#and I don't know how to process all this output

[colepaldi-in-the-tardis]

Writer Problems - Too many ideas!!

The fact that I am just finishing posting a 70k plus FF on AO3 of my The Hour OTP Randall Brown/Bel Rowley and plus the fact that I am writing two (!) Richelieu fics in turns, hasn't stopped my brain to plot out another long-fic over the time of last night.

Like, who is going to fucking write all this?

Oh, what do I say? I just began writing the idea down, and I am 3k into one chapter, and can only hope my petition to extend the days' duration from 24h to 36h will go through quickly.

[laesas]

Seeing someone's awful, self-righteous, bad faith, rage bait take and realising that you already have them blocked for their other dogshit opinions 👌👌👌

[astroyongie]

My Opinion On The Moon Signs and Placements 

Note: the venus placements will be next <33 hope you guys like it, also take it lightly its just my opinion on the placements and not necessarily the true

Aries Moon: I often have a hard time reading Aries moons because they have such an intense way of communicating their emotions. they are either all in or all out and there isn't mid terms with them. Aries' moon is fierce, their instinct tingles. Some people see them as selfish people.  

Taurus Moon: they are so much more than what meets the eye. They tend to be pretty rational with what happens around them, yet they can be quite intuitive as well despite not being a water sign. They are the type to hide their emotions so well, but also to run away from them. They are often emotionally stable but their ability to hold grudges is.. scary

Gemini Moon: There’s this stereotype that gemini moods are emotional wrecks because we never know how they are feeling and also because they exhibit huge emotional swings depending on their environment and people they are with. The true is they don't understand what they feel deep down so they are often just as confused  

Cancer Moon: Again they have this stereotype that they are super sensible, emotional and super manipulators. Although in some cases this can be true, cancer moon is also someone that has that protective fire in them, they have such a huge protective instinct. They are super pessimists tho

Leo Moon: They aren’t as egocentric as one can think. Yes, they will put themselves first in certain situations but that’s because people tend to also take their loyalty and their warmth for granted. They are a little dramatic when they are feeling stuff.  

Virgo Moon: Virgo moons often have a sharp instinct, they have a good memory as well and they always try to process their emotions through rationalizing them, which often hurts because they don't allow their emotions to be processed. They fear losing control over what they feel. 

Libra Moon: Their head is a big mess, they never know who to trust, what to feel and how to understand their feelings. often these placement gets co dependent on other people for their emotions because they kind are unable to live by themselves with their own heads 

Scorpio Moon: Of course that they are intense, they feel things deeply and with all its rawness. Their intuition is high, they can read people so well and they do have empathetic feelings toward others. When they are in love, it's so beautiful but the trust issues of this placement is no joke 

Sagittarius Moon: My opinion on them might be a little biased but gosh, they are so intense, in a way that their emotions are so outbrusting. They can be the happiest person and 5 minutes later they are shifting and it's impulsive and reckless and they have no control over what they are feeling. they have short memory too in my opinion. .

Capricorn Moon: Like most earth placements, Capricorn moons are scared to not be in control of what they feel. They are clever, they are intuitive to a certain point but they are way too cautious and don't allow their emotions to be fully processed. Sometimes they like sensitivity or lack understanding toward other people’s feelings because they see it as dramatism. 

Aquarius Moon: Please someone enlighten me about them because I swear I don't understand them. they way of feeling, they way they expose things, they way they remember things. their brain, their emotional output is not conventional and is different from other people,which often makes them misunderstood. but their lack of empathy and their lack of seeing things through other perceptions is also the cause. 

Pisces Moon: Yes, another stereotype that they are overly sensitive and that they are cry babies. but their intuition is huge, their emotional sponge is hard to control.yet they can also be the most cold placements ever. if they don't want to feel, they won’t. their escapism ability is out of this world 

Moon in the 1st House: Usually they are seen as people that are caregivers. They are often leaned on due to their ability to be able to understand others and always find solutions when it comes to solving issues. They have a very soft personality and they are reliable yet people often take advantage of them because they can’t say no. they have that dreamy beauty in them as well  

Moon in the 2nd House: Their whole emotional being depends on how they live their life, on how comfortable they are and how much of the dream life they can live. More often, people with this placement tend to want luxury in their life and they can be an emotional wreck when their values, their possessions or their goals are shattered by life. 

Moon in the 3rd House: these people are super smart, like socially and emotionally smart. They make such good teachers, therapists but also manipulators because they are able to use people’s strengths and weaknesses to their own expenses but also to help others. They overthink a lot though, and they tend to suffer a lot from their own emotional health. 

Moon in the 4th House: They put a lot of importance in what they consider to be their roots, their culture and their family. They are often family oriented, they love kids and kids love them. some of them can even have that superpower of knowing when someone is pregnant! Some also have taken since young age the role of parent or responsibility in their household 

Moon in the 5th House: The creativity that they have is unmatched, the talent that they have for arts, for self expression through their body and their hobbies is amazing. definitely a good placement when one wants to pursue a career in the arts related businesses and professions. These people also have a very funny sense of humor, and they are hopeless romantics. 

Moon in the 6th House: This placement can be tricky because it can make someone super emotional, to struggle a lot with their health in general (both emotional and physical). Yet these people also have a good sense in business and they can easily get the career of their dreams just by the power of manifestation. 

Moon in the 7th House: They are hopeless romantics as well, they live for their love life, they live for romance, for relationships. People with these placements often tend to be unable to stay alone for a long time and not having someone to love is something that causes them inner turmoil and pain. they have such a good instinct tho, and their love truly is pure 

Moon in the 8th House: their emotional intuition is no joke, these people are not only gifted when it comes to the occult and the spiritual world, some can also have the power to predict changes, shifts and even physical death due to their strong and sharp sense of intuition. They are super emotional as well and often tend to suffer from that. They can’t let go of past feelings

Moon in the 9th House: They are so smart, a lot of people with this placement have a photographic memory, like they are able to remember every single detail. They are people who often feel either connected with their religion and practice, or they are connected with their education, their traditions and overall values. they can have such impactful, deep conversions as well due to the way they are passionate about these things. 

Moon in the 10th House: Their whole well being is only based on one thing: their status and their career. Nothing much is important to them other than what they are able to bring into life for themselves. some people might think that they are arrogant or lack emotional maturity, but this placement is actually a placement that demands to be stable in their overall life, in order to be able to be healthy emotionally 

Moon in the 11th House: Their friendships are super important to them, but so is their social reputation, their emotional well being is often tied with how well they are perceived by others. They want to be seen as reliable and cool, for some even popular. They easily make friends but they get attached quickly as well. they have a strong manifestation 

Moon in the 12th House: Similarly to the 6th house, people with this placement can have some struggles with their emotions. yet they can also be so damn intuitive and have gifts when it comes to the spiritual world and the sensing of the spiritual world. Yet these people are also seen as weird by others and because of that they can feel lonely all their life. they self sabotage themselves because of that 

[pyxxiestyxx]

Comforting Honesty

"Do you know what this is, petal?" I frowned at both the affini preforming the Wellness Check, and the soft little thing it held in one massive hand. Well, small for her, anyway. The plushie was sized for someone of my height, a miniaturized version of a Khetari, complete with soft eyes and the expressive smug little face.

