#complex technical jargon

[mostlysignssomeportents]

How Google’s trial secrecy lets it control the coverage

I'm coming to Minneapolis! Oct 15: Presenting The Internet Con at Moon Palace Books. Oct 16: Keynoting the 26th ACM Conference On Computer-Supported Cooperative Work and Social Computing.

"Corporate crime" is practically an oxymoron in America. While it's true that the single most consequential and profligate theft in America is wage theft, its mechanisms are so obscure and, well, dull that it's easy to sell us on the false impression that the real problem is shoplifting:

https://newrepublic.com/post/175343/wage-theft-versus-shoplifting-crime

Corporate crime is often hidden behind Dana Clare's Shield Of Boringness, cloaked in euphemisms like "risk and compliance" or that old favorite, "white collar crime":

https://pluralistic.net/2021/12/07/solar-panel-for-a-sex-machine/#a-single-proposition

And corporate crime has a kind of performative complexity. The crimes come to us wreathed in specialized jargon and technical terminology that make them hard to discern. Which is wild, because corporate crimes occur on a scale that other crimes – even those committed by organized crime – can't hope to match:

https://pluralistic.net/2021/10/12/no-criminals-no-crimes/#get-out-of-jail-free-card

But anything that can't go on forever eventually stops. After decades of official tolerance (and even encouragement), corporate criminals are finally in the crosshairs of federal enforcers. Take National Labor Relations Board general counsel Jennifer Abruzzo's ruling in Cemex: when a company takes an illegal action to affect the outcome of a union election, the consequence is now automatic recognition of the union:

https://pluralistic.net/2023/09/06/goons-ginks-and-company-finks/#if-blood-be-the-price-of-your-cursed-wealth

That's a huge deal. Before, a boss could fire union organizers and intimidate workers, scuttle the union election, and then, months or years later, pay a fine and some back-wages…and the union would be smashed.

The scale of corporate crime is directly proportional to the scale of corporations themselves. Big companies aren't (necessarily) led by worse people, but even small sins committed by the very largest companies can affect millions of lives.

That's why antitrust is so key to fighting corporate crime. To make corporate crimes less harmful, we must keep companies from attaining harmful scale. Big companies aren't just too big to fail and too big to jail – they're also too big for peaceful coexistence with a society of laws.

The revival of antitrust enforcement is such a breath of fresh air, but it's also fighting headwinds. For one thing, there's 40 years of bad precedent from the nightmare years of pro-monopoly Reaganomics to overturn:

https://pluralistic.net/ApexPredator

It's not just precedents in the outcomes of trials, either. Trial procedure has also been remade to favor corporations, with judges helping companies stack the deck in their own favor. The biggest factor here is secrecy: blocking recording devices from courts, refusing to livestream the proceedings, allowing accused corporate criminals to clear the courtroom when their executives take the stand, and redacting or suppressing the exhibits:

https://prospect.org/power/2023-09-27-redacted-case-against-amazon/

When a corporation can hide evidence and testimony from the public and the press, it gains broad latitude to dispute critics, including government enforcers, based on evidence that no one is allowed to see, or, in many cases, even describe. Take Project Nessie, the program that the FTC claims Amazon used to compel third-party sellers to hike prices across many categories of goods:

https://www.wsj.com/business/retail/amazon-used-secret-project-nessie-algorithm-to-raise-prices-6c593706

Amazon told the press that the FTC has "grossly mischaracterize[d]" Project Nessie. The DoJ disagrees, but it can't say why, because the Project Nessie files it based its accusations on have been redacted, at Amazon's insistence. Rather than rebutting Amazon's claim, FTC spokesman Douglas Farrar could only say "We once again call on Amazon to move swiftly to remove the redactions and allow the American public to see the full scope of what we allege are their illegal monopolistic practices."

It's quite a devastating gambit: when critics and prosecutors make specific allegations about corporate crimes, the corporation gets to tell journalists, "No, that's wrong, but you're not allowed to see the reason we say it's wrong."

It's a way to work the refs, to get journalists – or their editors – to wreathe bold claims in endless hedging language, or to avoid reporting on the most shocking allegations altogether. This, in turn, keeps corporate trials out of the public eye, which reassures judges that they can defer to further corporate demands for opacity without facing an outcry.

That's a tactic that serves Google well. When the company was dragged into court by the DoJ Antitrust Division, it demanded – and received – a veil of secrecy that is especially ironic given the company's promise "to organize the world's information and make it universally accessible and useful":

https://usvgoogle.org/trial-update-9-22

While this veil has parted somewhat, it is still intact enough to allow the company to work the refs and kill disfavorable reporting from the trial. Last week, Megan Gray – ex-FTC, ex-DuckDuckGo – published an editorial in Wired reporting on her impression of an explosive moment in the Google trial:

https://pluralistic.net/2023/10/03/not-feeling-lucky/#fundamental-laws-of-economics

According to Gray, Google had run a program to mess with the "semantic matching" on queries, silently appending terms to users' searches that caused them to return more ads – and worse results. This generated more revenue for Google, at the expense of advertisers who got billed to serve ads that didn't even match user queries.

Google forcefully disputed this claim:

https://twitter.com/searchliaison/status/1709726778170786297

They contacted Gray's editors at Wired, but declined to release all the exhibits and testimony that Gray used to form her conclusions about Google's conduct; instead, they provided a subset of the relevant materials, which cast doubt on Gray's accusations.

Wired removed Gray's piece, with an unsigned notice that "WIRED editorial leadership has determined that the story does not meet our editorial standards. It has been removed":

https://www.wired.com/story/google-antitrust-lawsuit-search-results/

But Gray stands by her piece. She admits that she might have gotten some of the fine details wrong, but that these were not material to the overall point of her story, that Google manipulated search queries to serve more ads at the expense of the quality of the results:

https://twitter.com/megangrA/status/1711035354134794529

She says that the piece could and should have been amended to reflect these fine-grained corrections, but that in the absence of a full record of the testimony and exhibits, it was impossible for her to prove to her editors that her piece was substantively correct.

I reviewed the limited evidence that Google permitted to be released and I find her defense compelling. Perhaps you don't. But the only way we can factually resolve this dispute is for Google to release the materials that they claim will exonerate them. And they won't, though this is fully within their power.

I've seen this playbook before. During the early months of the pandemic, a billionaire who owned a notorious cyberwarfare company used UK libel threats to erase this fact from the internet – including my own reporting – on the grounds that the underlying research made small, non-material errors in characterizing a hellishly complex financial Rube Goldberg machine that was, in my opinion, deliberately designed to confuse investigators.

Like the corporate crimes revealed in the Panama Papers and Paradise Papers, the gambit is complicated, but it's not sophisticated:

Make everything as complicated as possible;

Make everything as secret as possible;

Dismiss any accusations by claiming errors in the account of the deliberately complex arrangements, which can't be rectified because the relevant materials are a secret.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/10/09/working-the-refs/#but-id-have-to-kill-you

My next novel is The Lost Cause, a hopeful novel of the climate emergency. Amazon won't sell the audiobook, so I made my own and I'm pre-selling it on Kickstarter!

Image: Jason Rosenberg (modified) https://www.flickr.com/photos/underpants/12069086054/

CC BY https://creativecommons.org/licenses/by/2.0/

--

Japanexperterna.se (modified) https://www.flickr.com/photos/japanexperterna/15251188384/

CC BY-SA 2.0: https://creativecommons.org/licenses/by-sa/2.0/

[max1461]

The best writing is referentially dense, intricately structured, and hierarchical. Complex syntactic units inside complex syntactic units, no shortage of long-range dependencies and subtle extractions, borrowing freely from foreign languages, subcultural slang, and technical jargon, metaphor and allusion bound within the structure so that only when you have parsed both is the meaning clear, hierarchy not just in syntax but in the organization of ideas, rising not just to the level of the sentence but to the paragraph and even higher. The best writing is only comprehensible to you, your closest acolytes, and the team of philologists and cryptographers they assemble to parse it in 500 years.

[aphony-cree]

in most shows someone will say something in slang/technical jargon and then another character goes "You mean.." and explains it in clear language

but in Buffy, Anya always explains things very clearly and then someone goes "You mean..." and restates it using a combination of slang and complex speech patterns that the average person has never used in their life, and the gang all acts like they're the one making things clear and Anya is confusing

[stellaspectral]

Hi! I was wondering if I could request dating headcanons for 2k12 Donatello with s/o who's Casey's younger sister and the complete opposite of him!

