#leave yourself notes

[crowcoding]

HTML & CSS Comment Tips

One valuable thing I have learned when starting any project is to include comments on your pages to provide a more structured layout.

For example, in HTML files, comments can be made with <!-- --->; anything within that space won’t appear on the page or be read by the browser.

A good way to use this in a page is to outline your areas, like in the image below.

Anywhere on your pages where you have a new section, you should use comments to outline what they are. This helps in a few ways. First, it increases readability for yourself and anyone else reading your code. Second, as your projects grow, doing this helps keep them organized. 

It’s easier to add to and edit when you can find the area where you want to make changes or add classes based on the comment tags rather than trying to narrow it down through many <div> tags. Third, it helps with remembering what you were doing.

The same principles apply to CSS files, although comments are left in a CSS file type with /*     */.

Using comments to outline the different style groups you intend to use in your projects can help you find the parts you want to edit. In general, using comments is something everyone should do. They are very helpful in JavaScript and other languages when making notes about what a function does or should be doing. You can also leave yourself notes about what you were working on. 

[ambrosiagourmet]

I think one of the biggest tragedies of Laios & Falin and their relationship is how much his actions impact her life. But like. Specifically how much they WOULDN’T impact her life as much if they weren’t both stuck in such a shitty abusive situation.

This part of the Falin-tries-makeup daydream hour comic is what got me thinking about it again because truly it just... it seems like such a like an offhand comment that I'm sure Laios didn't mean to be cruel or anything. That's just like. A little kid not thinking about what they are saying. ESPECIALLY when the kid in question is Laios.

But man they depended on each other SO much as kids. Too much. It really feels like they didn't have any other source of positive reinforcement, or anyone else to share themselves with. So of course an offhand comment like that has a huge impact on Falin.

Or this little bit from one of the flashbacks:

This tears me apart. Do you think it tears him apart to think about? I think it does. I think Laios holds every small failure to care for Falin against himself.

And then there's the Bigger stuff. The way that him coping with his own trauma ended up impacting her.

Like his interest in monsters. Like him going to find a ghost, and accidentally revealing Falin's magic to the whole village in the process.

Like him needing to leave. And leaving her behind.

He shaped her life so much, and he carries so much guilt for it. And again, there should have been other people there to help. The same things that made Laios need to leave home are the things that made his leaving so hard on Falin. She ate alone after that. She shouldn't have had to eat alone just because Laios wasn't there.

She was 9 when he left for school, and he was 11.

Nine. And Laios feels like he failed her because he didn't stand by her through this better. As an eleven year old.

Both of these kids deserved so much better from the world.

[martyrbat]

ok sure you don't believe in god or the church anymore but what are you doing to unlearn the propaganda you wre taught? what are you doing to educate yourself about marginalized groups that the church attacked and that you absorbed subconsciously? how are you challenging your viewpoints on things such as addiction, sexuality, poverty, other religions, disabilities, illness, race, and more without it being through a christian lens? are you careful to not spread propaganda or harmful ideologies? youre ‘reclaiming’ shit for your poetry and healing and thats great i guess, i wish you the best, but what have you actually renounced?

[knockknockitsnickels]

I think this is one of my favorite lines from the Wraith route because of (imo) how much the meaning changes depending on if you got there via Spectre or Nightmare. For Spectre, it honestly strikes me as a genuine question. Why are you doing this to her? If you're on the Spectre route, you presumably already know the Narrator can't really be trusted, since you had to reject his reward to get here. What are you hoping to gain from continuing to hurt her? For Nightmare, it honestly just makes me sad. As the Shifting Mound describes her, "She desires only companionship, but the only thing she knows is how to hurt." This line feels like a plea from someone who genuinely doesn't understand why you keep rejecting her. She wants to be with you, but she just can't understand how to do that in a way which doesn't hurt you.

[shotmrmiller]

Need to flip the script and stalk Simon sooo bad. I’m watching HIM smoke outside. I’m sending him Polaroids of myself naked and places he’s been. Stealing shit from his place.

Thank you for hearing me out

yeah and he knows it because there's no hunting the hunter. his instincts are too sharp, too ingrained to allow himself to be prey. he's okay with it though. finds it amusing, the way you fumble through the game you think you're playing.

he savors the attention, too. it's not every day that someone follows in his shadow. he'll even linger in certain places longer than he needs to, just curious to see how bold you might become.

he's also stuffing every nude of yours in his wallet. that you sent it to him meant that you wanted him to keep it.

obviously.

