#Dependency Inversion

[poorly-drawn-mdzs]

Bestie Deficiency

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[kaiasky]

feel like some enterprise "java"-inflected developers and/or "medium writers who purport to talk about code patterns" live in an alternate world where their goal is to create Intricate Structures and not. to ship a fuckin product.

[inverse-problem]

my two ultrakill moods:

“oh no, this horrifying killing machine is adorable”

“oh no, this horrifying killing machine is hot”

[oocslayers]

Happy thanksgiving everyone!

[rasairui]

Post: gender identity is complicated and everyone has their own unique relationship with it. Presentation does not equal gender and not everyone likes strict labels!

Me: Yeah! True! This is great so far please don't turn this into-

Post: I will now use this as an excuse to obsessively list every possible way in which a lesbian ends up with a man. I will equate butches and gnc women to men, completely missing my own point when I said presentation doesn't equal gender. Also being transmasc is always the same as being male aligned btw. I'm going to find a way to fit dissociative identity disorder into this for some reason. I'm also going to be really condescending and talk like no lesbian has ever understood the concept of gender noncomformity, ambiguity and complex relationships to gender. No, I never talk this way about gay men and nblm why do you ask

[warningsine]

[heirtocragflame]

*applies your inverse function*

becomes the identity function on my domain

[dewgongs]

lock in. walk the tightrope

[arifinfrds-blog]

The Dependency Inversion Principle (DIP) is a fundamental concept in software development that helps create flexible and maintainable code. In this article, I'll explore its history, the problem of tight coupling, and different approaches to applying DIP in Swift.

[nippular]

I’m soooo ready for tumblr to ditch live so the post button won’t be in my fuckin way all the time on mobile. Ruining my screenshots n shit

[retiredteabag]

Unknown Rivals

Pairing: Sukuna x Reader

Synopsis: There was only one thing worse than being paired with Sukuna for an important school project, and that was realizing the slacker somehow had a higher class standing than yourself.

Tags: Academic rivals, enemies to eventual lovers, type A reader.

pt. 1 - next part

〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰〰・♡・〰

Sukuna would be a super challenging project partner in school.

Say what you like but he absolutely would be the type of person to expect you to do all the work. That, or he would pretend he didn’t understand and wait for you to get frustrated and do it yourself.

He would be popular, but not in the “likable” kind of way, but in the same way that kids always love the teacher that (not so secretly) hates them. He despised how people followed him around, trying to hold a conversation. Despite this, it was as if his fellow students were attracted to him like magnets.

Not you though, you didn’t like a man with an ego. You saw him roll his eyes and sleep in class. You saw as he crawled into his desk at the far back of the classroom, spreading his tattooed thighs in an undignified manor.

And when you were paired with him from a dual project? You could cry with frustration.

He would simply raise a brow at you with his arms crossed as you tried to explain what was needed for the assignment.

“Do you… understand?” Sukuna had hardly spoken a word to you, not just in this exchange, but in all your time at the school.

He would simply grunt, smacking his palms on the table, rising from his chair and sliding your page of notes into his hand. “Cool to go?”

How was it he could sound annoyed without you even doing anything to upset him?

“Right…” you sigh.

You would be working together for up to an hour after class twice a week, and as finals approached, you decided you needed to meet once on Fridays as well in the library.

The pink-haired man would hardly spare you so much as a glance as he scrolled on his phone during class and work time.

When you would text, requesting his portion of the project, he would respond hours later with, “I’ll just turn it in myself.”

You would grind your teeth.

No. Way. Absolutely no shot in the world were you going to allow this delinquent to turn in homework correlated with your name inversely bring your grade down.

You would politely insist on seeing (editing) his work, for organizational purposes only, of course. And his response?

“You worry too much”

You near throttled your innocent roommate with anger at his laissez faire attitude after reading his late message one evening.

On one particularly cruel Friday, you were seriously feeling the effects of finals crawling into your brain. You had hardly slept, spilled coffee on your textbook, and experienced car troubles that caused you to be late to class.

Staying to the end of the lecture to apologize to your professor for this lapse, you expected an understanding, “Hey, no worries, life happens, I’ve been there.” And instead received an overtly harsh, “Do you know how much participation counts for in my class? Don’t let it happen again.”

Was it childish? Yes. Was it overly emotional? Also yes. But did every ounce of your validation come from the adult figures in your life? Of course. So how could you not cry at the knowledge that you had disappointed, let down, upset, one of the professors you had previously admired?