A/N: Hey, anon! I assume you meant that Casey’s sister is the opposite of him (not Donnie) so that’s how I wrote these headcanons. They’re also in second person POV; I hope that’s okay! 😊

2012 Donnie Dating Casey’s Sis

💜 2012 Donatello/Female Reader OC 💜

CWs: None. All characters are aged-up.

When Donnie first meets you, he’s genuinely baffled. He hears “Casey’s sister” and braces himself for another loud, impulsive, hockey stick-wielding loon. Instead, he finds you.

You’re quiet, thoughtful, and a little reserved. Maybe you’re carrying a book or sketching, or just observing things calmly. He’s immediately intrigued and, frankly, relieved.

Donnie finds your lack of boisterousness incredibly refreshing. He can actually hear himself think around you.

He stammers a bit more than usual around you. You don’t tease him for it, unlike Casey or even his own brothers. You just wait patiently for him to get his words out, maybe offering a small, encouraging smile. This melts him.

He’s fascinated by your hobbies, especially if they’re academic, artistic, or involve quiet concentration. If you’re into reading, he’ll want to know your favorite genres. If you’re an artist, watching you create will mesmerize him.

He gets a little flustered if you compliment his intelligence directly. He’s used to being the smart one, but hearing it sincerely from you makes his cheeks feel warm.

He adores that you actually listen when he geeks out about his latest invention or a scientific discovery. You might not understand all the technical jargon. But you ask thoughtful questions, and he sees the genuine interest in your eyes.

You, in turn, appreciate his intelligence and passion. You find his excited rambles endearing. And you’re probably one of the few people who can steer him back to a topic if he goes off on a tangent without making him feel foolish.

You learn to decipher his ‘Donnie-speak.’ While you might not always grasp the complex scientific principles, you understand the passion, the frustration, or the excitement behind his words.

Your dates are often low key. He loves taking you to the library (after hours), chatting in a quiet corner of a museum, or having the two of you stargazing on a rooftop, where he points out constellations, explaining the science and associated myths behind them.

Donnie’s a little shy with physical affection at first. Expect sweet, tentative hand-holding that gradually becomes more confident. His hugs are surprisingly strong and comforting. Kisses are soft, thoughtful, and always make you feel cherished.

He appreciates that you don’t demand constant entertainment or conversation. He can simply be with you, and that’s incredibly restful for his often-overactive mind.

You remind him to eat, sleep, and take breaks when he’s been hyper-focused on a project for too long. You do it gently, maybe by bringing him a snack and a drink, or just sitting quietly beside him until he notices you and remembers the outside world.

When he’s stressed or overwhelmed by a mission, your calm presence is his sanctuary. Just sitting with you, maybe reading side-by-side or listening to soft music, helps him decompress.

When he’s frustrated with an invention that just won’t work, you don’t come up with technical solutions. Instead, you offer a listening ear, a comforting presence, or a suggestion to take a break and look at it with fresh eyes later.

You’re Donnie’s anchor when his anxieties spike. His mind can race with worst-case scenarios, especially concerning his family. Your calm presence, comforting hand on his arm, and reassuring words can ground him like nothing else.

You help him see the world beyond logic and science sometimes. If you’re into art, you show him the beauty in abstract concepts. If you’re into literature, you discuss themes and emotions he might not have considered. He values your perspective immensely.

You help Donnie understand that logic cannot solve everything. When he’s stuck in his head, overthinking a social situation or an emotional response, you offer a simpler, more intuitive perspective that often cuts through his mental clutter.

You sometimes catch him just watching you with a soft, almost awestruck expression when you’re absorbed in your own quiet activity. It’s his way of saying, “I can’t believe someone as wonderful as you likes someone like me.”

He learns to read your subtle emotional cues. A slight furrow in your brow, the way you hold your book a little tighter, etc.—he becomes attuned to these and will ask if everything is okay, ready to deploy comfort or a distraction as needed.

Donnie’s super protective of you. If anyone upsets you, he will firmly intervene. His version of telling someone off involves a passive-aggressive lecture that leaves the offender feeling intellectually inadequate.

He’s meticulous about your safety. Any tech he gives you is designed to be discreet and primarily for communication or alerting him if you’re in trouble, rather than for combat. He doesn’t ever want to put you in harm’s way.

If you’re feeling overwhelmed by the chaos of his life, he’s incredibly understanding. He’ll find a quiet, safe spot just for the two of you, even if it’s just a hidden corner of the lair, and make sure you feel secure.

He treasures any handmade gifts you give him, especially if they’re artistic or thoughtful. A bookmark you made, a small clay figure, etc. Whatever it is, he keeps them in a special place in his lab.

You’re probably the only one who can convince Donnie to take a day off, away from the lab and patrols. Perhaps for a quiet walk in a park or just a day of peaceful indoor activities. He always feels remarkably refreshed afterward, even if he grumbled about it initially.

[theplotmage]

Hi, I was wondering if you could so some sort of rule set for time travel? I'm finding it hard to describe, and what rules there are on the subject.

Thanks!

Hello, I'm also writing a time traveling sci-fi fiction with a fantasy blend to it and here are some things that I find that could help us out!

Rule Set for Creating Believable Time-Traveling Fiction

1. Time Travel Mechanics

Mechanism Description

- Clearly explain how time travel works in your story. Is it a machine, a natural phenomenon, a magical object, or an innate ability?

Scientific Basis

- Incorporate real scientific theories, such as Einstein’s theory of relativity, wormholes, or quantum mechanics, to ground your story in plausible science.

Limitations and Costs

- Define the limitations of time travel, such as distance in time, frequency, energy requirements, or physical toll on the traveler.

2. World-Building

Historical Accuracy

- Research and accurately depict the time periods your characters travel to. Include cultural norms, language, technology, and major events of those eras.

Parallel Worlds and Timelines

- Decide if time travel in your story creates alternate timelines or if it follows a single, mutable timeline. Consistency is key.

Temporal Organization

- Consider the existence of a governing body or organization that regulates time travel. Define its structure, rules, and purpose.

3. Language and Communication

Temporal Dialects

- Characters from different time periods should speak differently. Use historical dialects, slang, and accents appropriate to each era.

Temporal Jargon

- Create specific terms and jargon for time travelers and the technology they use, such as “temporal jump,” “chrononaut,” or “time anchor.”

Code of Conduct

- Develop a code of conduct or set of guidelines that time travelers must follow, including how they communicate with each other and with people from different eras.

4. Character Development

Motivations and Goals

- Clearly define why characters want to time travel. Is it for adventure, to change a personal event, or for scientific exploration?

Personal Growth

- Show how time travel affects characters emotionally and psychologically. Do they struggle with the ethics of their actions or the loneliness of being out of their time?

Conflict and Tension

- Use the potential for paradoxes, rival time travelers, and moral dilemmas to create conflict and tension.

5. Ethical and Moral Implications

Paradox Prevention

- Address how your story handles paradoxes, such as the grandfather paradox. Use concepts like self-healing timelines or fixed points in time to explain inconsistencies.

Ethical Dilemmas

- Explore the moral implications of time travel. Should characters intervene in historical events? What are the consequences of changing the past Responsibility

- Emphasize the responsibility that comes with the power to alter time. Characters should consider the broader implications of their actions.

6. Plot Structure

Non-Linear Narrative

- Use non-linear storytelling techniques to enhance complexity and intrigue. Flashbacks, flash-forwards, and parallel timelines can create a rich narrative.

Foreshadowing and Payoff

- Plant clues and foreshadowing that pay off later in the story. Ensure that all plot threads are resolved by the end.

Multiple Perspectives

- Consider telling the story from multiple viewpoints to show the impact of time travel from different angles.

7. Integrating Science Fiction and Fantasy Elements

Scientific Plausibility

- Ground your time travel mechanics in plausible science, even if you incorporate fantastical elements. Use pseudo-scientific explanations to bridge the gap.

Imaginative Enhancements

- Blend scientific theories with imaginative elements, such as ancient artifacts, alien technology, or supernatural forces.

Explanatory Dialogue

- Use character dialogue to explain complex concepts in an accessible way without overwhelming the reader with technical details.

8. World-Building Consistency

Timeline Integrity

- Map out key events in your story’s timeline to avoid inconsistencies and plot holes.

Cultural and Societal Impact

- Consider how time travel affects society. Is it a well-known and regulated practice, or a secret known only to a few?

