#printer performance

[ural21yui]

Exploring QIDI Tech's 3D Printer Firmware Updates

As an avid enthusiast of 3D printing, I recently delved into the offerings of QIDI Tech and was thoroughly impressed! Their commitment to innovation is evident in their regular 3D printer firmware updates. These updates not only enhance the performance of their printers but also introduce exciting new features that make the printing experience smoother and more enjoyable.

I upgraded my QIDI Tech printer's firmware recently, and I was amazed at the improvements. The print quality has become even more refined, and the user interface has been made more intuitive. It's clear that QIDI Tech values customer feedback and continuously strives to provide a top-notch experience.

If you're a QIDI Tech user and haven't checked for firmware updates recently, I highly recommend doing so. You might discover new functionalities that can elevate your 3D printing projects to the next level. Let's celebrate the continuous advancements in the 3D printing industry together!

[itwoodbeprefect]

all gmmtv shows are actually set in a subtle alternate universe where everyone is continuously fascinated & delighted by their printers

[the-magnusinstitute]

what about purple doors?

I think there’s a cupboard somewhere that’s painted a sort of mauve, so it might be an Institute door, but better safe than sorry.

[shr0mwzrd]

In my lab straight up psychosexualizing it. And by 'it' let's just say I mean... ahahahah ... The Machine

[dragons-and-yellow-roses]

Applying to an apartment with little income and terrible credit score, in hopes that they'll be desperate enough to take me

[wabblebees]

.

[luulapants]

25 ways to be a little more punk in 2025

Cut fast fashion - buy used, learn to mend and/or make your own clothes, buy fewer clothes less often so you can save up for ethically made quality

Cancel subscriptions - relearn how to pirate media, spend $10/month buying a digital album from a small artist instead of on Spotify, stream on free services since the paid ones make you watch ads anyway

Green your community - there's lots of ways to do this, like seedbombing or joining a community garden or organizing neighborhood trash pickups

Be kind - stop to give directions, check on stopped cars, smile at kids, let people cut you in line, offer to get stuff off the high shelf, hold the door, ask people if they're okay

Intervene - learn bystander intervention techniques and be prepared to use them, even if it feels awkward

Get closer to your food - grow it yourself, can and preserve it, buy from a farmstand, learn where it's from, go fishing, make it from scratch, learn a new ingredient

Use opensource software - try LibreOffice, try Reaper, learn Linux, use a free Photoshop clone. The next time an app tries to force you to pay, look to see if there's an opensource alternative

Make less trash - start a compost, be mindful of packaging, find another use for that plastic, make it a challenge for yourself!

Get involved in local politics - show up at meetings for city council, the zoning commission, the park district, school boards; fight the NIMBYs that always show up and force them to focus on the things impacting the most vulnerable folks in your community

DIY > fashion - shake off the obsession with pristine presentation that you've been taught! Cut your own hair, use homemade cosmetics, exchange mani/pedis with friends, make your own jewelry, duct tape those broken headphones!

Ditch Google - Chromium browsers (which is almost all of them) are now bloated spyware, and Google search sucks now, so why not finally make the jump to Firefox and another search like DuckDuckGo? Or put the Wikipedia app on your phone and look things up there?

Forage - learn about local edible plants and how to safely and sustainably harvest them or go find fruit trees and such accessible to the public.

Volunteer - every week tutoring at the library or once a month at the humane society or twice a year serving food at the soup kitchen, you can find something that matches your availability

Help your neighbors - which means you have to meet them first and find out how you can help (including your unhoused neighbors), like elderly or disabled folks that might need help with yardwork or who that escape artist dog belongs to or whether the police have been hassling people sleeping rough

Fix stuff - the next time something breaks (a small appliance, an electronic, a piece of furniture, etc.), see if you can figure out what's wrong with it, if there are tutorials on fixing it, or if you can order a replacement part from the manufacturer instead of trashing the whole thing

Mix up your transit - find out what's walkable, try biking instead of driving, try public transit and complain to the city if it sucks, take a train instead of a plane, start a carpool at work

Engage in the arts - go see a local play, check out an art gallery or a small museum, buy art from the farmer's market

Go to the library - to check out a book or a movie or a CD, to use the computers or the printer, to find out if they have other weird rentals like a seed library or luggage, to use meeting space, to file your taxes, to take a class, to ask question

Listen local - see what's happening at local music venues or other events where local musicians will be performing, stop for buskers, find a favorite artist, and support them

Buy local - it's less convenient than online shopping or going to a big box store that sells everything, but try buying what you can from small local shops in your area

Become unmarketable - there are a lot of ways you can disrupt your online marketing surveillance, including buying less, using decoy emails, deleting or removing permissions from apps that spy on you, checking your privacy settings, not clicking advertising links, and...

Use cash - go to the bank and take out cash instead of using your credit card or e-payment for everything! It's better on small businesses and it's untraceable

Give what you can - as capitalism churns on, normal shmucks have less and less, so think about what you can give (time, money, skills, space, stuff) and how it will make the most impact

Talk about wages - with your coworkers, with your friends, while unionizing! Stop thinking about wages as a measure of your worth and talk about whether or not the bosses are paying fairly for the labor they receive

Think about wealthflow - there are a thousand little mechanisms that corporations and billionaires use to capture wealth from the lower class: fees for transactions, interest, vendor platforms, subscriptions, and more. Start thinking about where your money goes, how and where it's getting captured and removed from our class, and where you have the ability to cut off the flow and pass cash directly to your fellow working class people

[janvi54236]

Discover the Versatility of the Epson TM-M30II

The Epson TM-M30II is a compact and reliable receipt printer for modern businesses. Its sleek design and advanced features make it ideal for retail, hospitality, and other industries requiring efficient point-of-sale solutions. With USB, Ethernet, and Bluetooth connectivity options, it ensures seamless integration with various devices and systems. 

For businesses needing high-performance printers, Zahabi offers the Epson TM-M30II, providing excellent print quality and fast output speeds. Its compact size allows it to fit into small workspaces without sacrificing functionality. Additionally, the Epson TM-M30II supports mobile and tablet-based POS systems, making it a versatile option for businesses that prioritize flexibility and convenience. Its energy-efficient design further reduces operating costs, making it a budget-friendly choice. 

Choose the Epson TM-M30II for your business needs and experience efficient printing with reliable support from Zahabi.

