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mythrilthread · 3 months

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My magnum opus, the jewel of my Binderary round-up, the result of four months of hard work (that is to say, a lot of force applied over distance), the project affectionately known as The Motherfuckers (because it was rather unclear if I was going to finish these books or if they were going to be the end of me).

Force over Distance by cleanwhiteroom. It is currently also on AO3.

I was first introduced to this incredible story by a dear friend, who first sold me on actually watching SGU, and then said that they remember this fic since like 2011, which is always a promising sign. I went digging and found out I was in luck - the story was being rewritten and reuploaded on the author's blog. The next two weeks are described by the same friend as "one of the scariest moments in our cohabitation" as I'd spent literally every waking moment injecting the story directly into my eyeballs, and let me tell you, I'd not been doing a lot of sleeping at that time.

Then I gathered up my courage and reached out to CWR re: my burning desire to bind this story. And the rest, well. Let's dig into it, shall we?

This was my first time typesetting 540k words. Considering I tend to prefer larger font sizes for increased legibility, it was immediately obvious that this was going to be a multivolume project. I settled on three, as it's the relationship between three individuals that forms the core of the story.

I also knew I wanted to keep the typeset in black and white, but play around with light and dark a lot. So I did. One of the first design idea I actually had was the way I wanted to handle projected speech. Mental link between Young, Rush and Destiny is THE most vital part of the story, and I wanted to make it immediatly obvious. I also wanted to be able to take one glance at the page and tell how much of the action is actually just two guys staring each other down :) Hence the blackout effect of thoughts being represented as light over darkness.

I also wanted to preserve as much of my reading experience as possible. So I saved all the chapter quotes/summaries in the TOC, and hid the chapter content warnings in the frame of the gate that marks the beginning of each chapter. For most of the chapter the warnings stay the same, so after a while you stop really noticing them, but then you open a new chapter and see that the familiar shape of the words has changed, and get this UH-OH feeling. Which, I think is very much how it works in my design, because when the warnings change there's usually another line of text added.

For flashbacks and dream sequences I switched from italics to a lighter shade of gray. I woudn't say it's more legible per say, but it's in keeping with the overall light/dark theme.

There are instances of people using handwritten notes in the story. I collected more than a dozen of assorted handwriting fonts, with each character having their own "handwriting". So when, for example, someone begins writing in someone else's hand, you immediately know it.

The most insane, labor-intensive part of the typeset, however, was the way I decided to handle the Ancient translations. CWR's gone through the trouble of setting up hover-to-discover for it, which gives you a very different reading experience than, say, having the translations in the endnotes. So, naturally, I said to myself that I want to replicate that, and footnotes just won't do the trick. So. Every instance of Ancient in the text has an underlay of light gray Ancient script. And an OVERLAY of paper vellum with the translation printed in blue. Now, not to toot my own horn too much, but if looks SICK AS FUCK. You also MAYBE SHOULD NOT LIVE LIKE THIS. For the two copies of this work I had to cut up 10 sheets of vellum into strips, and then spent from 20 minutes to an hour per volume tipping the strips in their proper places. I then had to wear kinetic tape on both my hands to help with the joint pain. (It was worth it.)

Now for the title spread. It is also paper vellum that you see as soon as you turn the first page (the half-title), and see it covering the title of the book and author's name. And then you turn it. And the shields sing the matter wave of Destiny through the black. And yeah, I think that's very, very clever of me, actually.

Then, of course, were the endpapers. All 12 of them are unique abstract paintings done on black cardstock by hand with brush pens and correction tape, I scanned a sample of each set for posterity. All of them are my interpretations of characters' midscapes. For volume 1 I went with the fire wind of Rush's thoughts. Volume 2 was for Young, and I went for the reverse blackout poetry effect (because for all the mental talking they do, the unprojected thoughts are opaque to their counterparts) and all the loops, hairpins and blocks he does. Volume 3 is for the combination - Rush's fire wind, changing its color to match the circuitry pattern of Destiny's AI.

