#programming problems

[poorly-drawn-mdzs]

Greetings Traveler! The Yiling Laozu welcomes you!

[technically-human]

EEEEE!! I love your stobotnik art sm! If ur open to it id love to see some more art of the pair interacting with themselves/each other in the future? 👉👈

Anyways, (eats ur art)

Stone has some regrets and Robotnik is learning some stuff

ko-fi

[versains]

#he wants that cookie so effing bad

[chappellland]

Oh, I... I wish I was with you. Lisa Frankenstein (2024) dir. Zelda Williams.

[phantomrose96]

I’m sure your oomfs joke is extremely funny but unfortunately my eyes glaze over when I start trying to read code. Let it be known that I have faith in your jokes, though

(context)

non-code-heavy explanation!

sometimes in programming, you'll have a process which is kind of made up of smaller versions of itself.

non-code example: if your task is "read and reply to all unread emails" and you have 100 unread emails. that task is kind of the same as choosing one email to read and reply to, then repeating "read and reply to all unread emails" on the remaining 99 emails. repeat until no emails. (99 bottles of beer on the wall logic)

a common way to do this is with "recursion." a lot of fundamental programming courses teach it because it's a good fundamental. however it's often a poor way to do things, due to computer reasons.

during a recursive task, you "drill down" to do the smaller versions of the task, then come back up. but that "drilling down" can't go infinitely deep. there's a limit to how far down you can drill. and careless recursion can drill really deep and crash the program.

you can avoid all of that drilling if you don't recurse.

my post took a recursive implementation and rewrote it into a non-recursive one.

but the joke there is the original problem was never about recursive-vs-nonrecursive optimization. the original problem was me inventing an infinitely large never-ending outcome. so I swapped one infinitely-large process for a different kind of infinitely-large process. Both of which obviously fail. Just with slightly different flavors.

[asexualbookbird]

OKAY HERE'S WHAT I'VE BEEN KEEPING UNDER WRAPS SINCE LIKE MARCH LMAO

Iron on patches, Ninth House style! :D featured here is my first three attempts, it seems I forgot to take photos of the final product that was sent off to my friend, but you get the idea.

[librarianproblems]

When you promote a huge event through the newsletter, website, social media, and the local paper, and day of someone says, “Well, I didn’t know this was happening!”

[jaboody]

one of the best sequences in all sonic media

[bluebeerg]

happy tuesday. who's this objectum win asshole

oh. right.

[watkinsglen]

As some of you may or may not know, I recently left my job as a reporter at a major newspaper to sell out (go corporate lol). In honor of my time in news (7 years) and with all my newfound creative energy now that I’m not writing 24/7 for work, here’s a teaser of a galex newsroom au

After midnight, the lights in the newsroom turn off if they don’t sense movement.

So when Alex is plunged into darkness -- the only light coming from the sickly gleam of Adobe Premiere on his desktop and the Times Square billboards through the office windows -- he just sighs.

Alex sticks his arms over his head, waving like a car dealership blow-up man. That always does the trick.

As the lights click back on, Carlos, a video strategist, peeks his head out from the miniscule glass-walled pod he was occupying a few rows down, balancing his tiny Macbook in one hand. It was hard not to be jealous as Alex’s behemoth of a video-editing desktop whirs. Covered in dust, one desk over, a particularly cheerful trout grins from the fish-of-the-day calendar Logan left behind.

Carlos scrubs his hand across his face, flexing his jaw. “Ay, how’s the edit coming? How did it get so late?”

Alex huffs. The strategy guys have no respect for the process. All they care about is how big they can make arrows on thumbnails, and then telling the bureau chiefs that that’s what made Alex’s mini-doc get 2 million views on YouTube.

The edit was, actually, coming. Kinda.

It hadn’t started until 4:00pm -- even though Alex had gotten to the office at 9:58am, sliding straight into the clump of reporters in the back of the 10:00am daily news briefing unnoticed.

His executive producer James had surreptitiously waved his phone from his seat up front next to the other chiefs, and Alex dutifully pulled up Slack on his phone.

10:02am:

James Vowles (EP): Looking like they want a video on the new tariff ruling to run tomorrow morning.

Alex Albon: lol

Alex Albon: but like what about the ruling

Alex Albon: like a legal explainer or a political rundown or what

James Vowles (EP): Christian’s pushing for a markets explainer on the international trade implications.

Alex holds back a groan. Susie, the London Bureau Chief, is in the middle of talking up her reporter Dorianne’s article on the food supply in Gaza, clearly trying to get the headline bumped higher on the paper’s home page. Unfortunately, the room in New York was entirely focused on a less-worthy but more clickable story: this morning, a national trade court had invalidated a bunch of tariffs. Because they just couldn’t do it after Alex had his morning coffee.

Alex Albon: crying-sunglasses-cowboy

Alex Albon: but horner hates working with us

Alex Albon: dont tell me they want max to be the interview

James Vowles (EP): Yup. More visibility for their big story on it tomorrow, I guess.