Technological and Historical Changes

- Explore how changes in the past affect technology and history in the present and future. Ensure these changes are logically consistent.

9. Avoiding Common Pitfalls

Avoid Overcomplication

- Keep the rules of time travel simple enough for readers to follow without getting bogged down in excessive technical detail.

Plot Holes

- Be vigilant about potential plot holes and inconsistencies that can arise from complex time travel mechanics.

Exposition Balance

- Balance the need to explain time travel mechanics with maintaining the story’s pace and engagement. Avoid info-dumping.

Rules for Time Traveling

1. One-Way Trips Only

Restriction

- Time travelers can only move forward or backward in time once without the possibility of a return journey.

Explanation

- This rule ensures that the timeline remains linear and prevents paradoxes caused by multiple interactions with the same time period.

Effect

- Limits interference with historical events and reduces the chance of creating alternate realities.

2. The Observer Effect

Restriction

- Time travelers cannot interact with their past selves or directly influence their previous actions.

Explanation

- Direct interaction with one’s past self could create paradoxes, such as the “grandfather paradox,” where altering past events prevents the traveler’s existence.

Effect

- Maintains the integrity of the timeline and ensures personal history remains consistent.

3. Fixed Points in Time

Restriction

- Certain historical events, known as fixed points, cannot be changed or altered in any way.

Explanation

- These events are crucial for the stability of the timeline and the universe’s structure.

Effect

- Prevents catastrophic changes to reality, ensuring key moments in history remain intact.

4. Memory Corruption

Restriction

- Excessive time travel can lead to memory corruption, where the traveler starts forgetting crucial details of their original timeline.

Explanation

- The brain struggles to handle multiple versions of events, leading to cognitive dissonance and memory loss.

Effect

- Ensures travelers use time travel sparingly and only when absolutely necessary.

5. Temporal Anchor

Restriction

- Time travelers must establish a temporal anchor, a fixed point in time to which they can return or stabilize themselves.

Explanation

- This anchor serves as a safeguard against getting lost in time or drifting uncontrollably through different periods.

Effect

- Provides a safety net for travelers, ensuring they have a way back to their original timeline or a stable reference point.

6. Butterfly Effect

Restriction

- Minor changes in the past can have significant, unforeseen consequences in the future.

Explanation

- The butterfly effect illustrates how small actions can ripple through time, drastically altering future events.

Effect

- Encourages travelers to be cautious and minimize their impact on past events to avoid unintended consequences.

7. Temporal Energy Consumption

Restriction

- Time travel requires a significant amount of energy, often depleting the traveler’s resources or affecting the environment.

Explanation

- The energy needed to manipulate time is immense, and its usage can lead to resource shortages or environmental damage.

Effect

- Ensures time travel is not undertaken lightly and that travelers consider the environmental and resource costs.

8. Chrono-Sickness

Restriction

- Prolonged exposure to different time periods can cause physical and mental ailments, known as chrono-sickness.

Explanation

- The human body and mind are not designed to handle the stress of moving through time, leading to disorientation, nausea, and psychological effects.

Effect

- Limits the duration and frequency of time travel, encouraging travelers to minimize their trips.

9. Temporal Interference

Restriction

- Time travelers must avoid interfering with major historical figures or events.

Explanation

- Interfering with significant events or individuals can drastically alter the course of history, leading to unpredictable outcomes.

Effect

- Preserves the natural flow of history and ensures major events occur as intended.

10. Temporal Paradoxes

Restriction

- Travelers must avoid creating paradoxes, situations where actions in the past contradict the present or future.

Explanation

- Paradoxes can destabilize the timeline, potentially leading to its collapse or the creation of alternate realities.

Effect

- Ensures travelers act responsibly and with caution, preventing actions that could lead to paradoxical situations.

***

Hello, I’m Kali The Plot Mage!

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[gh0stbra1nz]

some g1 perceptor headcanons:

he recites formulae when anxious/stressed in order to calm down

bro is a yapper during recharge. i mean he mumbles on and on about technical jargon but it's all mixed up

he would be into baking earth sweets and pastries bc it's essentially all chemistry... he keeps attempting to take on the most complex recipes purely for the science of it (envision perceptor in a cute apron... yeah)

he'd measure everything down to the gram and be so proud of his good results btw

he also ends up carrying a sweet air with him wherever he goes bc of his new baking hobby

[literaryvein-reblogs]

i was wondering if you had any tips for writing a story that involved a language barrier. would i write mostly action? would it be less interesting without dialogue? thank you!!

Writing Notes: Language Barrier

Language Barriers. If you work in an industry that is heavy in jargon or technical language, care should be taken to avoid these words when speaking with someone from outside the industry. Without being patronizing, imagine explaining a situation in your industry to a child. How would you convey these concepts without relying on jargon? A clear, direct narrative is preferable to an incomprehensible slew of specialty terms.

EXAMPLES of language barriers that prevent individuals from effective communication include:

Dialects - While two people may technically speak the same language, dialectal differences can make communication between them difficult. Examples of dialectical language barriers exist worldwide. Chinese, for example, has a variety of dialects that are commonly spoken, including Cantonese and Mandarin.

Language Disabilities - Language disabilities are physical impediments to language. Physical language disabilities that cause language barriers include stuttering, dysphonia or an articulation disorder and hearing loss.

To overcome language barriers, here are a few things you can do:

Translate all relevant documents into the person's primary language.

Use an interpreter whenever you give instructions or provide feedback.

Provide language classes.

Use both telling and showing methods.

Use visual methods of communication more than audio. Show more than tell. Explain with pictures as much as possible.

Use repetition. As with any new concept, most people don't learn something the first time they hear it.

Never raise your voice or over-enunciate your words. Talk slower, not louder. Speak clearly, not forcefully. People of a different language and culture can hear fine.

Use simpler words with fewer syllables. Be aware of the complexities of your words. Use more common words that convey your message in simpler terms. Don't talk down; just use a less complex vocabulary.

Learn the basics of their language. If you want to communicate effectively and build rapport, consider learning a few words and phrases in their language.

Have them demonstrate their understanding. Don't assume they immediately understand; check for understanding.

You can also read anecdotes of people's experience with language barriers to help guide your writing. Here's an example.

Sources: 1 2 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Choose which of these notes apply to the specific scene you are writing. Are the characters actually trying to communicate despite the barrier? Consider the purpose of your scene. They could use nonverbal cues instead of speaking. When we see people who don't speak the same language interact, sometimes they still continue to speak their own language whilst miming or gesturing to try to communicate what they mean even though they know the other person can't understand what they're saying. You can definitely still make it interesting. Will you make the scene more humorous? Will the scene end in a misunderstanding, an argument, or will they eventually communicate successfully? Perhaps something in their culture overlaps that helps them understand each other. Or will there be another character (or characters) who will step in and help them? Hope this helps with your writing!

[canmom]

speaking of line rider, I decided to poke my head back into the Line Rider Review channel, which you may remember for going viral in 2017 with Rabid Squirrel's review of the top 10 tracks of the previous year on artistic grounds...

at the time, Line Rider was around ten years old; the baroque jargon and the complexity of the techniques really got people (in much the same way as pannenkoek's half a press video), so Squirrel ended up making a followup video on the jargon, a charming slice of "this person was definitely gonna transition" which serves as a good intro to what the scene was about back then...

since then there have been many developments: more complex musical sync, elaborate animation techniques, etc etc.; it's only grown. so what does line rider fandom look like in 2024?

well... everyone is trans now of course. it's gotten a lot more interested in political and emotional themes, too. the top video is an hour long feature about the author's partner's experience of figuring out they're plural, learning Japanese, as well as the grief of friends they've lost along the way, through the lens of line rider tracks they grew up with - and that's not just one person's thing either, a whooole lot of the tracks on this list are painfully sincere short film dioramas about trauma, dysphoria, abuse and similar topics. Not all of them mind - you've also got experiments that blend between line rider and stop motion, and a recreation of a classic Touhou video from the Chinese line rider scene on bilibili (there's a Chinese line rider scene on bilibili now), but it's very clear how much the taste of this subculture has shifted. I don't mean this to be too cynical - while it's easy to be a bit 'ehh' at the activist-speak of the channel, these videos are incredibly sincere and (sigh, yes, i know it's a cliche) heartfelt expressions.

i think the fascinating thing to me is that all that technical stuff in Line Rider hasn't gone away - you're still doing crazy complicated shit to fling Bosh around the screen, stop and start them, take them on and off the sled, interact with other riders, stage frame by frame animation, etc. Everything is still meticulously synced to music. But now this passes without comment for the most part! That's just the toolbox! Just as reviews of music rarely go into the specific music theory tools - chords, scales, etc. - unless they're aimed at teaching or analysing it for musicians. Line Rider videos have in a sense matured into a whole medium.

