resources of various flavors to make MY blogging experience & quality of life better! but may it benefit you too! includes resources for the rpc.
ran by chukarpie.
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the average blockbuster carried about 3x as many films than that that are streaming on Netflix or any other streaming service, physical media along with piracy is more important than ever.
I thought this wasn’t true, because how could it be true? How could one small store have more movies than an online database? So I googled it.
I am surprised and depressed to learn it’s 100% true, according to google. A Blockbuster store was required to have a minimum of 7000 titles, but most averaged about 10,000. Netflix has 4000 movies. (And 1800 tv shows if you want to count those, but even included, it’s still less)
Now I’m even more depressed about the collapse of physical rental stores.
BONUS: They weren't beholden to Who Owns What IP Right Now. They got videos from everyone. You didn't have to pay separately for the rights to rent from the Disney Shelves and the WB Shelves and bler bler bler, and they only STOPPED having those movies when the tapes broke or someone never returned 'em.
friendly reminder that your local library will have lots of physical media and if they don't have what you're looking for you can most likely ask them to purchase it or order it from another library through interlibrary loan
Shoutout to Scarecrow Video- they have over 148,000 titles, most of which you can rent by mail. Rentals have been down in the last few years so they're asking for support!
You have such an incredible grasp on anatomy and perspective... Are these skills self taught? :0
Weeeeehhh thank you that means a lot ;_; I am indeed self-taught, and honestly it's because of all the fan art I drew LOL drawing fan art and making fan-comics is genuinely the thing helps me improve the most. Two decades of absorbing comics/mangas, animation, videogames, and being inspired by artists I looked up to. I was also obsessed with artbooks about character design when I was younger so I learned a lot from reading and researching. Half the time idk what I'm doing but i just go with it until i'm happy with it.
Experimenting with styles is also really important to me. It was a lot of figuring out what I liked in different type of media I consumed and figuring out “how do I do that? I need to try that” and learning organically that way.
References will always be your friend, too. It was a lot easier before the AI dump, but if you can manage to filter out that crap and look up genuine photos of people or locations or things you want to draw, it's always to your benefit. Taking photos of yourself/a friend and using those to help with anatomy/perspective/foreshortening is extremely useful too. the more you do it, the more you can see patterns and it'll gradually become muscle memory.
Figurosity is a great tool to practise drawing poses and movement! You can rotate these models so if you find a pose that you need for whatever you're working on, it's a great reference to use c:
Oh, you've typed a message? You've typed a message? Would you like to add a sticker (server stickers available with Nitro Boosts(TM).) Would you like to add an emoji (more custom emojis available with Nitro(TM).) Would you like to send a gift (gift your friend Nitro(TM) for only $9.99 a month.) Would you like to add an app (more apps available in the Nitro Store(TM).)
They got rid of the send message button. On the send messages to my friends app. In order to make room for a 5th button that sells you something. The parody is too bold people will roll their eyes you have to scale it back.
I would like to gently point out that the send button can be enabled or disabled under accessibility,
Also, if you're someone who'd like to customize your discord further, or remove nitro garbage or bypass it, better discord (an open source project) can be used on desktop for a lot of fun results:
BetterDiscord extends the functionality of DiscordApp by enhancing it with new features.
Plugin options can entirely replicate nitro stuff, and enhance privacy, such as:
Remove annoying buttons like the Gift button from the chat box.
"Fuck those buttons"
Enhanced version of silent typing.
"Hey maybe I don't want you to know when I'm typing"
Allows you to enter larger Messages, which will automatically split into several smaller Messages
"Fuck the character limit"
Adds extra Controls to the Friends Page, for example sort by Name/Status, Search and All/Request/Blocked Amount
"Can I see my friends in a normal manner please"
Improves your whole experience using Discord. Adds highly customizable switching animations between guilds, channels, etc. Introduces smooth
"I would like navigating discord to be like a powerpoint please"
And many other features that range from helpful to profoundly useless but fun.
Enshittification sucks, but the first step to undoing it is taking control of your experiences and helping others do the same. So hopefully this helps a little?
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“Show, Don’t Tell”…But This Time Someone Explains It
If you’ve ever been on the hunt for writing advice, you've definitely seen the phrase “Show, Don’t Tell.”
