Krytella

Date posted: November 12, 2025

AO3 has recently seen a rise in guest spambot comments making false accusations about work creators or other users. For example, they may claim that a particular user is discriminating against minorities, trying to hide the fact that they use AI, or are at risk of having their works stolen or deleted.

These comments often copy existing AO3 usernames in order to make their accusations seem more legitimate. They may also try to lure people onto other platforms (similar to the art commission scam), or use fake links that actually lead to pornographic images.

As always, we recommend that you do not click on any suspicious links or give your contact information to scammers. Instead, simply mark the comments as spam or report them so that the Policy & Abuse committee can remove comments left by these spambots.

Learn how to recognize them and what to do below the cut!

threatening to report you/your fic to the authorities or your employers

alleging security concerns like your email being compromised or spyware on your computer

claiming that they know your address and are going to visit you at your house

saying that you will die alone and unemployed over the holidays

What these bots claim is not true. These accusations do not mean your work will be deleted or that your accounts are insecure. We recommend that you mark these comments as spam following the instructions in our previous post.

These examples also do not represent the full range of harassment comments that you may receive. We will continue to try and keep you updated about trends; however, please note that the exact wording the bots use will continue to evolve.

claiming that they know where you live

alleging to have seen you in person

threatening to meet you face-to-face

saying that they posted your personal information (name, address, etc) online

What these bots claim is not true. These comments are likely intended to alarm you into replying.We recommend that you mark these comments as spam following the instructions in our previous post.

These examples do not represent the full range of harassment comments that you may receive. We will continue to try and keep you updated about trends; however, please note that the exact wording the bots use will continue to evolve.

A lot of high control groups use this tactic to isolate their members. It’s absolutely not just evangelizing Christians. New age wellness cults often encourage their members to make outlandish and offensive accusations regarding the mental and physical health of other people or their children, because they know that the backlash their members receive will reinforce the idea that the “mainstream” simply has no room for people who like crystals and essential oils. White supremacist cults will seed the vocabulary of new recruits with Nazi dog whistles that fly over those recruits heads, specifically so that they will get clocked as possible neo-Nazis and shunned by anyone who might offer them another perspective and help them to get out before it’s too late. And a lot of left-leaning political cults strongly encourage members to share their views in the most inflammatory ways possible, and then say “you see? everyone outside of this small circle is evil and cannot be relied on” when, inevitably, that produces bad results.

Sometimes I think that activists fall into these patterns completely accidentally, either because they were raised in culturally Christian evangelical environments and never unpacked it, or else because they just aren’t any good at approaching things in a non-inflammatory way and no one’s shown them how.

…But sometimes, these structures emerge in activist circles because those circles are legitimately becoming high control groups.

I think some things to watch out for especially in this regard are:

Are you being directed to behave in an extremely hostile and alienating way? (even if it’s by someone who you trust!)

Does the group you are in immediately shut down any conversation about the effectiveness of an antagonistic strategy? In particular, do they shut that conversation down using in-group stock phrases?

Is experiencing harsh rejection seen as something of a rite of passage?

Do you receive more validation from the group you are in after you have been rejected by someone outside the group than at any other time?

Have you ever been concerned that the antagonistic strategy you are using hurt someone you cared about, only to be quickly advised by members of the group that that person was toxic and that you should actually completely cut them out of your life?

These to me are all pretty significant red flags about the group in question, whatever the specific thing that brings people together there is. If you start noticing them in a group that you are a part of, be that an in-person activist circle or a Discord server or anything in between, take a step back and seriously consider the possibility that the good thing that you joined is turning into something different, and possibly dangerous.

You checked out... probably some stuff? Thanks for doing that :)

Used our wifi maybe? For something?

Look we actually don't know what genres you read or how many times you renewed Gender Queer.

We don't want to know.

Our gift to you is privacy.

Take it.

Because it’s rayon

“Eucalyptus fabric is cooling!”

Yeah, because it’s rayon

“We make clothing called seacell out of seaweed!”

Yeah I looked on your website it’s made by the lyocell process, which means-

-wait for it-

It’s fucking rayon!!

Listen. There is a list of actual plant fibers that are directly made into fabric: cotton, linen, ramie, some hemp. I’m sure I’m missing a couple.

But if you’re wondering “huh how did they turn that plant material into fabric,” 99% of the time? It’s RAYON.

All rayon is made by putting plant material in chemical soup, dissolving out everything but the cellulose, and turning the cellulose into filaments/fibers.

The source of the cellulose has zero effect on the eventual fabric.

Rayon made from bamboo or eucalyptus or seaweed is not any better than rayon from any other sources.

But that’s not what this post was actually about anyway so like

the qualities of rayon as a fabric, outside of any other consideration

the environmental impacts

This post is mostly about the first thing. A lot of companies are giving rayon many many different names as a way of disguising that It's Just Rayon, and claiming the fabric has special qualities.

But cellulose is cellulose. The process of extruding it into filaments and making those filaments into fibers/yarn/fabric is what gives it different qualities: some rayon is silky, some is fuzzy, etc.