The rest, in comparison, is easy. All volumes are stitched with 3 strands of embroidery floss, a combination of black, blue and silvery-gray. The French double-core endbands are sewn in the same color scheme (though with a different shade of blue and gray switched for white for added contrast). The edges are painted and splattered to look like space.

The covers feature my (signature at this point, I guess) half-cloth river pattern, with the base being dark blue linen and the printed parts being Spitzer telescope images of the W51 star forge, Jack-O'-Lantern Nebula and the Eagle Nebula (courtesy of NASA), waxed by hand for added sheen. The spines are foiled in silver with a foil quill.

Each set is 5 pound of solid hand-crafted book, with one set being my personal copy, and the other sent as a gift to the author.

And that's it, folks! This has been an incredible project to work on, and I'm very proud of what I achieved with it.

#mythril thread books #bookbinding #ficbinding #fanbinding #binderary2024 #stargate universe #sgu #force over distance #stargate

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netflix · 8 months

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Spotlight: Adam Stockhausen

Production Designer, The Wonderful Story Henry Sugar

Oscar winning production designer Adam Stockhausen (not pictured above, that’s Benedict Cumberbatch), whose work you may know from Wes Anderson films like The Grand Budapest Hotel, Asteroid City, The French Dispatch, Isle of Dogs, and Moonrise Kingdom, as well as titles like Bridge of Spies, and West Side Story (2021), took the time to answer some questions.

Which details from or aspects of The Wonderful Story Henry Sugar did you focus the most on while adapting it to the screen? How did you meld Roald Dahl and Wes’s worlds?

The details on this one started with Dahl’s writing hut! We matched the details pretty carefully and exactly. As soon as we step outside of the hut though we start to move through the world of the story and the world of the stage at the same time. Wes had the idea of how he wanted to do this from the very beginning. My main challenge was trying to figure out how to pull it off—making the parts move and getting each to have the right detail.

What’s a small change you made on a project that ended up having an unexpectedly significant impact?

Lots of times this happens—where what seems like a small thing at the time becomes a very significant turning point. I’m in Berlin now writing this and remembering being here scouting for East Berlin for Bridge of Spies. We were struggling to find a section of town that still felt old enough to show the early 60s, and decided to take a chance on a quick search in Poland. That quick search changed the whole production plan and ultimately gave us the look of our East Berlin.

How has technology changed the way you approach your work?

Technology has definitely changed the way we plan the work. We used to model everything in cardboard or sometimes just plan in two dimensions with pencil and paper. We can now plan in 3-dimensional space using modeling programs and see what real lenses will do. This allows for more accurate planning and makes scenery moves like the casino set in Henry Sugar possible.

Do you have any signature easter eggs you like to leave? Any small details that you are particularly fond of?

I wouldn’t say there are easter eggs in this one. But there are loads of special details! I think my favorite might be the levitation boxes where we painted a perspective view of the background onto a prop box. The actor sitting on the box appears to be floating in a very special and theatrical way.

Did you talk about reflecting the iconic Quentin Blake illustrations in production design? How would you go about doing that?

Not really. They are such incredible drawings and I’d say they’ve been inspiring me since I saw them as a child! But for this the starting point was really the machine Wes devised to move us through the story—and pairing that to specific references scene by scene.

There is such an intentionality to the aesthetics of a Wes world. Is there a set or frame that took you a long time to get perfectly right?

All of them! It’s a very labor-intensive process getting these frames right. Occasionally one will click right away, but usually it’s a process of refining and refining. The jungle for instance went from sketches to models to samples and back again several times before the final look settled.

If you had to present one frame that showcases the best of your work, what would it be?

Oh my. Maybe the jungle? I really enjoyed making the jungle!