[poorly-drawn-mdzs]

Market based mistakes.

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[trashmaglc]

☁︎ Older boyfriend Mitch Rapp・❥・

playιng: [blue jeans] - [lana del rey]

⇄ ◃◃ || ▹▹ ↻

[coulson-is-an-avenger]

man. the most persistently irritating thing about daniel emond's "kill the whale" is how fucking GOOD it is at times.

every day I think about The Quarterdeck and how phenomenally it portrays that scene and the magnetism of agreeing to Ahab's quest even despite fear, and Dusk and the subplot of Starbuck falling in love with Ahab and being terrified of what that means, but ESPECIALLY Fedallah's introduction song where Fedallah is presented as a woman with agency, who looks the audience in the face and dares us to judge her for the life she has chosen.

Fedallah is presented as the captain's lover, the captain's party trick and pleasure, and owns the shitshow she lives in, and only chooses to reject that life once she tires of Ahab's fetishization and exotification of her, and then uses the very thing Ahab fetishizes so much (her prophecies) as a way to spell her own doom and drag Ahab down with her, freeing herself. The shivers I still feel when I hear Fedallah's triumphant crow of "come back here" as she sinks below the waves and Ahab watches in horror, knowing she is next.

that fucking ruled to a degree that shook me!!!!!!!!! and hearing Grace McLean and Amber Gray (and Danielle McKnight) duke it the fuck out through song was just genuinely magnificent!!!!!!!!!!!!!!!!!!!

and then the narrative kicks you right in the throat by calling queequeg "q" for two hours straight and making his marriage to ishmael lowkey racist hate sex

[vinyls-and-valentines]

I hate how hard it is to come up with character names because how am I supposed to make character playlists that make me even more insane about my own OCs WITHOUT BEING ABLE TO PUT THEIR GOTDAMN NAMES IN THE PLAYLIST TITLE??!

[grimmgrinningghouls]

Whitley is such a sad character because he was groomed by his dad his mothers an alcoholic both his sisters were forced to flee without him and then when he finally gets a semblance of a family his sister dies like jesus give the kid a break

[wr-n]

This is another reminder that my blog is 16+! I may not post nsfw, but I still post suggestive and dark content! If you are uncomfortable with these kinds of posts, I encourage you to unfollow me for your own safety!

[amelikos]

Thinking about the portrayal of ancestry in Horizons.

[kyliafanfiction]

I sometimes feel like characters who do truly monstrous things while also having been victims of some pretty insane shit themselves are sort of an exercise in empathy. Or at least, should be seen as such.

Like, in real life, if a person who has been horribly broken by their experiences and failed by society than proceeds to rape someone - it's hard to feel the justifiable sympathy/empathy for that person (without excusing their rape, never do that) because well, you can look at this actual human person they hurt, or worse, and it feels gross and disrespectful to the rape victim.

And this is understandable. (And applies to more than just rapists/rape victims of course, that's just the most visceral one and thus picked for that reason)

But a fictional rape victim is... fictional. You can't 'disrespect' their trauma, and while obviously rape/whatever else is real, and people may related to the rape victim and thus see your comments about the rapist also being a victim as somehow being about their experience...

Well, it's not.

Because the rapist here, didn't actually hurt a real person. Fictional characters are objects. They're objects that often grab us by the throat and refuse to leave our fucking heads, yes, but they're objects. They are tools used by writers to tell a story, and readers to tell a story.

And one of the things fictional characters are good for is allowing us to consider experiences we never had, and imagine ourselves in other circumstances and lives. (Also just fun and fascinating and interesting to watch their stories).

It's very easy to feel for the rape victim in fiction, and rightly so. That's Level 1 Empathy there. Granted, some people IRL fail that, but that's not really what we're talking about here.

Advanced Empathy, hard Empathy is feeling for the rapist. Not for the rape, of course, even if they feel guilt about it, but if someone really was failed on multiple levels and was broken and damaged and went through the sort of psychological wringer that would leave most of us here on tumblr catatonic - they do deserve the same Empathy any human (any person) who went through all that.

Even after they also do the bad thing, critically they still deserve Empathy. And that is fucking hard. I very often have a hard time feeling bad for truly awful people who also deserve empathy and sympathy, real and even fictional (despite all this, yeah, I'm not perfect on this) for what they (separately) went through.

It also becomes even harder when what they went through is utterly bound up with what they did. How what they went through and experiences is in part responsible for what they did - because they still made a choice. The circumstances may have left them not in their right mind, may have left them feeling without choice, may have driven them to things they normally might not think of or do, but they still chose to do that bad thing. And that's not okay. They still hurt someone.