It's definitely a fascinating illustration of the ways Being Very Autistic On The Internet is changing. godspeed you guys.

[evignonita]

Lately I've been feeling like doing some extensive yapping (historic moment). I already did it with Nervous, now i wll do it with Pascal because I love him too

(HEADCANON, always remember that please) I feel that Pascal measures his words a lot before saying them out loud, but there are also many times when he fails with this ÑSJDPDJDOD. Why would Pascal measure his words so carefully before saying them out loud, you might ask... WELL because he thinks he's very pretentious! (he is); I think Pascal studies his environment, his acquaintances, etc. a lot and understands that his "deep" conversation topics (full of technical jargon) are not for everyone

↑ This is also complemented by the fact that Pascal likes to do psychoanalysis in the canon; studying the people of the town is his favorite hobby

His brothers are less serious than him canonically, and that translated to MY understanding, may imply that Pascal is much more complex with his way of expressing himself literally; I mean no sarcasm, no soft ways of saying things, HE JUST SAYS THEM!!!! And that's probably why people who aren't close to him don't like him that much and that's why he got beaten up twice. That would also explain why Vidcund and Lazlo aren't his friends. They get along, yes! But they consider Pascal to be very "realistic" (I don't know the exact word, it's not realistic, but it's like a person who doesn't sugarcoat his way of being... authentic perhaps?). Lazlo and Vidcund are more into joking around or similar things, Lazlo more than Vidcund, Vidcund does it his way

Pascal then measures what he will say so that he doesn't sound like a pretentious son of a bitch JDPSHDODJD He doesn't lie... He just skip information. That's why (for example) when he talks to Nervous, Nervous discovers important things about Pascal that Pascal has never mentioned, and he does it suddenly:

—

Pascal: "Yeah and that's why I'm weeks away from giving birth"

Nervous: "YOU'RE PREGNANT!!?? 😰"

—

EDIT: This may be contradictory, but I DON'T CARE. Pascal is the oversharing king, but when he realizes he's shared too much information, he immediately shuts up LIKEEE this gif:

[luna-azzurra]

Developing Characters in Different Genres:

1. Understand the genre conventions: Familiarize yourself with the key characteristics and expectations of the genre you're working with. Each genre has its own tropes, themes, and narrative styles. Knowing these conventions will help you develop characters that fit within the genre while also providing opportunities for unique twists and originality.

2. Establish the world-building elements: In genres like fantasy, science fiction, or historical fiction, the setting plays a crucial role in shaping the characters. Develop the rules, limitations, and unique features of the world in which your characters exist. Consider how these elements influence their abilities, traits, and conflicts. Ensure that the characters are grounded in the genre's world-building, but also explore the human aspects that make them relatable.

3. Align character traits with genre elements: Integrate genre-specific traits, powers, or abilities into your characters' development. For example, in fantasy, characters may possess magical abilities or belong to distinct races with specific characteristics. In science fiction, characters might have advanced technology or genetic enhancements. Ensure that these genre-specific traits are relevant to the plot and contribute to the character's growth or conflicts.

4. Balance uniqueness and relatability: While genre-specific traits are important, it's crucial to balance them with relatable human qualities. Even in fantastical or futuristic settings, readers want characters they can empathize with. Give your characters relatable emotions, desires, flaws, and personal struggles. This balance between genre elements and relatable human characteristics will make your characters more engaging and memorable.

5. Create multidimensional characters: Regardless of the genre, multidimensional characters are essential for reader engagement. Provide your characters with a range of strengths, weaknesses, fears, and aspirations. Avoid one-dimensional heroes or villains. Characters with complex motivations and internal conflicts are more compelling, regardless of the genre they inhabit.

6. Consider the impact of genre on character arcs: The genre can influence the character's journey and growth. In mystery or thriller genres, for example, the protagonist may undergo a transformation as they uncover secrets or solve a puzzle. In fantasy, characters may embark on quests that test their bravery and lead to self-discovery. Tailor the character's arc to the genre, ensuring that it aligns with the story's themes and pacing.

7. Use genre-specific conflicts and challenges: Explore conflicts and challenges that are inherent to the genre. In mystery, characters may face life-or-death situations or navigate intricate plots. In historical fiction, characters might grapple with social or political upheaval. These genre-specific conflicts add depth and tension to the characters' journeys while immersing readers in the story's world.

8. Give characters agency: Regardless of the genre, characters should have agency and drive the plot forward. They should actively make choices and take actions that influence the course of events. Avoid making characters passive recipients of the plot or relying solely on external forces to drive their development. Active and motivated characters make for engaging reads across all genres.

9. Pay attention to dialogue and language: Language and dialogue can be shaped by the genre. In fantasy or historical fiction, characters may speak in a more formal or archaic manner. In science fiction, characters might use technical jargon or futuristic slang. Ensure that the language used by your characters is consistent with the genre while remaining accessible and understandable to readers.

10. Embrace genre-bending and subverting expectations: Don't be afraid to challenge genre conventions and subvert expectations. Introduce unexpected elements, twists, or characterizations that defy the norms of the genre. This can add freshness and originality to your characters and story, making them stand out from the crowd.

[mostlysignssomeportents]

How finfluencers destroyed the housing and lives of thousands of people

For the rest of May, my bestselling solarpunk utopian novel THE LOST CAUSE (2023) is available as a $2.99, DRM-free ebook!

The crash of 2008 imparted many lessons to those of us who were only dimly aware of finance, especially the problems of complexity as a way of disguising fraud and recklessness. That was really the first lesson of 2008: "financial engineering" is mostly a way of obscuring crime behind a screen of technical jargon.

This is a vital principle to keep in mind, because obscenely well-resourced "financial engineers" are on a tireless, perennial search for opportunities to disguise fraud as innovation. As Riley Quinn says, "Any time you hear 'fintech,' substitute 'unlicensed bank'":

https://pluralistic.net/2023/05/01/usury/#tech-exceptionalism

But there's another important lesson to learn from the 2008 disaster, a lesson that's as old as the South Seas Bubble: "leverage" (that is, debt) is a force multiplier for fraud. Easy credit for financial speculation turns local scams into regional crime waves; it turns regional crime into national crises; it turns national crises into destabilizing global meltdowns.

When financial speculators have easy access to credit, they "lever up" their wagers. A speculator buys your house and uses it for collateral for a loan to buy another house, then they make a bet using that house as collateral and buy a third house, and so on. This is an obviously terrible practice and lenders who extend credit on this basis end up riddling the real economy with rot – a single default in the chain can ripple up and down it and take down a whole neighborhood, town or city. Any time you see this behavior in debt markets, you should batten your hatches for the coming collapse. Unsurprisingly, this is very common in crypto speculation, where it's obscured behind the bland, unpronounceable euphemism of "re-hypothecation":

https://www.coindesk.com/consensus-magazine/2023/05/10/rehypothecation-may-be-common-in-traditional-finance-but-it-will-never-work-with-bitcoin/

Loose credit markets often originate with central banks. The dogma that holds that the only role the government has to play in tuning the economy is in setting interest rates at the Fed means the answer to a cooling economy is cranking down the prime rate, meaning that everyone earns less money on their savings and are therefore incentivized to go and risk their retirement playing at Wall Street's casino.

The "zero interest rate policy" shows what happens when this tactic is carried out for long enough. When the economy is built upon mountains of low-interest debt, when every business, every stick of physical plant, every car and every home is leveraged to the brim and cross-collateralized with one another, central bankers have to keep interest rates low. Raising them, even a little, could trigger waves of defaults and blow up the whole economy.

Holding interest rates at zero – or even flipping them to negative, so that your savings lose value every day you refuse to flush them into the finance casino – results in still more reckless betting, and that results in even more risk, which makes it even harder to put interest rates back up again.

