Notere

16 year old Mernda Aussie teen Declan was hunted by a Sudanese youth gang then stabbed 56 times and he received 66 blunt force injuries. One of Declan's African killers was released because he was deemed too young to take responsibility for murder. In 2025, the animal took part in an aggravated home invasion in Gladstone Park, Melbourne that saw a 60-year-old man stabbed countless times, shot in the arm & bashed repeatedly with a hammer.

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Stabbityrogue retweeted

Emerald Apple

@AI_EmeraldApple

8 days ago

Yesterday, this was probably one of the strangest interactions I had with any content creator on the internet. Now I really like Asmongold, but this take has always been his consistent L. What started as a post critical of his take ended up with a "debate" on X, nitpicking details like sample sizes and whether the hentai was opposite-sex or that it was "real research" vs literature reviews. He ends up ignoring or dismissing studies as not relevant or insufficient, doubling down on his gut instinct that attraction patterns to fictional child-like features must overlap with real world pedophilic ones. Same emotional shortcut moral panickers have always used... "Violent games make kids violent." "Rap music causes gang crime"... same with D&D/satanic panic, comic books, heavy metal, etc., that was common between 1980 to the 2000's He ignores all the data from the national crime statistics from Japan or the Czech Republic, how Otaku culture is emeshed with loli tropes... or that Japan is lolicon central, and yet has one of the lowest CSA rates. The separation of fiction and reality is clearly segmented for healthy adults, and they compartmentalize it just fine. That's why video game violence or horror movie splatter fests don't ever translate into real-world violence. The studies that do find correlations with offenders suffer from massive selection bias, where they test convicted pedophiles who already consume real-world illegal materials. These studies don't predict the behavior of the non-offending consumer base. Same line of reasoning as saying most school shooters played first-person shooter games, and then trying to generalize FPS games as problematic. The reason why I talk about this so much, despite hardly interacting with lolicon content myself, is that the same "intuition" has greased the slippery slope of censorship, creating the regulatory mess we have today with video games and media as a whole. That WHOLE RED TAPE allowed the injection of woke, DEI, and other kinds of garbage, as the people regulating them tend to be the exact karenocracy being run by middle-aged foids that Asmongold is always critical of. It's just totally disappointing as I expected him actually to look into the data, but instead defaulted into "gut level intuition mode" that so many moral satanic panicers fell into.

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Notere @Stabbityrogue

8 days ago

@TheDonOfEvery @SkullKingX77 @MadamSavvy Ah, I see. You need to be afraid for your life. I hope you get help with that.

Stabbityrogue retweeted

Kuromaru Onii-san👹 @Kuromarutheoni

10 days ago

Until affirmative confirmation is given that @SweetBabyInc influences have been removed, I strongly advise against buying this game, unless you want to usher in another decade of anti-consumerism and Marxist activism

Stabbityrogue retweeted

ToonHive

@ToonHive

14 days ago

Today officially marks the start of Men’s Mental Health Awareness Month.