[congeriem1]

Revolutionize Your Creations with the 3D Printer Carbon Fiber Edition

Discover the cutting-edge 3D Printer Carbon Fiber Edition at Congeriem. Designed for durability, precision, and strength, this printer is perfect for industrial and creative applications. With advanced features tailored for professionals, it’s your ultimate tool for creating lightweight, robust parts. Whether you're a designer, engineer, or hobbyist, this 3D printer empowers you to innovate with high-performance carbon fiber materials.

Explore unparalleled precision and unmatched print quality, making it the ideal choice for aerospace, automotive, and consumer product industries. Its user-friendly interface ensures seamless operations, allowing you to focus on your next big idea.

Transform your projects today! Check out our range of 3D printers for an unbeatable experience in additive manufacturing.

[mcnecklong]

Me complaining to my coworkers: there is a fucking POLTERGIEST in the goddamn PRINTERS Donald!

My coworkers: as opposed to a singular haunting. Have you tried waving a hammer threateningly?

[tinyshyteacup]

• Words of Command •

Tw: Cussing, angst, mentions of blood and grime.

Words of Command - Part 1

The lobby of Stark Tower gleamed with too much glass and not enough warmth for your taste. Sunlight pooled through the towering windows, hitting the polished marble floors and refracting off the chrome detailing of the modern decor.

You sat behind the main reception desk, perched on a tall stool with your legs swinging slightly.

The desk itself was a sleek black curve, embedded with holographic displays and a touchpad that still didn’t always respond when you tapped it with freshly moisturized fingers.

A nameplate identified you only by your first name, the letters tastefully etched in a clean serif font.

At the moment, you were staring at the printer behind you like it had personally offended you. It made a soft whirring noise—then stopped.

A flicker of smoke puffed up from the feeder tray. You yelped.

“J.A.R.V.I.S., I swear, I didn’t even touch it this time!”

"Miss, respectfully, you did attempt to print a double-sided image from an incompatible file format.”

You scowled at the ceiling. “You’re not even here physically. How would you know?”

“I am connected to over 2,000 sensors in this room. Shall I list the ones currently monitoring your error?”

“Rude,” you muttered, grabbing the paper that had jammed mid-print.

You shook it like it was a bad dog chewing your shoes. “This is sabotage. You're trying to make me look bad in front of Mr Stark.”

“Rest assured, Mr. Stark has been made aware of your printer challenges. He found it... 'endearing.’”

Your cheeks flushed.

The sarcasm was biting, but the thought that Tony Stark had discussed you at all—even mockingly—made your stomach flutter in a way you weren’t proud of.

The lobby doors hissed open with that smooth mechanical slide, and you looked up automatically.

When Captain Rogers walked into a room, it was like watching someone pull the '40s into the present. He was tall, and looked slightly rumpled in civilian clothes—a dark blue hoodie stretched over broad shoulders and a plain T-shirt underneath.

He wore jeans like he didn't know what to do with them.

“Hey,” he greeted, voice gentle but somehow carrying in the echoey lobby. “You’re the receptionist, right, the wizz with phones ?”

You nodded quickly and smiled. “Y-Yes, Captain Rogers. Morning.”

He returned the smile, slower, steadier, as if trying to ease your nervous energy. “Please, call me Steve.”

Right. Like that would help.

You stood, still barely reaching his chest, and smoothed down the front of your cardigan. “What can I help you with?”

He stepped up to the desk, pulled something from the pocket of his jeans, and placed it on the counter. A Stark-Phone. One of the newer ones Stark had issued.

You tilted your head, eyebrows lifting.

“I, uh…” Steve scratched the back of his neck, clearly sheepish. “I pressed something and now it’s speaking Korean. I think.”

You gently picked up the phone and pressed the home button. “Oh. You activated the language cycle shortcut. Happens if you triple tap the lock screen.”

You tapped through the settings with practiced ease. “There. Back to English.”

Steve watched you like you were performing magic. “I don’t know how any of you keep up with this tech.”

You smiled softly, meeting his gaze with more courage this time. “Honestly? I mostly argue with the printer. J.A.R.V.I.S. does everything else.”

Steve chuckled, a warm, earnest sound that made your heart thump faster. “Well, you seem to be holding your own.”

As he turned to leave, he paused. “I like your necklace, by the way. It suits you.”

You looked down, brushing a finger across the tiny pendant resting at your collarbone. “Oh. Thank you. It was my grandmother’s.”

He nodded like that meant something to him.

“Thanks,” he says, when you’re done. Then adds, almost sheepishly, “It’s nice to talk to someone who doesn’t look at me like I’m going to throw a shield at them.”

You laugh nervously. “You’re... not that scary.”

His grin is warm, boyish. You find yourself smiling back, unexpectedly grounded.

The elevator dings, and in breezes Tony Stark like a whirlwind in thousand-dollar shoes.

He’s on a call, two steps ahead of his own thoughts, sunglasses on indoors because of course they are.

"Yeah, just tell Fury he can bite me. In Morse code. Bye."

Phone snapped off, sunglasses up, and he zeroes in on you. “Sweetheart. You jammed the printer again.”

“I did not jam the printer,” you say quickly. “Jarvis is just being dramatic.”

“Jarvis is always dramatic, but in this case? He’s right.”

Tony leans on the desk, eyes squinting slightly. “Do you intentionally make the tech hate you? Is this like your rebellion arc Thumbelina? First it's the printer, then you’re reprogramming him to swear in Gaelic.”

“I wouldn’t do that,” you murmur, looking down. Then pause. “Wait... JARVIS can swear?”

Tony smirks. “Atta girl. Knew there was a fire in there somewhere.”

He straightens up, hands in pockets, a half-laugh escaping him as he walks toward the elevator. “Keep her, Rogers!” he shouts over his shoulder. “She’s the only one who’s not afraid to talk back to Jarvis.”

You blink.

Captain Rogers is still standing a few feet away, watching the exchange with something between amusement and... curiosity.

Maybe even admiration.

The city never sleeps, but it sighs in the early hours of morning—hushed traffic, glimmering reflections on wet pavement, a lull between the pulse of nightlife and the rise of commuters.

Neon lights flicker overhead, buzzing faintly, casting long shadows that cling to him like a second skin.

He moves like he’s not sure he’s real.

Each footfall is heavy but hesitant, like the ground might reject him. His hair is a tangled mess, matted and unwashed, sticking to his face and jaw.

The stubble on his cheeks is rough, uneven, and clings to him like dirt. His clothes are soaked in sweat, grime, and old blood—some of it his, some of it not.