With all the moving sets in the trailer for The Wonderful Story Henry Sugar, it feels reminiscent of a theatre production. Are there distinct differences in approach between film and theatre and how much do you blur the lines between them in your work?

I think the lines are blurred completely! Or maybe they aren’t even there. I love that Henry Sugar is so incredibly theatrical in its storytelling. It allows us to show the artifice of the sets all the time which somehow makes them even more satisfying when they finally do line up and create a complete picture. I think the casino set is a perfect example—the pauses where it all lines up for a second are even more enjoyable because we get to see it broken apart and sliding away.

Thanks, Adam!

#spotlight #entertainment spotlight #adam stockhausen #wes anderson #production design #filmblr #wes weaving #web weaving

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end-otw-racism · 1 year

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I’m so impressed by the energy and passion in this project, and of course I agree with the goal, but I am wondering: wouldn’t it make sense to channel some of this energy into volunteering with the OTW and implementing the changes being called for? The impression I’m getting from the OTW is that they largely already agree that the issues being pointed out are problems (as it says in the blog description they have acknowledged it years ago) and they would like to address them, they just don’t have the people to actually do that. If they did, presumably they already would have done it, right?

I’ve done some volunteer work in other organizations and every one of them had long lists of stuff they wanted to do, and every year similar wishes were brought up by new people coming in, but most of those things never happened because the people in the org spent most of their time just keeping the org running. That’s not to say that changes didn’t happen - they did, just slowly, and one at time. But each change required people in the org to either stop doing whatever work they were already doing and instead work on implementing the change, or for new people to come in and do it.

In my experience, if you want to see change in volunteer-based organizations, you need to be that change.

This response is going to be lengthy, so buckle in. And while this response may get a bit intense, it is not necessarily directed right at the asker. This is just a common deflection tactic we have seen time and again when people call for change.

To start, we’d like to remind everyone that we are only five individuals. The OTW might need more volunteers, but adding five more people to the bucket, when the OTW has around 1,000 volunteers, isn’t going to address the issue.

Secondly, it has come to light - thanks in part to our protest - that the OTW is dealing with some serious structural issues including an inability to address problems because of the over-dependence on the Legal Department. These issues both mean that the OTW isn’t in the position to onboard as many volunteers as it needs and that volunteers are being harmed while being unable to enact the change they wish to see. Adding five more bodies into the mix would just result in five more volunteers being harmed by the OTW’s dysfunction.

We have little faith that, should we enter the organization for the purpose of change we would not be undermined and hung out to dry much like Chinese fans have been recently.

We agree with you (and the org does too!) that they do not have the actual people to do the work that needs to be done. Which is why we are specifically calling for them to do what they said they would in order to get it done: hire people who can actually do it.

We currently, with this action and platform we are building, see ourselves as very much part of the change we want to see. Enacting structural change requires a multi-faceted approach. It needs voices outside an organization who are willing to speak up in identifying issues they see with the organization’s work, like Stitch and Dr. Pande. It needs the willingness of those within the organization to facilitate and enact change. But it also needs accountability. We feel our role as users impacted by the OTW’s actions (or inactions) but outside the organization itself, allows us to act as voices of accountability, to hold the OTW to its promises and demand it live up to its ideals and responsibilities. Our role cannot be fulfilled within the organizational structure itself.

Volunteering is an act of labor that we feel we are currently engaging in within a space we feel safe doing so. Asking fans of color to volunteer to make changes within an organization with known toxicity and abuse towards its volunteers, that we know does not do enough to protect even its users from racial abuse, to join up to ‘fix’ things, to expect that we are the ones that should do the hard work of restructuring the organization, is to ask us to do something for which we have repeatedly explained we are not qualified to do and to ask us to fix something we did not break.