"Its a stuffed plush, similar to ones I've seen florets dragging all over the starsdamned place. And if you're trying to be subtle, you're really not hitting that mark. I don't appreciate the- OW!" I yelped and leaped backwards as the affini withdrew a vine, the needle-tipped flower on the end still dripping bright blue with something. Some...some xenodrug, obviously. I rubbed my neck where the injection had occurred, sulking. "That wasn't necessary."

"Oh, my apologies. As you said that you 'didn't appreciate subtlety', I thought it may be better if both of us were upfront and honest about things." The affini's eyes were sparkling in swirls of purple and gold, and I was suddenly reminded of just...just how tall she was compared to me when she rose to her full height. I took a few nervous steps backwards, and she countered by taking a single step to match. One. Step.

She continued in a lower, throaty purr, "Let me be clear then, petal. This is a plushie, yes. It is being given to you for several reasons. Firstly, your brain has been conditioned through your culture to bond with those who give you gifts. You don't even have to accept the gift to have this process happen; the mere offering is enough. But you will accept it, flower." I swallowed nervously at her words, the directness of them.

"Secondly, it is because this will help you get into a headspace much more befitting of a seed like you. Because yes, you will be carrying this around, at all times. Just. Like. A. Floret." With each word, her eyes pulsed brighter, the words branding themselves upon my brain.

"Thirdly, this is a special plushie. In this is a device that will output my biorhythms. Ah, and by the look on your face, you know exactly what those are. What those represent." I took another few steps back, but tripped on a box of something behind me that I had forgotten to clean up. In a flash of movement the affini was upon me, vines curling around and cradling me, pinning my arms to my chest and winding under my chin to tilt my head towards her.

"We prefer not to reveal all this at once, of course. It can be...intimidating to a sophont at first. But don't you worry, my darling floret-to-be. If you ever feel scared over the next...mmm" She tilted her head in thought, then smiled viciously. "About three days, if I were to guess. Three days until you break for me, until you beg for me to hold you in my vines again, to keep you safe forever."

I felt something soft and warm and...and ever so slightly comforting in a way I didn't understand press into my chest as she wrapped my arms around it with a smile. "And in those three days...if you ever get worried, or stressed...all you have to do is cuddle with your new plushie~ Isn't that wonderful?"

[catskets]

A more in-depth guide for creating visual novels, especially in the horror, horror-romance, etc circles

Some of you have seen my previous, smaller post on crafting visual novels, especially in this little space of Tumblr that a lot of us have found themselves in. Since that post took off, I've wanted to create a longer guide to help touch on some points I've thought about for the past few months.

In case you've never heard of me, I'm Kat, also known as catsket. I have a Bachelor of Fine Arts in Game Design. I've been making games for nearly 5 years, and I've been doing visual novels more "professionally" for 2. You may know me for Art Without Blood, 10:16, God is in the Radio, or Fatal Focus. I'm here to help you make your first visual novel.

Please note that my advice does not fit everyone, and you may disagree with what I say. That's okay! It doesn't work for all. That's why there's thousands of resources out there.

FOR THOSE OF YOU WHO HAVE NEVER MADE A GAME

So, you have an idea for a huge visual novel. Horror, a shady and obsessive love interest, a little bit of woo-hooing. 100k words. Maybe a million. What is this, the 07th Expansion?

I notice a lot of people getting into visual novels are artists first. That's okay! I wanted to do art for games before I realized how much I enjoyed writing. And even less of you have probably touched Visual Studio. Again, perfectly okay. We all start somewhere.

My number one piece of advice? Make shitty games.

What does that mean?! My recommendation to those who have never done games is to make a bunch of shitty ones. Think of a theme, or hell, even join a game jam, where you make a game that fits a theme in a short amount of time. Spend about a week on your game. Focus on making something polished. Polish your mechanics. Polish your output.

I recommend, if you can, to make at least 4-6, if not more, kind of shitty games before hopping into longer projects. Making a game is a skill, just like art, just like writing. And game development is combining ALL of these together into one big soup being stirred by a skeleton hand puppet. You'll get into the rhythm and see what works for you.

It also helps you learn, perhaps, the second most important thing here: do you even like making games? There are cases out there where people have created video games (not saying visual novels) just for clout. That's no fun for you, that's no fun for your players. And you might go through this process and find that you don't like making games. That's completely okay! It's not for everyone.

Also, you can use these shittier games to gather an audience. I've built my audience because, for the past few years, I've been releasing games that slowly give me growing fields of eyes every day. A success story overnight is a rare one. It takes time. It's like building a brand, but you aren't a brand, you're an artist.

REV UP YOUR ENGINES!

Ren'py is the number one engine you will be recommended. It is very beginner-friendly, with lots of tutorials, assets on itch.io to use and download, and support. The engine comes with a few tutorials in the form of games, whose code you can freely browse. This is the engine I use most often. Most visual novels you see are made in this engine.

Twine is a text-based engine that most people use for interactive fiction. You can add images and audio, though, if you don't mind messing with HTML. I use Twine for text games and for outlining for my larger games. Ever played Degrees of Lewdity? Yeah, I know you have. Don't ask why. That game was made in Twine.

RPG Maker has multiple versions and has been used for exclusively VNs if you don't mind fucking around with plugins. It can definitely give your game a super unique feel. I recommend RPG Maker MV, since it has the most resources. This line of engines usually costs money, but it often goes on sale for under $5-$15.

People will recommend TyranoBuilder, but as a user and player, the lack of options and the format the games often come in is just...not fun to navigate. It advertises itself as little to no code, but it's often evident in the final results. Some good games have been made in it, though, so if you want to use it for prototyping/practice, you can. I'm not a fan, but that doesn't mean that fans don't exist! This engine costs money.

Not an engine, but check out Ink! Super useful scripting language that's used for more professional projects.

DEMOS, DEMOS, DEMOS

You've got an idea for a long-term project, and now you want to show it to the world! But wait, wait, don't do that yet!