His left arm is bare and gleaming beneath a tattered coat sleeve, metal fingers twitching involuntarily, as though searching for a rifle that isn’t there.

He doesn’t remember where he’s been.

Only fragments, screams, commands in harsh syllables, red flashing lights. A corridor. Restraints. Cold.

Oh God that biting cold.

He walks past windows and glass doors, catching glimpses of himself in reflections—a shadow, a haunted smear of what used to be a man.

He doesn’t know his name.

Not truly.

Not right now.

But somewhere, deep under the static in his brain, there’s something.

Maybe he had a name.

And then he looks up.

It rises above him like a monument, gleaming even in the grey blue of pre-dawn. STARK in large, defiant letters. The light at the top pulses. He stops walking, just… stands there.

His breath fogs the cold air, erratic.

His chest heaves, ribs visible through the threadbare shirt beneath the jacket. His boots are worn to the sole.

Everything about him screams survival, but there’s a flicker in his eyes now—recognition.

Stark.

Mission report.

Howard.

December.

Blood.

Sixteen.

Comply.

1991.

Zimniy Soldat.

Soldat.

The words slam into him like gunfire, and he stumbles forward, metal hand clenching hard enough to groan under its own pressure.

He doesn’t know what he’s doing here. He only knows the building is important.

And maybe... maybe someone inside can make the noise stop.

The automatic doors whisper open, parting slowly to let him step into the warmth of Stark Tower’s front lobby. Inside, the polished floors shine, reflecting the subtle glow of the early-morning lighting.

The scent of fresh polish, faint coffee, and recycled air fills the space. It’s clean. Too clean. Sterile like a medical wing, like some place where experiments happened.

He hesitates in the doorway.

The light overhead flickers slightly, casting a quick stutter of shadow across his face—an echo of something dark beneath the skin.

You stand behind the front desk, holding your phone in one hand, uncertain. His body is massive in the entrance, his shoulders squared like a soldier preparing for a threat. That left arm, slick and inhuman, gleams under the overhead light, fingers twitching like they have a mind of their own.

He takes two steps forward.

You don’t move, but your fingers close slowly around the base of your mug—some deep instinct reaching for something solid, something real.

"Hi… I—I don’t think you’re supposed to be in here," you say softly, trying not to let the nervous quiver in your voice show.

He tilts his head.

Not sharply. Not mechanically. Like a man trying to understand.

His lips part. You can tell it’s painful. His throat works around something—speech, maybe, or just the ghost of it. His voice comes like gravel, dry and shredded.

“Pomohgeet-yeh…"  Help.

Your brows knit. You don’t understand the words. But the way he says them makes your chest hurt.

He tries again.

“Gde… eta?"  Where… is this?

The effort it takes him to speak is visible.

He trembles.

Not with fear, but exhaustion. His whole body is strung tight like a stretched wire, ready to snap. One wrong move and he could bolt. Or lash out. Or break down.

You hold both hands up in that gentle, universal please-don’t-run gesture. “I—I don’t know what you’re saying. But I want to help. I can call someone. Or—I can get Mr. Stark if you want, or—”

At the name, something sharp flickers behind his eyes.

Stark.

He flinches like you’ve slapped him.

Suddenly, he shifts—too fast. That metal arm raises slightly, just a fraction. You freeze. Not because you think he’s going to hurt you—but because for a moment, he doesn’t look like a man anymore.

He looks like a ghost wrapped in combat training, forged in violence.

His eyes dart around the lobby—scanning exits, angles, security cameras.

His stance changes subtly, weight shifting onto the balls of his feet, as though he’s ready to take someone down.

And you—you’re just standing there.

He opens his mouth again, lips cracked and barely moving.

“Ne khochu… drat’sya." I don’t want… to fight.

You still don’t understand the words.

But you understand the tone.

Soft. Strained. Pleading.

“uh-huh,” you whisper.

You take a slow step around the desk. Not too close. But enough that he can see your hands, see your face.

You keep your voice low. “You look like you need help. Food? Water?”

He doesn’t answer. But his eyes track your hand as you slowly lift your bottle and offer it to him.

He reaches for it with his metal hand—but stops. There’s shame in the hesitation.

Holy Shit, is that metal ?

The faintest flicker of emotion across his dirt-streaked face. He switches to his right hand and takes it.

He drinks.

Not quickly. Like every swallow might be a mistake. Like he doesn’t trust it not to hurt.

As he drinks, you take him in quietly.

He looks... wrong in this space. The marble floor, the sleek design, the soft hum of Jarvis’ systems in the walls—it makes him look like something out of time. Like a soldier in a museum.

And then it hits you.

There’s something familiar about him. Not just the metal arm. Not just the way he looked at the building. But something in the jawline. The eyes.

You move slowly back to your desk, heart thudding as you open a file of security images.

"Who are you?" you whisper to yourself.

He doesn't answer.

He just watches you.

You move quietly to the comm panel, still keeping one eye on the man sitting stiffly in the chair near the lobby’s edge.

Tony had given you a comms piece to use in emergencies, is this a emergency ?

Stranger, built like a fridge, with a metal arm ?

Definitely.

The stranger in question hasn’t spoken since you gave him the bottle of water. His fingers—bare and bruised on one hand, cold steel on the other—grip it like it might disappear. He hasn’t drunk again. Just stares at the wall like he's trying to make sense of what a wall is.

Your voice is hushed as you speak into the receiver.

“Captain Rogers? I—I’m sorry to bother you. But there’s someone in the lobby. A man. I don’t know who he is, but I think… I think you should come down ... please.”

You don’t say that he’s filthy, trembling, starved.

You don’t say you’re afraid of how quiet he is.

You don’t say that even Jarvis, hasn’t spoken a word since he arrived.

As though the building itself is holding its breath.

You hear him before you see him—the heavy, purposeful footfalls of combat boots against tile. The automatic doors open with a whoosh, and Captain Steve Rogers steps into the lobby like a storm arriving with restraint.

He stops dead in his tracks.

You watch the expression on his face collapse.

From soldier to friend.

From Avenger to broken-hearted brother.

“...Bucky?” he breathes.

The name falls into the room like a thunderclap.

But the man in the chair doesn’t flinch.

Doesn’t even look up.

“Bucky,” Steve tries again, stepping forward slowly, cautiously, as though any sudden movement might spook him.

The man’s eyes track Steve—but only briefly. Recognition doesn’t register.