To take the spirit of Taika Watiti this past week. We don’t want to be doing this. We don’t want to have to fix this mess. We want to be writing our silly little stories about our favorite little blorbos. But instead we have to be here, calling for the OTW to fix the mess that they created. And now, by saying ‘just go volunteer to change things from within’ you are demanding that we expose ourselves to abuse and toxicity to fix something we did not break. Fans of color did not set the current system up. We did not introduce racism into the OTWs organizational structure. Why would the only avenue for change that is acceptable be to put ourselves in harm’s way to do labor to fix something we did not cause in a space where we would be only 5 new voices within an existing entrenched organizational culture of nearly 1000 people? Where is the responsibility of the people who actually do have the power to fix things right now?

And for us to do this all for an organization that has demonstrated a repeated unwillingness to change? When we feel that the work we are doing here is just as important and valuable? Should we disappear silently into the organization so you - the passive user with the privilege to be using the site without being harmed - can continue using AO3, oblivious to the harms it is perpetuating so you can continue enjoying that privilege with a clear conscience?

Volunteering at this point seems, to us, the least effective way to actually push for change and the one that will cause us, as individuals, the most harm while doing nothing to actually change anything for anyone.

When the OTW has demonstrated actual concrete actions towards change, hired the people they have promised to hire, communicated transparently with their user base about the scale and content of the proposed changes, provided evidence of protections for volunteers from known past toxicity and clearly identified what kind of volunteers they need, in what capacity, and with specific skillsets, then sure, maybe some of us involved out here may feel motivated to jump in and work for that change. We don’t object to laboring to improve a space we love, we object to doing it fruitlessly.

However, all of the problems we have listed are characteristic of white supremacy culture in orgs: power hoarding, lack of transparency, defensiveness, believing there's only one right way, a culture of overwork, the idea that you as an individual could be responsible for the failure of the org because it is under constant threat.

In order for any of us to feel safe in actually participating within the organization, the OTW has to make the first step to improving itself by addressing their internal structural issues. It can be painful to bring these issues into the light, but it’s the only way for the OTW to move forward in a positive direction.

#fandom against racism #otw #ao3 #organization for transformative works #endotwracism #end otw racism #They made promises to make the org less racist. Until they fulfill those promises #volunteering is just jumping into a wood chipper.

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kummatty · 4 months

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Dr. Ghassan Abu-Sittah: The first is the idea that wars are not temporal events. Wars create an ecology, a biosphere in which people permanently will live, even after the political component of the war ends. This biosphere contains within it the destruction of social relationships, the destruction of the built environment that was created to protect people and creates channels of injury and re-injury that will enslave or imprison people within this biosphere for generations to come. We can see is South Iraq as an example. South Iraq, the Basra area and the areas that are demonstrating at the moment, really have not had a war for a long time, but the destruction, and the intensity of the destruction by the first American war and the second American invasion and the years of blockade create that ecology. The most interesting, or the most obscene in its ingenuity of this ecology is Gaza, because you have created a hermetically sealed space in which you are able to titrate people’s lives, and really the aim is to keep them in that zone between an incomplete life and the absence of total death. And you do that titration in the siege by allowing the different components of life to come in or denying them. So, it literally is like a chemical equation: when you are titrating life, you are bringing in more hours of electricity or withdrawing hours of electricity, you are bringing in the infrastructure for sewage and water treatment or you are withdrawing it, you are allowing food. We know that from the Wikileaks papers, the Israelis were talking about putting people in Gaza on a very strict diet, so there is actually a calorie control and formula that the Israelis employ when they allow food, medication, and medical personnel.