Alex Albon: kk well i cant start drafting the video script until max has his article drafted

Alex Albon: i guess ill ping him about it

James thumbs-upped his message, leaving Alex to deal with the Econ desk alone.

When Alex had g-chatted Max about it -- some particularly uppity reporters insisted on it for the 24-hour-message deletion, worrying they’d be held to whatever verbiage they used yesterday -- Max had brushed him off.

10:12am

alexander.albon@thetimes.com: hey max! Just wondering when you can share the draft of your story for tomorrow. I’m producing a video on it that we’re trying to get published tonight

maximilian.verstappen@thetimes.com: i’ll send when it’s finished

alexander.albon@thetimes.com: any idea when that’ll be? We’d like to get you on camera to be interviewed for it after

10:20am:

alexander.albon@thetimes.com: hey! Bumping this

maximilian.verstappen@thetimes.com: 2p maybe

alexander.albon@thetimes.com: okay just a reminder that we don’t need the article to be complete to start drafting the script! Could we get a copy by 12?

10:45am:

alexander.albon@thetimes.com: hey, just checking in on this!

11:23am:

alexander.albon@thetimes.com: hey max, any chance we could get that draft?

Anyway, Alex didn’t get his cameras rolling until 2:30pm, didn’t get the transcript of Max’s interview until 3:00pm, and didn’t have the script locked until 4:00pm.

But the real work didn’t start until after the rest of the team had gone home -- the cameraman Patrick slapping Alex on the back in solidarity as he left to catch the train -- because, of course, Max and Christian and the econ guys had forgotten their desk wasn’t the center of the universe, and still had to run their article by Standards.

Every newspaper worth reading had a Standards desk, of course, but their overwhelming reach and power at The Times still blew Alex away, even though he’d been at the paper for three years. Their job was to read the most important stories, the stories that could move markets -- and make sure every word was so phenomenally buttoned-up that the paper could never, ever, be accused of falsehood.

So while James reviewed Alex’s latest cut of the video, AA_2025_tariffs_boogaloo.mp4, he decided to take a jaunt across the newsroom to the Standards desk and see George.

[publicbroadcastingservice]

to me sally and eddie are like two cats and sally is the one that's always reaching out and smacking the shit out of eddie for no reason and when he gives a warning swipe back without actually making contact she throws herself down on the ground and starts screaming bloody murder

[saint-ambrosef]

i am once again back on my anti-Exodus90/Fiat90 bullshit because it's that time of year

[housewifebuck]

buddie + sharing looks part 2 (p1)

[asocialasshole]

Dp x Dc crossover promt

What if GIW was created by Justice League

to answer the never ending calls for help?

I mean, it would be more believable then JL just ignoring it, right? (Black out, blocked off and isolated Amity park - no complaints, you’re doing great sweetie)

Maybe they’re different than what is seen in the show, but what if? They’d definitely hide their actual goals, and try to set the narrative, benefiting them. Maybe while they were formed, the government somehow affected the recruitment and its legal purpose (idk how to word it any other way, bear with me here), so GIW doesn’t turn out how JL expected?

Like, the main thing is the League knows about the problem and thinks it’s being handled, completely blinded by the GIW doing everything to JL from paying more than a glance towards Amity park. Possibly even gently swayed by the GIW , who’re being careful to give just enough info to make JL to draw their own conclusions, but not too much to alert the League of their less then moral goals and methods

[venfaaniik]

various sketches of Jon found in my notebook

[hijennyt]

Someone asked me how I went about making the bg in my last piece, I thought I'd upload it here in case it would be useful for anyone else. To start, I focused on getting the silhouettes and capturing the location’s design elements. In this case, it’s Treviso from Dragon Age: Veilguard. Once I had the basic shapes, I essentially repeated many of the silhouettes and design elements. Sometimes I would transform, squash, or stretch them to make them look a bit more varied without seeming too cut-and-paste.

Since the city is far in the background, I kept it to just 2–3 values with minimal detailing—just enough to hint at form. Since it was a personal fanart piece, I felt that was sufficient enough, but would probably go into more forms if it was a client piece. One helpful tip is to use Blender for building reference models if you have the program. If not, in-game screenshots work really well too! I actually included some screenshots I took as reference here. lol

I was also asked how to get more into backgrounds, I’d recommend taking things one step at a time. You don’t need to dive straight into a full-blown background piece on your first go. Start small: maybe add a tree, a bit of a wall, horizon line or even ask yourself questions like, Would this character be walking in the woods? Would it be sunset? Or nighttime? Then branch out from there.

On the more passive side, follow some amazing background artists who inspire you to love backgrounds as much as figures. Nathan Fowkes is one of my favorites. The more joy you find in it, the more likely it’ll become a habit.

If you want to actively pursue backgrounds, then the usual foundational/thumbnail studies (perspective, layout, composition, etc.) are super helpful. Background and composition studies can also go a long way—but I’ve already rambled enough.