Writeblr coughs up these three words on the daily; it’s often considered the “Golden Rule” of writing. However, many posts don't provide an in-depth explanation about what this "Golden Rule" means (This is most likely to save time, and under the assumption that viewers are already informed).
More dangerously, some posts fail to explain that “Show, Don’t Tell” occasionally doesn’t apply in certain contexts, toeing a dangerous line by issuing a blanket statement to every writing situation.
The thing to take away from this is: “Show, Don’t Tell” is an essential tool for more immersive writing, but don't feel like a bad writer if you can’t make it work in every scenario (or if you can’t get the hang of it!)
1. What Does "Show, Don't Tell" Even Mean?
“Show, Don’t Tell” is a writing technique in which the narrative or a character’s feelings are related through sensory details rather than exposition. Instead of telling the reader what is happening, the reader infers what is happening due to the clues they’ve been shown.
EXAMPLE 1:
Telling: The room was very cold.
Showing: She shivered as she stepped into the room, her breath steaming in the air.
EXAMPLE 2:
Telling: He was furious.
Showing: He grabbed the nearest book and hurled it against the wall, his teeth bared and his eyes blazing.
EXAMPLE 3 ("SHOW, DON'T TELL" DOESN'T HAVE TO MEAN "WRITE A LOT MORE")
Telling: The room hadn't been lived in for a very long time.
Showing: She shoved the door open with a spray of dust.
Although the “showing” sentences don’t explicitly state how the characters felt, you as the reader use context clues to form an interpretation; it provides information in an indirect way, rather than a direct one.
Because of this, “Show, Don’t Tell” is an incredibly immersive way to write; readers formulate conclusions alongside the characters, as if they were experiencing the story for themselves instead of spectating.
As you have probably guessed, “showing” can require a lot more words (as well as patience and effort). It’s a skill that has to be practiced and improved, so don’t feel discouraged if you have trouble getting it on the first try!
2. How Do I Use “Show, Don’t Tell” ?
There are no foolproof parameters about where you “show” and not “tell" or vice versa; it’s more of a writing habit that you develop rather than something that you selectively decide to employ.
In actuality, most stories are a blend of both showing and telling, and more experienced writers instinctively switch between one and another to cater to their narrative needs. You need to find a good balance of both in order to create a narrative that is both immersive and engaging.
i. Help When Your Writing Feels Bare-Bones/Soulless/Boring
Your writing is just not what you’ve pictured in your head, no matter how much you do it over. Conversations are stilted. The characters are flat. The sentences don’t flow as well as they do in the books you've read. What’s missing?
It’s possibly because you’ve been “telling” your audience everything and not “showing”! If a reader's mind is not exercised (i.e. they're being "spoon-fed" all of the details), your writing may feel boring or uninspired!
Instead of saying that a room was old and dingy, maybe describe the peeling wallpaper. The cobwebs in the corners. The smell of dust and old mothballs. Write down what you see in your mind's eye, and allow your audience to formulate their own interpretations from that. (Scroll for a more in-depth explanation on HOW to develop this skill!)
ii. Add More Depth and Emotion to Your Scenes
Because "Show, Don't Tell" is a more immersive way of writing, a reader is going to feel the narrative beats of your story a lot more deeply when this rule is utilized.
Describing how a character has fallen to their knees sobbing and tearing our their hair is going to strike a reader's heart more than saying: "They were devastated."
Describing blood trickling through a character's fingers and staining their clothes will seem more dire than saying: "They were gravely wounded."
iii. Understand that Sometimes Telling Can Fit Your Story Better
Telling can be a great way to show your characters' personalities, especially when it comes to first-person or narrator-driven stories. Below, I've listed a few examples; however, this list isn't exclusive or comprehensive!
Initial Impressions and Character Opinions
If a character describes someone's outfit as "gaudy" or a room as "absolutely disgusting," it can pack more of a punch about their initial impression, rather than describing the way that they react (and can save you some words!).
In addition, it can provide some interesting juxtaposition (i.e. when a character describes a dog as "hideous" despite telling their friend it looks cute).
2. Tone and Reader Opinions
Piggybacking off of the first point, you can "tell, not show" when you want to be certain about how a reader is supposed to feel about something. "Showing" revolves around readers drawing their own conclusions, so if you want to make sure that every reader draws the same conclusion, "telling" can be more useful!