By the time you reached your seats in the library Sukuna was already laid across his own spot, not unlike a jungle cat.

This was the first time he had arrived before you.

Another wave of shame passed your consciousness at the thought of this no-good-trouble-maker showing up to the library with more dependability than you, and huffed a sigh.

Sukuna rolled his neck back down when you sat across from him. As usual, no words passed between you, but he seemed to be observing you closely.

He didn’t pull out his phone, he didn’t grumble responses. No, in fact, be pulled out a notebook and took notes. Finalized an outline for points of contention in his part of the project. And even seemed to consider your own writings (that you had been sending him weekly).

And this time, as you were starting to rise from your seat, he didn’t race off, groaning as if he had just wasted an hour of his life he regretted to never see again, but rather, stood slowly, and leaned down to try and catch your gaze.

Eventually, you had to meet his eyes, patient beast he was, and as your arms fumbled with your backpack, he just raised an eyebrow and murmured,

“Take care.”

Before he was gone.

Imagine your shock when your professor grades the preliminary paper and presentation you had been slaving over, after being horrified with the end result due to Sukuna inability to send his part in and after a panicked email about how unsportsman your teammate was, begging to please please please take into consideration the difference between students, with a glowing review, claiming that it was always a privilege to read “the two of y’all’s work”.

Turns out the delinquent who slept in class, avoided contact with fellow students, never so much as attempted to prove his understanding of the project, and stared blankly at you as your “tutored” him on the subject, was neck and neck with you as top student in class.

Son of a bitch.

[mumblingstudent]

Инверсия контроля и Внедрение зависимостей (IoC и DI)?

Инверсия контроля (она же инверсия управления или inversion of control) подразумевает ослабление связей между объектами в программе и передачу управления потоком выполнения фреймворку.

Ослабления связей между объектами

Существует два класса: Person (человек) и Dress (платье). Человеку нужно носить одежду и мы можем дать ему платье следующим образом:

class Person { private Dress clothes = new Dress(); }

Вроде всё получилось, но теперь этот человек может носить только платья. А если ему придётся надеть что-то другое?

Это сильная зависимость. И её можно ослабить, написав интерфейс:

interface Clothes { //какие-то методы одежды }

Далее, классом Dress реализовать данный интерфейс:

class Dress implements Clothes { //какие-то поля платья }

И заменить класс Dress у поля Person на интерфейс Clothes:

class Person { private Clothes clothes = new Dress(); }

Теперь, если мы захотим одеть человека во что-нибудь другое, мы можем написать новый класс, скажем, для костюма, реализовать им интерфейс одежды и просто передать человеку:

class Suit implements Clothes { //какие-то поля костюма }

class Person { private Clothes clothes = new Suit(); }

Отлично, теперь наш код стал гибче, но осталось исправить ещё одну вещь.

Категорически не рекомендуется создавать необходимые объекты через new внутри других классов. Вместо этого надо принимать объекты извне. Для этого используются конструкторы или сеттеры.

class Person { private Clothes clothes; //конструктор public Person(Clothes clothes) { this.clothes = clothes; } //сеттер public void setClothes(Clothes clothes) { this.clothes = clothes; } }

И после этого объект Person можно будет создать в главном классе, который является точкой начала выполнения программы:

public class Main { public static void main(String[] args) { //создали человека в платье Person person = new Person(new Dress()); //переодели человека в костюм person.setClothes(new Suit()); } }

Передача объектов внутрь других объектов и называется Dependency Injection (внедрение зависимостей)

Передача управления фреймворкам

Без фреймворков программист сам решает что, где, и в какой последовательности работает. В ином случае, уже фреймворк решает, что и когда заработает в коде (чаще всего это реакции на действия пользователей web-приложений), а программист пишет код только там, где дозволено (в контроллерах, сервисах и пр.).

Ну вроде понятно.

[byoldervine]

Writing Tips - Character Strengths And Weaknesses

So characters need to have strong and weak points to keep them interesting and prevent them from seeming too stagnant; a character without strengths feels flat and boring, while a character without weaknesses feels overpowered and stagnant. So when it comes to character creation, how do we come up with good strengths and weaknesses?

1. Archetype. What role does your character fill in the story? Would any of the typical strengths and weaknesses for characters in that role apply to them? Could they be modified or altered to better fit?

2. Backstory. What was their childhood like? Do they have good relationships with their family? Have they worked in certain jobs or participated in activities that would lend themself to a certain skillset, or lack of? What struggles have they faced in the past that might have shaped who they are, for better or for worse?