No emotion flickers. Just calculation.

The Winter Soldier, watches Steve Rogers like he’s a possible threat. Like a target.

You step back instinctively, not out of fear, but because the air has changed. Thickened.

Like the moment before a fight. Or before someone remembers something too painful to hold.

Steve is trying. You can see it.

“Bucky, it’s me. It’s Steve. Steve Rogers. Brooklyn. 40s. We grew up together.” His voice cracks.

But there’s nothing behind those eyes. Not the kind of nothing that comes from confusion.

The kind that’s been scraped clean.

Programmed.

Buried.

The man’s body tenses. A tic in the jaw. A breath held too long.

His fingers flex on the water bottle, crack—plastic gives under his grip.

Then, that guttural voice “Ne znayu tebya." I don’t know you.

Steve flinches. Not physically. Not visibly.

But you feel the break.

He kneels in front of him, ignoring the metal arm, the set jaw, the violence in his posture. His voice lowers to a whisper, so raw and aching it doesn't feel meant for anyone else to hear.

“I thought I lost you. I never stopped looking.”

The soldier’s gaze doesn’t soften.

His eyes scan Steve like he’s a file to be decrypted. A puzzle, not a person.

He shifts in the chair.

Not toward Steve—but away. Just a few inches. Enough to feel like a rejection.

The lobby is quiet again. Bucky? Or The soldier?—or the shell of him—sits in the corner like a statue draped in rags. His posture stiff, eyes half-lidded but never soft.

Like a soldier awaiting deployment, tension simmering beneath his skin.

Steve touches your arm gently and gestures toward the hallway off the reception desk. His voice is low, heavy with something that feels like grief soaked in guilt.

“That’s Bucky,” he says. “James Barnes. We grew up together. He enlisted before me.”

You blink up at him, trying to marry the image of the blank, cold-eyed man in the lobby with the idea of someone’s best friend.

Steve swallows hard. “But… that’s not who he is now. Hydra got to him. They—”

He stops. The words taste wrong in his mouth.

“They erased him. Broke him down and rebuilt him into something else. A ghost with a gun. They called him ‘The Winter Soldier.’”

A pause. His jaw tightens.

“They didn’t use his name. They called him Soldat." Steve whispers, making sure only you hear.

You murmur the word aloud without thinking, testing it, you feel disgust claw at your spine at the idea of someone being stripped so bare.

“Soldat…?”

The sound barely leaves your lips. Just a sound.

But across the lobby—the man moves.

Fast.

Sudden.

Mechanical.

The chair clatters backwards as he rises in one sharp, fluid motion. Spine straight, feet planted.

His metal arm clenches, whirring softly. His eyes, once clouded with the fog of confusion, snap into unnatural focus.

Like a trigger has been pulled.

His gaze lands on you.

Not Steve.

You.

Then, in that same guttural, rasping Russian:

“Gotov k vypolneniyu." Ready to comply.

Your heart lurches. You don’t know what he said—but the tone tells you enough.

Cold.

Obedient.

Trained.

Steve steps forward sharply, hand raised. “Bucky—no! She’s not—”

But Bucky isn’t listening. His head turns ever so slightly toward you, chin dipped in rigid respect, but eyes locked like a weapon sighting a command post.

Then, another word in Russian.

“Rukovoditel’" Handler.

Shit. SHIT

You freeze, mouth slightly open, eyes wide as you stare at the man before you.

He’s taller than you by what feels like a foot, broad-shouldered and imposing, hair tangled, blood on his temple not yet dried. But it’s not his appearance that terrifies you.

It’s how still he is now. How controlled. How conditioned.

Like someone flipped a switch inside him.

Steve’s hand is on your shoulder suddenly, protective, grounding.

“He thinks you’re his handler,” Steve says softly. His voice is tight, like he’s struggling to remain calm. “Hydra trained him to respond to words 'Soldat' must have triggered it.”

You glance at the Soldier—and feel a cold chill crawl down your spine.

But he doesn’t move. Doesn’t blink. Just waits.

As if he’s expecting you to give him an order.

You whisper, almost afraid of your own voice, “What do I do?”

Steve shakes his head. “Don’t give him commands. Don’t say anything that sounds like one. We’ll get Bruce or Tony down here, maybe they can—”

The sound of polished leather shoes and the hiss of elevator doors heralds Tony Stark’s arrival.

He strides into the lobby like he owns every inch of it—which, of course, he does. A tailored charcoal suit, sunglasses he doesn’t need indoors, and a cup of coffee he’s already bored with. His tone, dry as ever.

“Well, well, if it isn’t the Tin Man himself.”

Tony stops a few paces from the soldier, surveying him like a potential weapon. Or worse, a ticking bomb.

“You gonna sing ‘If I Only Had a Brain,’ or…?”

No response.

The Soldier—still as a statue—doesn’t flinch. Doesn’t blink. Just stands in that unnatural way. Tense. Straight-backed. Alert. His metal hand twitches faintly at his side, barely noticeable unless you’re watching for it.

And you definitely are now.

You stand just behind Steve, hands clasped nervously in front of you like you’re trying to shrink into the floor. But you feel the weight of his stare. Not Tony’s. Not Steve’s.

His.

The Soldier.

His eyes, dark and unreadable, are pinned on you.

Tony raises an eyebrow and leans toward Steve. “So this is the guy you were willing to punch me in the face over?” He eyes the torn tactical gear and matted hair. “Charming.”

Steve doesn’t rise to the bait. His voice is firm but quiet. “He’s not well. Hydra programmed him. We think he… believes she's his handler”

Tony turns toward you, glancing you up and down, not rudely, just… curious. “She gets winded carrying a bag of flour.”

You open your mouth to protest, but then The Soldier moves.

Not toward Tony.

Not toward Steve.

Just… a slight shift. He angles his body protectively between you and Stark.

And then he speaks. Russian again.

“Rukovoditel"

His voice is hoarse, barely a growl.

Tony snorts. “Let me guess. That means ‘fearless leader’?”

Steve sighs. “It means ‘handler.’ I told you Tony, he thinks she’s his handler.”

Tony takes off his sunglasses, eyes narrowing. “Oh, great. We’ve got a murder machine who’s latched onto Thumbelina.”

He turns back to The Soldier, then tries his best Stark-brand sarcasm. “Hey, RoboCop. You like shawarma? Puppies? The Bee Gees?”

The Soldier doesn’t react.

His gaze stays locked on you. Like Stark isn’t even in the room.