It's all great at absorbing sweat, and it all takes longer to dry, and it insulates okay until it gets damp at which point it's worse than wearing nothing, which is why it's often blended into other things. The really nice tops I have from Uniqlo's Heattech line are a blend of a couple of synthetics and rayon. They're warm for being so thin and stretchy, but don't make me sweaty-feeling at all. (In a conversation among people with ADHD I found out I'm not the only one who wears them nearly daily for 3/4ths of the year lol.)

The irony of how often it's compared to polyester in the notes of this post is that polyester can also be made into a billion different textures. I have polyester that feels like wearing a plastic tarp, but I also own polyester that's light and breezy and totally comfy in boiling heat. I also have some very soft polyester fleece, as many people do. It's all a matter of how the filaments are extruded and how they're made into fabric.

But to get into the environmental stuff:

People get really into which fabrics are more "sustainable."

And rayon currently is made, 99% of the time, via one of two processes: viscose and lyocell (Tencel is a brand name for the lyocell process). Viscose is an older method and far more common, to the point that if a fabric doesn't specify that it's lyocell (or cuproammonium) you can probably assume it's viscose. Viscose is, generally speaking, far more polluting and hazardous to the humans working in the factory as well. Lyocell uses what's called a "closed-loop" method, so it puts out way fewer pollutants. It's also more expensive, generally speaking. There is such a thing as "ecoviscose" but I haven't looked into it.

(Modal just means rayon made from beech trees and afaict doesn't differentiate which process. Cupro is made using a less-common process called "cuproammonium," and I'm not sure how polluting it is, but apparently in China it's sometimes called "ammonia silk" which is wild.)

Rayon does have two definite advantages, despite everything I said up there:

you can make it out of any cellulose source, and that includes things that would otherwise be considered garbage/waste

it biodegrades pretty fast. Like, faster than cotton.

BUT THAT ALL SAID: every fabric requires something shitty, quite frankly. Cotton takes a TON of water and usually pesticides. Silk requires a lot of farming of mulberry and then electricity to warm the places where the silkworms live and also you have to cook the silkworms alive so they don't cut the fibers. Linen requires its own chemical soup to be turned into usable fibers unless you're making it from flax the old fashioned way which requires a lot of time and a shit-ton of effort. (Like seriously there's rippling, retting, breaking, scutching, and hackling. And THEN you can spin it into thread.) Wool requires a lot of land etc for sheep, but also any wool item you own that's machine washable has had the barbs melted off the fibers with chemicals, and in many cases is also coated with a resin!

And that's not getting into dying. But if you've ever dyed fabric at home you know that it usually requires careful handling and in many cases goggles. Those chemicals are often toxic as fuck.

If you're trying to be sustainable in your clothing choices, the fact is that the absolute best thing you can do is:

BUY LESS CLOTHES. Period. End of story.

Buy secondhand when you can.

Make those clothes last: use cold water washes and don't put them in the dryer and don't use fabric softener. Repair them when you can, and use them for rags when they wear out.

"What fiber is it made of" just matters way fucking less than buying fewer items of clothing and using them until they wear out.

But most people don't want to do those things. They want to know which brand of clothes is "sustainable."

there's having parents who can pay for your application to any college, and then there's having parents who can bribe your way into any college. there's owning your own home, and then there's owning 50 houses and getting rich off hoarding a vital resource. there's not fearing for your life whenever cops are around, and then there's being the cop and being allowed to murder anyone at any time.

We should be treating teens as more adult than we do. I don't mean some lowering the age of consent creep shit, I mean presuming competence. Get a job, learn life skills, learn to cook, be fully responsible for a pet, walk places alone (in daylight) or with a friend, have intergenerational friendships, teach skills to littler kids, be someone people can trust with more than wiping their own ass. Be someone they themselves can trust to do stuff and go places. We're stealing children's confidence by treating them like they can't do anything. Treat them like they can and should do many adult things and more will find the confidence to practice at them.

Choreograph it in the same respect that you would any scene. If you can do this, you can have some confidence that your porn is exactly as good as your fights, your key gambling maneuvers, your political oneupsmanship, whatever. The key to writing any scene is to know where everyone is and what they are doing and impart this from the lens of the point of view character. If something feels "off" or weird, check in with yourself: what is the point of view character doing? Say it. She has her nails digging into her lover's shoulders. Was that, what she's doing, the last sentence? Let her react to it instead: the thrill of hot blood against her fingertips is intoxicating.

Many of the "porn mistakes" are just writing mistakes, and writing is an unending dialogue between the material (what is physically happening) and the ideal (how a perspective processes the material, with human and personal limitations but also human and personal additions). When you've firmly established the material, you move back to the ideal, the thought-space, the recollection-space, the processing. Then back to the material. Each action spins out and away from the earth, into the ether, where it is reintegrated, leveraged, subverted, and then returns, changed, to collide with the earth again, changing it in turn.