3. Personality. What is this character like? How much of it comes naturally to them? Is any of it a learned behaviour or coping mechanism? Is any of it an act? How aware are they of this? Is it intentional or just a force of habit? Are the strengths and weaknesses you’re considering compatible with the person they truly are, even if they’re not compatible with the act they might put on?

4. Speaking of compatibility. Does it make sense that your character would have certain strengths or weaknesses depending on these other factors of their life? Are the strengths and weaknesses even compatible with each other? A patient character isn’t likely to be reckless or have a short temper, for example, though of course any combo has the possibility to work when approached with care and consideration

5. Double-edged sword. An easier and, in my personal opinion more interesting, way to approach it is to make the strength and weaknesses stem from the same character trait. A selfless character could struggle to prioritise themself. A loyal character could compromise themself or their objectivity in favour of supporting the people they care about. An overconfident character could get in over their head and underestimate the danger they’re in while taking unnecessary risks, but it would also lead them to taking on opportunities and challenges not many other people would, allowing them unique rewards for putting in the effort and courage. What character trait could you take to an extreme? Would it be good or bad for your character?

6. Character development. What about your character should be different from where they started? Think about the kind of person you want them to be at the end of the story, then inverse that to get them at the start of the story. What journey do they need to go through to develop into the new version of themself? If you want them to end as a responsible, patient and selfless person, they need to start off irresponsible, reckless and selfish. And don’t forget that you can build up negative character traits, and that even heroic characters who are objectively good can keep their less heroic qualities

7. Contextual strengths. Remember in ATLA when Katara couldn’t do much of anything in the desert and Toph was unable to effectively sandbend to the extent she needed to compensate for her blindness? Their strengths were turned into weaknesses, which they later worked to compensate for and improve on. What situation would put your character into the same sort of situation? Are their strengths actually useful in most contexts, or just the context of their environment or situation? Are their weaknesses actually useful, and they’re just not in a position to see this? When taken out of their current situation, would they fumble or thrive?

8. Types of strengths and weaknesses. Characters might have physical strengths and weaknesses, such as physical disabilities, additional features, powers or curses, literal physical strength, etc, but they also might have mental strengths and weaknesses such as intelligence, dexterity, balance, problem solving, a wide range of skills or obscure knowledge, memory, quick-thinking, resourcefulness, social skills, gullibility, etc. Beyond this, there are also separate emotional strengths and weaknesses, such as compassion, emotional intelligence, compartmentalisation, emotional range, self-awareness, insecurities, etc. There’s so much that could become a strength or weakness, and characters can have as many as you like from all three areas

9. Nature vs nurture. What your character has been taught or trained to think and feel and behave like does not inherently mean that this is who they actually are. Depending on their environment and the people around them, two people with the same strengths and weaknesses could end up diverging at critical points to become entirely different people, or two people who couldn’t be any more different could land in a position where they both become more and more alike as time goes on. Our environment and the people in it can shape us, both in our past and in our futures, so don’t leave the present as something stagnant; if a certain trait makes sense for them to have but you don’t want them to have it, have them unlearn it

10. External conflict. What literal journey will your character go on for the story? What strength might be useful for it? What weakness could hinder their efforts? Would these work for their character? If all else fails, make it practical or impractical as desired

[kianamaiart]

what's the best site to use rn if you want to be noticed by people in the industry? what style do they look for?

mmmm for me it's still twitter. it has numbers going for it and there's a lot of international folks there too. but generally, i'd say instagram. a good number of professionals and it hasn't quite scared off as many industry people as twitter has

what style they look for is a bit of a broad question. depends on the job you're looking for, what field and what show. for any job you're gonna be required to draw on model in some capacity so for tv animation it's good to be able to draw in a variety of styles. like if you can only draw anime-like you're not gonna be hired on a show like big city greens or kiff and inversely, if you only draw really cartoony, you're not gonna get on a show like avatar or owl house. worth mentioning that you're only at a company for as long as the show you're contracted for is running. even more incentive to have range so that you can have more opportunities when your contract is up. keeping up with modern styles is really important.

i will say that for storyboarding, i've generally noticed showrunners tend to go for folks who have good writing and comedic sensibilities over just draftsmanship. draftsmanship can be taught but teaching someone how to be funny is a lot harder.

