#trying new things creating new problems

[mokutone]

Hey I hope it’s okay to message you! Just wanted to check in on how you were doing… I wanted to DM you but I’m way too shy, I wanted to let you know— in 2023, after four years of complete silence, your art inspired me to start creating again. From 2019 to 2024, I was completely run dry. I didn’t create a single piece of art! But seeing your wonderful drawings, the way your compositions seemed to breathe life into your art, and your gorgeous use of colors… helped me to start creating art once more! It’s almost a year since then, and I’ve still been steadily creating. Thank you so much for bringing joy back into my life!! I had forgotten that it existed all along… I appreciate you and your art so much, I hope that you have many happy things to smile about. Peace and love 🫛🤍

i've gotten a handful of asks gently prodding me to make sure i'm alive (theyre very sweet) and i'm answering this one only bc it touched me deeply if i wait a while to answer it i know the asker won't get alerted so! 1) it's definitely okay to message me! but, that said: i probably will not reply to most asks for a very long time (sorry!) 2) that is, i think, the sweetest thing you could possibly say to me—maybe to any artist. i'm really, really, profoundly glat that my art made you want to make art too!!! other artists have done this for me when i was stuck, and i am eternally grateful to them, and now eterernally grateful to you, for finding what you needed in my art, that's a beautiful thing, and it's an honor as an artist!! i hope that somebody is brave and kind enough to tell you that your art inspired them to create—its a feeling like nothing else. i'm SO, so glad, that art is bringing you joy again!!! 3) (as for how i am doing—life continues, in its own way. most things are not good, but some are! i've made a promise with myself not to post on this blog until i sort out some unfortunately very real life difficulties, and.......it's been a year and i'm still working on it! life continues. good days and bad days. i suppose i'm also in a bit of a silent period of my own at the moment, in many ways! it happens to everyone, and it'll end eventually for me too)

and, with that said—let the silence resume for now.

[tomwambsmilk]

fr tho @staff why are you trying to make tumblr more like other sites why are you destroying your niche in the market please there have got to be ways to make tumblr more accessible to new users without sacrificing the very things that your existing userbase loves

[madtomedgar]

I don't think I'm convinced that progressive leadership in cities has been uniquely bad and is to blame for things like rising homelessness, overflowing shelters, encampments, etc specifically because in MA it's a combination of out of control housing costs, which is a long term problem that local government has limited capacity to address, pandemic eviction protection expiring, and a sudden overwhelming influx of people courtesy of Ron DeSantis and Greg Abbott sending people here. Like yeah our legislature is a whole situation and our leaders could do better, but that shit isn't a sign that progressive policies don't work. It's a sign that rising housing costs and the weaponization of immigrants can easily overwhelm a state's social safety net.

[bf-rally]

2 guys dialogue in, 2 more to go!

[rinofwater]

So outside of the bond quest events and main story, the characters in Azuma get pretty shallow characterization, huh?

[i-love-tubbs-the-cat]

i really haven't changed my blog in quite some time

[bluehandprint]

Okay so apparently this blog is 9 yo today 🎉

[seafoam-taide]

I haven't had any crazy intense all consuming hyperfixations lately and it's really fucking up the routine bc the only way I ever met new cool internet people to be friends with is my need to be insane about this one thing outweighs all possible social anxieties and I join large discord servers that eventually turn into an offshoot smaller friend-only discord server that I flourish in until the thing keeping me there dies off in my brain and I self isolate again. This sucks.

[thedevotionaltour]

i havent even read enough gl to justify the feelings and emotions i have about kyle i just have the lovers heart and also something wrong with me. and my projection. in my mind he's just like me. and he would have loved college vending machine frozen cheeseburger and heating it up in the microwave at 1 in the morning because he was bored and didn't want to work on a drawing assignment on 20" x 30" paper that was due tomorrow in his freshman year. he would have loved going to the club to push off finals work that's creating the worst stress known to man in his brain. and he would love to annoy the fuck out of his roommate when high and avoiding homework on a saturday.

