ugh

Tiny vent post: I'm not afraid of flying but my instinctive reaction to the the idea of going through airport just to go on holiday is, 'Oh my goddddd... Ohhhh my god nooooooo...'

They say ooooh be a good boy for daddy and you'll get a reward. But then the reward is just gay sex. This is bullshit. I wanted a skateboard

Then they say if you're a bad boy daddy will punish you. But what's the punishment? More gay sex! You can't escape it. This whole damn place is in the pocket of Big Sex

editing is just you vs. past-you in a duel of questionable comma placement and emotional instability

Something that tickles me about Neocities is that so many sites are aesthetically great but absolute dogshit from a UI perspective. Shine on your crazy diamonds, fuck the user experience.

Also there are people out there writing changelogs that no one will ever read that are more robust than some of the version controls I've seen at work.

I have mixed feelings about how, instead of discovering media organically, I prefer to watch youtube videos that explain the major plot points and how well key themes are implemented, and THEN I decide if I want to spend time on the media after that. I've been burned too often spending time on stuff that turned out to be underwhelming. Also, knowing key plot points doesn't spoil a genuinely good story for me. If I know how a meal is made, that doesn't detract from whether the food is good. It's a wholly personal thing but I don't find that being told 'surprise subversion: THE CAKE CONTAINS SWEET POTATO' makes the cake better.

Case in point: today I listened to a detailed review of Backrooms and it​ made me conclude 'this is exactly what I want' when previously I was concerned that it might be like... Lost, for example. If a story has a mysterious setting, then it requires a deft hand to give that setting some logic and consistency without damaging its mystique. You have to answer the story's questions in ways that strengthen existing themes... Which. upon reflection, is a skill that requires a LOT of awareness and pattern recognition from the storyteller. You want to give the audience the impression that you have a solid idea and you know how the numinous works to some extent, not that you're just making shit up as you go along so you can be mysterious for the sake of being mysterious. Stories are about raising questions and them answering those questions competently.

Like I just love how you can pinpoint “Ninmiltrid Fmiltindryden” as the exact moment the joke went from making Mark Hamill say funny but still vaguely name-shaped words to forcing that poor man to pronounce straight up keysmashes out loud.

The good news is that no one actually does that speed apart from white van drivers because they think they have the magical ability to see around corners, although this just means the white van drivers get their balls bounced off their brainpan when they go over a dag nasty evil pothole.