When should I start advertising my game? This is a personal opinion, but I say that you should not start advertising your game until 50-60% of your demo is complete. Why? As I've discussed with some fans of indie VNs, they can name quite a few projects that have been in the "working on the demo" age for 1-2+ years. I've been in the Kickstarter MMO circles. If you, making a single-player experience with little mechanics to balance and polish (aka a visual novel), are taking that long on a demo, I am going to assume the game is not coming out. There are some games I have seen out here that have been in "working on the demo" phase where I haven't seen a single ounce of what the project will look like.

What should I put in my demo? The purpose of a demo is to showcase the mechanics and the vibes and the mechanics of your game. It's a demonstration. In my last post, I pointed to the Dead Space 2 demo that was showcased at E3 (RIP), that takes place about 2 hours into the story and shows how enemies are defeated, some animations, bits of the story, etc. Usually, because it's less about mechanics and more about vibes, visual novel demos showcase a certain percentage of the full thing (5-10%.) Can you showcase the vibe of the game here and what players should expect? If not, show off another portion.

How long should I work on my demo? Before, I said 3-4 months. That can be true, that can also not be true. Think about how long the demo takes you in proportion to how long the actual game should take you. Don't put too much effort. The demo is to showcase the vibe. It's to see how much the public and fans may enjoy the game.

My game is 18+, what should I do? Make a splash screen when the game is downloaded to let players know your game is 18+. If it's going to contain sexual content, you can hide it with itch.io's adult content filter. Write it on the page itself that your game is for adults only. Don't put your demo behind a paywall. This is genuinely ridiculous. The purpose of a demo is to showcase what a game is like before a player purchases it. That defeats the point of a demo. I've seen this happen, and it discourages players from approaching, especially because most demos never make it past the demo phase. So...I'm paying you $10 for 2-3k words of a game that may never come out?

Should I make a social media for my game? YES! Go for it. These anchors are how people will find your game. Make a Tumblr and open that ask box. Make a Twitter. Go to BluSky. Advertising is not bad. Some YouTubers even take e-mail suggestions from developers. Feel free to shoot your shot. The worst they can do is not respond.

HOW TO SET UP YOUR ITCH.IO PAGE:

Getting your itch.io to a presentable state can be very challenging! There's many ways to do it. I highly recommend using this page image guide for learning how to size your images to make your page pop!

Itch.io themselves has suggested to not publish a page until the game or demo is released. You can make the page and keep it as a draft, but do not publish it until you're ready!

Your cover image is the image that will appear in the search of the website, on any front pages, in collections, and on your profile. What have I seen that works? Key art of one of the characters up close and the title of the game! If you can make it a .GIF, do it! Bitches love .GIFs!

Itch.io recommends 3-5 screenshots on your page. I recommend 1 of these 5 be a .GIF that shows how gameplay feels. This is effective, even for visual novels!

Write a 3-5 sentence summary about your game for the description. What is your story about? What is the draw?

DO NOT BE ONE OF THOSE PEOPLE WHO IS GOING TO SAY "This is not like other visual novels. It doesn't have that cheesy this or that or-" No one cares. Genuinely. You're putting down other games in your genre and elevating yourself to the pompous level.

TAG YOUR GAME! itch.io gives you a list of tags to choose from when you go to tag. DON'T USE THIS! Try to go for more specific tags. Arimia has a very good guide on how to use itch.io's tagging system to your advantage.

GENERAL GAME MAKING ADVICE

SCOPE KNIFE IS SUPER USEFUL! Everyone makes games that are way over their workload. It's okay to cut out features and add them later. Prioritize making a finished game before hitting those stretch goals.

PLAN, PLAN, PLAN! Writing outlines is super helpful. I use Twine for my outlines, because you can connect your passages together and make really well-thought webs.

IT'S OKAY TO ASK FOR HELP! Whether it's from friends, professionals, or anything in-between. They can help with assets, editing, etc.

HONE YOUR SKILLS OUTSIDE OF GAMES! Write some poetry. Do some sketches everyday. Improve on your craft to improve your games

MUSIC IS HARD. THERE ARE RESOURCES. Most of us aren't musicians. That's okay. Make sure the music you get for your game is allowed to be used. You can use anything non-commercial if your game will not cost money or donations. I try to do songs in the public domain or free to use overall with credit if I don't have a musician. Consult the Creative Commons website if you're unsure how you're supposed to use a certain piece of music. If you don't use the right stuff, not only can it put you in legal trouble, but it can put streamers in hot water if they play your game and they can't upload the video because music is copyrighted.

PLEASE, DO SOMETHING ABOUT YOUR UI. Wanna know an easy way to get your game to look more professional? Edit the damn UI for your game. Make a new textbox, even if it's just a black box. Change the font. Eventually, players recognize the defaults and patterns of games made in certain engines and may attribute a lack of UI changes to a developer being lazy. It doesn't take very long to change the colors around and move text! Please do it to add a little pop to your game.

DEADLINES ARE AWESOME. Not everyone works well under pressure, but if you give yourself an infinite amount of time to make something, it'll never get done. Set goals for yourself for how much you can work on something.

IF YOU HAVE TO GIVE UP, GIVE UP. Making things is hard, especially long-term. Emergencies happen, jobs happen, life happens. Let your fans know that a project isn't happening anymore. Don't leave them in the dark. You don't need to tell strangers your medical history or anything, but transparency + honesty are really hot traits. You should use those in your creative work. This is one reason why I advocate for not publishing or advertising things until you know it's stable.

SHOWCASING YOUR CONTENT

People love to see WIPs for games! This is what the devlog is good for! A devlog is a post where a developer talks about and showcases some things happening in the game? What can you add to your dev log?

PERCENTAGES! How much of the artwork is done? How much of this character's route is done?

SNEAK PEEKS AT ARTWORK AND SPRITES!

GIFS! GIRLS LOVE GIFS!

Anything else to showcase your game's content! Posting consistent updates retains and even gains a fan's attention for your work.

RUNNING YOUR TUMBLR

You've joined us, and you've made a Tumblr for your blog! Link it on the itch.io page, so people can come find you after playing your awesome demo!

Do I have to respond to every ask? No. It's your blog. Delete whatever asks you want.

I got a hate comment! What do I do? Delete it and move on. I have a more detailed section on hate below.

I want to interact with [blog]! How do I do that? Reach out to the devs for silly little collabs. If you come onto a developer slightly headstrong, they might feel you are being abrasive or using them for content.

If people make fan content, interact with it! Encourage it! Reblog it. Show your love.

OTHER IMPORTANT THINGS

PROFESSIONALISM IS KEY. These may be pet projects, but you want to appear some level of professional on your actual itch.io page.

Being dismissive of player and fan complaints or criticisms will make you appear childish.

If your game is broken, fix it. I have been told by some amateur developers to ignore game-breaking bugs. It does not make me, a player, want to engage with your content. It seems messy and unfinished.

