LINE 線上對話產生器「Fake Details」使用教學
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我們經常看到許多臉書小編會用 LINE 等社群聊天對話來宣傳活動，但對話大多不是真正透過一對一的聊天往來產生，而是使用一些線上對話產生器工具來製作。如果各位也想要自行創作 LINE 的聊天對話與好友分享，不妨可以試試看今天分享的 LINE 線上對話產生器「Fake Details」。當然，這工具也不侷限於 LINE ，像是各位想像得到的 Facebook、Instagram、YouTube 等平台的畫面它都能製作。
LINE 線上對話產生器「Fake Details」使用教學
今天介紹的 Fake Details 這個線上工具可以製作包括各種通訊軟體的聊天訊息、社群的貼文、甚至是 YouTube 頻道的截圖都可以用它來產生符合預期的畫面。這次我們就以大家日常每天都會接觸的 LINE 進行示範，分享該如何用 Fake Ditails 產生 LINE. 聊天對話囉！
Fake Details：點我前往
LINE 聊天對話如何製作？
在 Fake Deatails 首頁選擇「LINE Chat」後，畫面會跳轉到以下的編輯頁面。雖然這介面是英文，不過功能上大致都還算好理解，除了新增訊息外的其他設定都會在用戶編輯後即時同步顯示在右側的預覽畫面。用戶可依照自身需求選擇是否要顯示畫面頂部、底部的欄位，也能選擇這畫面要以 Android 還是 iOS 系統來顯示。編輯頁面還可進一步編輯剩餘電量、時間等資訊，有趣的是電池圖示還真的會依照用戶輸入的數字有所變化。
在新增訊息欄位，分為 Person 1（自己）和 Person 2（對方），可編輯訊息時間、內容後按下「Add Message」送出訊息。以下筆者也簡單為各位標記各項功能的用途：
在編輯 Person 2（對方）的訊息時，用戶還能自行上傳圖片作為聊天對象的大頭貼，讓整個聊天對話看起來更加真實：
在編輯完成後，接著就可以點選「Download Line Chat As Image」按鈕將這張聊天對話截圖下載到裝置囉！
以下也分享一下 Android 和 iOS 版本的截圖差異：
如果真想讓畫面看起來更加真實，也能自行尋找網路上一些免費工具為截圖套上手機模型：
Fake Details：點我前往
LINE Pay 「我的會員卡」功能加入更多常用會員卡選項
Beware fake Covid vaccination invites, NHS warns
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The COVID-19 vaccine is free of charge on the NHS.
We will never ask for:
❌ your bank account or card details
❌ your pin or banking password
❌ copies of personal documents to prove your identity such as your passport, driving licence, bills or pay slips. pic.twitter.com/fZtLhBAMCp
Lauren Oyler’s ‘Fake Accounts’ Captures the Relentlessness of Online Life
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You recognize that voice immediately — it’s a voice shaped by the internet: ironic, inexplicably defensive, “funny.” The narrator punctuates her jokes: “Ha ha, ha ha.”
Image Lauren Oyler, whose debut novel is “Fake Accounts.” Credit… Pete Voelker
Before she can confront Felix, she receives news that he has died. She moves to Berlin, where they met and where she writes the novel we are reading. If the dull, continuous roar of social media isn’t interruption enough for her, she imagines a Greek chorus of ex-boyfriends reading over her shoulder, criticizing and annotating her every line. She begins dating again but adopts different personas in a vaguely conceived social experiment: “My deception would not be selfish, cruelly manipulative of innocents looking for love, but a rebellion against an entire mode of thinking, which was not really thinking at all, just accepting whatever was advertised to you. Dare I say: It was political?”
That’s the plot, and it couldn’t matter less. It exists, one suspects, just to get the character to Berlin, and that for no palpable reason. We experience the book locked into the consciousness of the narrator, and that consciousness largely resides on — and has been shaped in response to — Twitter.
My favorite line: “Throughout my childhood I’d been warned that I’d grow up to spend a significant portion of my time doing something I could barely stand,” the narrator tells us, “but I’d been led to believe I would be paid for it.”
The novel has Points it would like to make — about self-mythologizing on the internet and in life, the overlap of the virtual and the actual; they are obvious and easily mapped. The riffs are its strongest aspects. Social media has lurked in the background of contemporary literary fiction, only occasionally becoming a plot point (Megha Majumdar’s “A Burning” is set in motion by a Facebook post). Sometimes it becomes the big boogeyman (Dave Eggers’s “The Circle”), but here it feels, finally, fully and thoroughly explored, with style and originality. Oyler writes well about flowing from platform to platform during a daylong conversation, about how staring at the internet can somehow be compulsion and reward.
Like the narrator, Oyler has worked in feminist media. She’s also written two books with Alyssa Mastromonaco, the former deputy chief of staff for operations under President Obama. But she’s best known for her scathing critiques of popular writers like Roxane Gay and Jia Tolentino.
There’s a particular move Oyler favors in her reviews. She likes to begin by quoting someone saying something stupid. “A guy I know, mid-30s, recently told me he’d never really considered having a kid until he listened to the audiobook of Karl Ove Knausgaard’s ‘My Struggle.’ I marveled at this display of male simplicity,” she writes at the start of a piece about Sheila Heti’s novel “Motherhood.” Her review of “Having and Being Had,” by Eula Biss, begins much the same way, with Oyler at a cafe, opening her laptop with its sticker: “NEVER WORK.” A woman (supposedly) chirps at her: “If you love what you do, you never have to work a day in your life!” In another interaction, which opens an essay about the word “necessary,” a woman laments about how little art seems to matter in the middle of a political emergency: “I can’t see how anyone justifies talking about books anymore.”