#error tracking

[bluellab]

How to Handle App Crashes and Bugs in Production

Handling app crashes and bugs in production is one of the most stressful but critical challenges in software development. When your app goes live, everything is on the line—user experience, trust, retention, and revenue. You can’t afford to fumble in real time. In this guide, we’ll break down how to systematically identify, fix, and prevent production bugs and crashes without panicking. This isn’t theory. It’s battle-tested knowledge from real-world dev teams.

Why App Crashes in Production Are a Big Deal

Let’s start with the obvious: crashes destroy trust. According to a report by Dimensional Research, 61% of users expect apps to load and work perfectly every time, and 53% will uninstall an app after it crashes once. That’s brutal.

In fact, investing in robust app development practices from the start can drastically reduce the risk of production bugs and post-release chaos

Consequences of Crashes and Bugs in Production

Drop in user retention and engagement

Negative reviews and public backlash

Loss in revenue and lifetime value

Customer support overload

Internal team stress and burnout

Crashes are not just a technical issue, they’re a business problem.

First Rule: Don’t Rely on Users to Tell You Something’s Broken

If the only way you find out about bugs is through user complaints, you’ve already lost. You need observability built into your app from day one. That means real-time monitoring, alerts, and logs.

Must-Have Tools

Crashlytics (Firebase): Real-time crash reporting with detailed stack traces

Sentry: Monitors both frontend and backend with breadcrumbs and context

LogRocket: Replays user sessions to pinpoint UI issues

New Relic / Datadog: Deep performance monitoring and alerting

Add these tools into your stack, not later, but now.

Set Up Alerting and Monitoring Before It’s Too Late

The moment your app crashes, your team should be notified, not hours later.

Smart Alerting Tips

Create thresholds for crash frequency (e.g., alert if 5% of  sessions crash in 5 mins)

Route alerts to the right channel (Slack, PagerDuty, email)

Include context in alerts (device, OS, user action before crash)

Integrate with your incident response workflow

Silence is not golden when your app is down.

Reproduce the Crash Before You Fix Anything

Don’t just jump in and guess. Reproducing the crash helps confirm the root cause.

Steps to Reproduce a Bug

Analyze the crash report or logs

Match the environment (OS, version, network condition)

Follow the exact user flow

Identify patterns across multiple reports

If it’s hard to replicate, use user session tools like LogRocket or FullStory. Precision beats assumptions.

Triage: Prioritize and Categorize Bugs Intelligently

Not all crashes are created equal. Some affect all users; others hit niche edge cases.

Bug Categorization Framework

Severity 1 (Critical): App won’t launch or crashes on the main flow

Severity 2 (Major): Crash on secondary but common features

Severity 3 (Minor): Limited to specific devices or rare conditions

Prioritize based on impact, frequency, and user visibility.

Apply Hotfixes the Right Way

Sometimes you need to fix now, not later. That’s where hotfixes come in.

How to Apply a Safe Hotfix

Reproduce and confirm the root cause first

Patch only the affected code path

Test in staging with the same conditions

Deploy through CI/CD with rollback support

If your app is built on a modern stack, tools like CodePush or Firebase Remote Config let you patch client-side issues without waiting for app store approvals.

Preventive Measures: Build Crash-Resistant Code

Want fewer production bugs? Then stop writing fragile code.

Best Practices to Minimize Future Bugs

Write unit and integration tests, especially around critical flows

Use TypeScript or static typing for safer code

Lint and format automatically (ESLint, Prettier)

Code review every PR, no exceptions

Handle nulls and exceptions defensively

Stability starts at the keyboard, not the server.

Rollbacks: Know When to Pull the Plug

If a release is unstable, it’s okay to roll back. Don’t let pride keep your app broken.

Safe Rollback Tactics

Use feature flags to turn off buggy features remotely

Keep the last stable version available on your CI/CD pipeline

Document rollback scenarios in your incident runbook

Communicate clearly with stakeholders

Fast rollback = faster recovery.

Postmortem: Learn Every Time Something Breaks

After every crash incident, run a postmortem. No blame. Just learning.

What a Good Postmortem Includes

What happened and when

How was it detected

Root cause analysis

What went well and what didn’t

Action items to prevent recurrence

Turn every failure into a process improvement.

How Bluell Can Help You Build Stable, Production-Ready Apps

Whether you’re building from scratch or scaling an existing app, Bluell specializes in custom app development that doesn’t crash under pressure. We integrate full observability, testing pipelines, and scalable infrastructure from day one. 