“Gotov k vypolneniyu" Ready to comply.

Tony paces a bit, muttering to himself.

“Okay, okay… Steve brings in a half-feral Hydra brain bomb who only listens to the human equivalent of a cupcake, and I’m just supposed to—what—build him a bunkbed?”

Steve steps between them, voice low and serious. “He’s not dangerous to her. You saw that.”

“Oh yeah, I saw it,” Tony shoots back. “Saw him zero in on her like a guided missile with a crush. Only she’s not trained. She doesn’t even speak Russian. What happens if she says the wrong thing?”

You flinch a little at that, the weight of it finally settling in your chest.

Tony softens for a half-second. Just a breath. His eyes flick to you. “No offense. I’m sure you’re a lovely hostage.”

Then, toward The Soldier again. “You got anything else in that scrambled brain of yours? English? Stark tech? The weather?”

The Soldier’s only movement is the subtle tightening of his jaw. The slight widening of his stance—defensive. Watching Tony too closely now. Like he’s assessing threat levels.

But then… his eyes return to you.

You whisper, half to yourself, “He’s waiting.”

Tony raises a brow. “For what?”

You shrug helplessly. “An order. I think.”

The lobby feels heavier. Like a suspended moment, stretched too tight.

Tony watches the two of you, something calculative slipping into his expression.

“This is a problem,” he murmurs. “Because if she’s his focus, and we can’t get through to him otherwise—he’s not just broken. He’s tethered.”

Steve crosses his arms. “Then we don’t break the tether. We use it. Let her anchor him.”

Tony scoffs. “Oh, sure. Let’s just traumatize a receptionist, make her the sole translator for Hydra’s favorite murder puppet. What could go wrong?”

But even he can’t ignore the truth, the Winter Soldier isn’t reacting to threats, or commands, or charm.

Only you.

Fuck.

[thesparkinthefire]

The Murderbot show does such a good job at making you forget that Murderbot is an angry rogue killing machine.

Oh it has downloaded silly little shows and deleted the hopper manual? Silly little guy (gn).

Oh it has the piece of a printer stuck in it and doesn't even care? Silly little guy (gn).

Oh it's team leader is having a panic attack and it's helping her calm down by watching an episode of its favorite show with her while dropping lore to take her mind off? Silly little guy (gn).

Oh it is helping perform spinal surgery on itself to fix the hoppers wiring? Silly little guy (gn).

Oh it's team is being held hostage by an evil woman and- HOLY SHIT IT EXPLODED HER HEAD

[mortalityplays]

Unprintable: Artists Against Authority

I am absolutely beside myself with excitement to announce the launch of Unprintable.

Unprintable is an online free shop, where original artwork and arts resources are released into the public domain.

Everything listed here is free to use, copy and remix any way you like. You can print off hi-res artwork to decorate your apartment, or to use in your own projects. You can use the writing in your own zines, anthologies or performances. You can put it on a t-shirt. You can read it on the radio. You can paint it on a truck. It's up to you, entirely and forever.

The collection will be updated continuously, on an unfixed schedule, with contributions from a wide range of named and anonymous artists and activists. You can read the FAQ for a full rundown of what Unprintable is and why it exists, but these are the really important parts:

Can I download/print/use the work listed here? Yes. Can I use it for [X]? You can do whatever you want with it forever. But what if I want to [Y]? You can do whatever you want with it forever. Why do this? A few reasons: 1. We want a space to just share things, no strings attached. We recognise that copyright is an irrational system that was designed to protect the profit interests of publishing middlemen and IP hoarders. In fact, copyright is often weaponised against the creators it pretends to protect. As long as it exists, we are unlikely to win any other form of protection for our work, and we are profoundly limited from engaging in the kind of communal artistic and storytelling practices that were the norm around the world for thousands of years. 2. Radical art is often unprintable. Profit motives make people cautious. A lot of print-on-demand or local print shop services will refuse artwork with controversial, sensitive or political content. This is very frustrating when these themes are the focus of so much of our work (and indeed our lives). Rather than waste any more breath trying to explain why a trans artist might want to print the word ‘faggot’, we can give our work away for free. Got a printer? It’s yours. 3. It feels good. Sharing is joyful. It’s the reason we love making things in the first place. We don’t write poems because we look forward to filleting them for consumption, or layer colours so that we can sell a canvas by the ounce. We have only ever wanted to be able to support ourselves so that we can make, but that relationship is deeply dysfunctional under capitalism. We made these things, and we want you to have them. It doesn’t need to be complicated.

I'll write up some more posts introducing the launch collection soon. In the meantime...be free, enjoy, explore, have fun!

https://free.mortalityplays.com

[mostlysignssomeportents]

Prime’s enshittified advertising

Prime's gonna add more ads. They brought in ads in January, and people didn't cancel their Prime subscriptions, so Amazon figures that they can make Prime even worse and make more money:

https://arstechnica.com/gadgets/2024/10/amazon-prime-video-is-getting-more-ads-next-year/

The cruelty isn't the point. Money is the point. Every ad that Amazon shows you shifts value away from you – your time, your attention – to the company's shareholders.

That's the crux of enshittification. Companies don't enshittify – making their once-useful products monotonically worse – because it amuses them to erode the quality of their offerings. They enshittify them because their products are zero-sum: the things that make them valuable to you (watching videos without ads) make things less valuable to them (because they can't monetize your attention).

This isn't new. The internet has always been dominated by intermediaries – platforms – because there are lots more people who want to use the internet than are capable of building the internet. There's more people who want to write blogs than can make a blogging app. There's more people who want to play and listen to music than can host a music streaming service. There's more people who want to write and read ebooks than want to operate an ebook store or sell an ebooks reader.