This is a morally and economically complicated phenomenon. On the one hand, when the government provides risk-free bonds to investors (that is, when the Fed rate is over 0%), they're providing "universal basic income for people with money." If you have money, you can park it in T-Bills (Treasury bonds) and the US government will give you more money:

https://realprogressives.org/mmp-blog-34-responses/

On the other hand, while T-Bills exist and are foundational to the borrowing picture for speculators, ZIRP creates free debt for people with money – it allows for ever-greater, ever-deadlier forms of leverage, with ever-worsening consequences for turning off the tap. As 2008 forcibly reminded us, the vast mountains of complex derivatives and other forms of exotic debt only seems like an abstraction. In reality, these exotic financial instruments are directly tethered to real things in the real economy, and when the faery gold disappears, it takes down your home, your job, your community center, your schools, and your whole country's access to cancer medication:

https://www.theguardian.com/world/2012/jun/08/greek-drug-shortage-worsens

Being a billionaire automatically lowers your IQ by 30 points, as you are insulated from the consequences of your follies, lapses, prejudices and superstitions. As @pixelpusher220@dmv.community says, Elon Musk is what Howard Hughes would have turned into if he hadn't been a recluse:

https://mamot.fr/@pixelpusher220@dmv.community/112457199729198644

The same goes for financiers during periods of loose credit. Loose Fed money created an "everything bubble" that saw the prices of every asset explode, from housing to stocks, from wine to baseball cards. When every bet pays off, you win the game by betting on everything:

https://en.wikipedia.org/wiki/Everything_bubble

That meant that the ZIRPocene was an era in which ever-stupider people were given ever-larger sums of money to gamble with. This was the golden age of the "finfluencer" – a Tiktok dolt with a surefire way for you to get rich by making reckless bets that endanger the livelihoods, homes and wellbeing of your neighbors.

Finfluencers are dolts, but they're also dangerous. Writing for The American Prospect, the always-amazing Maureen Tkacik describes how a small clutch of passive-income-brainworm gurus created a financial weapon of mass destruction, buying swathes of apartment buildings and then destroying them, ruining the lives of their tenants, and their investors:

https://prospect.org/infrastructure/housing/2024-05-22-hell-underwater-landlord/

Tcacik's main characters are Matt Picheny, Brent Ritchie and Koteswar “Jay” Gajavelli, who ran a scheme to flip apartment buildings, primarily in Houston, America's fastest growing metro, which also boasts some of America's weakest protections for tenants. These finance bros worked through Gajavelli's company Applesway Investment Group, which levered up his investors' money with massive loans from Arbor Realty Trust, who also originated loans to many other speculators and flippers.

For investors, the scheme was a classic heads-I-win/tails-you-lose: Gajavelli paid himself a percentage of the price of every building he bought, a percentage of monthly rental income, and a percentage of the resale price. This is typical of the "syndicating" sector, which raised $111 billion on this basis:

https://www.wsj.com/articles/a-housing-bust-comes-for-thousands-of-small-time-investors-3934beb3

Gajavelli and co bought up whole swathes of Houston and other cities, apartment blocks both modest and luxurious, including buildings that had already been looted by previous speculators. As interest rates crept up and the payments for the adjustable-rate loans supporting these investments exploded, Gajavell's Applesway and its subsidiary LLCs started to stiff their suppliers. Garbage collection dwindled, then ceased. Water outages became common – first weekly, then daily. Community rooms and pools shuttered. Lawns grew to waist-high gardens of weeds, fouled with mounds of fossil dogshit. Crime ran rampant, including murders. Buildings filled with rats and bedbugs. Ceilings caved in. Toilets backed up. Hallways filled with raw sewage:

https://pluralistic.net/timberridge

Meanwhile, the value of these buildings was plummeting, and not just because of their terrible condition – the whole market was cooling off, in part thanks to those same interest-rate hikes. Because the loans were daisy-chained, problems with a single building threatened every building in the portfolio – and there were problems with a lot more than one building.

This ruination wasn't limited to Gajavelli's holdings. Arbor lent to multiple finfluencer grifters, providing the leverage for every Tiktok dolt to ruin a neighborhood of their choosing. Arbor's founder, the "flamboyant" Ivan Kaufman, is associated with a long list of bizarre pop-culture and financial freak incidents. These have somehow eclipsed his scandals, involving – you guessed it – buying up apartment buildings and turning them into dangerous slums. Two of his buildings in Hyattsville, MD accumulated 2,162 violations in less than three years.

Arbor graduated from owning slums to creating them, lending out money to grifters via a "crowdfunding" platform that rooked retail investors into the scam, taking advantage of Obama-era deregulation of "qualified investor" restrictions to sucker unsophisticated savers into handing over money that was funneled to dolts like Gajavelli. Arbor ran the loosest book in town, originating mortgages that wouldn't pass the (relatively lax) criteria of Fannie Mae and Freddie Mac. This created an ever-enlarging pool of apartments run by dolts, without the benefit of federal insurance. As one short-seller's report on Arbor put it, they were the origin of an epidemic of "Slumlord Millionaires":

https://viceroyresearch.org/wp-content/uploads/2023/11/Arbor-Slumlord-Millionaires-Jan-8-2023.pdf

The private equity grift is hard to understand from the outside, because it appears that a bunch of sober-sided, responsible institutions lose out big when PE firms default on their loans. But the story of the Slumlord Millionaires shows how such a scam could be durable over such long timescales: remember that the "syndicating" sector pays itself giant amounts of money whether it wins or loses. The consider that they finance this with investor capital from "crowdfunding" platforms that rope in naive investors. The owners of these crowdfunding platforms are conduits for the money to make the loans to make the bets – but it's not their money. Quite the contrary: they get a fee on every loan they originate, and a share of the interest payments, but they're not on the hook for loans that default. Heads they win, tails we lose.

In other words, these crooks are intermediaries – they're platforms. When you're on the customer side of the platform, it's easy to think that your misery benefits the sellers on the platform's other side. For example, it's easy to believe that as your Facebook feed becomes enshittified with ads, that advertisers are the beneficiaries of this enshittification.

But the reason you're seeing so many ads in your feed is that Facebook is also ripping off advertisers: charging them more, spending less to police ad-fraud, being sloppier with ad-targeting. If you're not paying for the product, you're the product. But if you are paying for the product? You're still the product:

https://pluralistic.net/2021/01/04/how-to-truth/#adfraud

In the same way: the private equity slumlord who raises your rent, loads up on junk fees, and lets your building disintegrate into a crime-riddled, sewage-tainted, rat-infested literal pile of garbage is absolutely fucking you over. But they're also fucking over their investors. They didn't buy the building with their own money, so they're not on the hook when it's condemned or when there's a forced sale. They got a share of the initial sale price, they get a percentage of your rental payments, so any upside they miss out on from a successful sale is just a little extra they're not getting. If they squeeze you hard enough, they can probably make up the difference.

The fact that this criminal playbook has wormed its way into every corner of the housing market makes it especially urgent and visible. Housing – shelter – is a human right, and no person can thrive without a stable home. The conversion of housing, from human right to speculative asset, has been a catastrophe:

https://pluralistic.net/2021/06/06/the-rents-too-damned-high/

Of course, that's not the only "asset class" that has been enshittified by private equity looters. They love any kind of business that you must patronize. Capitalists hate capitalism, so they love a captive audience, which is why PE took over your local nursing home and murdered your gran:

https://pluralistic.net/2021/02/23/acceptable-losses/#disposable-olds

Homes are the last asset of the middle class, and the grifter class know it, so they're coming for your house. Willie Sutton robbed banks because "that's where the money is" and We Buy Ugly Houses defrauds your parents out of their family home because that's where their money is:

https://pluralistic.net/2023/05/11/ugly-houses-ugly-truth/#homevestor

The plague of housing speculation isn't a US-only phenomenon. We have allies in Spain who are fighting our Wall Street landlords:

https://pluralistic.net/2021/11/24/no-puedo-pagar-no-pagara/#fuckin-aardvarks

Also in Berlin:

https://pluralistic.net/2021/08/16/die-miete-ist-zu-hoch/#assets-v-human-rights

The fight for decent housing is the fight for a decent world. That's why unions have joined the fight for better, de-financialized housing. When a union member spends two hours commuting every day from a black-mold-filled apartment that costs 50% of their paycheck, they suffer just as surely as if their boss cut their wage:

https://pluralistic.net/2023/12/13/i-want-a-roof-over-my-head/#and-bread-on-the-table

The solutions to our housing crises aren't all that complicated – they just run counter to the interests of speculators and the ruling class. Rent control, which neoliberal economists have long dismissed as an impossible, inevitable disaster, actually works very well:

https://pluralistic.net/2023/05/16/mortgages-are-rent-control/#housing-is-a-human-right-not-an-asset

As does public housing:

https://jacobin.com/2023/10/red-vienna-public-affordable-housing-homelessness-matthew-yglesias

There are ways to have a decent home and a decent life without being burdened with debt, and without being a pawn in someone else's highly leveraged casino bet.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/05/22/koteswar-jay-gajavelli/#if-you-ever-go-to-houston

Image: Boy G/Google Maps (modified) https://pluralistic.net/timberridge

[squarebracket-trickster]

Okay, this started as a rant on another post but then i figured it wasn't fair to inflict that on OP. I don't even know OP. So uhhh...