With the above point, it's 100% okay to have bugs and errors upon release. Every developer and their brood mother has. To decrease these issues, get playtesters. Friends can play your games, spot any errors, and help you point out things that can be improved upon. I recommend having playtesters at every stage of development.

Make sure your game runs before you publish it. Please.

You can still be silly and giddy! There's no reason to not be, especially when you get positive comments! The point of this is to not be outright rude to potential players and fans.

IGNORE HATE COMMENTS. In this case, a hate comment is a statement that contains no constructive criticism and are only here to be insulting or malicious. People are going to leave you with actual piles of dog shit in your ask box. They are trying to provoke you. Giving hate comments any attention, even if you're there to "clap back" proves that they got to you, even if you don't take the hate to heart. They will continue to pester you. Delete any hate comments and ignore them completely. Laugh about them with friends in a private setting, sure.

THINK BEFORE YOU REFERENCE! I know one big thing in this community is adding references to other games in yours, such as plushies of other characters or putting them on posters. The best thing you can do it ask the developer before adding this. How would you feel if some random person you've never met put your character in a video game? Most of us would feel weird and potentially violated. Open communication with devs is awesome. I am usually okay with it as long as someone asks for permission.

As a complete aside, I prefer more tasteful references to other games as opposed to 523482346 plushies and posters. These have been slightly overdone. Why not theme a candy after another game's character? Maybe your characters know each other.

OTHER RESOURCES I RECOMMEND

Devtalk is a server dedicated to independent visual novel creators. You can find jobs, resources, advice, talks, and, like, everything there! Devtalk is super useful. Everyone in there is so cool. They have a really great and comprehensive list of resources that I could not even begin to cover.

Visual Novel Design is a great YouTuber. No other words, check the guy out!

Ren'py and whatever other engine you're using has documentation that's super useful to follow.

Arimia not only has amazing VN resources, especially for marketing, but she also just has? Amazing games that you should check out?

And for a shameless self plug, I'm the lead of Sacred Veins, a collective of devs creating narrative games, whether it be horror, humor, romance, or everything in-between. Come hang out with us!

[frostyreturns]

A while back I argued tik tok was a hypnosis and brainwashing app because its function hits all the major components of hypnotizing someone: distracting audio/visual, music, repetition, eroticism etc. A lot of people think of being hypnotized only as falling into a deep sleeplike trance but there's also low level hypnotism where you may not even notice a shift in consciousness. The idea is that all of these things in conjunction relax your mind, puts your criticial thinking on pause and increases your susceptibility to accepting a desired message.

Well now I learned that tik tok "sludge" videos are a thing where they play multiple videos all at once, which also demonstrates the hypnosis rule of 7. 7 points of stimulus overloads the brain and reduces focus, because nobody can keep focus on 7 things at once your brain just kind of unfocuses making it more likely that a subliminal suggestion can take root. So if you have 2 or 4 videos playing all at once you have 3 different audio outputs, 5 different visuals it forces your brain to tune some things out and not process it with your higher cognitive functions. Hypnosis is all about making you think that something you think was your own thought when really it was given to you without your knowing. This doesn't mean these videos have to contain some hidden message...the videos themselves are just a way to soften you up mentally for videos and messages that follow...which also get curated to you.

What are the messages people are getting. I've heard for example people who were noticing they were getting fed trans topics on tiktok and were at first like...wtf this isn't for me...who then became trans. I don't use the app so I don't know what kind of propaganda people get served a lot but I'm sure its not good. Makes me wonder how much of a factor it was in peoples behaviour during covid. People were absolutely not in their right minds.

And once again even the name tik tok evokes the concept of a metronome which is a common visual and auditory tool used in hypnosis. Your phones are literally brainwashing you. Do not let your kids use tik tok.

[too-fond-to-be-fearful]

Been thinking recently about the goings-on with Duolingo & AI, and I do want to throw my two cents in, actually.

There are ways in which computers can help us with languages, certainly. They absolutely should not be the be-all and end-all, and particularly for any sort of professional work I am wholly in favour of actually employing qualified translators & interpreters, because there's a lot of important nuances to language and translation (e.g. context, ambiguity, implied meaning, authorial intent, target audience, etc.) that a computer generally does not handle well. But translation software has made casual communication across language barriers accessible to the average person, and that's something that is incredibly valuable to have, I think.

Duolingo, however, is not translation software. Duolingo's purpose is to teach languages. And I do not think you can be effectively taught a language by something that does not understand it itself; or rather, that does not go about comprehending and producing language in the way that a person would.

Whilst a language model might be able to use probability & statistics to put together an output that is grammatically correct and contextually appropriate, it lacks an understanding of why, beyond "statistically speaking, this element is likely to come next". There is no communicative intent behind the output it produces; its only goal is mimicking the input it has been trained on. And whilst that can produce some very natural-seeming output, it does not capture the reality of language use in the real world.

Because language is not just a set of probabilities - there are an infinite array of other factors at play. And we do not set out only to mimic what we have seen or heard; we intend to communicate with the wider world, using the tools we have available, and that might require deviating from the realm of the expected.

Often, the most probable output is not actually what you're likely to encounter in practice. Ungrammatical or contextually inappropriate utterances can be used for dramatic or humorous effect, for example; or nonstandard linguistic styles may be used to indicate one's relationship to the community those styles are associated with. Social and cultural context might be needed to understand a reference, or a linguistic feature might seem extraneous or confusing when removed from its original environment.

To put it briefly, even without knowing exactly how the human brain processes and produces language (which we certainly don't), it's readily apparent that boiling it down to a statistical model is entirely misrepresentative of the reality of language.

And thus a statistical model is unlikely to be able to comprehend and assist with many of the difficulties of learning a language.

A statistical model might identify that a learner misuses some vocabulary more often than others; what it may not notice is that the vocabulary in question are similar in form, or in their meaning in translation. It might register that you consistently struggle with a particular grammar form; but not identify that the root cause of the struggle is that a comparable grammatical structure in your native language is either radically different or nonexistent. It might note that you have trouble recalling a common saying, but not that you lack the cultural background needed to understand why it has that meaning. And so it can identify points of weakness; but it is incapable of addressing them effectively, because it does not understand how people think.

This is all without considering the consequences of only having a singular source of very formal, very rigid input to learn from, unable to account for linguistic variation due to social factors. Without considering the errors still apparent in the output of most language models, and the biases they are prone to reproducing. Without considering the source of their data, and the ethical considerations regarding where and how such a substantial sample was collected.

I understand that Duolingo wants to introduce more interactivity and adaptability to their courses (and, I suspect, to improve their bottom line). But I genuinely think that going about it in this way is more likely to hinder than to help, and wrongfully prioritises the convenience of AI over the quality and expertise that their existing translators and course designers bring.

