Now that 2025 has forced everyone to learn about Charlie Kirk and Turning Point USA, what I want to see in 2026 is for everyone to learn about bait.

This applies to myself as well. If I see someone being unhinged, the strategy is to immediately block and ignore. If they are unhinged in real life, I will block and ignore them in my heart.

We only have so many days on this earth. 🍵

2025 has been a productive year of writing lyrical and well-crafted short stories with unique and original conceits, but this has gotten me nowhere. Now that the semester is over, I will write what people actually want to read. I'm planning a multichapter fanfic titled "Bowser's Massive Cock Challenge," and it will be about... Well. I'm sure you can guess.

I'm not joking btw. Readers need joy, and writers need positive feedback.

(And purity advocates need to go fuck themselves, perhaps literally.)

Misao
https://store.steampowered.com/app/691450/Misao__2024_HD_Remaster/

Misao is a short 16-bit indie survival horror game originally released in 2011 and then published on Steam as a remastered edition in 2024. The game is set in a high school that’s been transported to a demonic realm by the vengeful spirit of the eponymous Misao, a beautiful but quiet girl who mysteriously disappeared three months prior to the opening of the story.

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If you’re not a completionist, Misao takes about two hours to finish, allowing the story to make an impact without testing the player’s patience through needless puzzles or gameplay challenges. The haunted high school setting is creatively rendered and a lot of fun to explore, even if the open-world structure is admittedly a bit overwhelming at the beginning.

The deaths are all very disturbing, but the retro graphics allow the game to feel campy instead of creepy, so much so that Misao sometimes feels more like a comedy than a horror story. I grew to feel a begrudging sort of affection for the characters, but I can’t deny that I had a huge smile on my face as I watched them get picked off – and really, good for Misao. I support her.

For the past twenty years, two things have been happening in 2D animation. First, American studios have been offshoring in-between frames to Asia (as was the case in Adventure Time and Steven Universe). Second, Japanese studios have started to do the same thing after being accused of literally killing young people in their own industry by forcing them to create in-between frames under grueling conditions. I've linked to and excerpted two articles under the cut.

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To me, the antidote to the "line must always go up" issue with larger studios seems to be smaller studios that are largely independent from such concerns. The problem is that, especially for 2D animation, production is extremely labor-intensive, mainly because of the necessity of creating in-between frames. If you're a manic college student whose body still works, maybe you can do this labor, and you can do it with joy. Back before everyone deleted their accounts, however, Twitter was filled with comics drawn by indie animators in their late 20s explaining why they were quitting: working that hard fucks you up both physically and psychologically. The labor is literally disabling.

Based on the foundation of work pioneered by 3D animation, the generation of in-between frames by AI could be a good and useful application for the technology as a labor-saving tool. It has so much potential, and I hate that it's being used against artists, specifically with the aim of eliminating them entirely. The technology has an amazing potential to solve critical problems that have persisted in the animation industry for decades; but, instead of empowering artists, it's become an existential threat. This is dystopian, and I hate it.