Despite all the early internet rhetoric about the glories of disintermediation, intermediaries are good, actually:

https://pluralistic.net/2022/06/12/direct-the-problem-of-middlemen/

The problem isn't with intermediaries per se. The problem arises when intermediaries grow so powerful that they usurp the relationship between the parties they connect. The problem with Uber isn't the use of mobile phones to tell taxis that you're standing on a street somewhere and would like a cab, please. The problem is rampant worker misclassification, regulatory arbitrage, starvation wages, and price-gouging:

https://pluralistic.net/2024/02/29/geometry-hates-uber/#toronto-the-gullible

There's no problem with publishers, distributors, retailers, printers, and all the other parts of the bookselling ecosystem. While there are a few, rare authors who are capable of performing all of these functions – basically gnawing their books out of whole logs with their teeth – most writers can't, and even the ones who can, don't want to:

https://pluralistic.net/2024/02/19/crad-kilodney-was-an-outlier/#intermediation

When early internet boosters spoke of disintermediation, what they mostly meant was that it would be harder for intermediaries to capture those relationships – between sellers and buyers, creators and audiences, workers and customers. As Rebecca Giblin and I wrote in our 2022 book Chokepoint Capitalism, intermediaries in every sector rely on chokepoints, narrows where they can erect tollbooths:

https://chokepointcapitalism.com/

When chokepoints exist, they multiply up and down the supply chain. In the golden age of physical, recorded music, you had several chokepoints that reinforced one another. Limited radio airwaves gave radio stations power over record labels, who had to secretly, illegally bid for prime airspace ("payola"). Retail consolidation – the growth of big record chains – drove consolidation in the distributors who sold to the chains, and the more concentrated distributors became, the more they could squeeze retailers, which drove even more consolidation in record stores. The bigger a label was, the more power it had to shove back against the muscle of the stores and the distributors (and the pressing plants, etc). Consolidation in labels also drove consolidation in talent agencies, whose large client rosters gave them power to resist the squeeze from the labels. Consolidation in venues drives consolidation in ticketing and promotion – and vice-versa.

But there's two parties to this supply chain who can't consolidate: musicians and their fans. With limits on "sectoral bargaining" (where unions can represent workers against all the companies in a sector), musicians' unions were limited in their power against key parts of the supply chain, so the creative workers who made the music were easy pickings for labels, talent reps, promoters, ticketers, venues, retailers, etc. Music fans are diffused and dispersed, and organized fan clubs were usually run by the labels, who weren't about to allow those clubs to be used against the labels.

This is a perfect case-study in the problems of powerful intermediaries, who move from facilitator to parasite, paying workers less while degrading their products, and then charge customers more for those enshittified products.

The excitement about "disintermediation" wasn't so much about eliminating intermediaries as it was about disciplining them. If there were lots of ways to market a product or service, sell it, collect payment for it, and deliver it, then the natural inclination of intermediaries to turn predator would be curbed by the difficulty of corralling their prey into chokepoints.

Now that we're a quarter century on from the Napster Wars, we can see how that worked out. Decades of failure to enforce antitrust law allowed a few companies to effectively capture the internet, buying out rivals who were willing to sell, and bankrupting those who wouldn't with illegal tactics like predatory pricing (think of Uber losing $31 billion by subsidizing $0.41 out of every dollar they charged for taxi rides for more than a decade).

The market power that platforms gained through consolidation translated into political power. When a few companies dominate a sector, they're able to come to agreement on common strategies for dealing with their regulators, and they've got plenty of excess profits to spend on those strategies. First and foremost, platforms used their power to get more power, lobbying for even less antitrust enforcement. Additionally, platforms mobilized gigantic sums to secure the right to screw customers (for example, by making binding arbitration clauses in terms of service enforceable) and workers (think of the $225m Uber and Lyft spent on California's Prop 22, which formalized their worker misclassification swindle).

So big platforms were able to insulate themselves from the risk of competition ("five giant websites, filled with screenshots of the other four" – Tom Eastman), and from regulation. They were also able to expand and mobilize IP law to prevent anyone from breaking their chokepoints or undoing the abuses that these enabled. This is a good place to get specific about how Prime Video works.

There's two ways to get Prime videos: over an app, or in your browser. Both of these streams are encrypted, and that's really important here, because of a law – Section 1201 of the 1998 Digital Millennium Copyright Act – which makes it really illegal to break this kind of encryption (commonly called "Digital Rights Management" or "DRM"). Practically speaking, that means that if a company encrypts its videos, no one is allowed to do anything to those videos, even things that are legal, without the company's permission, because doing all those legal things requires breaking the DRM, and breaking the DRM is a felony (five years in prison, $500k fine, for a first offense).

Copyright law actually gives subscribers to services like Prime a lot of rights, and it empowers businesses that offer tools to exercise those rights. Back in 1976, Sony rolled out the Betamax, the first major home video recorder. After an eight-year court battle, the Supreme Court weighed in on VCRs and ruled that it was legal for all of us to record videos at home, both to watch them later, and to build a library of our favorite shows. They also ruled that it was legal for Sony – and by that time, every other electronics company – to make VHS systems, even if those systems could be used in ways that violated copyright because they were "capable of sustaining a substantial non-infringing use" (letting you tape shows off your TV).

Now, this was more than a decade before the DMCA – and its prohibition on breaking DRM – passed, but even after the DMCA came into effect, there was a lot of media that didn't have DRM, so a new generation of tech companies were able to make tools that were "capable of sustaining a substantial non-infringing use" and that didn't have to break any DRM to do it.

Think of the Ipod and Itunes, which, together, were sold as a way to rip CDs (which weren't encrypted), and play them back from both your desktop computer and a wildly successful pocket-sized portable device. Itunes even let you stream from one computer to another. The record industry hated this, but they couldn't do anything about it, thanks to the Supreme Court's Betamax ruling.

Indeed, they eventually swallowed their bile and started selling their products through the Itunes Music Store. These tracks had DRM and were thus permanently locked to Apple's ecosystem, and Apple immediately used that power to squeeze the labels, who decided they didn't like DRM after all, and licensed all those same tracks to Amazon's DRM-free MP3 store, whose slogan was "DRM: Don't Restrict Me":

https://memex.craphound.com/2008/02/01/amazons-anti-drm-tee/

Apple played a funny double role here. In marketing Itunes/Ipods ("Rip, Mix, Burn"), they were the world's biggest cheerleaders for all the things you were allowed to do with copyrighted works, even when the copyright holder objected. But with the Itunes Music Store and its mandatory DRM, the company was also one of the world's biggest cheerleaders for wrapping copyrighted works in a thin skin of IP that would allow copyright holders to shut down products like the Ipod and Itunes.

Microsoft, predictably enough, focused on the "lock everything to our platform" strategy. Then-CEO Steve Ballmer went on record calling every Ipod owner a "thief" and arguing that every record company should wrap music in Microsoft's Zune DRM, which would allow them to restrict anything they didn't like, even if copyright allowed it (and would also give Microsoft the same abusive leverage over labels that they famously exercised over Windows software companies):

https://web.archive.org/web/20050113051129/http://management.silicon.com/itpro/0,39024675,39124642,00.htm

In the end, Amazon's approach won. Apple dropped DRM, and Microsoft retired the Zune and shut down its DRM servers, screwing anyone who'd ever bought a Zune track by rendering that music permanently unplayable.

