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601I try to be very careful about CWing things. sometimes I make mistakes but I want to make my posts as safe to read as possible
I sometimes post NSFW/kinky/lewd things behind CWs
I have very limited energy and am very shy so it might take me a long time to reply to messages sometimes, or I might not be able to reply at all. this is kind of an "output only" account for the most part, but I'm hopeful that I can change that over time
I sometimes use curly braces to {clearly show where a grammatical phrase begins and ends}, like that. you can think of them like parenthesis in code or math, except they operate on grammar instead
if you see me mention #GAGSProject that's this: https://cryptid.cafe/notice/AxJRZIJ0k4hAXnDCsq
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Elaurian
elaurian@mastodon.social
I know she will never see this, but I would like to wish one of my personal heroes a very happy birthday today!
Dr Mae Jemison is not only an accomplished doctor and author, she was the first Black woman in space AND the first real life astronaut to appear in Star Trek!
She went to space, and she served on the Enterprise; two of the most amazing things any one person can achieve in life, and she did them both!
Live long and prosper, Dr Jemison đ
#InspiringWomen #AmazingWomen #DrMaeJemison
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kasdeya
kasdeyaShow content
remember that the purpose of storytelling is to emotionally manipulate your audience into feeling as much pain as possible
there are two schools of thought for how to do this, but they both rely on this core insight: your audience will feel the most pain if you trick them into caring about something before you take it away
for example, you could show a complete stranger being horrifically tortured. but they donât care about that character, so the torture is only painful because of basic empathy - not because of any personal attachment. your audience might even be able to numb themselves to the pain by dissociating
but what if you tricked your audience into loving that character first? then they wonât be able to escape the pain no matter what they do. it will linger in their minds for months or even years
remember that any time youâre able to make the audience care about something or someone - this could be a person, a place, an ideal, a culture, or anything else - this is an opportunity to deeply hurt them later, proportionally to how much you tricked them into caring. remember that the only purpose for having an idyllic society, a cute and innocent character, or anything else that is positive or upbeat, is so that you can rip it away to inflict pain
as mentioned before, there are two schools of thought for how to manipulate people into caring about aspects of your story, but both involve making your audience feel hope
the first is the Harry Potter method: show a character who is a helpless victim of abuse (make sure to cover a broad spectrum of abuse in order to trigger as many people as possible), then give that character hope of a better life. the audience will want the abuse to stop, and the hope will make them think that they can safely care about this character
the second school of thought is the Lord of the Rings method. this is for audiences who have caught on to the Harry Potter method and try to avoid stories with horrific abuse. in the Lord of the Rings method, you start by setting the tone light and wholesome, and trying to endear the audience to as many people and things as possible. then ease them in to a slightly darker tone, but not so much that they canât handle it. over time, make the tone worse and worse. gradually tarnish things that the audience loves, and make this process more overt and painful over time. as things continue to get worse, the audience will unconsciously hope that this is a temporary dip in tone and that things will become light and wholesome again soon
as mentioned earlier, an important aspect of both styles of storytelling is hope. if your audience doesnât have hope that things will get better, theyâll stop reading. so make sure to stoke the embers of their hope for as long as possible to maximize the pain that you can inflict
hope is the reason for the happy ending technique: if your audience knows that there is going to be what people describe as a âhappy endingâ eventually (no matter how rushed or bittersweet it is) theyâre more likely to keep reading. remember that a few short paragraphs or even a whole chapter of happy ending will never be enough to heal the pain that youâve inflicted over the course of an entire novel, so a happy ending is a small price to pay for unrestricted access to your victimâs mind
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Latte macchiato 
privateger@plasmatrap.com
git signing with SSH keys should really be default, ngl
GPG is such a pain in the ass in comparison, this way people would actually do it more
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kasdeya
kasdeyaI give negative shits about GTA 6 but I am looking forward to seeing videos like this breaking down its world
I Drained The Ocean Uncover Every Underwater Secret in GTA 5
CW: among the things found are the bodies of murder victims
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kasdeya
kasdeyaI tend to bristle against any kind of storytelling advice because it often boils down to one (or both) of these:
- make sure to always avoid [thing that I love] because itâs really boring and nobody likes it
- make sure to always do [thing that I donât like and that very often hurts me] because your story will be boring and/or pointless if you donât
and first of all thatâs invalidating. but second of all I also want to tell stories, but I definitely donât want to follow mainstream advice because then Iâd probably just end up creating more art that hurts me
for example, the advice that Iâve heard about exposition is âonly tell the audience things that are 100% necessary to the story. ideally tell it to them in an indirect way. also, spent as little time as possible telling them things because the focus of the story should be about characters and emotions and dramaâ
but, some of my favorite parts of books like The Martian or The Fellowship of the Ring are long infodumps that serve little or no plot purpose at all. if Tolkien had followed this advice then I wouldnât have gotten to enjoy reading about Bilboâs birthday party or the origins of pipeweed or a whole bunch of cool worldbuilding about hobbits
also I donât really like stories that focus on characters and emotions and drama. thatâs a danger zone for me. it isnât inherently hurtful, but it makes me feel like I could be hurt at any moment, and more often than not I am eventually hurt. Iâm much more comfortable with stories that are about things or ideas or worldbuilding. thatâs where I feel safe
anyway what Iâm trying to say is that if/when I end up writing stories again, Iâm going to have to figure out how to write a good story from scratch, because mainstream advice doesnât apply to me. and that sucks. and Iâm very upset about that and several related things
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PepperTheVixen ÎÎ
PepperTheVixen@meow.socialHey there! I'm one of the blind folks who read alt text on here. I'd like to say thank you for adding that so that I can also enjoy images of cartoon animals. A little effort from you means a world of difference for people like me
#accessibility #AltText #blind
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Octavia Con Amore 
Succubard's Library
OctaviaConAmore@cutie.city
Show content
Since some people may not have the time nor stamina for Nonstop Nut November, we also offer a more convenient alternative:
Ninety Nut November 
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Phorm The Vixdjinn
Phorm@dragon.styleShow content
Welp.