[fingertipsmp3]

Ughhhhhhh I hate writing and I hate not writing and I hate myself

[tyrantisterror]

Fuck it, I didn't want to make a post on this but it's bugging the hell out of me so let's exorcize the thought.

Lilo and Stitch is an extremely good children's movie. I've been working at a daycare for over five years now, and out of all the children's movies I've shown to an auidence of twenty or so school-age kids (i.e. between the ages of 5 and 12), the only movie that's held their attention as well as Lilo and Stitch is The Emperor's New Groove, and the only one that's held it better is An American Tail. Of those three, Lilo and Stitch has won the vote of "what movie we will watch" the most. It not only entertains kids, but emotionally captivates them from start to finish, because it very thoroughly understands how to engage children on their level. It's a smart, tightly written children's movie.

The feat of story-telling genius it pulls of lies in its ability to reach both where children's imaginations want to go and where their lived real-world experiences lie - most children's movies focus on one or the other, but Lilo and Stitch dives deep into both. On the imagination side, there's Stitch's whole plotline of being a little alien monster being chased by other weirdo aliens onto earth because they want to stop him from running amok and causing havoc (which, of course, happens anyway in fun cartoony comedy/action spectacle). On the real-world side, you have Lilo's plotline of being a troubled little girl who has an abundance of very real problems that, like an actual child, she struggles to comprehend and deal with, as well as the many adults in her life that care about her to some degree but all struggle to fully understand her. Kids want to be Stitch and run amok and cause cartoony havoc. Kids, even the least-troubled kids, relate to Lilo, because all of them have been in a similar situation as her at least once in their lives.

Balancing these two very different stories, with very different tones and scopes to their respective conflicts, is a hard writing task, but Lilo and Stitch manages to do it in a way that seems effortless with one very powerful trick. The two plots are direct mirrors to each other, complete with the characters involved in each having foils in the respective plot. To break it down:

Stitch, the wild and destructive alien gremlin who everyone has labeled as a crime against existence, is Lilo, the troubled young girl who's viewed as a "problem child" by all the adults in her life. In both plotlines, Stitch and Lilo are facing the threat of being "taken away" from the life they know because they act out, and in both plotlines, we see that this is an unfathomably cruel thing to do to them and will not actually solve the problems they have.

Dr. Jumbaa, the mad scientist who made Stitch because making monsters is what mad scientists do, and who had no intentions of ever being nurturing or parental to anything or anyone in his life, is Nani, Lilo's older sister whose parents died when she was young and now is forced to act as a parental substitute despite not being mentally or emotionally prepared for that responsibility yet. Both Dr. Jumbaa and Nani are trying to get their respective wild children in line with what society wants them to be, and both are struggling hard with it because they in turn have a lot of growing to do before they can actually accomplish that.

Pleakley, the nebbish alien bureaucrat who ends up being assigned to help Dr. Jumbaa despite being mostly uninvolved in creating the whole Stitch situation, is David, the nice but mostly ineffectual guy who's crushing on Nani and wants to help her but doesn't really have much he can provide except emotional support. Ultimately Pleakley and David prove that said emotional support is a lot more helpful than it seems on the surface, as they give Jumbaa and Nani respectively a lot of the pushes they need to become better in their parental roles.

The Grand Councilwoman, who runs the society of aliens that is trying to banish Stitch forever for his crime of existing, is Cobra Bubbles, the Child Protective Services agent who is in charge of deciding whether or not Lilo needs to be taken away from her home forever for, ostensibly, her own good. Both are well-intentioned and stern, with a desire to follow the rules of society and do what procedure says is the most humane thing to do in this situation, but both lack the understanding of Stitch/Lilo's situation to actually help until the end of the movie.

Finally, we have Captain Gantu, the enforcer of the Galactic Council who is a mean, aggressive, sadistic brute but is viewed as a "good guy" by society because he plays by its rules (well, when he knows can't get away with breaking them, anyway), who is the counterpart of Myrtle, the mean, aggressive, sadistic schoolyard bully who is viewed as a "good kid" by other adults because she plays by the rules they established (well, when she knows she can't get away with breaking them, anyway). Both Gantu and Myrtle are, in truth, much nastier in temperament than Stitch and Lilo, but are better at hiding it in front of others and so get away with it, and often make Stitch and Lilo look worse in the eyes of others by provoking them to violence and then playing the victim about it - in fact, both even have the same line, "Does this look infected to you?", which they say after goading their respective wild-child victims into biting them.