[modmad]

How do you deal with being unable to draw some days? My arms have been injured this past week and I feel like I’m worthless as an artist because I can’t push through the pain. I know resting is important and my injuries won’t last forever but it feels as though a huge part of myself has been taken away from me, how do you do it?

no lie those days/weeks/months/years Suck. it's very hard to disentangle your self worth from your productivity, and I still feel that way even when I can draw, because I have to work slowly and in small amounts so that I don't hurt myself! it's maddening, but I am trying to find solice in the fact that I am not valued by my output. This is a constant process, and sometimes I forget that I am not a machine for making 'content' which will be thrown away if it breaks. I am a person and a piece of the universe, and sitting reading books and watching movies and lying down in a nice patch of sunlight is an excellent use of the precious time that I have, it is not a waste of it.

The best piece of advice I have is look at animals! Look to your pets! I adore my lovely cute lil scrungly snootle dog so so so much and she doesn't work at all! I am so happy she is in this world! I love her when she is running around, I love her when she is eating, and I love her when she is sleeping. Same for plants. You don't walk up to a tree and be like 'hey, why aren't you doing anything? meet your damn quota.' The next time your brain is bullying you for existing, turn around and repeat whatever it said to a squirrel or a bug or a cloud or a table. It helps you to see how silly it is to say it to yourself.

Still. Not being able to draw does suck. I generally watch movies and read books and do gentle exercise. Go for walks, listen to music, talk to friends about how you feel. They will care, and the time will pass. Eventually.

[not-terezi-pyrope]

Ok. It's pretty clear you are more welcoming of AI, and it does have enough merits to not be given a knee jerk reaction outright.

And how the current anti-ai stealing programs could be misused.

But isn't so much of the models built on stolen art? That is one of the big thing keeping me from freely enjoying it.

The stolen art is a thing that needs to be addressed.

Though i agree that the ways that such addressing are being done in are not ideal. Counterproductive even.

I could make a quip here and be like "stolen art??? But the art is all still there, and it looks fine to me!" And that would be a salient point about the silliness of digital theft as a concept, but I know that wouldn't actually address your point because what you're actually talking about is art appropriation by generative AI models.

But the thing is that generative AI models don't really do that, either. They train on publicly posted images and derive a sort of metadata - more specifically, they build a feature space mapping out different visual concepts together with text that refers to them. This is then used at the generative stage in order to produce new images based on the denoising predictions of that abstract feature model. No output is created that hasn't gone through that multi-stage level of abstraction from the training data, and none of the original training images are directly used at all.

Due to various flaws in the process, you can sometimes get a model to output images extremely similar to particular training images, and it is also possible to get a model to pastiche a particular artist's work or style, but this is something that humans can also do and is a problem with the individual image that has been created, rather than the process in general.

Training an AI model is pretty clearly fair use, because you're not even really re-using the training images - you're deriving metadata that describes them, and using them to build new images. This is far more comparable to the process by which human artists learn concepts than the weird sort of "theft collage" that people seem to be convinced is going on. In many cases, the much larger training corpus of generative AI models means that an output will be far more abstracted from any identifiable source data (source data in fact is usually not identifiable) than a human being drawing from a reference, something we all agree is perfectly fine!

The only difference is that the AI process is happening in a computer with tangible data, and is therefore quantifiable. This seems to convince people that it is in some way more ontologically derivative than any other artistic process, because computers are assumed to be copying whereas the human brain can impart its own mystical juju of originality.

I'm a materialist and think this is very silly. The valid concerns around AI are to do with how society is unprepared for increased automation, but that's an entirely different conversation from the art theft one, and the latter actively distracts from the former. The complete refusal from some people to even engage with AI's existence out of disgust also makes it harder to solve the real problem around its implementation.

This sucks, because for a lot of people it's not really about copyright or intellectual property anyway. It's about that automation threat, and a sort of human condition anxiety about being supplanted and replaced by automation. That's a whole mess of emotions and genuine labour concerns that we need to work through and break down and resolve, but reactionary egg-throwing at all things related to machine learning is counterproductive to that, as is reading out legal mantras paraphrasing megacorps looking to expand copyright law to over shit like "art style".

I've spoken about this more elsewhere if you look at my blog's AI tag.

[sapphic-agent]

You wanna know who the #1 beneficiary of the tech power creep is in this series? Momo. One thing this mech suit shows is that Momo totally wasted her time trying to beat people with sticks. The idea of trying to create items in a battle as a form of problem solving is stupid, or at best, should be done as a last resort. Her power was always meant for technology. That's the true power in this world. She should have been trying to be Ironman. You know how All Might spent his fortune on the suit, and that was meant to be a limiting factor as to why this tech can't be widely used? Well, guess who has the ability to generate materials with no cost. Even the idea of her inventions requiring studying to make things more complex stops holding water when you look at the torture device she tried to strap Midoriya into during Class A vs Deku. She made that in an instant and it posed an immediate threat. What could she make if she wasn't trying to do it during stressful battles with enemies right in front of her? So, her limiting factor really is her ability to study advanced concepts and have people explain them to her, and most importantly, what an author is willing to let her do. The path forward for her was always to pay people smarter and more educated than her to invent things and then she can have them explain it to her so she can recreate it. If her family had paid the cost to design that Iron Might suit, then she'd pay it. Once. And then be able to use the schematics to create as many of them as she wants. Or better yet, make killer robots except use the tech inside of the suit. Create an entire army of them so she never has to be in any sort of danger at all. Control them remotely. UA has been shown to have advanced AI robots who have personalities. Said bots have enough restraint to never kill any of the kids in the sports festival or entrance exam. This could be used for hero work. This also gets into what a valuable resource Mei Hatsume is and how if you wanted Momo to be a god, you could just have them meet in middle school. Mei just has to design a working device, once, and then Momo can study it and forever use it. What could she come up with, if the idea was that Momo would hide somewhere, perhaps in an APC, while she uses drones and robots to fight at a distance? Energy/food costs for her also aren't a concern. She's clearly able to output more energy than she takes in, given she can create cannons and things that weigh more than her. So she could use up all of her lipids creating a dead meat cube that contains as many calories as she's capable of packing into an object, then eat it. And repeat this process as needed.

This is definitely interesting.

Momo absolutely has the potential to be the most OP in the series. Horikoshi originally wanted to give her quirk to a pro but recognized that someone experienced would nerf the entire story.

I don't necessarily think that making things for problem-solving is the issue; I think it's way more that Horikoshi just didn't have the creativity for it. Like you said the entrapment device she made during 1A vs Izuku was maybe her most effective creation. Instead of disinfectant, imagine she made poison gas and simply knocked Kendo and the other 1B students out (not sure if she can create chemical reactions, but she could theoretically cause one by using components right).

