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Cake day: September 2nd, 2024

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    • Kantai Collection (KanColle) – A Japanese browser game (later anime) where WWII-era Japanese warships are personified as girls. Hugely popular in Japan around 2013–2016. KanColle started mostly with Imperial Japanese Navy ships, but later added foreign ones. For France, the characters are:
      • Richelieu – Personification of the French battleship Richelieu.
      • Jean Bart – Battleship, Richelieu’s sister ship.
      • Commandant Teste – Seaplane tender.
    • Azur Lane – A Chinese mobile game (also with anime and manga) that includes warships from multiple countries (Japan, USA, UK, Germany, etc.) as anime girls. This one has a more international cast compared to KanColle. Azur Lane has a whole French faction called Iris Libre (Free Iris, based on Free France) and Vichya Dominion (based on Vichy France). French shipgirls include:
      • Richelieu – Battleship, leader-type character (Free Iris).
      • Jean Bart – Battleship (Vichya Dominion, later joins Free Iris).
      • Le Malin – Destroyer.
      • Le Triomphant – Destroyer.
      • Algérie – Heavy cruiser.
      • Béarn – Aircraft carrier.
      • Saint Louis – Heavy cruiser.
      • Gascogne – Battleship (super prototype type).
      • Dupleix, Émile Bertin, Vauquelin, Kersaint, Forbin, Surcouf, etc. – Various cruisers, destroyers, and subs.

    PS: those two games I had in mind immediately, but I used a bit of AI to put up those lists of characters, added some links manually (for other characters just swap the character name in query)





  • Pixiv, Fanbox, DeviantArt, Tumblr, etc, are also widely used. Very few people only use a single platform. I think Twitter is top 1 for expanding your audience not only because how well their feed algorithm works, but maybe also because all those focused platforms are used more by artists and less by viewers (or used less often by viewers), while Twitter being general-purpose is the one where more people who like to watch/discover arts but are not artists themselves, are. But there are other factors, like Twitter comments being better than Pixiv or DeviantArt comments, etc. Finally, if we return to the context of this discussion, I don’t think any of those dedicated platforms in any way solve the problem of age verification and that is why I wouldn’t recommend migrating to them in this context even if they were otherwise good for art.



  • It’s still the biggest art posting platform. And I’m not even sure where art posters should migrate to… I mean sure it would be nice to have them scattered across different fediverse instances, but it would be nice for us, not for them. The main thing they get from X is massive algorithmic reach. You hit like on a Miku art and another artist with their Miku art immediately slips into your feed, you like it even more and you decide to check their profile and you like their other works and you subscribe. This kind of easy and efficient advertisement is something that doesn’t exist anywhere else outside of few centralized systems.





  • Owning a lot of Tor exit nodes doesn’t automatically deanonymize users. Exit nodes only see the traffic as it leaves Tor toward the clearnet, not the original sender. To actually identify someone, you’d need to match their traffic entering the network with the traffic exiting - a correlation attack - which requires visibility on both ends. The US doesn’t “own most exits” either; the network is run by many independent operators, and the Tor community actively monitors for malicious relays. Even if a law forced US exit operators to log everything, that alone wouldn’t deanonymize anyone unless combined with large-scale surveillance of entry traffic, which is extremely resource-intensive and not guaranteed to work. In practice, governments can make running exits legally risky, but they can’t just legislate Tor anonymity away.



    • If the internet were fully controlled, you’d need mesh networks - DIY, decentralized networks using radios, local connections, or other alternative infrastructures. I don’t know all the details, but Yggdrasil is a promising modern project that functions as an alternative “internet” for mesh networks, while also working over the regular internet.

    • Within the normal internet, the most resilient solution against heavy censorship is probably Shadowsocks. It’s widely used in mainland China because it can bypass full-scale DPI (deep packet inspection) by making traffic look like normal HTTPS. There are ways for authorities to detect it, and there are counter-methods, but it remains one of the most reliable tools for evading state-level traffic filtering.

    • Next in line are Tor and I2P. Both are very resilient, and blocking them completely is difficult. It’s a continuous cat-and-mouse game: governments block some bridges or entry nodes, but new ones appear, allowing users to reconnect.

    • Finally, regular VPNs are useful but generally less resilient. They’re the first target for legal restrictions and DPI filtering because their traffic patterns are easier to detect.


    Overall, for deep censorship resistance, it’s a hierarchy: mesh networks > Shadowsocks > Tor/I2P > standard VPNs. You can ask chatbots about any of these and usually get accurate, practical advice because the technical principles are public knowledge.


    • Tor is optimized for accessing the regular internet anonymously. It uses onion routing with a small number of long-lived relays, and you exit back to the clearnet through an exit node. Hidden services (now called onion services) exist, but they’re secondary to Tor’s main use case.
    • I2P is designed primarily for internal services (called eepsites, torrents, chat, etc.) inside the I2P network itself. It doesn’t rely on exits the way Tor does. It uses garlic routing (a variant of onion routing with bundled messages), and every participant is both a client and a router, making it more peer-to-peer.