I am, at this point, completely convinced that the people who advise against headhopping, beige prose, purple prose, and infodumping, and the people who love headhopping, beige prose, purple prose, and infodumping are using two different definitions of the words.

Because do you really enjoy reading published novels where you can't tell whose thoughts belong to whom? Do you really enjoy prose that is choppy, vague, awkward, and lacks enough detail to actually follow the story? Do you really enjoy prose that keeps using big, fancy words but it is clear the author doesn't actually know what they mean, or uses run-on sentences that are dizzying to try and make sense of? Do you really enjoy having your high-paced action scene interrupted by 6 pages straight of technical jargon with absolutely no attempt to incorporate it naturally into the story (and like two paragraph breaks across the whole 6 pages)?

On the other hand...

Do you really hate every single case of Omniscient POV you have ever read - did you hate Narnia, A Series of Unfortunate Events, Pride and Prejudice because of the POV? Do you really find sparse, accessible, "quick and snappy" prose that off-putting? Do you hate poetry - can you seriously not think of any examples of vivid, flowing prose chalk-full of literary devices (metaphor, zeugma etc.) that spoke to you? Have you really never enjoyed a paragraph here and there where a scifi writer explains exactly how their weird alien is biologically possible? Have you? Do you?

(Okay, okay. I know this is Tumblr. If anyone actually bothers to read this rant (hahaha) some little edgy contrarian is going to appear in the notes eventually but IN GENERAL)...

Long story short I think we have two different definitions of all these terms running around.

Headhopping

When the narrator describes the thoughts of more than one character per paragraph (or scene).

When the narrator describes the thoughts of more than one character per paragraph (or scene) in a way that makes it difficult to tell who is thinking and experiences what. It is confusing to the reader.

Beige prose

Simple, sparse, accessible, to the point, only conveying the tip of the iceberg.

Choppy, awkward, vague, missing critical information, sacrificing clarity for the sake of simplicity.

Purple prose

Poetic, flowery and/or vivid language, long complex sentences, a tendency toward the dramatic.

Language that is "too flowery" - fancy, rare words used incorrectly, or which don't make sense given the tone, mood, atmosphere, genre, style etc, or which make it hard to follow what is happening. Run-ons and sentences that are dizzying to make sense of. Melodrama, aka dramatic without adequate build up.

Infodumping

Explaining details that aren't necessary for the story. Taking a few paragraphs, maybe a page or two, at an appropriate moment in the story (even a whole chapter if it is built-up to correctly). This can be in the text itself or it can be in an appendix or prologue (à la Concerning Hobbits)

Explaining details that aren't necessary for the story. Taking a few paragraphs, maybe even several pages, at an inappropriate moment in the story. It interrupts the flow and pacing. There is no effort to weave or incorporate the information into the story. It is just dumped there.

And yeah, I just think we could solve so much discourse if we acknowledged that we aren't all using the same definitions.

[sidesteppostinghours]

Rewires and Rerouting

another late oc kiss week,,, oops. day 5 though! abusing my computer science undergrad to jargon my way through 980-ish words of caine and @hyper-pixels mitchel being Nerds. i put way too much effort into the logic behind their prop circuit help

———

Caine has always preferred to work on circuitry alone. Delicate work requires focus and concentration, and there's only two outcomes when somebody else is in the room with him: they either get completely distracted by the background noise of the other person's thoughts, or the other person is Ortega, and suddenly their circuitry has bigger problems.

Three. Three outcomes. Because the man walking into their room doesn't fit neatly into either of those two.

"What is that?" Caine hears him less than feels him, the physical words quieter than the mental imprint of his mind. Mitchel slinks up on the headrest behind him, his head resting next to theirs. They don't have any idea how he's balancing on it, and he doesn't turn to find out. However he's doing it keeps Caine's hands free to move– that's good enough for them. They place an absentminded kiss on his cheek, eyes not looking up from the breadboard though Mitchel's hair itches his face. He doesn't bother to answer out loud, letting their own mental schematic fill him in on the details.

"Huh." Mitchel clicks his tongue, and not for the first time, Caine is glad at least somebody knows what they're thinking about. "Medical readings are gonna suck to collect in the middle of a fight."

Caine shrugs. It's probably true, but if they can get readings from a single good grip on the opponent, the information could be invaluable. They can feel Mitchel's eyes on him as he works, two pairs of striking green observing him as he wired and coded.

"What's the LCD there for?" Mitchel interrupts the silence building to reach his free arm over Caine's other shoulder and point at the small screen, the mess of wires pouring out of it overlapping the rest of the circuit. "It's just making things more complicated."

"Stand-in for the armor's HUD," they mumble, unfocused, resorting to speech more out of habit than anything else. "It's supposed to be complicated." That way he'll know how to interface the mod with the rest of the armor's system. Technically speaking, it should be more complex, but-

"-but that's useless if it doesn't work now. It worked without the LCD?"

A nondescript note of confirmation. They can feel Mitchel shift position, reaching a hand over Caine's head to tap one of the many colourful wires.

"You didn't ground the LCD right. That's the 5 volt, not the ground. This is gonna fritz on you."

Caine blinks. Rewires it. Uploads the code and watches the LCD blink "functional" at him.

He groans, rubbing his face as Mitchel shifts again to rest his chin on their head. They can feel his smugness, little pebbles of amusement in the back of their mind.

"And this took you how long to figure out?"

"That's not fair." They don't quite whine, but almost. How was he supposed to see that? The pins are all small and angles get funny when you've been working on one thing as long as they have. They debate pushing him off as retaliation, but his chin is a comfortable, familiar pressure on his head, helping them think.

Mitchel snorts. "Sure it isn't." A poke to their back. "What else you gotta connect?"

Caine considers it for a moment. Figuring out the wiring for the cooling can be left for last, when the energy drain for all the components are accounted for. It's the reader that's the problem, that has to be fitted into the hand, which means they have to make it work with the other systems in there. Inside their pocket, their phone buzzes. It has to be close to the surface of the palm, if not on it itself, which means-

"Your phone buzzed," Mitchel points out.

"I know," Caine reassures him.

"Open it. I wanna see who it is" Another poke, this time to his chest. Caine sighs, weary and heavy, before taking out their phone and squinting at the offending notification. Mitchel leans over to read it too, though there's no real need to when they're both telepaths.

...Oh.

It's a single message. From Chen.

'Are you free to walk Spoon with me?'

"Ignore it." The words are practically hissed out. Mitchel never liked Chen for understandable reasons, and liked him even less when he found out Caine had kissed him. Caine's been too busy to deal with what happened since then, and they suspect Chen's the same. Honestly, they're tempted to take Mitchel's advice and stuff the phone back into their pocket. That would be the safer thing to do. The smarter thing.

They mull over the decision before texting back a one word reply:

'Yes.'

"Cheese and rice, man!" They can't see his glare, but they can feel the irritation. "Why would you answer that?"

"I want to walk Spoon." That's part of the reason. They could use the walk anyway, a few things pop when he stretches, and the sound makes him wince.

"I'm going to steal that damn dog," Mitchel mutters, fuming enough to make Caine snort. Already, he is slinking off, landing on the floor without even jostling the chair he was resting so precariously on. Mitchel has always been lighter on his feet than Caine was. They plant another kiss, this time on the top of his head, before heading for their shoes. That's the nice thing about always keeping socks on– leaving is always faster.

Caine doesn't wait for him as they walk out the door, and Mitchel doesn't hesitate as he falls into step beside them. It's a familiar enough routine that, once they're walking, it's easy to slip into the same conversations they're used to, comfortable steps to retrace because it's Mitchel, and Caine doesn't think they could ever really be bored with him.

Now to wait and see if that's a good thing with Chen thrown into the mix.