The symmetry of these two plotlines allows them to actually feed into each other and build each other up instead of fighting each other for screentime. The fantastical nature of Stitch's plot adds whimsy to the far more realistic problems that Lilo faces so they don't get too heavy for the children in the audience, while the very real struggles of Lilo in her plotline bleed over into Stitch's plot and make both very emotionally poignant. When both plotlines hit their shared climax, they reach children on a emotional level few other movies can match - the terror of Lilo being taken away from her family, and the emotional complexity of that problem (Cobra Bubbles pointing to Lilo's ruined house and shouting at Nani, "IS THIS WHAT LILO NEEDS?" is so starkly real and heart-breaking), is matched and echoed in the visual splendor and mania of the spectacular no-way-this-is-going-to-work chase scene where Stitch, Nani, Jumbaa, and Pleakley all team up to rescue Lilo from Gantu.

The arcs of the characters all more or less line up. Nani confronts her own failures to be a guardian and parent to Lilo and resolves to do better and learn from her mistakes. Jumbaa, who through most of the movie protests to be evil and uncaring, nonetheless comes to not only care for Pleakley, but more importantly for Stitch too, and ends up assuming the role he never wanted but nonetheless forced himself into from the start: he is Stitch's family. Hell, the moment that reveals this is really clever - Stitch goes out into the wilderness to try and re-enact a scene from a storybook of The Ugly Duckling, hoping, in a very childish way, that his family will show up and love him. Jumbaa arrives and, coldly but not particularly cruelly, tells Stitch that he has no family - that Stitch wasn't born, but created in a lab by Jumbaa himself. But in that moment Jumbaa is proving himself wrong - because Stitch's creator, his parent, DID show up, and did exactly what happens in the story by telling Stitch the truth of what he is. It can't be a surprise, then, that later in the movie Jumbaa ends up deciding to side with Stitch, to help him save Lilo, and to stay on Earth with his child.

David and Pleakley go from being pushed away by Nani and Jumbaa respectively to essentially becoming their partners in the family. The Grand Councilwoman and Cobra Bubbles finally see how cruel their initial solution of isolating Stitch and Lilo from their family would be, and bend the rules they are supposed to enforce to protect and support this weird found family instead of breaking it apart. Gantu and Myrtle are recognized for the assholes they are and face comeuppance in the form of comedic slapstick pratfalls. And most importantly, Stitch and Lilo both get the emotional support and understanding they need to thrive and live happy lives as children should be allowed to do. It's like poetry, it rhymes.

It's a very precise, smartly written movie. It's a delicate balancing act of tone and emotions, with a very strong theme about the need for family and understanding that hits children in their hearts and imaginations. It's extremely well structured.

...

So it'd be kind of colossally fucking stupid to remake it and start fucking around with the core structure of it, chopping out pieces and completely altering others, with no real purpose beyond "Well, the executives thought it might be better if we did this."

[alexanderwales]

I'm a big fan of wizards-as-programmers, but I think it's so much better when you lean into programming tropes.

A spell the wizard uses to light the group's campfire has an error somewhere in its depths, and sometimes it doesn't work at all. The wizard spends a lot of his time trying to track down the exact conditions that cause the failure.

The wizard is attempting to create a new spell that marries two older spells together, but while they were both written within the context of Zephyrus the Starweaver's foundational work, they each used a slightly different version, and untangling the collisions make a short project take months of work.

The wizard has grown too comfortable reusing old spells, and in particular, his teleportation spell keeps finding its components rearranged and remixed, its parts copied into a dozen different places in the spellbook. This is overall not actually a problem per se, but the party's rogue grows a bit concerned when the wizard's "drying spell" seems to just be a special case of teleportation where you teleport five feet to the left and leave the wetness behind.