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Stabbityrogue retweeted

ExpertArmcha1r 🕶️🪑

@ExpertArmcha1r

14 days ago

This and many other replies like this showcase a crucial yet under-emphasised factor in VShojo's past success and post-mortem whitewashing: its fans. VShojo (and all the other companies that have collapsed trying to copy its marketing & model) were only able to scam people in this industry for as long as they were because they attracted a specific type of VTuber fan that was and remains incapable of distinguishing between company and talent when it comes to relevance and contribution to the wider scene. A company derives its broader industry/cultural relevance from three things: 1. The relevance of its talents (which drives fans to financially support it and advertise via word of mouth). 2. What it claims to provide to its talents (which drives new talents to audition). 3. What it actually provides to its talents (which keeps existing talents there). VShojo's fans and its post-mortem whitewashers will often conflate the last two when, in actuality, VShojo was a company that rode entirely on the first two, and number 1 most of all. A recurring theme that emerges when you actually examine VShojo's history critically is that it took far more from its talents than it gave. The company only gained its initial relevance because it came onto the scene flexing its lineup of already large and established Twitch VTubers. VShojo was not why Ironmouse, Melody, Zentreya, Silvervale, Veibae, Nyanners and Froot became famous. Ironmouse, Melody, Zentreya, Silvervale, Veibae, Nyanners and Froot were the reason why people even bothered to learn what a "VShojo" was at all. Then they hired two Japanese talents, Nazuna and KSon - and they spent hundreds of thousands of (outstanding) Yen putting "talent freedom" ads around Akihabara station. What many of VShojo's ardent defenders fail to recognise, however, was the point of the ads. "Talent freedom" was not a marketing slogan designed to tell the public how cool the talents were as creators. It was a marketing slogan designed to tell the public how cool VShojo was as a company. The talents' faces being slapped onto the ads was just done to give the claim legitimacy; they were used as promoters, not marketed as the product. The same thing goes for VShojo's overblown role in giving talents a "second chance" after leaving another company. Besides the initial investment of streaming assets, model and rigging the majority of the goodwill that gave VShojo its "VTuber shelter" reputation came from the talents themselves felt comfortable enough to tell their audience about negative experiences while working under their previous employer. What gave them that security? Their fanbase and their friends. However, those who try to whitewash VShojo will often believe that the fanbases of these redebuted talents would not be as large if it weren't for VShojo while ignoring that the "Vshojo fanbase" was largely an amalgamation of the individual fandoms of the older talents whom VShojo derived its relevance from. As for the friendships between the talents, most ex-VShojo fans remain unprepared for a serious conversation about how much of those friendships were leveraged by the company as a tool of both control and convenience when it came to defending its corporate image. This also happens to be a crucial factor when it comes to evaluating VShojo's contributions to its talents as a company. Friendship doesn't come free in this industry, and you cannot evaluate the company's contributions to its talents or to the industry as a whole without considering this. Even if we only look at the oft-praised initial financial investment, how much did it actually cost VShojo to debut a new talent? Was it equal to cost of a Ferrari? Or a McLaren? Or an undisclosed chunk of money from multiple Ironmouse donothons? Because that's the kind of money some of those same talents were owed by the time their tenure was over. All that aside, there is a much simpler way of objectively evaluating a company's broader cultural relevance to the industry beyond what its talents contribute to the scene: auditions. Auditions are where all the things that make a company culturally relevant converge. How a company handles its auditions can tell you a lot about what the company itself does and contributes to the wider scene independently of its talents. When VShojo failed to warn the public about scammers targeting auditionees in their first wave, the talents should not have been left to get into a public slapfight with Nuxtaku - who, despite his content-oriented approach, achieved that bare minimum in the company's absence. When VShojo failed to communicate to their talents that their first wave of auditions were a sham perpetuated by literal hush money being given to auditionees to go away, Zentreya should not have been left to tank the heat defending the integrity of the process a year later. When VShojo failed to defend the integrity of their own auditions process the second time round when they were called into question by AmaLee's redebut with the company, it should not have been AmaLee herself clarifying on social media that she was not a part of the previous year's auditions. When new talents were recruited by the second round of auditions and left in pre-debut limbo, they should not have had to rely on chance conversations at VTuber conventions in order to find out that they were never getting the support they were repeatedly promised. Until this space starts shaming fans for conflating company actions with talent achievements, scammers will retain the ability to use talents as PR meatshields. Until this space starts being honest about just how hollow promises like the ones VShojo made are, there will be other scams just like it that succeed in creating new waves of victims. Until the space starts delineating between scams that cynically ape being a "corpo" (like VShojo) from the legitimate businesses that they rely on antagonising and parodying in order to gain relevance, the very real virtues of a serious corporate VTuber environment will continue to be dismissed by a public that ultimately learns nothing and remains ripe for fresh exploitation.

ExpertArmcha1r's tweet photo. This and many other replies like this showcase a crucial yet under-emphasised factor in VShojo's past success and post-mortem whitewashing: its fans.

VShojo (and all the other companies that have collapsed trying to copy its marketing & model) were only able to scam people in this industry for as long as they were because they attracted a specific type of VTuber fan that was and remains incapable of distinguishing between company and talent when it comes to relevance and contribution to the wider scene.

A company derives its broader industry/cultural relevance from three things:
1. The relevance of its talents (which drives fans to financially support it and advertise via word of mouth).
2. What it claims to provide to its talents (which drives new talents to audition).
3. What it actually provides to its talents (which keeps existing talents there).

VShojo's fans and its post-mortem whitewashers will often conflate the last two when, in actuality, VShojo was a company that rode entirely on the first two, and number 1 most of all.

A recurring theme that emerges when you actually examine VShojo's history critically is that it took far more from its talents than it gave.

