#website design Worthing

[depoteka]

i was literally ready to learn how to sew and make myself a skirt out of this fabric but ikea doesn't want to send it to me

[mechaseraph]

*trying to figure out the shit is going on with Genba's outfit* Okay, can I just talk here for a bit and go into my "character design is my passion, so is analyzing em" mode

Came to conclusion that the easiest way for me to stylize him (/likely sort of intended read of his figure/design?) is just to draw dark silhouette kind of blob and slap some orange over it. We ball (each like less than 5 mins, don't take those seriously) There are something get lost like this, though...

Okay, here's my thoughts on him/how I think his design works under the cut

This might be the most hobbyani ass coded toku character I've ever seen in my life. He would fit right in with bottleman dx cast I think (that's to say, mfb is more on my mind here have anyone here heard about ren cvf hey). Like. How is coat even goes. What with the little "shoulder cape" thing. As he wears black/dark-gray for p much all, shirt and coat blend to point where you might confuse where one starts and other ends (or, at least, I do sometimes). Dare I say, the coat makes his figure look off at times, it is rather free and follows arms movement, while sleeves are firm, creating stick arms+broad figure combo. Almost every element is layered (tried to get my understanding? of his shirt out on 3rd. It looks 3 layered?), you can clearly see that the orange parts stick out over black and vice-versa?

And it is so obviously hand-made/hastily thrown together. The fabric's threads stick out, wouldn't say like "an eye-sore" but once you notice, it's hard to ignore? And you could say, "some clothes are just designed like this" and it be true, if not some of those sticking out in random fashion and from under orange elements. Genba, at least few of yours sewing threads are one pull from making a tear, I fear. (red highlights on 3rd and 4th. Just some) Overall, his outfit just. Not falling apart at all, just got those little parts that stick out, that's it, there's personal taste and direction, but it's sure an one to throw people off. Which is, gotta give to designers, fantastic job done! With whatever 3rd lap promises, it is very intentional and should speak for what kind of character Genba is. Or rather, his hidden parts and how it's all crumbles apart at its seams?

[bgpop]

last post before im on the plane to new home country. Awawawa

[twothpaste]

the fact ayo three (without add-ons) still doesn't offer permanent / universal filter settings really is downright embarrassing. "don't like don't read" is a shitty argument when folks (esp minors) still have to read abjectly wretched tags & summaries at the top of any page, before manually and tediously navigating the filter settings. also because the filter system is a clunky & archaic dinosaur, you can't always filter multiple things at the same time. the website only recently added a (also very clunky & archaic) "mute" feature, which is nice compared to the useless block feature, but feels like the world's smallest band-aid.

[girlbob-boypants]

I'm kinda wondering if we're approaching a sort of pseudo death to youtube cause apparently even channels that have been seeing viewer growth are seeing ad revenue reduction. Which has led to a lot of experimentation with other sites and other ways of making money.

[shinmiyovvi]

Here's a wip of the Carrd website for my CodZ oc Information Files

[crazysodomite]

no honestly with twitter now in shambles what the fuck are artists supposed to do

[glowdevil]

I literally do not want to run any more shops/have my hobbies be businesses anymore but also I really want there to be vintage furry t-shirts that are the complete aesthetic opposite to streetwear/ half stealth looking shirts. The midpoint is like shirts that say "bad dog" with not strictly furry but furry appealing wolf cartoon head on it but im not talking about that im talking about Shirts with Furry's furries on them. Is anyone hearing me.

[annabelle--cane]

"the magnus protocol had a whole ARG beforehand? what?"

yes! it did!

"oh so I need to have participated in this whole big thing to actually understand the podcast?"

not at all! from the official post-mortem put out by RQ, "while the ARG was not something that was necessary to participate in to understand the magnus protocol, it was designed to contain a wealth of background story and context that would enrich any player's listening experience."

"a wealth of background context that would enrich my listening experience 👀👀👀 how can I learn about this?"

