either agree with or disagree with. Using absolute language - "no movie will ever top this one" - is a stylistic choice. One main purpose of this language would be to stir controversy for the sake of building up audience interaction with the post. The following tweets were in response to the first tweet with the audience's own opinions of great promotional movie posters. Because of the community interaction with the original post, I would say that it was a successful post.

[ablackburnarts102-02]

Process Blog Four

Reading Responses:

Chapter Eleven of the textbook reading (Becoming a Graphic and Digital Designer: A Guide to Careers in Design, by Steven Heller, pages 186-203) is about understanding change in the world of graphic design. As someone who has grown up with digital media and design, it's interesting to think about it as something new that people would reject, however I can definitely connect the idea to people in my life who reject the use of technologies such as social media. I like how the textbook mentioned that some people considered it, "nothing more than advance production tools," as I think that is the best way to think of digital design. While it makes it more accessible to people without design knowledge, you do still need those skills in order to make something effective that uses digital tools in order to enhance the product rather than relying on it to create the product that otherwise couldn't have been created. The textbook also discussed how there isn't much that graphic design can't improve in some way, which I agree with though it is fun to consider cases where this might not be the case. One such example is furniture that is made to be very visually appealing and artistic, while leaving the function of the piece less than optimal. There have been many chairs designed with beautiful curves and bold colored plastics that are uncomfortable to sit in, as well as tables and shelves with similar traits that aren't flat enough to serve as useful surfaces.

Chapter Twelve of the textbook reading (pages 204-219) is about original and unique design. This chapter begins by tying to describe and define 'eccentrics'. It goes on to say that, "you cannot replicate what they do - nor would you want to," which does not seem to be accurate to the example images that follow within the chapter. Not only do plenty of the works look familiar in style (such as Charles Anderson's poster designs and the art style that Nick Ace directs in 'Chapter 48: Doom Lyrics'), but these 'eccentric' designers are clearly of some renown if they've been interviewed and used as examples in this design textbook. Who wouldn't want to replicate what they do? There is nothing wrong of course with recognizing the unique talents of designers, especially if they might drive and inspire design trends, but I feel as though this explanation of eccentric is off.

Chapter Thirteen of the textbook reading (pages 220-229) is about transitioning and new opportunities. The section at the beginning of the chapter discusses how with the shifting and changing of language, graphics will be able to, "speak deeper than words". I definitely agree with this sentiment, but I think that it's ironic that it feels like a rewording of, "a picture is worth a thousand words," as that simple phrase gets the meaning across very well, especially for originating about one-hundred years ago (found with a quick google search). There's also an argument to be made that graphics tend to depend on cultural and societal symbols, which can be just as prone to change and evolution as language is.

Chapter Fourteen of the textbook reading (pages 232-245) is about interactive design. The beginning of the textbook discusses how interactive design leaves much more of an impact on people in today's society, especially since they consume hundreds or thousands of images, posts, videos, etc. every week or even day. I completely agree with this, and I think that it is important to consider how to make things more memorable. Making the target audience a part of the experience is a wonderful way to do this, and as an example part art or design, interacting with fans on social media inspires them to keep reacting and make a more personal connection with a creator. Back to interactive design, I always find the experience of moving through websites with animations that follow the mouse and graphics that shift as you scroll are typically more visually appealing than those without.

Reflection:

The class project that we are currently working on is about making logos for fictional characters. I feel very comfortable doing this project, as I've done logo design for previous digital art and design classes. I was very excited to read the project requirements and see that characters from the movie Beetlejuice were an option. Beetlejuice is one of my favorite movies from my childhood, and I have a preference for the "strange and unusual". Lydia Deetz was my first choice because she is my favorite character from the movie (and one of my favorite characters in general) and because I love Winona Ryder. My second choice was Betelgeuse, because he has a lot of typical imagery that could be used such as his green hair and pinstriped suit. Another reason I chose these two characters is because they are the natural choice to choose if picking characters from Beetlejuice. I started off with thumbnails for Lydia based on just a bit of looking her character up on fan-made wikis just to jog my memory on some traits for her that I could be inspired by. When I moved on to Betelgeuse, I used the sheet provided that was mean to be lined with traits and attributes of the character in order to try and spark ideas to combine them. I then redrew the best of these ideas larger in my sketchbook next to my sketches for Lydia.

So far I have picked favorites for both characters. I chose the raven skull holding a quill for Lydia (to represent her love for poetry and the macabre) and a combination of two for Betelgeuse: the triple "BEETLEJUICE" as well as the beetle headed suit. I have already made the font and many color options for the "BEETLEJUICE" text.