Around the same time as all this was going on, another company was making history by making uses of copyrighted works that the law allowed, but which the copyright holders hated. That company was Tivo, who products did for personal video recorders (PVRs) what Apple's Ipod did for digital portable music players. With a Tivo, you could record any show over cable (which was too expensive and complicated to encrypt) and terrestrial broadcast (which is illegal to encrypt, since those are the public's airwaves, on loan to the TV stations).

That meant that you could record any show, and keep it forever. What's more, you could very easily skip through ads (and rival players quickly emerged that did automatic ad-skipping). All of this was legal, but of course the cable companies and broadcasters hated it. Like Ballmer, TV execs called Tivo owners "thieves."

But Tivo didn't usher in the ad-supported TV apocalypse that furious, spittle-flecked industry reps insisted it would. Rather, it disciplined the TV and cable operators. Tivo owners actually sought out ads that were funny and well-made enough to go viral. Meanwhile, every time the industry decided to increase the amount of advertising in a show, they also increased the likelihood that their viewers would seek out a Tivo, or worse, one of those auto-ad-skipping PVRs.

Given all the stink that TV execs raised over PVRs, you'd think that these represented a novel threat. But in fact, the TV industry's appetite for ads had been disciplined by viewers' access to new technology since 1956, when the first TV remotes appeared on the market (executives declared that anyone who changed the channel during an ad-break was a thief). Then came the mute button. Then the wireless remote. Meanwhile, a common VCR use-case – raised in the Supreme Court case – was fast-forwarding ads.

At each stage, TV adapted. Ads in TV shows represented a kind of offer: "Will you watch this many of these ads in return for a free TV show?" And the remote, the mute button, the wireless remote, the VCR, the PVR, and the ad-skipping PVR all represented a counter-offer. As economists would put it, the ability of viewers to make these counteroffers "shifted the equilibrium." If viewers had no defensive technology, they might tolerate more ads, but once they were able to enforce their preferences with technology, the industry couldn't enshittify its product to the liminal cusp of "so many ads that the viewer is right on the brink of turning off the TV (but not quite)."

This is the same equilibrium-shifting dynamic that we see on the open web, where more than 50% of users have installed an ad-blocker. The industry says, "Will you allow this many 'sign up to our mailing list' interrupters, pop ups, pop unders, autoplaying videos and other stuff that users hate but shareholders benefit from" and the ad-blocker makes a counteroffer: "How about 'nah?'":

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

TV remotes, PVRs and ad-blockers are all examples of "adversarial interoperability" – a new product that plugs into an existing one, extending or modifying its functions without permission from (or even over the objections of) the original manufacturer:

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

Adversarial interop creates a powerful disciplining force on platform owners. Once a user grows so frustrated with a product's enshittification that they research, seek out, acquire and learn to use an adversarial interop tool, it's really game over. The printer owner who figures out where to get third-party ink is gone forever. Every time a company like HP raises its prices, they have to account for the number of customers who will finally figure out how to use generic ink and never, ever send another cent to HP.

This is where DMCA 1201 comes into play. Once a product is skinned with DRM, its manufacturers gain the right to prevent you from doing legal things, and can use the public's courts and law-enforcement apparatus to punish you for trying. Take HP: as soon as they started adding DRM to their cartridges, they gained the legal power to shut down companies that cloned, refilled or remanufactured their cartridges, and started raising the price of ink – which today sits at more than $10,000/gallon:

https://pluralistic.net/2024/09/30/life-finds-a-way/#ink-stained-wretches

Using third party ink in your printer isn't illegal (it's your printer, right?). But making third party ink for your printer becomes illegal once you have to break DRM to do so, and so HP gets to transform tinted water into literally the most expensive fluid on Earth. The ink you use to print your kid's homework costs more than vintage Veuve Cliquot or sperm from a Kentucky Derby-winning thoroughbred.

Adversarial interoperability is a powerful tool for shifting the equilibrium between producers, intermediaries and buyers. DRM is an even more powerful way of wrenching that equilibrium back towards the intermediary, reducing the share that buyers and sellers are able to eke out of the transaction.

Prime Video, of course, is delivered via an app, which means it has DRM. That means that subscribers don't get to exercise the rights afforded to them by copyright – only the rights that Amazon permits them to have. There's no Tivo for Prime, because it would have to break the DRM to record the shows you stream from Prime. That allows Prime to pull all kinds of shady shit. For example, every year around this time, Amazon pulls popular Christmas movies from its free-to-watch tier and moves them into pay-per-view, only restoring them in the spring:

https://www.reddit.com/r/vudu/comments/1bpzanx/looks_like_amazon_removed_the_free_titles_from/

And of course, Prime sticks ads in its videos. You can't skip these ads – not because it's technically challenging to make a 30-second advance button for a video stream, and doing so wouldn't violate anyone's copyright – but because Amazon doesn't permit you to do so, and the fact that the video is wrapped in DRM makes it a felony to even try.

This means that Amazon gets to seek a different equilibrium than TV companies have had to accept since 1956 and the invention of the TV remote. Amazon doesn't have to limit the quantity, volume, and invasiveness of its ads to "less the amount that would drive our subscribers to install and use an ad-skipping plugin." Instead, they can shoot for the much more lucrative equilibrium of "so obnoxious that the viewer is almost ready to cancel their subscription (but not quite)."

That's pretty much exactly how Kelly Day, the Amazon exec in charge of Prime Video, put it to the Financial Times: they're increasing the number of ads because "we haven’t really seen a groundswell of people churning out or cancelling":

https://www.ft.com/content/f8112991-820c-4e09-bcf4-23b5e0f190a5

At this point, attentive readers might be asking themselves, "Doesn't Amazon have to worry about Prime viewers who watch in their browsers?" After all browsers are built on open standards, and anyone can make one, so there should be browsers that can auto-skip Prime ads, right?