And then the components of death: when you control the number of cancer patients you give permits to leave Gaza, and you allow it to vary between twenty percent and forty percent rejection rate. And then during the negotiations on de-escalation with Hamas, you throw in the offer of a cancer hospital in Gaza. Then you realize that actually what you are doing is really titrating this condition. Then you have these waves, that Sharon called “mowing the lawn.” These waves of war on Gaza, the aim of them is to really even out the bumps in the system so that when there is, you’re able to kind of inflict more in terms of death than you are able to control through the siege. Which brings us to the Marches of the Return. So, the Marches of Return injured 0.01 percent of Gaza’s population within a year, which is a huge number when you think about a place of two million. The second phenomena was the intimacy of sniper fire. You do not have a process in which injury, or maiming, or mutilation, is a byproduct of the ordinance; with snippers, you are able to decide exactly where the bullet will go and, therefore, even down to which limb you want to choose. The decision to create this body of disabled young men—seven-thousand so far, that we know clinically—you are consigning to a two to three year period to up to nine to ten surgeries, that will leave them eventually with a degree of disability—then leaves you with the idea of why would you want to do this.

If you step back to the origins of the Zionist movement, what differentiates Zionist colonialism from, let us say, Apartheid colonialism in South Africa, is that, in South Africa, you needed Black labor as part of the natural resource of the country. Zionist capital does not need Palestinian labor, and, therefore, you need to use the body of the colonized in a different way, you need to harvest the body in a different way. And you harvest the body in Gaza differently by creating disability so that, economically, you benefit from being the only conduit of international aid but, politically, you are able to transform a national liberation question, an anti-colonialism question, into a question of humanitarian aid. So, Gaza is no longer about the refugees, and 1948, and the ethnic cleansing of 1948, and the denial of Palestinian rights. Gaza is about how many doctors have you allowed in, how many doctors have you not allowed in, how many hours of electricity will you let in. So, you are able to harvest the bodies, not in the way other colonialists have harvested the body for labor, but harvest the body for political capital.

To step back and then to look at the wound. And these wounds then become part of the struggle between the colonized and the colonizer. The wound, particularly because it is in its most vicious form when it is shot by the snipper, then becomes the biological manifestation of the hegemony of the colonizer over the body of the colonized. It is the permanent narrative of the relationship between the colonized and the colonizer. But at the same time, the colonized, the wounded almost reaffirmed their ownership of the wound by giving it a narrative that is a narrative of resistance. And so, rather than what the Israelis intended it to be—which is what the Israelis call in Arabic كي الوعي, which is the branding, branding in the way you brand cattle, of consciousness—the struggle of the colonized and the wounded becomes to own the narrative of this wound as a form of generating a consciousness of resistance by saying: “This is my biological manifestation of the struggle against the colonized, of the struggle against the siege.” This is in no way belittling the physical pain and the clinical suffering and the real suffering, but it is about the struggle around the wound as a space in which consciousness becomes a battleground that is being played out in the wound between the colonized and the colonizer.

#always return to this

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writergeekrhw · 9 months

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If AMPTP isn't playing ball, why don't the WGA, SAG-AFTRA, and other guilds (and their members) put together competition? As it stands, AMPTP is negotiating from a place of "They Need Us!", and they have shows in the pipelines (as well as otherwise-canceled movie projects) they can just bring out over time. The only way I can see to break that view would be to create alternatives so that they are just other options that the guilds don't need.

A friend and I actually looked into this in 2007-8, trying to figure out what it would take to start a talent-friendly streaming network (when they were just a glimmer). The answer turns out to be that creating quality film and television is VERY capital intensive. There are massive infrastructure and labor requirements. We would've had to raise, like, literally 1 billion dollars. So, it's no surprise to me that the companies who've "disrupted" the business since 2007-8, namely Apple, Amazon, and Netflix, have insanely deep pockets.

Plus, the amount of time it would take to ramp up an endeavor like that would be prohibitive. We wouldn't get anyone back to work any time soon.

It's much more likely to think we can split the AMPTP the same way we did the agents. If we can't make a deal in the next round of negotiations, which will hopefully start next week, that may be what we'll have to do.

At the end of the day, though, what most showbiz people want is a functioning studio/talent relationship in which we can all make plenty of money. We've had that before. Now things are out-of-balance. Hopefully we'll be able to close a new deal soon which will allow creatives have sustainable careers, both now and in the future.