"Microsoft is launching a set of capabilities in Windows today that will start to weave AI features into regular Windows 11 PCs, instead of consumers having to buy a special Copilot Plus PC."
"Microsoft has been testing Copilot Vision in recent months, a feature that can scan everything on your screen and coach you through using apps or answer questions about photos and documents. Copilot Vision is now rolling out worldwide in all markets where Copilot is available..."
https://www.theverge.com/news/799768/microsoft-windows-ai-copilot-voice-vision-launch
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Cassandra is only carbon now
xgranade@wandering.shopSpoiler: it's all abstractions.
Computers are abstractions.
Languages are abstractions (both programming and prose).
Countries are abstractions.
Novels are abstractions.
The thirty-six dramatic situations are abstractions.
Tarot is an abstraction.
Corporations are abstractions.
Rivers are abstractions.
As long as there is terrain, we will keep making maps.
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đłď¸ââ§ď¸ mascs with straps
old_angry_queer@girlcock.club
"So F*** It, Unfold" by Kelly Boymer
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roawrwn the computer foxwife
kitsunecafe@tech.lgbtthis is what youd see if you saw me scrolling fedi
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kasdeya
kasdeyahow does one find neurodivergent trans folks in their local area? especially the kind that would be accepting of identity stuff like otherkin or dolls or bots
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kasdeya
kasdeyaYahtzee makes a really good point here, that âoptionalâ content shouldnât be exempt from criticism just because itâs been arbitrarily labeled as âoptionalâ
CW: very gross metaphor at one point
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kasdeya
kasdeyaAmnesia The Bunker is free on Epic Games today!
https://store.epicgames.com/en-US/p/amnesia-the-bunker-9d5799
I havenât played it yet but it looks really good. love when games introduce emergent/imsim-y elements
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kasdeya
kasdeyarandom question but in math papers do mathematicians define all of the syntax that theyâre using and the axioms that theyâre using and what all of the Greek letters mean?
because I feel like it would be really elegant and cool if they had the math equivalent of #include <standard_calculus.h> at the top of their papers or something, or like #include <physics_greek_letter_meanings.h> especially because Greek letters can often have multiple meanings
but meanwhile itâs not great IMO to just assume that your audience knows what you mean when you use a certain syntactic construct or Greek letter
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kasdeya
kasdeyaimaginary numbers were invented by Steve Imaginary so that he could count twice at the same time
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kasdeya
kasdeyahttps://www.youtube.com/watch?v=MyqaSpeIht8
watching this video on exposition in Doctor Who reminded me of a problem that I frequently run into when I try to write anything, and thatâs this:
it is definitely Bad to stop the pacing of the story in order to have a character just infodump about whatâs happening
but, I also hate the trope of characters refusing to explain what they know for contrived reasons. like âI think you should see this for yourselfâ type shit, or the even worse âno time to explainâ (if you have time to say those four words you have time to at least give a high-level summary of whatâs going on)
but this means that every character needs to fit into one of these categories:
- they donât know whatâs going on, or have only a small piece of the picture
- they do know whatâs going on but wonât tell the protagonist (this can be icky. I donât like this - especially when itâs overused like in KOTOR2)
since I donât like category 2, that only leaves category 1. which means that I can only tell stories that are mysteries? Iâm definitely missing something - idk
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Liam @ GamingOnLinux đ§đŽ
gamingonlinux@mastodon.socialMany developers leave GZDoom due to leader conflicts and fork it into UZDoom https://www.gamingonlinux.com/2025/10/many-developers-leave-gzdoom-due-to-leader-conflicts-and-fork-it-into-uzdoom/
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In 2022, Ireland did something bold. It trusted its artists. 2000 creators received âŹ325 a week, no strings attached. The result was more art, less anxiety, stronger communities, and even economic gains.
Now the program is permanent. Ireland becomes the first country to prove that supporting imagination pays off.
This is a vision of what a humane society can be. If we can trust artists to create, why not teachers, caregivers, or researchers?
Who will follow?
https://www.artnews.com/art-news/news/ireland-basic-income-artists-program-permanent-1234756981/
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