For example, if you describe a character's outfit as being a turquoise jacket with zebra-patterned pants, some readers may be like "Ok yeah a 2010 Justice-core girlie is slaying!" But if you want the outfit to come across as badly arranged, using a "telling" word like "ridiculous" or "gaudy" can help set the stage.
3. Pacing
"Show, don't tell" can often take more words; after all, describing a character's reaction is more complicated than stating how they're feeling. If your story calls for readers to be focused more on the action than the details, such as a fight or chase scene, sometimes "telling" can serve you better than "showing."
A lot of writers have dedicated themselves to the rule "tell action, show emotion," but don't feel like you have to restrict yourself to one or the other.
iv. ABOVE ALL ELSE: Getting Words on the Page is More Important!
If you’re stuck on a section of your story and just can’t find it in yourself to write poetic, flowing prose, getting words on the paper is more important than writing something that’s “good.” If you want to be able to come back and fix it later, put your writing in brackets that you can Ctrl + F later.
Keeping your momentum is the hardest part of writing. Don't sacrifice your inspiration in favor of following rules!
3. How Can I Get Better at “Show, Don’t Tell”?
i. Use the Five Senses, and Immerse Yourself!
Imagine you’re the protagonist, standing in the scene that you have just created. Think of the setting. What are things about the space that you’d notice, if you were the one in your character’s shoes?
Smell? Hear? See? Touch? Taste?
Sight and sound are the senses that writers most often use, but don’t discount the importance of smell and taste! Smell is the most evocative sense, triggering memories and emotions the moment someone walks into the room and has registered what is going on inside—don’t take it for granted. And even if your character isn’t eating, there are some things that can be “tasted” in the air.
EXAMPLE:
TELLING: She walked into the room and felt disgusted. It smelled, and it was dirty and slightly creepy. She wished she could leave.
SHOWING: She shuffled into the room, wrinkling her nose as she stepped over a suspicious stain on the carpet. The blankets on the bed were moth-bitten and yellowed, and the flowery wallpaper had peeled in places to reveal a layer of blood-red paint beneath…like torn cuticles. The stench of cigarettes and mildew permeated the air.
“How long are we staying here again?” she asked, flinching as the door squealed shut.
The “showing” excerpt gives more of an idea about how the room looks, and how the protagonist perceives it. However, something briefer may be more suited for writers who are not looking to break the momentum in their story. (I.e. if the character was CHASED into this room and doesn’t have time to take in the details.)
ii. Study Movies and TV Shows: Think like a Storyteller, Not Just a Writer
Movies and TV shows quite literally HAVE TO "show, and not tell." This is because there is often no inner monologue or narrator telling the viewers what's happening. As a filmmaker, you need to use your limited time wisely, and make sure that the audience is engaged.
Think about how boring it would be if a movie consisted solely of a character monologuing about what they think and feel, rather than having the actor ACT what they feel.
(Tangent, but there’s also been controversy that this exposition/“telling” mindset in current screenwriting marks a downfall of media literacy. Examples include the new Percy Jackson and Avatar: The Last Airbender remakes that have been criticized for info-dumping dialogue instead of “showing.”)
If you find it easy to envision things in your head, imagine how your scene would look in a movie. What is the lighting like? What are the subtle expressions flitting across the actors' faces, letting you know just how they're feeling? Is there any droning background noise that sets the tone-- like traffic outside, rain, or an air conditioner?
How do the actors convey things that can't be experienced through a screen, like smell and taste?
Write exactly what you see in your mind's eye, instead of explaining it with a degree of separation to your readers.
iii. Listen to Music
I find that because music evokes emotion, it helps you write with more passion—feelings instead of facts! It’s also slightly distracting, so if you’re writing while caught up in the music, it might free you from the rigid boundaries you’ve put in place for yourself.
Here’s a link to my master list of instrumental writing playlists!
iv. Practice, Practice, Practice! And Take Inspiration from Others!
“Show Don’t Tell” is the core of an immersive scene, and requires tons of writing skills cultivated through repeated exposure. Like I said before, more experienced writers instinctively switch between showing and telling as they write— but it’s a muscle that needs to be constantly exercised!