[cellarspider]

Describing and Expanding Qunlat: Prelude

=⦾ Index ⦾= Next ⭆

I’ve been interested in Dragon Age since Origins came out. The series’ worldbuilding has intriguing potential. The fact that they went to the trouble to sketch out the basics of a couple languages for it–Elvish and Qunlat–is also appreciated. Fans have expanded Elvhen quite comprehensively, and that is very cool. But Qunlat in particular just sounds pleasant to me. And as someone in the constructed language hobby, I started poking around for resources on it.

There are some excellent efforts that have been done to document the language, with some lexicons and grammar collected by Casijaz (an excellent quick guide and interpretation of canon) and Bunan Tsokolatte (digs in with some fantastic tree diagrams, phonology work, and case studies). There’s also a serviceable dictionary on the wiki. However, the language hasn’t received the full grammatical documentation or functional expansion that Elvhen has. 

I’m blursed to tell you all that I’ve made an attempt, and I’m going to be posting about it.

This will be a series that I’ll be posting here and uploading in condensed form to AO3, so people can read it wherever they’d like. It’s going to be split into two major parts: Canon, and Expansion.

The first part of this series is intended to be a comprehensive guide to Qunlat in its canon state: the grammar, the sentence structure, and what the most consistent core features of Qunlat’s sound are. This will be most useful to those who want to write canon-compliant Qunlat, or come up with character names that sound convincing. Dragon Age: The Veilguard is coming out this month*, so if you’re like me and struggle with naming your characters, this may help. 

I’ll be coming at this from a different angle than those I’ve seen so far: rather than treating this as purely a case study of the language, I’ll be examining how the constraints and pitfalls of constructing a fictional language have affected its development, and produced irregularities that you may wish to keep or discard, if you use Qunlat in your own works.

Once the first part is complete, I'll make a summary post that contains the essentials of everything: I want to give people explanations first though. It'll soften the technical jargon, and demonstrate how squishy certain rules have been in practice.

The second part of this series will focus on expanding Qunlat past its current restrictions, producing a language that still sounds like Qunlat and includes its core features, but also permits the language to express more complex thoughts and ideas. 

I’ll aim to make all of these accessible to those outside of the constructed language hobby, and happily answer any questions.

=⦾ Index ⦾= Next ⭆

Footnotes

*This is entirely incidental to this project. I was working on this back when the title didn’t have a “The” in it, and I personally plan to wait on purchasing it for several months, until folks have had the time to process what it does and doesn’t do well, bugs have been ironed out, and the PC crowd has begun modding.

[poeticpains]

Poe's Giffing Tutorial (From One Beginner to Another)

Hey, everyone! So, I've been thinking about this for a while, and decided to finally make it happen. This post aims to be a giffing tutorial that isn't a bunch of technical jargon that nobody except experienced giffers understands. This is for the person that I was when I first started out: someone who wants to make gifs, for free, without having to learn the entirety of a new program. As such, if you're already familiar with the basics, this probably won't be super helpful to you.

In this, I'll cover the basics of actually capturing a gif, the how-to of color correction (though without getting into the nitty-gritty detail of it), some basic text effects, and some more decorative effects like overlays and ~fancy coloring. I'll also show you the program I use to resize gifs.

I don't have a fun quip to lead us into the next part, so, uh, let's just dive in.

Tools*:

A PC capable of handling heavy processor loads (I use a mid-range gaming laptop; it's a little slow sometimes, but it works)

Whatever you're giffing (obviously...)

ScreenToGif (a free, basic screencapture program)

Photopea (a free, in-browser Photoshop dupe)

RedKetchup (a free file resizer/converter)

*Note: These are not the end-all, be-all of gifmaking. They may not even be the best tools for the job! But they're free, they work well, and they're relatively intuitive.

Step 1: Capture your gif.

I'm going to use ScreenToGif for this. The first thing I do is open the program and click Recorder, which opens the recording interface.

I click and drag (or manually input dimensions in the boxes next to the recording button in the lower right corner) to set my dimensions, and then I press record. The red "Record" button will change to a blue square that says "Stop," and a timer will appear in the upper right corner, showing how many seconds your gif is.

Generally, I'll pause the video 5-10 seconds before my desired start time, to give myself a buffer (you'll be able to delete those frames later), start the recording, and then start the video. You'll probably find a system that works for you once you do it a few times.

Once the scene that I want to capture is done, I'll click the blue "Stop" button, and the overlay will close itself. A few seconds later, depending on how long/complex/large your gif is, the program will pop up with a new window where you can edit. Here's what it looks like:

You can do a lot with ScreenToGif, but we'll be using the dead simple stuff today. Click the "Edit" tab, fourth from the left, and this will show up.

"Delete All Previous" and "Delete All Next" are our friends here. Go to the FIRST frame that you want in your gif, using either your arrow keys or just dragging the slider, and select it. Then hit "Delete All Previous." This will make that frame the first frame of your gif. Then, go to the LAST frame of your gif, and hit "Delete All Next." This makes the last frame of the scene that you want the last frame of the gif. You can also use the "Delete" option to delete frames by selecting them with your cursor if you want a more manual option.

Now you have your raw gif! Go to the "File" tab, the first one on the left, and select "Save As" from the menu. You want to make sure that it's saving as a .gif file, not an .mp4 or .apng --- you can check this up at the top. Don't worry, though, as .gif is the default, so unless you change it, you should be golden. Select whatever folder you want to put it in, name it, and save it.

You could absolutely stop here. It is by no means required to color your gifs or slow them down or any other number of things associated with giffing. But if you want to, here's how I do it.

Step 2: Edit your gif.

Head on over to Photopea. You'll see this:

What we want is the "Open From Computer" option. Click it, and your File Explorer will show up. Navigate to whatever folder you saved your gif in and select it by double clicking or clicking once and hitting "Open."

It'll open in a new workspace that looks like this.

You may be saying, "Gee, Poe, that sure looks a lot like Photoshop!" Yes, it absolutely does. If you're familiar with Photoshop, you will most likely be able to find your way around Photopea just fine, and can probably go from here. But if you're not familiar with Photoshop, here's the basics.

First thing's first: gifs are frequently pretty fuzzy/blurry. Luckily, sharpening them is easy.

Select all your frames (the list on the right with all the numbered layers) by clicking one end, scrolling up/down, holding Shift, and clicking the other end. Then go up to the tabs and do Filter > Sharpen > Smart Sharpen. This will automatically sharpen each frame using a percentage; the default is, I believe, 150%, and this is usually what I use because I am fundamentally lazy.

If you don't select all your frames, only the one that you're currently on (the one highlighted in a lighter color) will get the effect applied to it. This goes for basically anything you do, so it's good to get in the habit of selecting all.

Now that it's sharpened, we can color it. Go up to the tabs again, and go to Layer > New Adjustment Layer > [whatever you want to adjust]. Most commonly in Escape the Night, you'll have to adjust brightness, because there's a lot of dark, moody scenes; Season 3 is also especially yellow/orange tinted, so you'll probably want to color correct it, too, using the Color Balance adjustment layer. This is a total guessing game based on the exact scene you're doing and my method is just selecting random things and adjusting sliders until it looks good (remember: fundamentally lazy). Honestly, I'm not an expert in coloring gifs, so I won't pretend to be — especially since people can and do write entire posts just dedicated to it. For this gif, I'm just lightening it a little.

And if this is all you want to do — no text, no effects — you're done! Go to File > Export As > GIF. It will take a few moments to load, so don't panic when your page freezes. A new window will pop up that allows you to do things like set looping, time, etc. but you can also just "Save" and you're done!

But let's say you want something fun. Maybe you'd like to overlay a quote or make it a cool color. If that's the case, continue on...

Step 3: Make your gif shine.

Three parts in this: text, fun colors, and overlays. You can combine these three to do some awesome things, and they're all very simple to do, once you know what you're doing. Think of them less like steps and more like a mix-and-match deal. You can use one, two, or all three!

So, here we go.

Option 3a: Add some text.

The easiest option of the three, this one works exactly like you think it does. The uppercase T symbol on the sidebar will create a new text layer where you can type something and set a font, size, and color.

I'll spare you the lecture on typography that I could give you — you can find better ones than I could make. Generally, though, you have a decorative/display font for headings and emphasis, and then a different, more generalized font for subheadings and other things. In this, the display font is Heavy Heap, which was used on the Season 3 tarot cards, and the general font is a relatively generic serif font.