Get in touch with Bluell AB to future-proof your app before bugs become business threats.

Conclusion

Crashes and bugs in production aren’t going away. But how you handle them can be the difference between losing users and winning loyalty. Set up real-time monitoring, categorize issues properly, respond fast, and document everything. Most importantly, build a culture of stability, not speed-at-all-costs. That’s how great software survives in the wild.

Let your next bug be your last surprise. Build smart. Ship stable.

[hai-nae]

aaaaaand ghost findin johnny's present

[senipsenipsenip]

Eventually, the scrapbook ended. The sun had fallen beneath the horizon hours ago, and some nagging part of Stan's brain was telling him kids shouldn't be up this late. Unless they're breaking into a mini golf course. He jerked his head back, furrowing his brow. That was...oddly specific.

"Grunkle Stan?" a little voice - Mabel - questioned. He looked down at his knee to see where his great-niece was sitting, eyeing him with no small degree of concern. "Are you okay?"

He ruffled her hair. "'Course, Pumpkin. Just trying to shake some of those memories back in the right place, huh?" He gave an exaggerated shake of his head, smacking the side like he was trying to get water out his ears. "Got a straggler! Hup! There we go," he grinned, lowering his hand. "Good as new!"

Whatever he said must have been the right thing, because Mabel's eyes had lit up like he'd told her he was turning the Mystery Shack into a cotton candy emporium and Dipper had a sudden death grip on his other leg.

"Geez kid, you're clawing through my pants here," he grumbled, making no move to take away his nephew's hand. "Haven't you chewed your nails off by now? How're they so sharp?"

"You called me Pumpkin," Mabel whispered.

"You remembered I chew my nails," Dipper said in awe. Then he frowned. "Hey, how come Mabel gets a nice one and I get a gross one."

Stan shrugged. "'Cause she's nice, and you're gross."

"Ha! Zoom!" Mabel pumped a fist in the air before collapsing back into Stan's lap in a fit of giggles. Dipper rolled his eyes, but he was smiling as he settled back against Stan's other side. Ford stayed perched on the arm of the chair, smiling fondly, but eyebrows still drawn together.

"What's the matter, Sixer?" Stan frowned as Ford grimaced at the nickname. "What?"

Ford waved off Stan's concern. "It's nothing. It's..." Ford sighed. "I'm sorry. It's not nothing. I just don't want to..." He pursed his lips.

"Don't leave us hanging." There was a shake in Stan's voice, and Mabel shifted closer to her Grunkle.

"I'm glad this has been helpful to you," Ford muttered. "But...you don't remember everything. Not really."

"Whaddya mean?" Stan asked. "I remember you, the kids, Soos. The freeloading jerk who steals my sandwiches." Stan glared at Waddles who simply oinked and started trying to eat his shoelace. Whatever. Free pass for jump starting his memories. He better not get used to it.

Dipper sat up. "Yeah, what do you mean, Great Uncle Ford?"

Ford frowned. "I just... Hm." He seemed to be weighing something in his mind before turning to Stan with some resolve.

"Stanley," he began slowly. "I hope you appreciate what I'm about to do for you."

"That's not terrifyingly ominous," Stan muttered, glancing around at the available exits.

"Do you remember my - " Ford cleared his throat. "My first kiss?"

Stan froze. "What?"

"My first kiss, do you remember it?"

"I was there?"

"Yes. Unfortunately a lot of people were."

Mabel squealed beside Stan. "Ooo! Romance memories! How old were you? Was it high school? Was it a high school romance? Was it star-crossed love between the nerd and the cheerleader?"

"Mabel, I think Grunkle Stan is supposed to figure that stuff out."

Mabel sat up and stared at Stan expectantly. "Come on Grunkle Stan! I need details!"

Stan shook his head, nose wrinkling like he'd smelled something rotting. "How should I know? Who asks their brother that sort of thing?"

"Precisely." Ford spoke with the same air of professionalism he adopted when explaining his theories, despite the alarming shade of red his face was becoming. "So far it seems that your memories are returning based on external stimuli, whether that be Mabel's scrapbook or our own prompting."

"So, wait, you're saying I won't get all my memories back?"

"No! No that's not what I'm saying," Ford held up his hands. "What I'm saying is we can't expect them all to come back at once. And at the risk of turning the Shack into the set of the Johnny Carson show, we'll keep asking you questions."

Stan frowned. "What if I don't wanna remember my brother smooching some babe?"

Ford turned redder. "You do."

"I do? Geez, I was a perv."