If I haven’t written in a while and need to get back into the flow of things, I take a look at a writing prompt, and try cultivating a scene that is as immersive as possible! Working on your “Show, Don’t Tell” skills by practicing writing short, fun one-shots can be much less restrictive than a lengthier work.
In addition, get some inspiration and study from reading the works of others, whether it be a fanfiction or published novel!
If you need some extra help, feel free to check out my Master List of Writing Tips and Advice, which features links to all of my best posts, each of them categorized !
I used to be *good* at search. It was a whole thing - I found people's "lost songs" or their unknown-source childhood stuffed toy or whatever from Google.
Now, you can't search for the exact brand/design name of something and get accurate answers. It drives me spare on Amazon - if I search for XYZ and you don't have any, or you only have 2, tell me that.
I wouldn't mind if it said "Here are 2 XYZ. Shoppers also searched for..." Instead it'll just throw a random, barely-linked pile of results and you have to wade through every single one to see if the thing you want exists.
THIS. For ages I used to say that I had "high Google-Fu". I could find *anything* because I knew how to use strings to enhance searches. The string commands haven't even worked for well over a year or more, far before they put in this infernal (and often wrong!) AI BS on top.
I used to be able to search for recipes and easily eliminate unwanted ingredients with a -. For example I'd look for low-carb desserts but without the zillions that use peanut butter simply by searching for something like:
low carb chocolate dessert recipe -peanut
And I'd get a slew of on-point suggestions. For some time now if you do -peanut Google ignores the - and assumes you want recipes stuffed with peanuts.
Where it's even worse now is now you get directed to sites full of bogus AI recipes that don't even make sense. But they have peanuts in them.
I used to be able to use reverse image searches to find out who made that awesome art so I could give credit in my share. They've removed that ability entirely and replaced it with Lens, which is AI BS just showing you more like what you looked for. (Rebecca Watson complained about this in her recent video about JD Vance jizz cup rumours and I apologise for that sentence but...yeah. Watson is great, go find her on Youtube and subscribe because she went into detail about how Google has become less and less useful for debunking.)
This isn't just about Google inserting shopping ads instead of what you wanted to learn about. That's bad. But the results now are just *broken*. The tools we used to have to make searches better have been removed. Google no longer wants us to find the answers we seek, but the answers they want us to have, and that's super creepy and dangerous.
And the alternatives are either using Google in the back end or have other significant barriers to use.
So I want to say something here that's worth mentioning:
The internet as we know it today is completely un-navigatable without an adblocker of some form. It's likewise completely unsafe. While an adblocker won't prevent user-end actions that lead to viral compromise, the situation is so fucking dire that even the fucking feds recommend you use an adblocker.
I was/still am an IT professional for longer than some of you reading this have been alive. Putting an Adblocker on a clients computer, regardless of if it's consumer grade or corporate, is the first thing I do. Most ad blockers allow you to white list websites in order to avoid having to deal with shit like what Youtube is doing.
Youtube is preying upon consumer ignorance of white listing in an effort to generate revenue via Youtube Premium. It's fucking dumb as hell, and it's going to directly lead to another wave of compromised systems across the board.
Do not be misinformed. Ad blockers absolutely are a necessary part of the modern internet usage. Please read the wiki on your adblocker of choice (I recommend Ublock Origin) and read up on whitelisting. Don't fall for this fucking scam Youtube is pulling, and most certainly don't stop using your Ad Blocker.
I actually don't think that Premium is the goal here—I think the goal is to get as much user data as possible regardless of whether or not they're paying customers. I have a very good reason for believing this.
See, I have Premium, and I have for like four years. I am exactly what you would assume they want all users of the platform to be. I pay monthly for access to a handful of features that I find useful, and they don't serve me ads at all.
I still make sure to block all tracking cookies whenever possible, because I'm not using the Internet strictly for YouTube, and I'm not in the business of allowing myself to be tracked all across the web when I can avoid it.
A couple weeks ago, YouTube stopped working for me entirely. After having it running in the background more or less all day while I was drawing, it suddenly stopped loading anything but the skeleton.css stylesheet, which looks like this:
Nothing here is clickable, it's literally just a bunch of static graphical elements. I couldn't access my account, settings, anything. I was completely locked out of the service.