SO glad you asked. sadly, many of the materials made for the arg have been taken down since the game ended 😔 (ex., the official OIAR, magnus institute, and bonzoland websites. (edit ii: I found partial wayback machine captures! see below) though @strangehauntsuk is still up!), so we're a bit low on primary sources, but in terms of learning about what happened:

for a starting point, I would really recommend this video by @pinkelotjeart

it's super accessible, it was made in real time as the game progressed and follows the solving and revelation of clues as they happened, it hits all the major points of the mystery and moments of community insanity while eliding some of the nitty gritty puzzle grinding, 10/10 would recommend.

here's the official summary put out by RQ, and I'd recommend reading through this once you've already gotten a basic handle on the flow of the story and the basic connections between major clues and events. it's got some fun behind-the-scenes info and lays out the thought process behind the puzzles in simple terms

here's the full masterdoc of all puzzles and resolutions put together in the statement remains discord server. masterdoc my absolute BELOVED, masterdoc my bethrothed, masterdoc my soul mate. I'd recommend this as a second port of call after the above video as it either contains all details about the puzzles or links to other expanded docs that do.

here's the narrative summary doc that lays out all the plot and lore discovered in three pages of plain prose. if you just want to get to the good bits as fast as you can and get blasted directly in the face by contextless lore bombs, this is the doc for you. if you don't want to start with the video, I'd say this is another good entry point.

once you've got the lay of the land, some of the game materials that I found particularly interesting include:

the in-universe east germany expat usenet forum, with all content translated into english. most of it is irrelevant space filler with occasional extremely sus lore, but I still found it fun to read through. love to soak in some fictional forum drama.

chdb.xlsx, the spreadsheet of the names of all the children the protocol 'verse magnus institute was studying/experimenting on. EDIT: here is a version of the sheet without any annotations and with all of the names in their original order, kudos to @theboombutton for catching that the commonly shared copy had the order swapped around.

klaus.xls, a (very corrupted) spreadsheet with what looks like the classifications of a bunch of old OIAR cases.

EDIT: have a few more saved materials from the game that I forgot to include.

an in-universe audio ad to apply to the OIAR that ran before archives episodes and kicked off the whole game.

an in-universe video ad to apply to the OIAR, this one is an official upload that's still up from the game itself. you can subscribe to the OIAR's official youtube channel today, if you so chose.

the robo-voicemail greeting from the OIAR's phone line.

EDIT II:

here is a wayback machine capture of the OIAR's official website.

here is a wayback machine capture of the bonzoland website.

(pretty sure both of the above captures just archived the home pages, though I haven't tried clicking all of the links. I'd say they're still worth looking at, the home pages give a good window into the vibes.)

once you start poking around in these documents, you'll find a bunch of links to others with further information, the materials I've included here just contain what I feel to be the most relevant details to getting a broad feel for the whole game. once again, huge shout out to the statement remains server, I was barely in there as the ARG was in progress and only ducked my head in every so often to find links like these. true mvps of the fandom.

[frostedpolkabb]

And here's what this au's "Neighbor" looks like, along with a small guide on Viewers.

Info blurb on Viewers first!

So they are self-explanatory, these floating disembodied eyes are what the viewers of the show look like in the show. The viewers usually show up as a pair of eyes but sometimes they'll only be one eye. These eyes can be any color from the swatch but can be shaped and sized in many ways! The sizing is usually emotion based so they'll grow and shrink accordingly, their pupils also change shape according to how they're feeling as well as similar effects showing up around them. They normally stick to Wally since he's the only one that can fully hear them. Frank is getting very close to understanding them but its in a way similar to a human understanding a pet. The viewers that are usually up later in the night know very well what Home actually is and tend to try exposing Home to the other neighbors and Viewers. Home hates this and will deal with them by hijacking whatever device they are using and forcefully breaking it. Sometimes Wally will defend them or redirect Home's attention to save the Viewers from the trouble of buying/fixing their devices. When "Neighbor" shows up the viewers stick to them even more than Wally and try their best to help them return to the real world.