Wrong, alas. Back in 2017, the W3C – the organization that makes the most important browser standards – caved to pressure from the entertainment industry and the largest browser companies and created "Encrypted Media Extensions" (EME), a "standard" for video DRM that blocks all adversarial interoperability:

https://www.eff.org/deeplinks/2017/09/open-letter-w3c-director-ceo-team-and-membership

This had the almost immediate effect of making it impossible to create an independent browser without licensing proprietary tech from Google – now a convicted monopolist! – who won't give you a license if you implement recording, ad-skipping, or any other legal (but dispreferred) feature:

https://blog.samuelmaddock.com/posts/the-end-of-indie-web-browsers/

This means that for Amazon, there's no way to shift value away from the platform to you. The company has locked you in, and has locked out anyone who might offer you a better deal. Companies that know you are technologically defenseless are endlessly inventive in finding ways to make things worse for you to make things better for them. Take Youtube, another DRM-video-serving platform that has jacked up the number of ads you have to sit through in order to watch a video – even as they slash payments to performers. They've got a new move: they're gonna start showing you ads while your video is paused:

https://www.usatoday.com/story/money/2024/09/20/youtube-pause-ads-rollout/75306204007/

That is the kind of fuckery you only come up with when your victory condition is "a service that's almost so bad our customers quit (but not quite)."

In Amazon's case, the math is even worse. After all, Youtube may have near-total market dominance over a certain segment of the video market, but Prime Video is bundled with Prime Delivery, which the vast majority of US households subscribe to. You have to give up a lot to cancel your Prime subscription – especially since Amazon's predatory pricing devastated the rest of the retail sector:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

Amazon's founding principle was "customer obsession." Ex-Amazoners tell me that this was more than an empty platitude: arguments over product design were won or lost based on whether they could satisfy the "customer obsession" litmus test. Now, everyone falls short of their ideals, but sticking to your ideals isn't merely a matter of internal discipline, of willpower. Living up to your ideals is a matter of external discipline, too. When Amazon no longer had to contend with competitors or regulators, when it was able to use DRM to control its customers and use the law to prevent them from using its products in legal ways, it lost those external sources of discipline.

Amazon suppliers have long complained of the company's high-handed treatment of the vendors who supplied it with goods. Its workers have complained bitterly and loudly about the dangerous and oppressive conditions in its warehouses and delivery vans. But Amazon's customers have consistently given Amazon high marks on quality and trustworthiness.

The reason Amazon treated its workers and suppliers badly and its customers well wasn't that it liked customers and hated workers and suppliers. Amazon was engaged in a cold-blooded calculus: it understood that treating customers well would give it control over those customers, and that this would translate market power to retain suppliers even as it ripped them off and screwed them over.

But now, Amazon has clearly concluded that it no longer needs to keep customers happy in order to retain them. Instead, it's shooting for "keeping customers so angry that they're almost ready to take their business elsewhere (but not quite)." You see this in the steady decline of Amazon product search, which preferences the products that pay the biggest bribes for search placement over the best matches:

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

And you see it in the steady enshittification of Prime Video. Amazon's character never changed. The company always had a predatory side. But now that monopoly and IP law have insulated it from consequences for its actions, there's no longer any reason to keep the predator in check.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/10/03/mother-may-i/#minmax

[barabones]

With our Crips for Esims for Gaza Itch Bundle halfway to the $100,000 goal, let's take a minute to actually spotlight some of the works in it! A lot of stuff was specifically created or submitted for our cause, and are not only entertaining, but are great resources for getting yourself involved!

Let's check some of these projects out!

What Palestinians’ Use of eSIMs Can Teach Us About Tech

A fantastic introduction essay written by friend of the group, @chloetankahhui.bsky.social, specifically for our bundle! I highly suggest it as your first download after purchase!

What Is An eSim?

Another project designed to quickly inform people on how eSims are used in Gaza! Made by various volunteers in our own Crips for eSims group. We hope to use this as an easy printable way to spread the word of what we do!

Cartoonists for Palestine anthology

250 whooping pages of incredible art! It is worth spending an evening looking through all 63 stories! Thank you to @redgoldsparks for submitting this collection!

a fruit is a stone

A chapbook made by one of our volunteers, who also apparently studies rocks on Mars! Go ahead and take a minute to read some poetry about sediment.

Game Assist for Palestine Companion Zine

If you love video essays about video games, especially breaking down the politics in them, then grab yourself the companion zine for some of Game Assist's videos!

In Fear of Fucking It Up

In Fear of Fucking It Up is a zine collecting scraps of essays focused on the authors personal thoughts; all themed on the intersectionality of the Palestinian and African American struggle, the overwhelming pressure to perform socially, and general thoughts about acts of resistance. A neat little zine with a very personal perspective!

'Tis the Season

Have you ever wanted to be a mistletoe themed superhero? Check out this TTRPG to get involved with domestic actions from protecting protestors to destroying arms shipments!

ANY SAND

May be a little biased, since hexcavator is one of the wonderful authors of our bundle, but Any Sand is a beautifully crafted point and click game with themes of resistance similar to the Rasha Abdulhadi poem it is named after.

Drawings for Palestine

Now it's time for some free poster assets! This bundle by Axell is planned to be updated over time; with all works in the public domain!

RISO PRINT FILES FOR PALESTINE

I'm not entirely sure what a risograph print is, but these also have inkjet and laser printer file formats available! The concept of scanning in your own keffiyeh for the red layer is a brilliant way to make your own print run unique!

MASK UP! Poster print pack

Plenty of color options available for your needs! Gosh this poster is just so cool. Thanks @counterintuitivecomics for submitting it along with a really cool guide for navigating Covid-19!

Esims for Gaza Poster Graphics

Ending on my own art hahaha! I've been doing what little I can to make poster graphics for our cause since July of 2024. I never would have expected them to end up wheatpasted around Canada! I'll also be updating this pack with new assets or updated information when I can. Use these graphics and characters however you like, just be sure to send me pictures!

And that ends our round up of Palestine themed projects! This should be plenty to keep you busy for a few evenings, but that's only some of the over 200 projects submitted to our bundle! There's plenty more hidden treasure in there, but that may be for another day. This post is already getting to "color of the sky" length anyways.

But hey hey, did YOU read a zine or game in this bundle that you really enjoyed, and you think people should check out? Let folks know! And let them know that our bundle is still going until the end of May 19th!

At the time of this post, we are already halfway to our new goal of 100k! Let's get it up there!

[nipuni]

Some photos from the past few weeks! The new printer we ordered finally arrived so I immediately started printing these cute paper crafts from the talented @raspbel-art (bookmarks) and @northernfireart (3D Paper dolls) as well as my little Tennant stickers 🥰 I want to start making merch so I'm experimenting! aand we also went to see some performances, the funfair and put the barbeque to use now that the sun is back 😌