The company only gained its initial relevance because it came onto the scene flexing its lineup of already large and established Twitch VTubers.

VShojo was not why Ironmouse, Melody, Zentreya, Silvervale, Veibae, Nyanners and Froot became famous.

Ironmouse, Melody, Zentreya, Silvervale, Veibae, Nyanners and Froot were the reason why people even bothered to learn what a "VShojo" was at all.

Then they hired two Japanese talents, Nazuna and KSon - and they spent hundreds of thousands of (outstanding) Yen putting "talent freedom" ads around Akihabara station.

What many of VShojo's ardent defenders fail to recognise, however, was the point of the ads.

"Talent freedom" was not a marketing slogan designed to tell the public how cool the talents were as creators.

It was a marketing slogan designed to tell the public how cool VShojo was as a company. The talents' faces being slapped onto the ads was just done to give the claim legitimacy; they were used as promoters, not marketed as the product.

The same thing goes for VShojo's overblown role in giving talents a "second chance" after leaving another company.

Besides the initial investment of streaming assets, model and rigging the majority of the goodwill that gave VShojo its "VTuber shelter" reputation came from the talents themselves felt comfortable enough to tell their audience about negative experiences while working under their previous employer.

What gave them that security? Their fanbase and their friends. However, those who try to whitewash VShojo will often believe that the fanbases of these redebuted talents would not be as large if it weren't for VShojo while ignoring that the "Vshojo fanbase" was largely an amalgamation of the individual fandoms of the older talents whom VShojo derived its relevance from.

As for the friendships between the talents, most ex-VShojo fans remain unprepared for a serious conversation about how much of those friendships were leveraged by the company as a tool of both control and convenience when it came to defending its corporate image. This also happens to be a crucial factor when it comes to evaluating VShojo's contributions to its talents as a company. Friendship doesn't come free in this industry, and you cannot evaluate the company's contributions to its talents or to the industry as a whole without considering this.

Even if we only look at the oft-praised initial financial investment, how much did it actually cost VShojo to debut a new talent?

Was it equal to cost of a Ferrari? Or a McLaren? Or an undisclosed chunk of money from multiple Ironmouse donothons? Because that's the kind of money some of those same talents were owed by the time their tenure was over.

All that aside, there is a much simpler way of objectively evaluating a company's broader cultural relevance to the industry beyond what its talents contribute to the scene: auditions.

Auditions are where all the things that make a company culturally relevant converge. How a company handles its auditions can tell you a lot about what the company itself does and contributes to the wider scene independently of its talents.

When VShojo failed to warn the public about scammers targeting auditionees in their first wave, the talents should not have been left to get into a public slapfight with Nuxtaku - who, despite his content-oriented approach, achieved that bare minimum in the company's absence.

When VShojo failed to communicate to their talents that their first wave of auditions were a sham perpetuated by literal hush money being given to auditionees to go away, Zentreya should not have been left to tank the heat defending the integrity of the process a year later.

When VShojo failed to defend the integrity of their own auditions process the second time round when they were called into question by AmaLee's redebut with the company, it should not have been AmaLee herself clarifying on social media that she was not a part of the previous year's auditions.

When new talents were recruited by the second round of auditions and left in pre-debut limbo, they should not have had to rely on chance conversations at VTuber conventions in order to find out that they were never getting the support they were repeatedly promised.

Until this space starts shaming fans for conflating company actions with talent achievements, scammers will retain the ability to use talents as PR meatshields.

Until this space starts being honest about just how hollow promises like the ones VShojo made are, there will be other scams just like it that succeed in creating new waves of victims.

Until the space starts delineating between scams that cynically ape being a "corpo" (like VShojo) from the legitimate businesses that they rely on antagonising and parodying in order to gain relevance, the very real virtues of a serious corporate VTuber environment will continue to be dismissed by a public that ultimately learns nothing and remains ripe for fresh exploitation.

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Notere @Stabbityrogue

15 days ago

@CovfefeChan @pipkinpippa Tell me again how Vshojo is doing and who exactly its existence is a favor for.

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Notere @Stabbityrogue

16 days ago

@cmwrawcliffe Not counting civilians or PoWs from other countries because you're a repulsive communist is an impressively strong tell.

Notere @Stabbityrogue

16 days ago

@DrInsensitive You're a fucking retard for many reasons you won't read. What's even worse is you're retarded enough to spend several minutes typing this stupidity. You probably think Paul Krugman is a genius.