I doubt she would be comfortable doing next to nothing as a hero. I do wish we knew her motivations, but relying purely on her money while doing minimal work doesn't paint a great picture for her. I like that in canon she doesn't rely on her status or wealth for hero work, she relies on her intelligence.

Momo should be an underground hero. She could be the equivalent of Batman (no this isn't my love for Batman over Iron-Man talking), strategizing and having any gadget she needs at her disposal. I would love to see more tech incorporated into her work as a hero. I also wouldn't mind the bo staff if she was allowed to actually use it like a bo staff (seriously she barely does anything with it what's the point of giving it to her. Nah give my girl a sword and let her cut people)

[apas-95]

"Heya."

"Hey."

"Ready to clock out?"

"God, you know it. Alright, handover - everything normal, system 7 is still down for work so make sure that whole section isn't energised."

"Wasn't it supposed to be back up already?"

"Eeyup. Other than that... uh, a node in block 12 started reporting processing mode 1."

"What?"

"Yeah, 12F3, if you remember it. It was running pretty poorly, we lost connection with it for a moment, and when it was back online it was reporting processing mode 1."

"But it's a mode 2 node, right?"

"Yep. I don't know how it happened."

"Whatever the problem with it is, it must've somehow confused it, I guess. You report it?"

"Yeah, technical says they'll have someone down. Weird thing is... hm."

"What?"

"Well, I mean, it kinda fixed the problem. The node efficiency went from around 70% of nominal before the switch, to just under 102% after the switch."

"...That can't be right. It's gotta be running hot or something, this could be dangerous."

"See, I thought the same thing, and I had a good while at the station, so I got the idea to check through the logs. Input/output for 12F3 hasn't actually changed all that much, it's just that the processing it's been doing fits mode 1 a good bit better than mode 2."

"Wait, and the rest of the block is just running as if it were an extra mode 1 node? That's..."

"Weird as fuck, yeah. Anyway, technical should be down during your shift to set it back to mode 2, or disconnect it, or whatever, so keep an eye on that."

[13mo]

ive been following u for years, u havent been posting for so long, so i wanted to ask if u will ever be back nd posting again? love ur art nd i was just curious whats happening nd what to expect. don't plan on unfollowing regardless tho love u hope ur ok

I have quite a few asks to this degree so I feel it's important to answer than mentally avoid them for the rest of my blogging career.

I have really lost my drive for digital art and drawing all together. Basically, the last time staff tried to delete my blog, it forced me to realize that if this one ever disappeared, it would end every thing. The only remnants I would have would be from random reblogs, stolen reposts, or the random things on the wayback machine and pinterest. If years of my art & my progress would mean nothing & be gone in an instant, posting here at all began to mean nothing.

I don't appreciate how tumblr treats it's marginalized users and I know this is a rising concern with plenty of other users.

I also stopped drawing consistently around the time I graduated and moved across the county. Where some people flourish from such big changes, I did not. I lost all creative drive from the struggles of adult life, finances, time management, and so on. It happens! LOL

Genuinely, the lack of creative output in my life was depressing. Making art depresses me, not making art depresses me. It's an ongoing process to convince myself it is still worth the time and effort. I hope to someday get back in to the flow of creativity that use to encompass my (entire) life. I actually plan on it. However, I don't know if I'll ever feel up to start posting here consistently again. If I do, it might be a while.

I appreciate all of your concern and support. The years we've put in to this blog, the friends I've met, and the memories I've made have been wonderful. With that being said, I really wouldn't be so hurt if you unfollowed me:-)

[silverskye13]

Being the universe's smartest super computer still made for a derpy, non-functional person. It was really easy for people to get caught up in the Cool Sci-Fi Shenanigans of cyborgs and robots and forget how awesome and powerful organic, sentient life was.

For example: Xisuma has a perfect memory. If someone gave him a date and a time, he could scan back through his memory logs, replay recorded data and footage, and tell you the exact recipe he used for those vegan cookies that one time six years ago. He knows the ambient temperature of a froglight that's been submerged underwater for six hours, three minutes and twenty-nine seconds. He can rewind a recorded memory, pause the time lapse, and watch in slow motion as Grian breaks a stone block at spawn with his bare hands because he was bored during their intro-season speech.

However, recorded data takes up a massive amount of memory on a standard hard drive when you record everything you see as a passive function, and all of it has to be purged by hand, regularly, just so Xisuma can maintain the memory needed for daily functions. He's tried writing algorithms to do it for him, but even the best pattern recognition software can't account for his momentary preferences. What differentiates his favorite sunrise from any other? If he were human, he could program some kind of learning software using data from tables tied to the output of different brain chemicals and electrical pulses that most frequently line up with a formative memory -- but if he were human he wouldn't be making a program like that in the first place, now would he?

It's one of those long, long days of trawling through recorded data. It would be shorter if he would just parse through the most recent memories, but he likes keeping long-term memory storage at exactly thirty percent of his total data storage, and he's been resting at thirty-four percent for the past month. Putting off the inevitable. It's just, there's been a lot of stuff to remember the past few weeks, and it's hard to choose what to get rid of sometimes. He's started deep-diving through old data, walking down memory lane. He has to be careful, some of this data is important, tied intricately with the complex spider algorithm that forms his memory data access system.

Click! Click! Click!

"What are you thinking, X?"

The screen that makes up the lion's share of X's face organizes itself into a smile, lights flickering on in the nanoseconds it takes him to process the memory he's watching and attribute happiness to it. Yes, this is a good one.

The playback jolts as he looks down at Tango. Not pictured is a redstone project they are picking away at. Xisuma knows this because this particular memory has a transcript, full of branching tags and keywords that pull up a wealth of information alongside it.

That's another thing about memory that organic life never appreciates. Memory isn't just the memory itself. It's a web of associations built on prior, learned knowledge. A tree isn't just a tree. It's color and texture and symbol and "when was the first time I drew a tree?" and "apples" and "saplings" and a thousand other tiny associations they just arbitrarily have. Xisuma has to synthesize that web. A memory doesn't exist in a vacuum. Unlike the organic mind, however, Xisuma can pull up as much accurate information as he has the processing power for. This memory brings him two more closely associated recordings, associated memories he's kept for context, the transcripts of six more deleted memories, the definition of redstone, a playback of isolated sound he deemed important.

The playback continues.

Click! Click! Click!

"What are you thinking, X?"

"Oh, I'm sorry Tango, I didn't know you'd walked up! I was doing research."

"Yeah? What kind?"

"Oh well, you know the new update. Redstone's always a little finicky after."

"Right, yeah, totally. I've been putting mine off, honestly. I don't feel like fixing broken stuff right now -- oh but, I guess you can't wait, huh?"