#ask me anything #tv writing #ask me stuff #showbiz #wgawest #wga west #support the wga #wga strong #wga strike #sag strike #sag aftra

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bestworstcase · 2 months

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I am really surprised that it seems no major time fuckery happened between time spent in the everafter and time passing on planet remnant. It seems like /at most/ a week or two has passed in remnant but it might honestly be a one to one on only a few days have passed. I really thought rwbyj would be coming home to major time loss like a few months because this show is so mean and the hits simply do not stop coming

i have a lot of questions about the time skip bc of this:

rwbyxjl2 suggests that it’s only been a few weeks since part one, which might just mean from team rwby’s perspective (ie, the elapsed time on remnant while they were in the ever after is not included)?

but by the time they get back, amity looks like that. it’s been converted into a fuckoff huge battleship (<- confirmed in screenshots of the script i think eddy shared on twitter last year) which is a very time- and labor-intensive process. i also simply do not believe it is feasible for this work to have been completed in vacuo, with everything so in shambles.

so my working theory right now is that qrow, robyn, and the ace-ops rendezvoused with maria and pietro onboard amity and helped pilot and/or haul it to argus, where they rendezvoused with cordovin, who has the means to take over the amity project and get it into working order as a military vessel with a labor force drawn from argus. (giving the citizens of argus a massive project like this to focus on will also be good for morale, win-win)

global comms are still down. once the plan was squared away with cordo, qrow and robyn and the ace-ops booked it straight to vacuo to update the coalition on the pledged future help from argus. all of that would have taken a few days to a week or two, tops.

(i imagine pietro and maria stayed behind in argus to help with amity; pietro’s expertise is most useful there, and she’d want to be there for him while he grieved and worried about penny.)

qrow and the rest aren’t there during the initial memorial service at the start of the epilogue but are present in the later gathering in winter’s monologue; because the mantelian civilians are present in the first but not in the second, i assume this is not an error but rather there was a second, smaller gathering once qrow, robyn, and the ace-ops arrived and learned that rwby and jaune were gone. so i don’t think the monologues/montages are happening concurrently; they’re in sequence.

grimm attack vacuo for days. things settle down for a while, with tensions still high. merc and tyrian spring the twins within a couple days of things starting to calm down, then qrow and everyone shows up not too long after with news about amity and help on the way if they can hold out for a few months. a little while after that, the refugee ship from vale arrives and grimm hammer the city again. an indeterminate amount of time passes—i think it has to be a few months, to give the amity construction time to finish and travel halfway around the world—before reinforcements arrive from argus, boosting morale and probably giving the coalition just enough of an edge to reestablish a sense of normalcy, with the result that the crown’s skyrocketing popular support plateaus. then team rwby and jaune return.

which is a fair bit to catch up on, but also not too bad, and tracks with “when you’re needed most”—the blacksmith probably sent rwbyj to the exact moment when the coalition stabilized so that they could help figure out a plan for what comes next.

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junosmindpalace · 1 year

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I honestly can’t remember if i asked this recently so feel free to ignore if i have… but what if there was an alternate ending to the dr. stone hanahaki disease where senku reciprocates y/n’s feelings?

thank you for your request and patience! brandon mcinnis kept popping up in other animes i was watching and inspired me to actually start writing my requests. Thanks brandon. The series continues…

--- ! warnings: brief mentions of death

The Hanahaki disease was a mysterious and controversial illness learned about through the 100 tales. A woman, whose romantic feelings for a loved one were unrequited, had died from the disease that involved choking to death on flowers. The ailment was so obscure to Ishigami Village that you hardly believed in it growing up.

That was until you coughed up petals of your own. You had been reflecting on your relationship with your friend Senku, a strange man from the past who brought an extraordinary amount of knowledge to the village, when scarce known symptoms of the illness first arose. You admired him greatly and overtime realized you had developed romantic feelings for him.