I did some digging, and found out that this is one of the things that happens when the anti-adblock protocol catches up to uBlock Origin and shuts down people who refuse to remove that protection. But...I have Premium. The platform doesn't serve me ads at all. There is absolutely no reason for them to block my access to the platform.
Still, I tried turning uBlock Origin off, and it didn't change anything. Weird.
Eventually I got ahold of someone in tech support, and I was told to do the following:
Stop using Firefox, reinstall Chrome, and only use that to access YouTube. This is because that is apparently the only browser that is "truly compatible" with the platform, and if I'm using another one then they can't promise that it will work. (This is a lie, and after a half hour of back and forth with the agent she admitted it, linking me to a page showing all compatible browsers, among which Firefox is prominently listed.)
Completely uninstall any adblockers I have on any browser that I use, because having them at all could cause YouTube to block my access. I was not told to whitelist YouTube, I was told to completely uninstall the extensions on any and all browsers, and then try to access the platform again. This kind of explains the fact that turning UBO off didn't work—the implication here is that my account was flagged as having an adblocker active, even on an alternative browser, and the account itself would be blocked until they were removed.
I was told that unless I completed both of these steps—and these were the first troubleshooting steps offered to me, as a note—then we wouldn't be able to move forward with the tech support process. Literally, if I did not do these things, the agent would not even attempt to provide any more help. I basically told her that was unacceptable, and we went back and forth for a while longer. She told me that adblockers are not a form of Internet security, so removing mine would not leave me vulnerable to anything, and told me to install Chrome an additional four times. I told her that I was not going to install Chrome. She told me that we couldn't move forward unless I carried out every step she instructed me to do in order to fix the problem.
I told her that I was sorry if I seemed nasty, but it seemed like she had no intentions of actually offering any help and was just following a script telling her to make me install Chrome—and that she needed a better script. Her response was "I'm sorry I don't have better news for you," and that ended the conversation.
Again, one more reminder, I have Premium. I am not being served ads at all. That didn't matter, I was still instructed to uninstall those extensions outright, and refused assistance or access to a platform I pay for unless I agreed to do so.
Want to know how I got the platform to load again?
I manually turned off JUST the tracking cookie blocker.
They don't care about users' money, they care about users' data. They care about knowing what you are doing and where you're doing it, even when that information isn't being used to serve ads.
Anyway I cleared my cache/cookies, updated the extension, logged out, restarted Firefox, manually turned the tracking blocker back on, and logged back in. It's worked fine since then.
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NO ONE knows how to use thou/thee/thy/thine and i need to see that change if ur going to keep making “talking like a medieval peasant” jokes. /lh
They play the same roles as I/me/my/mine. In modern english, we use “you” for both the subject and the direct object/object of preposition/etc, so it’s difficult to compare “thou” to “you”.
So the trick is this: if you are trying to turn something Olde, first turn every “you” into first-person and then replace it like so:
“I” → “thou”
“Me” → “thee”
“My” → “thy”
“Mine” → “thine”
Let’s suppose we had the sentences “You have a cow. He gave it to you. It is your cow. The cow is yours”.
We could first imagine it in the first person-
“I have a cow. He gave it to me. It is my cow. The cow is mine”.
And then replace it-
“Thou hast a cow. He gave it to thee. It is thy cow. The cow is thine.”
This is perfect and the only thing missing is that when “thy” comes before a vowel it’s replaced by “thine”, i.e. “thy nose” but “thine eyes.” English used to do this with my and mine too (and still does with a and an).
The second person singular verb ending is -(e)st. In the present tense, it works more or less like the third person singular ending, -s:
I sleep in the attic. Thou sleepest in the attic. He sleeps in the attic.
I love pickles. Thou lovest pickles. He loves pickles.
I go to school. Thou goest to school. He goes to school.
The -(e)st ending is only added to one word in a compound verb. This is where a lot of people make mistakes:
I will believe it when I see it. Thou wilt believe it when thou seest it. He will believe it when he sees it.
NOT
*thou willst believest it! NOPE! This is wrong
If you’re not sure, try saying it in the third person and replacing the -(e)st with -s:
*He will believes it when he sees it. ALSO NOPE!
In general, if there’s one auxiliary, it takes the -(e)st ending) and the main verb does not. If there are multiple auxiliaries, only one of them takes -(e)st:
I could eat a horse. Thou couldst eat a horse. He could eat a horse.