Xisuma parses through the data brought up with the memory. He knows the date this was recorded, the recent change to redstone mechanics brought on by the server update. He'd had three farms break. There was a linked document to a transcript of Doc's rant on redstone as it relates to radiation. There was a script note document typed the day after this recording was created: Clicking Good. There was a preliminary version of what he'd nicknamed "The Tick Script.Exe".

"Yeah, I've got a lot of bugs to fix."

"Are you going to get rid of the clicking?"

"Clicking?"

The clicking was an ambient noise made when Xisuma's system was a bit bulkier, his algorithms and scripts that handled memory and data access crude and unperfected. It caused a disc in a driver somewhere to click when he did searches. At the time, the clicking had been the closest thing to an annoying habit Xisuma could manage.

Computers don't have habits. Habits are repetitive motions that become subliminal, that take effort to break, and are oftentimes formed subconsciously. Xisuma doesn't have a discernable difference between conscious thought and subconscious. He has background processes, he has backburnered data, and he has executive commands.

Xisuma queries the memory, pulling up related tags and searches, letting the algorithm reach. This memory had been the start of a, for lack of a better term, humanification process for him. There was his observation table on organic ticks, habits, and movements. It had taken a lot of uncomfortable staring, but back then, staring was all he'd known how to do. One of the first entries on the table was blinking. Organic things blinked, clearing away dust and debris from lenses and membranes. Xisuma didn't have eyes, didn't blink. But the screen that managed his facial expression animations could be programmed to blink.

Xisuma queries blinking. He pulls up a transcript of an interaction with Stressmonster, where she mentioned he blinked every thirty seconds. She knew this because when she first noticed him blinking, she'd noticed it's regularity. That was when Xisuma learned that, to convincingly blink, time variation was necessary.

Coding randomization into redstone circuitry had always been difficult.

Xisuma returns to the Tango memory recording, replays the question about the clicking, the unintentional habit. Xisuma still clicked when he thought. The others probably still thought it had to do with bulky drivers. In reality, it had been a test in trial and error.

How many clicks was acceptable for a thinking pattern? The three dot ellipses was common in writing, and a two dot pattern was too reminiscent of a heartbeat. When he'd temporarily switched to a four dot pattern, he'd noticed people getting impatient, or worrying if his mechanics were stalling. (Stalling and slow loading does sometimes happen, but it manifests in freezes and long pauses, not in repeating clicks). He invented a three click pattern, tested a variety of click sounds, settled on something similar to a rotary phone click when a number is dialed. It was a good sound. Heavy and sharp. It sounded like something falling into place with intention. Click! Click! Click!

Xisuma doesn't actually need a sound to think. But it's a clever replacement for harder to code things, like remembering to two a surface or fidget.

Click! Click! Click!

Shifting weight had been a harder thing to code. Standing stationary, legs an equal width apart, was the most steady way to stand. It also made him look like a statue, made his unblinking stares eerie and uncomfortable. Organic things read it as unnatural, borderline on predatory. Large predators often froze and stared right before pouncing.

Looking back through old memories, Xisuma could tell if they were from before or after his algorithmic programming because of how still they were. Made for clearer visuals, and he knows in high-stress situations that focus on accuracy, he can cycle them off, but they're comfortable for people to watch.

Xisuma rocks back on his heels away from the screen he's watching. If someone else were in the room, it would be a sign of thoughtfulness. For him, it's the execution from a random table of acceptable fidgets while standing still. He should turn it off. He's alone right now. But sometimes the movements still catch him off-guard and the longer they run, the more he gets used to them.

Xisuma queries: rocking on heals

He gets a handful of save recording bits. Doc rocks onto his back legs and stretches his forelegs. Gem rocks back and forth on the balls of her feet, her arms crossed behind her back, mischievous and excited. Scar rocks back on his heels and crosses his arms, thoughtfully examining some terraforming. Xisuma isolates the last recording and mimics it, feeling how the weight of his crossed arms counterbalances the lean back.

Xisuma queries his habits table and adds the motion to the list.

He never quite figured out how to program what to do with his hands. They spent a lot of time at his sides, or in pockets. Objectively he knew that was bad. Hiding the hands was often a sign of hiding something, and he liked being transparent.

Xisuma queries: Hands

Xisuma blinks at the long list of results.

Xisuma queries: Hands behind back

He gets several animations of Gem, Grian, and Scar, all with some variation of hands behind their backs and mischievous grins. Most of them are snippets made for studying purposes. Two are attached to longer videos, catalogued memories he's kept. His query returns almost four hundred memory transcripts.

Xisuma likes making transcripts. He feels it's similar to the hazy, distant memories people have when time and distance transform them. When someone else remembers something falteringly, he remembers the way he described it to himself. The older transcripts were rougher. He's gotten better at writing them over the years. His learning and pattern recognition softwares are still pretty good, even if they aren't perfect enough to manage the full range of expression on their own.

Xisuma queries: Do my friends know how hard it is to look organic?

This returns no direct results. He receives a directory of the people he's flagged as "friends" over the years, an article on the recent organics additions to the world in the latest update, and a handful of unrelated memory documents where he'd asked this question before and similarly pulled up no response.

Xisuma queries: Do I care?

This pulls up more entries. Xisuma glances across them and clears them.

Xisuma queries: Do I care today?

This pulls up only slightly fewer entries. He smiles. Asking subjective questions to a computer never gleans intended results. Computers aren't subjective. Or, well, they're not supposed to be. Of course, if he were merely a computer, he wouldn't be doing this, would he? If he were merely a computer, he would be sitting on a shelf, or a desk, running prewritten programs and searches for someone else, letting someone else build his code, rules by the guidances and intentions of someone who ultimately viewed him as a tool, if nothing else.

Xisuma queries: Who's flying this thing, if not me?

He pulls up a list of song lyrics and chords, a clip from a movie he'd watched once, an IMDB rating off some database somewhere.

Xisuma clears the data. He pulls up the last memory he was watching, rocks back on his heels and crosses his arms thoughtfully. He presses play.

Click! Click! Click!

"Are you going to get rid of the clicking?"

"Clicking? Oh, I guess I am clicking, aren't I? It's just an inefficiency. I'll fix it at some point, I guess."

Tango smirked at him. One of his hands plucked at his sleeve. Xisuma clips the motion, tags it with hands, nervous, thoughtful, fidget.

"You sure it needs fixed? I kinda like it."

Click! Click! Click!

[comicaurora]

Hi! I'm a big fan of your work. Thanks for taking the time to read this.

 I'm an artist who's been working on a story with a close writer friend of mine since the pandemic. Together we've outlined a webcomic that we're both very excited and passionate about, and it's been a great experience. Late last year we started actually making the comic itself, and a little less than a year later we're 37 pages in. 