A wizard is constantly fiddling with his spells, making minor tweaks and changes, getting them easier to cast, with better effects, adding bells and whistles. The "shelter for the night" spell includes a tea kettle that brings itself to a boil at dawn, which the wizard is inordinately pleased with. He reports on efficiency improvements to the indifference of anyone listening.

A different wizard immediately forgets all details of his spells after he's written them. He could not begin to tell you how any of it works, at least not without sitting down for a few hours or days to figure out how he set things up. The point is that it works, and once it does, the wizard can safely stop thinking about it.

Wizards enjoy each other's company, but you must be circumspect about spellwork. Having another wizard look through your spellbook makes you aware of every minor flaw, and you might not be able to answer questions about why a spell was written in a certain way, if you remember at all.

Wizards all have their own preferences as far as which scripts they write in, the formatting of their spellbook, its dimensions and material quality, and of course which famous wizards they've taken the most foundational knowledge from. The enlightened view is that all approaches have their strengths and weaknesses, but this has never stopped anyone from getting into a protracted argument.

Sometimes a wizard will sit down with an ancient tome attempting to find answers to a complicated problem, and finally find someone from across time who was trying to do the same thing, only for the final note to be "nevermind, fixed it".

[big-robot-fan]

Thoughts.

[foldingfittedsheets]

Something that literally changed my life was working with a friend on a coding thing. He was helping me create an auto rig script and was trying to explain something to me but his words were just turning into static in my brain. I was tired and confused and there was so many new concepts happening.

I could feel myself working toward a crying meltdown and was getting preemptively ashamed of what was about to happen when he said, “Hey, are you someone who benefits from breaks?”

It broke me.

Did I benefit from breaks? I didn’t know. I’d never taken them.

When a problem frustrated or upset me I just gritted my teeth and plowed through the emotional distress because eventually if you batter and flail at something long enough you figure it out. So what if you get bruised on the way.

I viscerally remembered in that moment being forced to sit at the table late into the night with my dad screaming at me, trying to understand math. I remembered taking that with me into adulthood and having breakdowns every week trying to understand coding. I could have taken a break? Would it help? I didn’t know! I’d never taken one!

“Yes,” I told him. We paused our call. I ate lunch. I focused on other stuff for half an hour. I came back in a significantly better state of mind, and the thing he’d been trying to explain had been gently cooking in the back of my head and seemed easier to understand.

Now when I find myself gritting my teeth at problems I can hear his gentle voice asking if I benefit from breaks. Yes, dear god, yes why did I never get taught breaks? Why was the only way I knew to keep suffering until something worked?

I was relating to this same friend recently my roadtrip to the redwoods with my wife. “We stopped every hour or so to get out and stretch our legs and switch drivers. It was really nice. When I was a kid we’d just drive twelve hours straight and not stop for anything, just gas. We’d eat in the car and power through.”

He gave a wry smile, immediately connecting the mindset of my parents on a road trip to what they’d instilled in me about brute forcing through discomfort. “Do you benefit from breaks?” he echoed, drawing my attention to it, making me smile with the same sad acknowledgement.

Take breaks. You’re allowed. You don’t have to slam into problems over and over and over, let yourself rest. It will get easier. Take. Breaks.

[eternally--mortal]

I don’t know who needs to hear this, but ‘learning the rules so you can break them’ requires you to know Why the rules exist. 9 times out of 10 it’s about what the rule does, not about how you do it. When you know what a rule accomplishes, you can decide whether or not you want that goal to be met and/or you can find different ways to meet that goal.

[the-air-itself-rent-asunder]

what's compelling about solas' character to me is how this is an actually frightening and "real" study of how power corrupts. he is a genuinely good man - dutiful, curious, kind - whose access to power has made him commit atrocities.

power didn't change who he is. his atrocities are in fact driven by those traits that are admirable on the personal level. but when he has the power to affect The Whole World it becomes war crimes central because even good people trying their best are not all-seeing. they make mistakes. they overlook details. they can't perfectly predict the consequences of their actions. so when they try to fix one thing, they fuck something else up

"i am not a god" [keeps acting like one]. the dark side of "with great power comes great responsibility."