Now onto "Neighbor"!

This is where the current "story" is in the timeline I posted. Neighbor is the last human to be pulled into the show...for the moment anyway. I'm not going to do much info dumping about Neighbor cuz I wanted there to be some interactive aspects of my AU and well their story does fit that. I've got two or three possible endings to their story and I'd be curious to see where you guys might lead them since...well...they are supposed to be an insert lol. Anyway, one thing that doesn't change about Neighbor is they can't really start out awful or just bad. Mainly due to Wally being too paranoid to give them even the slimmest of chances if they are mean/violent/bad, he's got friends to protect after-all. Though Neighbor could develop some resentment or anger later on when finding out why Home dragged them into the show in the first place.

[bunny-banana]

everybody keeps sending me tiktoks and im being so brave about it

[blumineck]

Your videos are so awesome! Question about pole dancing:

I'm a trans man, and before I transitioned I did some aerial silks and trapeze at a school near where I lived. Then I transitioned, moved, and after a few years have wanted to get back into something similar. There are plenty of pole places around my house, but they're heavily oriented towards women. One's even marketed for ONLY women. I feel really weird about trying to attend classes as a man. Any advice?

OK, this is a tricky one. As this is anon, I need to post publicly, so here's some context for passers-by:

Pole dance is a heavily female-dominated activity, and because it's also frequently sexualised (either by design or by association), and requires fairly revealing clothing, many women feel less comfortable in classes with men. Some studios might then attempt to foster a safer environment by excluding men altogether (and even if they don't, the vast majority of students are usually female anyway, so pictures on the website, etc rarely feature men even if there's no actual policy).

And I GET all that. But also, I feel like it's ok for men to want to do pole too. I was literally drawn to pole in the first place BECAUSE it defied traditional gender expectations. So here's my advice, to you and any other men who might want to start:

1) Ask. Drop the studio an email, see if they take male students. The way they respond will tell you a lot about whether this will be a safe/welcoming space for you. It might feel weird and scary, but they don't know you yet, and if their answer is off-putting, they never have to!

2) Be prepared to be in a minority. Even if the studio is welcoming, you are unlikely to be in a class with more than 1 or 2 other men (at most!) and reasonably likely to be the only one. You may find different moves easy/hard, and you may find it takes a little longer for other students to relax/open up around you. This can be hard for some men who aren't used to that dynamic, but it /is/ a predominantly feminine space, so it's worth being thoughtful in how you approach things.

I'm not saying this to put you or anyone else off! IME most studios are happy to take male students, and most students are reasonably open and welcoming, and once you get settled, you can have a lot of fun and make lots of friends. As long as you check in and make an effort, I absolutely recommend giving it a go!

[egberts]

TW ANIMAL DEATH but this litter robot, one of the cheapest designs available on many websites, is incredibly dangerous and has killed several cats. if you have this robot or are looking to get one or even just know anyone with cats then this is seriously worth looking into because the deaths are quite horrific and preventable if you know better

[derinwrites]

How can I make money writing fiction?

I'm gonna be straight with you. There is no guarantee that you'll make enough as an independent writer to make it worth your time. You very well might -- I make a liveable wage as an independent writer -- but many don't. Most writers I know also have a job. And luck plays a big part in it.

If you're interested in going forward in spite of this, you have two main options for monetisation open to you, and you are going to have to pick one. I call them the sales model and the sponsorship model, and you are going to have to pick one.

The sales model involves writing stories and selling them to readers. You can put books up on Amazon or Smashwords, sell them direct from your own website, enlist the help of a traditional publisher to handle that for you and let them decide where to sell, whatever -- the point is that your money is made from the sale of books to readers. If you go with a traditional publisher, you're using this model (though they will give you some of the money ahead of time in the form of an advance). Most indie authors also use this model, publishing through draft2digital, Ingram Spark, direct through Amazon, whatever. I've never relied on the sales model and can't give you any advice on how to do this, but Tumblr is full of indie authors who probably can.