I wanted to ask you how you're able to somehow push out three high-quality pages every week? I work full time, and most days I'm too drained when I get home to immediately start working on the comic. Plus all the other stuff I have to take care of to be a functional adult. I'm not even that slow of an artist, but it just doesn't feel like there's enough hours in the day. At my current rate, I get about one page done per week. I'm 24 now, I don't want to be in my 50s still working on this story. Do you have any advice for increasing your output as an artist without completely overwhelming yourself?

Sorry for the wordy question. There's a reason I'm the artist and not the writer.

Oof, that's a tough one!

I mean, to start with, a fundamental difference in our schedules is I don't work full time. Everything I do for a living is very self-scheduled, and I can work far in advance to meet the deadlines I set and take entire days or even weeks off when I need them. Back when I was in college, dealing with outside schedule requirements, I definitely wouldn't have been able to keep up everything I do now.

That said, there are still methods to streamline and speed up the artistic process. I don't know the details of your methods, but I'd recommend sketching and storyboarding larger numbers of pages at a time and finalizing them at a more leisurely pace, rather than taking one page of comic at a time from a total blank to a finalized, polished version. The storyboard can be very basic; many of mine are little more than color-coded scribbles showing the characters and text boxes showing their dialogue. It's just enough to be readable to me so I can go in and edit it for pacing and timing, but it looks like absolute chickenscratch to anyone else. On the production side, that makes it much more feasible for me to work on multiple pages at a time, since I don't need to finish polishing one page before I can start boarding another.

This method can be expanded into a bit of a factory production line, allowing for a two-pronged approach of progress - one for finalizing older pages, the other farther along for storyboarding new ones. And once you have multiple pages done at a time, you can schedule them well in advance, which takes a lot of deadline pressure off and can make it less mentally daunting to work on. This also diversifies the space of things you can work on, depending on your headspace and energy levels - which is a useful option to have when you're wiped from outside responsibilities.

[reimenaashelyee]

Hello what do you think of Ai generated artwork and videos?

I have a whole entire blog post I wrote last year btw: The Rise of the Bots; The Ascension of the Human. (Reading it again a year later I am glad I am still validated in my thoughts)

My entire being and output as an artist is rooted in process, thought, craft and connection. I am open about my process and I share/create resources constantly. I have literally experienced the thing people mean when they say 'art transforms you' just by being so close to it every step of its making. All my comics have this centrality of personhood attached to them - if it's not obvious that the artist's hand (me) is in it, there is the characteristic focus on our emotional/cultural/artistic thread across history. Just as NFTs and what they represent were antithetical to how I interact with the world as artist and audience, so is the use of so-called AI art. NFTs and AI Art share a common hype cycle / speculative mania that comes out from an annoying vulture mindset that only knows how to eat itself to fill its belly, so I don't expect it to last too long. However I don't appreciate the damage both things have done to the utility of the internet, the degradation of art as a commercial pathway and the destruction of the image as a historical/educational/legal tool. (Which is why I am becoming more underground and turning towards alternatives like the Web Revival, small presses, curated resources and in-person communities)

The technological concept around LLM (pattern recognition and matching it to a goal), especially for medicine and statistics, is not itself problematic, especially when it follows ethical and data handling regulations that have been defined. However, when people talk generative art, what we are talking about, and fighting against, is the exploitation of resources and labour, and the further disconnection of worker = labour, human = society artificially imposed by the Corporate MBA / techno class in the pursuit of infinite stockmarket growth which then introduces a type of brainrot that can only think of things as producing value in relation to how fast one can seize for themselves Westernised Ideals of Fame and Fortune. Also like, this whole AI thing is part of the degradation of entertainment (the loss of small-to-medium outlets, constant mergers, nobody owning their digital streaming products they bought, the laundering of journalism/curation into press releases), the internet (the algorithimification of everything, constant spam, search engines getting worse, the worsening of socmedia as a tool) and the intellectual rigour of all information.

It's all part of this rot that's spreading outwards.

TL;DR bro I make all my art by hand and I am a nerd about informational integrity

[tropylium]

How to be More Agentic

Ask for things. Ask for things that feel unreasonable, to make sure your intuitions about what’s reasonable are accurate (of course, try not to be a jerk in the process). If you’re only asking for things you get, you’re not aiming high enough.

(We have a saying in Finnish, roughly "darers will dare", with a connotation that well someone's gotta, or else things will not get done… "Daring" is a relatively general pro-agency sentiment but the "darer" part is important also I think; once you have a thought like "oh yeah I'm an asker I will sometimes ask for stuff" about yourself, that already makes it easier to ask, even if you still feel skittlish about rejection or similar)

It’s hard to overstate how overpowered [seeking feedback] is. If you aren’t trying to get real feedback from people who know you, you’re cooking without tasting. This is, like, the lowest hanging fruit for self-improvement, but few people really try to pick it.

(Note to self yeah, I think I can function decently with relatively little social contacts but it's felt for a long time that I am nerfed by not having good sounding boards for talking ideas about my life over with)

Most subject matter is learnable, even stuff that seems really hard. But beyond that, many (most?) traits that people treat as fixed are actually quite malleable if you (1) believe they are and (2) put the same kind of work into learning them as you would anything else. As you might gather, I think agency itself is a good example (…) Many other supposedly fixed traits can likewise be altered. Some other things you can learn: confidence, charisma, warmth, tranquility, optimism. Someone recently asked me how one might go about learning charisma, and the answer was really boring: by reading a few books, watching many hours of charismatic people interacting with others, and adopting a few of their habits. This is surely a plan of action most people could come up with if they didn’t have the notion that charisma is innate lodged in their heads.

(A.k.a. "growth mindset", and crucially yes!, it is itself learnable, learn some of that first of all and it will help you with many many things)

Burnout is the ultimate agency-killer. This is so true that I’ve learned to identify a reduction in agency as one of the first signs of burnout, one that shows up even before I consciously realize what’s happening. A switch flips and I start looking for ways to rule out ideas and actions, to conclude they won’t work or aren’t necessary, rather than chasing better versions. (…) This might be the most important item on the list. It took me almost 40 years to learn it, because my instinct is to think more hours mean more productivity as long as you’re really trying to be productive -- that’s just multiplication, right? No. The reality is that grinding, even if it temporarily increases output, kills creativity and big picture thinking. My rule is never to take instructions on how hard I should work from someone who hasn’t burned out before. Very few people take this seriously enough.

(Extremely true. No amount of exerting agency helps when your issue is burning out for overexerting. Take breaks, don't expect to get miracles done by any set point in your life, learn your limitations; might be a good idea to work on them too but ignoring them doesn't get you past them one bit. "Your body will schedule maintenance for you if you don't")