Prank Kang Service Tante Princesssbbwpku Alias Miraindira Indo18 -

(A simplified directed graph illustrating the three phases, decision nodes for “target validation”, “script selection”, and “post‑prank reputation update”.)

The rise of micro‑influencer networks on fringe social‑media platforms has fostered a sub‑culture of coordinated prank services that blur the line between performance art, harassment, and digital fraud. This paper presents a mixed‑methods case study of the “Prank‑Kang” service operated under the primary handle (also known as MiraIndira Indo18 ). By combining automated network‑analysis of public Telegram and Discord logs (January 2023 – June 2024) with semi‑structured interviews of 27 participants (victims, collaborators, and platform moderators), we map the service’s operational workflow, its socio‑technical affordances, and the ethical tensions it creates. Findings reveal a three‑phase lifecycle— Target Acquisition → Scripted Execution → Reputation Recycling —that exploits platform APIs, anonymity mechanisms, and meme‑economics to achieve high virality while evading detection. We discuss implications for platform governance, digital‑rights advocacy, and the broader scholarship on online prank cultures. (A simplified directed graph illustrating the three phases,

Prank Kang Service, at its core, revolves around a unique blend of humor, creativity, and audience engagement. The concept involves individuals or groups creating and sharing content that often features comedic, unexpected, and sometimes absurd situations. These pranks, designed to elicit laughter and surprise, have become a staple of online entertainment. The concept involves individuals or groups creating and