You do not have to say words for penis over and over any more than you need to keep clarifying proper names in a dialogue, and in fact, even less than this. Remember, unless your character is specifically having sex with the penis, she is in fact having sex with a woman, and her feelings and reactions and ideal likely center that woman more than her penis. Put her in dialogue with the woman rather than the penis and you have your answer: you only need to say cock as many times as you would say "rapier" in a swordfight. Once you know what sword it is, you move to sensation, movement, "large scale choreography", and processing.

The unique thing when talking about genitals is that most people don't think much about genitals when they are having sex. They think about sensations: what feels good, unexpected, painful, pleasant, intimate, jarring, etc. Saying "her cock" over and over is not just a little offputting because it's excessively repetitive; it's like putting "gauntlet" in five subsequent paragraphs. We get that there's a gauntlet and a penis. It feels wrong because the gauntlet is an extension of the striking-appendage and the penis is an extension of a character.

To avoid saying gauntlet over and over, as in any writing, you either get vaguer or get specificer. You describe the interaction with the wrist-plate, where the rapier rebounds from the shape of the steel, or the fingertip sliced-through by the superior blade, just barely shallow enough to spare the digit beneath (specific). Alternately, you get vaguer and describe the strike itself - the reader knows there's a gauntlet there! - a fist thrown in desperation after losing hold of a dagger, the weight both pulling down the blow and putting momentum behind it until it meets the enemy's helmet with more of a thud than a clang as the cheap steel crumples into the leather padding beneath, dented skull-deep.

Neither of those used "gauntlet". Both used the concept of the gauntlet. This can be done with anything that you establish - once it's on the stage, it's not off until you take it off.

Of course it helps, to an extent, to have had the kind of sex you are describing. It helps more to have been thoughtful about your own sensation and reaction and action during sex in general; few people really do this, but doing it is extremely useful for writing, the same way riding a horse and not thinking about it will lead you to over-describe the tack you're familiar with vs. riding a horse and thinking about it will help you develop a coherent material dialogue with the content of your own narrative. To an extent, to write about sex, you need to have some level of comfort thinking and reading about sex. Anyone can do those two things, and allow themself to think: at the moment of being penetrated, is her shaft sliding into my fragrant blossom? Or is the sensation more like pressure, more like pain, more like an insistent heat, more like an awareness of her and her shape or an awareness of myself and my limits or my pleasure?

As in sword fights, it helps to imagine yourself in the scene rather than only observing it, when it comes to blocking out a scene like something other than stage directions or a video game novelization.

The last thread this leads me to is pussy. No one wants to write pussy, unless they do. So they write entrance, which you can only really write once before it sounds goofy. Or cunt, which not every character would say. There is not really a cock of pussy, at least in my literary opinion. So how do you say this stuff? How do you say "into her pussy" if it causes you physical pain to write pussy?

You may not need to specify at all. When penetrating someone, you are penetrating a person, not just an organ. Depending on the nature of the sex, you may want to get into more or less detail, but I'm not talking to the people who are already writing about the color of the labia and the specific tactile sensation of a blood-flushed clit, okay? I'm speaking to you if you have stopped and made a terrible face at the thought of "pussy" and then deleted it and written "cunt" and cringed again.

My hot tip, as connects to all the rest of this, is that if there is not a word for the place you are stabbing her, you are just stabbing her. You are dragging your fingers over her until she yields. You are lining yourself up with her, pressing in, adjusting cautiously until she wriggles her hips, urging you to get on with it already. You are drawing your hips back against the friction of her trembling body. Could any of these be her asshole? Her neovagina? Her alien hole where she excretes salt waste? Of course! If it's important to specify, specify! If what's hot about fucking someone is the logistics of the hole, then by God, logistics the shit out of that hole without shame. But what makes porn hot is not the hole itself. It's the interaction with the hole, gone warm and molten as her desperate breaths come quicker. It's how the hole makes you feel. Fuck you.

Word choices for describing sex organs are an expression of how the perspective character feels about them. A heavily euphemistic description may either reveal something important about the character and her misgivings or set the narrative itself up for subversion - the girl who winces and thinks of her penis as "her manhood" is going to have something to unpack later or even during sex. The dispassionate "shaft" could either reflect disinvestment, to be dramatized later on, or set up that disinvestment to be subverted, as the humble shaft becomes the instrument of orgasm.

Think of how anime often has internal-monologue turning points to explain where a character's last reserve of energy comes from - the setup, the dead parent, the tragic past, the loss of a friend, it comes from somewhere, and the payoff to winning the duel is catharsis. It's just a more straightforward way of illustrating the point of most building-to-a-climax, which porn often deliberately does: you can only pay off on what you set up. Otherwise you revert to tropes and the underdog-hero wins for no reason and the girl-hero cums and it doesn't even matter because ten thousand she/hers have cum exactly that way in ten thousand prior okay scenes. The difference in payoff is all in a setup that the payoff can reintegrate: a material and an ideal that unite in a moment of pure emotional release.