[somethinginthemyste]

These motherfuckers did it from the start

The entire time I've been listening to Magnus Protocol and reading all the theories and understanding what is going on, there's been some ideas that just haven't been convincing. Either because they're based on the Archives entities or the theories exist because of misinterpretation and some are more convincing than others but finally I understand. I don't think I'm right, I don't think everyone else is wrong, but I think I understand.

Because the thing that cracks everything is Mister fucking Bonzo

FIRST OF ALL

One of the four base elements, Fire, associated with the colors red and orange and the humor yellow bile. Well what are the humors?

Blood, Phlegm, Yellow Bile, and Black Bile.

Yellow Bile, which is associated with Fire in alchemy, provokes excitement. Just like we see when Bonzo attacks, there's an excited chanting of his theme song. But as we just saw recently, Bonzo can get very angry, seemingly jealous of the murderer on trial.

But it's even worse than that

MR BONZO IS ORANGE AND RED

Yes I know this is more yellow and orange, but remember ancient colors were different and depending on where you were located and at what point in history, the names for colors were different (I tried to find an illustration to help prove my point but unfortunately I couldn't find a good one and I'm losing my mind right now so I stopped looking)

BUT IT GOES DEEPER

Because in alchemy, Air is sometimes thought of as a life-giving force and is associated with Blood. Blood is thought to promote joy and mirth and enthusiasm. Remember Needles? We loved that little guy, the most enthusiastic and joyful murderer in the series. Just like how in real life, needles can draw Blood and are used in vaccines which are Life Saving devices.

But it gets worse still

Because Air is symbolized as the Earth symbol inverted. Earth being cold and dry, representing physical movements and sensations and associated with Black Bile. Black Bile being melancholic and withdrawn, just like Ink5oul. Ink5oul the tattoo artist. The tattoo artist that uses NEEDLES

Earth and Air are just inverses!

THERE'S EVEN A FUCKING EPISODE WHERE A SENTIMENTAL COUPLE GOES TO FIND THEIR LOCK THEY PUT THERE YEARS AGO AND STUMBLE INTO A LOCK MUSEUM WHERE ONE OF THEM DROWN. Sentimentality is associated with Phlegm and you know what Phlegm is represented by in alchemy? WATER!

From the start, it's literally been from the start. There's so much more, alchemy is becoming my life, there's so much, they're doing it again, from the first fucking episode it's all been here.

[sabertoothwalrus]

heyy i adore your art! do you have any advce for a small artist trying to get out there?

I guess it depends what you mean by “get out there”!

I’d say number one is to ignore the numbers. Unless you’re intentionally trying to sell yourself to some app’s algorithm, obsessing over the numbers will not help you.

The thing is, it is ok to care about other feedback you get on your art. I often hear social media treated like a dichotomy, to either “ignore it completely and draw for yourself” or to “strive to be a famous viral artist”. And I’m saying it’s not that simple.

It all boils down to why you’re making art. For some people, art is a much more personal expression, and it’s not meant to be seen by others. It’s more about the process and the catharsis than the outcome. This kind of art doesn’t need to be shared with other people.

For others, it’s a living. These people don’t mind that their art becomes “marketable”, if it becomes generic with a mass-appeal. This kind of art isn’t here to send a message, it’s here to look pretty. And that’s ok.

For me, art is communication. I’m telling stories. This is why I’m most drawn to comics and animation. I don’t pay attention to numbers, but I pay a lot of attention to comments because they help me gauge how successful I was at communicating an idea, an action, a joke, etc. It’s still important you develop thick skin. You have to detach yourself emotionally from them, and use them as a tool to help you learn.

This is why clarity is one of my biggest priorities in art. Clarity has less to do with skill and more to with “can you understand what this is you’re looking at”. There are some artists out there who are very good at what they do, but they still struggle with clarity. And the inverse is true; even beginner artists can have clear, easy to follow art.

Some things I actively try to do in my art to improve clarity:

Is the pose clear? Is the figure overlapping themself too much, or is the action still readable from the silhouette?

If there’s text, is it clear? Is the direction of speech bubbles confusing? Is my handwriting/font easy to read?

Would a background or prop help clarify the setting better? (What’s the least amount of effort I can put into this that will give the necessary information?)

Are my lines too loose? Sometimes it’s fine, but if they’re too unconnected, the form gets lost. Should I close my lines better, or maybe add a tone to separate the positive and negative space?

Does the “punchline” make sense? What AM I saying? What could communicate it stronger?

If your art is clear, people will find it and share it! Just keep telling the stories you wanna tell, make the art YOU want to see, and your audience will build around you!