And yet - one cannot remove the action from the circumstances. So you can still feel empathy, and elucidate all the factors and circumstances as to what led up to their choices and why, and it doesn't change that they did the horrible thing. The rape, or the murders, or whatever.

But circling back - with a fictional character... they didn't hurt a real person. There's no one who is real that suffered. The things the character did IRL are bad because they hurt real people.

So you're not being disrespectful to the victim by feeling that empathy, or sympathy. By exploring the things that they were a victim for. Even by wanting to focus on those things - fictional characters should be compelling in all their aspects, if they're written well.

And yet, of course, if you do that empathy and do talk about what the bad person went through and all that context, people come at you. They call you evil, just as bad as the (again, fictional) character, or they say that you're treading dangerously close to the arguments people use to defend the real people who do these things in real life. Or you're disrespecting all the victims of these crimes IRL. Especially of course, if the person coming at you has a reason this comes close to home.

But again - fictional.

In an ideal world, we'd all feel sympathy and empathy when it's called for, regardless of what the person did. Even the worst most monstrous people deserve human treatment in prison. And if you don't have empathy, that's hard. Even if you do have empathy, that's hard.

So if you look at a fictional character (who doesn't hurt a real person by virtue of being fictional) that does horrible, vile things, but went through so much, and you still can't empathize or sympathize with them... I mean, it doesn't make you a bad person, not even close, this is still fiction, and there's people I should empathize with in fiction that I don't, but...

It's still a failure of your ability to be empathetic. And we're all humans. We're all failing at that, among other things, all the time. But... it's good to be aware of that. at least?

At the very least, bear that in mind when other people are talking about that context, and that victimization. And please, for the love of god, don't fucking pretend that the victimization didn't happen, that this person who did do terrible things (in fiction) suddenly didn't also (in fiction) experience awful shit, as if doing a bad thing erases all the bad things done to you.

Again - it doesn't necessarily make you a bad person, but like... the horrible state of prisons in our society is a real, actual problem. The way we as a society dehumanize people who do bad things is a real actual problem for a lot of reasons (not least because it creates an incentive for authority that wants to dehumanize a person or a group to expand the definition of 'did bad things' to make their dehumanization now acceptable, among other things).

So yeah. Fictional character who suffers but than also makes others suffer - that's a useful exercise in Empathy. And doing that doesn't make you or anyone else a bad person, or actually defending the sorts of crimes, IRL or Fictional, that this character did. Contextualizing is not whitewashing, empathy is not erasing, and humanizing is not disrespecting the victim(s).

So yeah, they fictional character did bad things. But there's more to them than that. And you can say but and talk about what comes after but without disrespecting the fictional victim. Because the fictional victim... is just as fictional. Just as not real.

Is it possible for this to end up being taken too far? Yes. But that's a reason to be mindful of yourself when it comes to real people, not to never do it. And when it comes to fictional people - again, fictional. Nobody was actually, really hurt.

(I really do want to make clear, before people read the tags, that this applies to all crimes these sorts of characters do, rape was just picked as the one to use as the example.)

[jungwildeandfree]

i have a lot of snooty old-money behaviors but the one which i do recommend wholeheartedly to other people is, if you live in a multi-unit with a dedicated groundskeeper, live-in maintenance or one specific 'fix-it' person, i believe that every year around the holidays that person should receive from you a christmas card with a little note and $20.

[dandelionsunset1210]

General writing related question:

(assuming you write in a word doc), do you tend to write your chapters from start to finish or do you jump around a lot? For example, are your chapter drafts full of things like "INSERT DIALOGUE HERE" so you can come back to it?

I hope that made sense. ☺️

Oh yeah, I'm jumping all over the place. I usually start with a general outline and then kind of try to go start to finish but then I think of an exchange of dialogue I don't want to forget so I jump to there and then I start writing from there and then I get to a transition and those are boooooring so I go back to the top and it's just a mess. I used to put like [transition] or [they talk about geese] or whatever but now I've gotten lazy with it and I usually just leave an extra line break where I need to fill stuff in, that way if I'm scrolling through the doc and I see a gap I know I forgot something.

[bottombaron]

whenever i think abt writing Nandor and i get going thru a series of sequences of him behaving like a well-adjusted, caring, adult i have to stop myself, backspace several mental paragraphs and remember that he's basically a semi-captive lion being observed in a nature documentary and he functions on 92% Id