"In the meantime," Ford pressed. "It's important to take note of any stimulus you experience that makes you remember something. Even if it doesn't paint the whole picture for you, we can fill in the blanks. Or prompt you to remember more details."

Dipper grinned. "And then we get to learn more about the secrets you've been hiding, old man."

Stan lifted his hand to give Dipper a well-earned noogie, but paused before he could make contact. "Old man...did you...did you tell me to shut up one time and then punched me?"

Dipper balked. "What? No I - "

"YEAH no WAY that'd be CRAZY!" Mabel interjected a bit too loudly. "Anyway let's get back to that kissing story, huh?"

"Actually Mabel, I don't know if I want to hear about Great Uncle Ford kissing anybody either."

"Oh come on, Dipper. Are you jealous that The Author got someone to kiss him and you didn't?"

"What? No!"

"Some girls like nerds."

"Mabel I don't want to think about anybody in this room kissing anybody."

"You could learn from him Dipper! Figure out how to wield your nerdish charms. Soon you'll be like a kissing machine!"

"MABEL -"

The twins were silenced by a sudden gasp from Stan. His eyes were wide and unfocused, his jaw hanging open as if someone had knocked the wind out of him.

"Holy - " he choked out softly.

"Grunkle Stan?" Dipper sat up fully. "Are you okay?"

Stan didn't acknowledge him, eyes darting around minutely.

"Grunkle Stan?" Mabel asked softly. "Did you remember something?" Moisture had begun to gather in the corners of Stan's eyes, one of his hands covering his mouth as he began to shake.

"Great Uncle Ford?" Dipper turned to Ford, worry stitching his brows together. But Ford didn't look worried. If anything, he looked like he wanted to disappear through the floor. His face was an alarming shade of red, nearly identical to his sweater. Stan let out another choked sound.

"Are you..." Mabel trailed off. "Grunkle Stan are you laughing?" He was quaking now, his hand falling from his mouth to reveal a wide, open-mouthed smile. He began slapping the arm rest with his free hand, eyes squeezed shut and tears rolling down his cheeks. Dipper and Mabel shared a look. Sure, they'd seen Stan laugh before, but it was usually a loud guffawing thing. They'd never seen him like this. They shared a tentative smile. Either this was the hardest they'd seen him laugh, or he had really snapped.

Ford seemed to pick up on their worry. "He's fine," Ford offered. "He's just...remembering my first kiss." At Ford's words, Stan let out a loud cackle, burying his face in his hands.

Mabel cocked her head. "But what's so funny about -"

"You children must be exhausted," Ford blurted out, standing abruptly. "Come now, go wash up then head to bed!"

"Oh no you don't!" Stan shouted. He wiped tears from his eyes, still smiling. "You're not getting out of this one, pal!"

"Stanley, this conversation is hardly appropriate for children -"

"You brought it up!"

"And now I'm putting a stop to it."

Stan grabbed his head. "Ooooo ow," he gave an exaggerated groan. "My poor head. The mean man won't let me share my memories so they're all going away!"

"Stanley, please don't joke about that."

"I'm fading away - "

"Stanley."

Stan crossed his arms. "You know, you really know how to take the fun out of amnesia."

"Yeah! Come on Grunkle Ford," Mabel pouted. "You can't just leave us hanging!"

"Yeah!" Dipper joined in. "If it's a funny story I want to hear it."

Ford spluttered, pulling at the sleeves of his sweater and looking around for an exit.

"Come on, Sixer," Stan chimed in. His eyes had gone soft around the edges. "I think the kids deserve a funny story."

After today went unspoken. Ford met Stanley's gaze, already feeling his resolve melting before he even turned to his grand-niece and nephew's inquisitive smiles.

"Alright," Ford conceded. "But to maintain the integrity of the exercise, Stanley will be the one to tell it. Whatever he doesn't remember, I can fill in."

Stan rubbed his hands together. "Oh boy, this'll be good."

"I regret this already."

"It's alright Great Uncle Ford," Dipper patted his shoulder. "We have a whole summer's worth of stuff we get to make fun of Grunkle Stan for. This just gives us stuff to use against you now. Levels the playing field."

Ford frowned. "Is that meant to be comforting?"

Dipper shrugged.

"Alright you two, enough yapping." Stan grinned, leaning forward in his seat and spreading his hands out in front of him. It was the same way he started his campfire tales. Mabel and Dipper met each other's eyes and smiled.

"Once upon a time, there was a beautiful girl named Kiss-Bot..."

