yearningwitherrors

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was reminded of that youtube channel that records footage of that bridge that scalps trucks today. one of the fascinating developments that's happened since i last heard about it is that, in one of their many attempts to stop the trucks from being can-opened, they installed a traffic light that detects when a vehicle that's over the allowed height is coming and turns red so the driver can stop and hopefully notice the signage all around that's screaming "YOUR VEHICLE IS OVERHEIGHT TURN AROUND" and avoid an accident. However as a result sometimes drivers see the light turning yellow and IMMEDIATELY start flooring it to avoid having to stop, ensuring that the roof of their truck just gets fucking annihilated instantly. Really beautiful stuff you should check it out

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The divine right of kings but it's a curse

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Vampire Hunter D | 吸血鬼ハンターD (1985) dir. Toyoo Ashida

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so im trying to decipher this chart on wikipedia that has common vampire weaknesses in it and

a ‘green/yes’ is a weakness, a ‘red/no’ is something that isnt a weakness, and a ‘?’ is something that has never been addressed but fucking riddle me this

in what lore are vampires weak to getting soggy in milk

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Ranking Vampire Blood Sources By Their Eroticism

Vampires can of course suck blood from any part of their victim, but what is the sexiest place to drink from? Here is a ranking of the hottest body parts to suck blood from, for a vampire*

The Neck

You can't go wrong with this classic. The neck has many nerves and some of the biggest blood vessels in the body. 8/10

The Inner Thigh

Need it hotter? Go for the femoral artery. The thigh is both delicious and soft and one of the best erogenous zones. 9/10

The Arm

It's an arm. It's not bad but it's not all that sexy. 7/10

The Butt

This depends on personal taste, no pun intended. The glutes can be plump and playful, but others may find the whole region dirty. 3-6/10

The Eye

The eyes are the windows to the soul, and bleed very well when punctured, but the pain level is far too cruel for any but the most extreme sadists of vampirekind. 2/10

The Fingertip

Unless your vampire is checking your blood sugar this just isn't very compelling. 3/10

The Ribs

Oh god yes. Ever nibble someone's ribs? Ever let them nibble yours? Imagine a vampyric feast on that sexy sexy ribcage. 10/10

The Renal Artery

When your body needs to clean your blood of toxins and other gross stuff, it sends that blood to the kidneys. The kidneys are the sewage filter of the blood and they're not even conveniently placed. Unquestionably the least sexy place for the human and vampire alike. 0/10 would not suck.

*Facts-I-Just-Made-Up does not condone drinking the blood of the living nor dead nor anything not prepared by culinary professionals.

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My controversial game design opinion is that "environmental storytelling" should be actually, tangibly present within the game's environments. Hitting the player with a paragraph of lore every time they click on a random item in their inventory is not environmental storytelling – it's just hiding an epistolary novel in your game's UI.

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there was an article going around my social media elsewhere that was talking about how programming language design needs feminism. i think there are good notes in the article about English-centricism, and i can't speak as to whether or not the problems the paper identifies (emphasis on formal theory over "is this pleasant to use") are actually a problem, but i was struck by this quote (in the paper embedded at the bottom)

The current standards of evaluation in the PL community are set from a masculine perspective as well, valuing formalism and formal methods over user studies, quantitative over qualitative work, and the examining of technical aspects over context and people.

because... i had previously seen people argue that the "C is good enough, just don't write bad code lmao" attitude that you see a lot of the time is also masculine, because it's very individualist and "the compiler should get out of my way" type thinking. this came to a head recently with the whole Rust-in-the-kernel thing.

so we have a situation where in one case, formalism is masculine. in another, lack of formalism is masculine. and i think this is my problem with a lot of this sort of feminist stuff: it makes these big sweeping statements about how such-and-such behavior is masculine and doesn't consider cases where the opposite is also masculine.

i think the paper also oversteps by effectively using "feminism" to mean "ask[ing] why things are the way they are, and by that [examining] how we can make them more fair", regardless of whether or not gender has anything to do with it. so "feminism" sort of gets scope-crept in a way that i don't think is conducive; if i were to advocate for installing a wheelchair ramp or a curb cut, this is now feminism.

don't take this as a referendum on All Of Feminism, i'm just annoyed

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woke up this morning, rolled over, and very confidently tried to blow out my alarm clock like a candle. absolutely no precedent for that.

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What’s the most simple thing you’ve ever had to explain to a fully competent adult?

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a lot of behaviors that get attributed to "female socialization" can be so much more easily and accurately understood as a person recognizing the power differential surrounding them and behaving sensibly in response to that.

like. does a woman politely listen to a man monologue at her because of some experience she had when she was twelve that magically cursed her to behave that way forever, or does she do it because the man has the power to hurt her and she knows it?

does a woman do all the dishes in her household because she is less capable of breaking out of a long-ago conditioned response than, like, your average trained dog, or is she doing that because she knows that all the men in the house will blame her if she doesnt and will make life worse for her if she speaks up?

maybe a lot of sexist patterns of behavior that are widely observed in society arent caused by women like, lacking willpower or backbone? maybe it is super fucking weird for supposedly feminist movements to imply this is the case when they talk about female socialization as the end all, be all of predicting human behavior?

isnt it both more useful and more respectful toward women to consider that they are perceiving their present circumstances accurately, and recognize when power is already being wielded against them, and take logical measures to deescalate and protect themselves because it works? is it not fucking clear to everybody that trans women in particular have to do this all the fucking time?

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From My Father Once Told Me, Ben Konkol.

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Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real

Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.

So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.

1. Understand What Fuels Your Character’s Anger

To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.

When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.

2. Show, Don’t Tell—But Don’t Overdo It

“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.

That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.

3. Use Dialogue to Reveal Hidden Layers

People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.

Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.

4. Control the Pacing of the Scene

The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.

You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.

5. Avoid Clichéd Expressions and Overused Reactions

When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.

Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.

6. Let the Setting Reflect the Emotion

The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.

For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.

7. Let Consequences Speak for Themselves

An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.

Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.

8. Let the Emotion Simmer After the Scene Ends

Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?

Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

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So when I was getting dressed today, I very quickly put on a lab coat and some cat ears, not even trying to have something coherent, just wanting to have some kind of costume, and then I used some eyeliner to draw some whiskers on my face, so, yeah, that's my costume, cat in a lab coat, does it make sense? no. who cares. Still wearing the same skirt and striped knee-high socks from yesterday, but that's just my work clothes.

But then when I got to my office in the physics department, one of my colleagues was immediately like, "Oh! Schrödinger's catgirl!"