The sponsorship model involves soliciting small amounts of money from various readers over time. This is ideal for web serials, and it's what I use. I use Patreon, which is designed specifically for this purpose, but you can use other sites such as ko-fi. This model involves providing regular content for free, with bonuses for those who support you.

"Can't I do both? Sell books and have a Patreon?" You absolutely can! I know several indie authors with a Patreon. I sell my completed books as ebooks and will eventually sell them as paperbacks. But your time and attention is limited, and so is your audience's, and you're going to have to half-arse one of these in order to have enough arse to whole-arse the other. You're going to make a lo of decisions that benefit either the sponsorship model or the sales model, not both. So pick your primary income source early and commit.

I can only advise on writing web serials and using the sponsorship model, so I'll go ahead with that assumption. If you want to make a liveable wage doing this, not only will you need luck, you'll also need patience. This is not a fast way to build a career. at the end of my first year of doing this, I had one single patron, and they were a real-life friend of mine. When I reached an income of $100/month, I threw a little party for myself, I was so happy. It had taken such a long time and was so much work. I reached enough to cover rent/mortgage after I'd been doing this for more than four years. It's a long term sort of career.

Here are some general tips for succeeding in this industry, given by me, someone with no formal training in any of this who only vaguely knows what they're talking about:

Have a consistent update schedule and STICK TO IT

The #1 indicator for stable success in this industry (aside from luck, which we're discounting because you can't do much about that) is having a consistent update schedule. Your readers need to know when the next chapter is coming out, and it should be coming out regularly. Ideally, you should have no breaks or hiatuses -- if you're in a bus crash or something, that might be unavoidable, and your readers will understand if you tell them, but if you're stopping and starting a lot for trivial reasons, they WILL abandon you. You can't get away with that shit if you're not Andrew Hussie, and I'm pretty sure Andrew Hussie doesn't message me for career advice on Tumblr. If you find you need a lot of hiatuses to write fast enough then you're updating too often; change your schedule. A regular schedule is more important than a fast one (ideally it should be both, but if you have to pick between the two, pick regular).

2. Pay attention to your readership, listen to what they want from you

Your income is based on a pretty complicated support structure when you're using the sponsorship model. this model relies on people finding your story, liking your story, and continuing to find it valuable enough to keep paying you month after month. This means that your rewards for your sponsors should be things that they value and will continue to pay for ('knowing I'm supporting an artist whose work I enjoy' counts as a thing that they value, to my great surprise; there's a lot of people giving me money just for the sake of giving me money, so I can pay my mortgage and keep writing for them without needing a second job), but it also means supporting the entire network that attracts readers and keeps them having the best time they can with your story -- being part of a rewarding community. Because this is advice on making money, I'm going to roughly divide your readership into groups based on how they affect your bottom line:

sponsors. People giving you money directly. The importance of keeping this group happy should be obvious.

administration and community helpers -- discord moderators, IT people, guys who set up fan wikis, whoever's handling your mailing list if you have a mailing list. You can do this stuff yourself, or you can hire someone to do it, but if you're incredibly lucky and people enjoy being a part of your reader community, people will sometimes volunteer to do the work for free. If you are lucky enough to get such people, respect them. They are doing you a massive favour, and they're not doing it for you, but to maintain a place that they value, and you have to respect both of those things. My discord has just shy of 1,300 members and is moderated by volunteers. I'd peel my own face off if I had to moderate a community that large. If you've got people stepping up to do work for you, you need to respect them and you need to make sure that they continue to find that rewarding by doing what you can to make sure that the community they're maintaining is rewarding. Sometimes this means taking actions and sometimes this means staying the fuck out of the way. Depending on the circumstances.