[supreme-leader-stoat]

In front of you are five doors, each concealing one of the following: a random man, a hungry grizzly bear, a walrus, a fairy, and a car. Each door has something different behind it. The game show host, who knows what is behind each of the doors, has you select one of the doors at random and does not reveal what is behind it. Whatever is behind the door will pass into your ownership without taxes. After you make your decision he opens one of the doors of his choice which is not the door you picked and which he knows conceals neither the fairy nor the car. You have now eliminated either the man, the walrus, or the hungry grizzly bear from the pool of unknowns.

The game show host then offers you a chance to either keep your current door, or switch to another one of your choice, with a catch. A train full of your loved ones is currently hurtling down a track at high speeds towards another one of your loved ones, who is tied up on the tracks. If you change your choice of door, the train will be redirected away from your loved one and to another track with a man you do not know, a hungry grizzly bear, a walrus, a fairy, and two clones (complete with memories) tied up on it. One of the two clones is yours. The train is sturdy enough that neither option will cause it to derail.

At the same time, another person is playing an identical game, and if you both change which door you have picked, your trains will divert onto the same track in a head-on collision, killing many of both of your loved ones as well as everyone tied up on that track. As part of the game show, the studio is prepared to pay out money to you equal to the life insurance policies of any of your loved ones that die as part of the show.

Before you make your decision, the game show host hands you a gun. You must shoot one other person in the problem.

[laurence-does-art]

I had the honor to work on some track art for the In Medias Res album! had an absolute blast!

[bitter-rayjay]

My track art for the credits theme on the Snowbound Blood ost ^^

[stygiansauce]

Happy birthday MoE Tango. Its his golden birthday 🎂 🥳 🎉

[cruelmidnight]

the best vault track from 1989tv 🤍

[spotaus]

Eyy, King Reaper and his beloved Mage Geno designs <3

[bigbigtruck]

This weekend

I'm prepping the collected edition of TJ AND AMAL for its third printing. It's a strange feeling. ICC offered me the chance to make any revisions I wanted and while it's tempting to clean up all the old art and things I'd do differently now than 10-15 years ago, that way lies fucking madness. So I'm just making some text and formatting corrections. And friends, I had never done this before but going through that comic ONLY reading the text was goddamn wild

[xwingace]

Grr... I found myself in a bookshop this weekend that actually had copies of the Murderbot Diaries in a collected edition on the shelf -- three volumes, six books. Great. Awesome, even. I'm now halfway through the third volume, about to start book 6. But... this is not the chronologically next book, which would be Network Effect (I looked it up). It's System Collapse, and it makes no sense whatsoever. Now I'm going to have to track down Network Effect, don't I?

[mikotos-nape-nibbler]

MILGRAM is a Judgment On Forgiveness, Not Culpability

What you're actually voting upon in MILGRAM is whether you Forgive (赦す) or Unforgive (赦さない).

"Unforgive" is different from "Not Forgive". The prefix "un-" carries a nuance that it is the opposite, or in opposition, of the attached word. In this case "Unforgive" means to be in opposition of an existing Forgiven thus turning it Unforgiven— it means "to be in opposition of forgiving an entity that is presumably/inherently forgiven at the beginning of judgement", implying the ability of rescinding or taking away that existing quality of character. Whereas the adverb "not" is the negation of the verb, thus "Not Forgive" means closer to "the lack of the act of forgiving" without any additional nuance of inherent qualities (that may or may not exist) being judged upon. To "Not Forgive" is simply the act, independent of circumstance.

The voting screen prompts the international audience in English with two choices, the loaded language of: INNOCENT or GUILTY.

*Loaded language is rhetoric used to influence an audience by using words and phrases with strong connotations, often made vague to more effectively invoke an emotional response and/or exploit stereotypes.

The word "innocent" is associated with being "free from guilt, sin, or immorality" (Wiktionary), a *loaded word that assigns the judged as either Completely Good or Completely Evil on a morality duality. On the other hand, based on what MILGRAM's file names and original language suggests, "to forgive" means "to pardon (someone); to waive any negative feeling towards or desire for punishment or retribution against"; it does not excuse nor erase any wrongdoings or harm of the person being forgiven but still allows the one judging to understand the complexity of the judged character, sins and all, and deciding to pardon them regardless. The word "Guilty" is associated with responsibility "for a dishonest act" or "blameworthy", deserving blame or censure; reprehensible. Much like the word "innocent", it is a loaded word that assigns the judged a spot in a polarized view morality consisting of "Good" and "Evil". To determine a person Guilty is to declare their wrongness regarding an act and decree their existence as aligned to Evil, whereas to "Unforgive" is to rescind their previously existing forgiven state but condemn them not to an illusory polarity in moral standing despite judgement. Forgive (赦す) and Unforgive (赦さない) are quite literally the accurate translations of the Japanese words however, it seems that choosing to create the assets of Innocent and Guilty were done in mind to expand audience reach and engagement via emotivity through its loaded definitions.