I should go. Thou shouldst go. He should go.
I would have gone. Thou wouldst have gone. He wouldst have gone.
You can reduce the full -est ending to -st in poetry, if you need to drop a syllable:
thou sleepst, thou lov'st.
In some common words–mostly auxiliary verbs, or what you might have learned as “helping verbs”–the ending is always reduced:
I can swim. Thou canst swim. He can swim.
Sometimes this reduction takes the last consonant of the stem with it:
I have a cow. Thou hast a cow. He has a cow.
Or reduces the -st down to -t:
I must believe her. Thou must believe her. He must believe her.
I shall not kill. Thou shalt not kill. He shall not kill.
However! UNLIKE the third-person singular -s, the second person -(e)st is ALSO added to PAST TENSE words, either to the past stem in strong (irregular) verbs or AFTER THE -ed in weak (regular) verbs:
I gave her the horse. Thou gavest her the horse. He gave her the horse.
I made a pie. Thou mad’st a pie. He made a pie.
I wanted to go. Thou wantedst to go. He wanted to go.
This is different from the third person!
*He gaves her the horse. He mades a pie. He wanteds to go. SO MUCH NOPE!
It’s not wrong to add -(e)st to a long Latinate verb in the past tense, but it’s unusual; it’s much more common to use a helping verb instead:
I delivered the letter. (Great!)
Thou deliveredst the letter. (Not wrong, but weird)
He delivered the letter. (Great!)
I did deliver the letter. (Normal if emphatic, or an answer to a question; otherwise, a little weird.)
Thou didst deliver the letter. (Great!)
And a couple last things:
1.) Third-person -(e)th is mostly equivalent to and interchangeable with third-person -s:
I have a cow. Thou hast a cow. He hath a cow.
I love her. Thou lovest her. He loveth her.
I do not understand. Thou dost not understand. He doth not understand.
HOWEVER! Third-person -(e)th, unlike -s but like -(e)st, can, sometimes, go on STRONG past-tense verbs:
I gave her the cow. Thou gavest her the cow. He gaveth her the cow.
This never happens with weak verbs:
*He lovedeth her. NOPE NOPE NOPE!
And even with strong verbs, from Early Modern (e.g., Shakespearean) English onward, it’s quite rare. But you will see it from time to time.
2.) In contemporary Modern English, we invert the order of subjects and auxiliary verbs in questions:
Will I die? I will die.
Has she eaten? She has eaten.
If there’s no auxiliary, we add one–do–and invert that:
Do you hear the people sing? You (do) hear the people sing.
In Early Modern English, this process was optional, and mostly used for emphasis; all verbs could be and were moved to the front of the sentence in questions:
Hear ye the people sing? (Or singen, if we’re early enough to still be inflecting infinitives.)
Do-support was also optional for negatives:
I don’t like him. I like him not.
Thou dost not care. Thou carest not.
She does not love thee. She loves thee not.
3.) Imperative verbs never take endings:
Hear ye, hear ye!
Go thou and do likewise!
Give me thy hand. Take thou this sword.
4.) Singular ‘you’–that is, calling a singular person by a plural pronoun–arose as a politeness marker; and ‘thou’ fell out of use because it eventually came to be seen as impolite in almost all contexts. In general, once singular ‘you’ comes into use, it is used for addressing
people of higher social status than the speaker
or of equivalent status, if both speakers are high-status
strangers
anyone the speaker wants to flatter
‘Thou’ is used for
people of lower social status than the speaker
family and intimate friends
children
anyone the speaker wants to insult
It is safer to ‘you’ someone who doesn’t necessarily warrant ‘you’ than to ‘thou’ someone who does.
5.) And finally, that ‘ye’? That’s the nominative form of you–the one that’s equivalent to ‘I’ or ‘we.’
Friendly reminder as we head into tax season (for US Americans), that the major tax preparation companies are fully prepared to lie and mislead you into paying for their tax preparation software when you might qualify for free software through the IRS.
Don’t fall for their bullshit. Visit IRS Free File and see what services are available to you. The requirements vary depending on your household status and income, but if you make less than $79,000/year (which is nearly everyone I know), you probably qualify for something.
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