fan artists. Once you have people drawing your characters, writing fanfic of your stories, whatever, treat these like fucking gold. Give them a space to do this, and more importantly, give them a space to do this without you in it. Fanworks are a symptom of engagement with your work, which is massively important. They are also a component of a healthy community, an avenue for readers to talk to each other and express themselves creatively to each other. Third, fanworks act as a bridge for new readers. When readers share their art on, say, Tumblr, it can intrigue new people and get them into the story. Your job in all of this is to give them the space to work, encourage them as required or invited (I reblog most TTOU fanart that I'm tagged in on Tumblr, for instance), and other than that, stay the fuck out of their way. These people are vital to the liveblood of your community, the continued engagement of your audience, and the interest of your sponsors. Some of the fan artists will be sponsors themselves; some won't be. Those who aren't sponsors are still massively valuable for their art.

speculators, conversers, theorists, livebloggers, and That Guy Who's Just Really Jazzed For The Next Chapter. Some people don't make art but just like to chat about your story. These people are a bedrock of the community that's supporting your sponsors and increasing your readership, and therefore are critical to your income stream. Give them a place to talk. Be nice to them when they talk to you. Sometimes, they'll ask you questions about the story, which you can choose to answer or not, however you feel is appropriate. They'll also want to chat about non-story-related stuff with each other, so make sure they have a place to do that, too.

that guy who never talks to you or comments on anything but linked your story to ten guys in his office who all read it now. Some of your supporters are completely invisible to you. You can't do anything for these people except continue to release the story and have a forum they can silently lurk on if they want to. But, y'know, they exist.

If you want to focus on income then these are, roughly, the groups of people that you will need to listen to and accommodate for. You can generally just make sure they have space to do their thing, and if they want anything else, they'll tell you (yes, guys, paperbacks will be coming eventually). Many people will fit into multiple groups -- I have some sponsors that are in every single one of these groups except the last. Some will only be in one group. A healthy income rests on a healthy community which rests on accommodating these needs.

3. If you can manage it, try to make your story good.

It's also helpful for your story to be good. Economically, this is far less important than you'd think -- there are some people out there writing utter garbage and making a living doing it. Garbage by what standards? By whatever your standards are. Just think of the absolute laziest, emptiest, hackiest waste-of-bandwidth story you can imagine -- some guy is half-arsing that exact story and making three times what you'll ever make on Patreon doing it. And honestly? Good for him. If he's making that much then his readers are enjoying it, and that's what matters. Still, one critical component of making money as a writer is writing something that people actually want to read. And you can't trick them with web serials, because they don't pay in advance -- if they're bored, they'll just stop. So you have to make it worth their time, money and attention, and the simplest way to do that is to write a good story.

This hardly seems mentioning, since you were presumably planning to do that anyway. It's basic respect for your audience to give them something worth their time. Besides, if we're not interested in improving our craft and striving for our best, what are we even writing for? I'm sure I don't need to tell you to try to write a good story. The reason I list this is in fact the opposite -- don't let "I'm not a good enough writer" paralyse you. The world is full of someday-writers who endlessly fuss over and revise a single story because it's not good enough, it's not perfect, they're not Terry Pratchett yet. Neither was Terry Pratchett when his first books were published. If you're waiting to be good enough, you won't start. I didn't think Curse Words was good enough when I started releasing it -- I still don't. I started putting it out because I knew it was the only way I'd get myself to actually finish something. I don't think it's all that great, but you know what? An awful lot of people read it and really enjoyed it. And if I hadn't released it, I'd have been doing those people a disservice.

Also, it taught me a lot, and based on what I learned, Time to Orbit: Unknown is much better. If I'd never released Curse Words, if I hadn't seen how people read it and reacted to it and seen what worked and what didn't, then Time to Orbit: Unknown wouldn't be very good. And it certainly wouldn't be making me a living wage, because it was the years writing Curse Words that started building the momentum I have today.

And Time to Orbit: Unknown as it is today has some serious problems. Problems that I'm learning from. And the next book will be a lot better.

So that's basically my advice for making money in this industry. Be patient, be lucky, be consistent. Value your community; it's your lifeline, even the parts of it that don't directly pay you. And try to make your story as good as you can, but make that an activity you do, not a barrier to prevent you from starting.

Good luck.