All-in-all, while there is no "right" way to play MILGRAM it is clear that, depending on the language people engage with this ARG (alternate reality game), people have been approaching and making decisions with completely different stories; where one possibility is MILGRAM is being a judge on morality, and another possibility being that MILGRAM is a game of forgiveness. What sort of MILGRAM have you been playing?

[mochatai]

“Who doesn’t ?”

[rockafstw]

for me Suzuka 1989 was really good to watch because i think knowing about the collision beforehand REALLY adds to the tension of the chase. It’s like being spoiled for the end of the movie, now you watch that movie with the ending in your mind and it changes your whole perspective on the scenes and where the movie is going and when you know now that something bad is going to happen this sense of dread grows as you get closer to the end. Watching Senna get closer and closer to Prost lap after lap after lap, there is some dread that grows. And you almost think in your mind - maybe it will end differently - but it won’t and it doesn’t because the two of them still collide when Senna finally, finally catches up to Prost.

The Suzuka 1989 crash is a very interesting one because you can really sense the emotion behind it, it is not just an accidental collision between championship competitors: it is a culmination of the resentment and anger and in Prost’s perspective, a sense of mistreatment and injustice that has been building up over the course of a year. Prost has been pushed to the limit working with Senna, he’s become unhappy at McLaren, so much so that he is leaving the team for Ferrari, but he is still in the championship, he is Leading the championship and Suzuka could be the decider. So Alain Prost tells Ron Dennis and Ayrton Senna before the race that this time, when Senna comes at him, he is not going to leave the door open, he’s not going to give Senna opportunity, he is going to fight. When Senna finally catches Prost, Senna makes a daring, perhaps even a little arrogant, move up the inside on the way into the chicane and is met with headstrong impulsivity, a turn of the wheel that results in a sudden skid to a stop. I do not think Prost made them crash on purpose. I think the idea of a crash was a vague back-of-the-mind sort of thing - in that moment it was about not letting Senna get past, it was about Prost holding his position on track in this title decider after a year of feeling pushed out of his position within his team.

This is the part that may start sounding a little bit crazy but like. idc. Bear with me! When you isolate this tense chase and subsequent collision, it can become representative of Prost and Senna’s relationship as a whole (at this point in time at least): Alain Prost is already ahead in terms of career success and consolidating his position within McLaren, he has two world championships and the most wins of any formula 1 driver, ever. And Prost is the man Senna wants to compare himself against and beat. REALLY badly. Commence the chase! Prost is the hunted and Senna is the hunter, and this applies not only on the track and the championship but goes for the McLaren team as well. Having a good relationship with your team, having a good position within the team is so important and Prost has this. Prost is GOOD at maintaining a strong place within his team, consistently besting his teammates. Not through rules about first and second drivers because Prost never asked for that, but through his performance, technical ability and connections. Senna is chasing this as well, because Senna knows he needs that as well if he is to beat Prost. On this point I’d like to show an excerpt from the book Senna Versus Prost by Malcolm Folley that I literally just remembered as I was typing and I think illustrates the dynamic I am talking about here:

This is what Prost has and what Senna wants to achieve laid out. This is a bigger, longer chase that you can interpret as being shown by Suzuka 1989. What happens when Senna catches Prost at Suzuka? What happens when you put two top drivers, highly competitive drivers, in equal machinery in the same team, fighting for a championship? They collide. Their relationship disintegrates. It’s unpleasant. It’s not something either of them wanted, but looking back it seems like it was inevitable. Suzuka 1989 is packed with emotion, it is rich in story and intrigue. I’m sure it was back then, but looking back years later with more context as to how things were in the team, with all kinds of interviews and perspectives available to us today, it puts a new lens on the race and what it meant for Senna and Prost’s relationship and for that reason, it is one of my favourite races to watch.

[ulteri0rm0tives]

....and if I said I wanted Johnny and Kerry in the messiest divorce arc since Paul McCartney and John Lennon.. what then...

[seaofreverie]

YAYYYYY‼️‼️‼️‼️