(Sidenote: you can load fonts into Photopea! Just go to a font website like Dafont, download the font you want, and then open it as you would any other file by going to File > Open and selecting it from your files. You should get a message that says "Font [Your Font Name Here] Loaded," and then you'll be able to use it in your design. That's how I got Heavy Heap in there.)

You can change size and color with these, which will show up at the top when you select the text tool. Keep in mind that if you're making changes after you type something out, you will need to select (highlight) the text you want to change — it won't do it automatically.

I will admit that Photopea's text editor is not the cleanest, simplest, or nicest to use, especially at first. I came from Canva where it was much faster and easier. The downside, of course, is that Canva is highly limited with what you can do.

There are also ways to warp the text, change the blending, and do outlines, but I'll leave that for another time as to avoid making this any longer than it already is.

Option 3b: Make it a cool color.

You have a couple different ways to do this. Probably the most intuitive is to go to Layer > New Adjustment Layer > Photo Filter. Select the color box, pick the color you want using the picker or a hex code, select your desired density, and click OK. Boom, color over your gif.

It defaults to this vintage-y orange, but you can pick whatever color your heart desires.

However, I usually use a different method using Gradient Maps. This is also pretty easy; Layer > New Adjustment Layer > Gradient Map. If you leave it black and white, by the way, you get a B&W gif (you can also just select the Black and White option in the Adjustment Layer menu). Click on the gradient, select the white square on the right side of the gradient line, and then select the square down at the bottom of the window and change it to whatever color you want.

For this gif, I'm leaving it B&W.

(You can have a lot of fun with gradient maps. Play around with them!)

Option 3c: Overlay another gif on top.

Ooookay, so, this is the most advanced and tedious of effects to do (at least of the ones documented in this post), but it's worth it, I promise. For this, you'll need at least one other gif. I usually use a base gif that's relatively neutrally colored, oftentimes B&W but sometimes just faded or pastel, plus one (or more than one) colored, brighter gif. These are, of course, just guidelines — combine whatever gifs you want. The only real requirement, per se, is that they have the same amount of frames. If they don't, it'll look weird. (But if you do end up with two gifs that have different amounts of frames, you can delete the difference right in Photopea, so I don't stress about it too much.)

You also generally want to add text after this step, so if you're planning on doing this, save the text for last.

First things first: color your gifs the way you want and then save both of them. Then re-open them both in Photopea. Yes, this is annoying. I did say it was tedious.

So now I have both of them in my navbar, labeled as "tutorial base" and "tutorial overlay."

Go to your overlay gif and right-click on the gif folder. This is the top layer with a little arrow and folder icon next to the name of the gif.

Select "Duplicate Into" and then pick your base gif in the popup. In my case, it's named "tutorial base."

Now you'll click over to your base gif, and you'll see that your accent has been put on top of your base. Now you get to have fun with blending!

Right click on the overlay gif's folder again. Then, select Blending Options, which is the first menu item. It'll bring up a popup with all sorts of options for styling your layer.

The default setting is Pass Through, which is what we see here. If you want, you could just change the opacity to get your desired effect.

You could also play around with blending options such as Overlay, Color Burn, Lighten, and Screen. Every gif is different, and every gif will look different with different options, so experiment and see what looks best! You may have to go back and recolor it a few times, so I recommend just keeping the project open in your navbar for easy access.

For this gif, I think I'll go with Darker Color at 67%.

One last step, and then you're done with blending!

Go to Layer > Animation > Merge. This will merge each frame of your animation (the gifs) with each other, meaning that they'll play at the same time. If you forget this step, as I do frequently, you'll go to save your gif and find that it plays as a sequence.

Once you've merged your gifs, you can add texts, more effects, PNG overlays, whatever you want! Congrats! You did it!

Step 4: Resize your gif (if necessary).

Maybe you've made a gif, and it's beautiful, and it's amazing, and you wanna show everyone...but it's five million megabytes and you can't send or post it anywhere. Tumblr's max file size is 10 MB, while Discord's (standard) max file size is..7 MB, I think? Either way, if you try to upload something bigger than that, you'll get an error message and the familiar taste of disappointment.

Never fear, Redketchup is here!

This is Redketchup, and it's super simple.

Go to "GIF Resizer" under Animation Tools. Upload your gif, then scroll until you see the Resize GIF section. Input the percentage you'd like to reduce it by (presets are 25%, 50%, and 75% smaller, but you can set it manually, as well).

This is also the step where you can slow it down if you desire if you didn't do it in Photopea — it's in the next section down. Set the speed, if you'd like, and then go down to the bottom and hit Download.

It'll take you to a preview tab where you can check if your gif is small enough. If it is, hit Download again up in the top left, and that's that! Go share your gif with the world!

Conclusion:

Thank you for reading! I am by no means an expert gifmaker, but I want to spread the love and give other people the option to do it. I wouldn't know any of this stuff without the people who taught me, and I'll put a list of tutorials down at the bottom that I referenced when I was first learning to make gifs.

At any rate, if you use this post to make a gif, feel free tag me or send it to me so I can see! And for those of you who are on the fence about learning or starting to gif...

Do it. I double-dog dare you.

:)

References:

Blending Gifs by @the-mother-of-lions

Photopea Coloring Tutorial by @heroeddiemunson

Merging in Photopea by @bellamyblakru

And, though not a specific reference, I frequently browse @usergif for inspiration (they have tutorials there, as well, but I haven't checked them out yet).

[madelynhimegami]

Amitie Guide

Thought it might be fun to do more of these! So here's the main things you need to know about understanding Amitie:

Amitie is, in a word, spontaneous. When talking with others, she relays things based on what comes to mind, as it comes to mind, instead of attempting to order or structure her thoughts. This results in a lot of rambling, scrambling for words, onomatopoeia, and "Are you pondering what I'm pondering"-esque tangents.

Likewise, she tends to act impulsively and without a lot of planning when left to her own devices. She either goes with her gut reaction, or completely against it, with little in between.

When she has no immediate gut reaction, and therefore has to stop and think, she usually overthinks to a crippling degree, and doesn't trust her conclusions a lot of the time.

Amitie has little confidence in her decision-making skills and is highly anxiety-prone.

Her cheerfulness is her most powerful ability, and her number-one go-to. She'll always put forth optimism and a smile as much as she can, because she knows she's good at giving those vibes.

Amitie enjoys listening to other people talk, but is prone to losing focus, especially if things go in a direction she can't follow.

Topics most likely to lose Amitie: lectures, math/science, philosophy, anything with lots of jargon and technical terms.

Spontaneity + Not always having details down = clumsiness

While she often loses track of details easily, even when not dealing with a complex subject, Amitie is very good at grasping the bottom line of what somebody says.

Whenever I RP Amitie, I find that when in doubt, the best way to figure out where her head is, is to focus on what was most recently said to her and respond directly to that.

Amitie is sensitive to the emotions of others. The longer she knows somebody, the more she comes to understand them-- even when what they say conflicts what they mean.

She really has next to no confidence and self-esteem. Usually, it's hidden behind her smiles, but when put in the spotlight, she genuinely believes herself incapable of accomplishing anything.

She's quick to blame herself whenever something bad happens or something fails and she was even remotely involved. Mistakes and messups hit really close to home for her.

The truth is, Amitie is actually really perceptive and clever. Her self-doubt, and by extension her lack of confidence, are her biggest obstacles.

She tries to avoid saying anything negative about people at all, but it can slip out sometimes when she's not thinking about it (ie, Raffina's "mildly tollerable unpleasantness," or Klug being a jerk).

She's not good at white lies or sugar-coating things. Once that slips out, she can't backpedal very far.

By and large, she generally focuses on the best aspects of everyone that isn't herself.

She's the most likely to say "I'm happy as long as everyone else is happy" and actually mean it. With all the good and bad that comes with that thought.

Amitie is heavily people-oriented and very ride-or-die with everyone she considers to be a friend. She will support you as best she can whether you like it or not.

She gets exciteable and flustered easily when mature or "grown up" subjects like romance come up… even though she doesn't really fully understand what any of it means.

It might be because she gets attached to ideas and images in her mind that she can't explain very well. A key example of this is what being a "wonderful sorceress" means to her. She seems to have a degree of understanding it, but struggled to relay the image to Arle and Ringo.

(She was also disappointed when her friends' first attempts at baking resulted in shenanigans, as another example)

As long as she can focus on someone else, she can rebound immediately. Nothing gets her grounded faster than a chance to help a friend smile.