But you knew how Senku felt about romance. It was completely off the table, and the thought of your feelings being unrequited accepted immediately as fact, despite not knowing for certain, sent you into a panic and triggered the beginning stages of the Hanahaki disease.

After you started coughing up more petals more frequently, you would disappear in order to sort yourself out without having to worry about a villager’s watchful gaze. As time went on, you knew that your unexplainable and sudden absences would start to become more prominent, even worse that a pattern would start to take form in them, but you thought you did a decent job excusing yourself from the start.

And you were right. Most of the villagers, even if initially confused or suspicious, bought off any and all excuses you offered, not thinking it anymore than a reaction to the weather or the intensive labor. You managed to convince most of the village, except for the leader himself.

Senku’s eye and mind were especially sharp after becoming chief of Ishigami Village. He had a lot of people to manage, and every contribution mattered to the projects they were attempting to pull off. The scientist took notice of your random absences around him, and though he thought they were suspicious, they also affected Senku in ways he didn’t expect. Somehow, they made the time the two of you spent together more valuable in Senku’s subconscious, as you seemed to always be preoccupied with something else.

Upon taking notice of the eagerness he felt when he was around you, Senku was forced to reflect. Working on science projects absolutely made Senku excited, but there was something that made the experience all the more thrilling when you were beside him helping. Whether it was a helpful hand or a listening ear, his love of working with you differed a little to how he felt about working with the others. And he realized through the lengthy periods of time that you were away from him and or the group that he missed your presence. That his thoughts would wander almost anxiously off to think about who you may be spending your time with, realizing that he preferred it if you spent it with him. And through these realizations he came to a startling conclusion- that he had developed feelings for you.

But obviously you didn’t know this, and obviously one of Senku’s first attempts at trying to get rid of these feelings was ignoring you a little more than usual like you had been doing, and during this period your Hanahaki only got worse, as it fueled your thought of Senku not returning your feelings.

The distance Senku attempted to put between the two of you didn’t work out like he wished it would’ve, and he slowly went back to being himself around you, something that both of you silently preferred. Your feelings for each other grew with each passing day, and it was killing you both, in your case literally. The ironic thing was that neither of you knew it.

At some point, Senku got sick of not saying anything. You kept leaving the group unexpectedly and he had no idea where, and for a while he thought maybe you had found out about his feelings and started avoiding him. The whole situation was a mess that somehow nobody caught on to, not even the two people involved in the situation.

So Senku confronted you the evening after first reconnecting with Taiju and Yuzuriha and gaining Nikki as an ally. It was the first time in a while the two of you were working together comfortably, and to Senku’s embarrassment, the victories he obtained along with a feeling of peace encouraged him to speak up about his feelings, because he really wanted more moments like those.

But at the same time, he was scared his feelings would just scare you off even more. Still, Senku felt the need to clear the air. He didn’t want anything coming in between your work, and he certainly didn’t want to make you uncomfortable.

So as everyone settled down for the night, he pulled you into the lab and asked if the two of you could talk.

Both of you were unbelievably nervous, and the situation is almost hilarious. You were worried that Senku had found out about the disease and about your feelings for him, and Senku was worried that you’d be disgusted with him and that his feelings will get in the way of any work the two of you needed to do together. He started off with some small talk, confused as you watched him pace around nervously and avoid eye contact with you.

A brief moment of tense silence fell over the two of you before Senku spoke up and confessed. You were stunned. You almost didn’t believe him. No, not almost; you didn’t believe him at all. But even you know that there was no reason for him to lie about it, because Senku was always sincere when it came to you, and you swore you felt the heaviness of your lungs lift from your chest and the scratchiness of your throat clear away. It was incredible how light you felt after Senku’s confession.

You put a hand to your throat, which confused Senku. Were you seriously so disgusted with him that you felt physically ill? But then you quickly looked up at him, catching him off guard, and hurriedly sputtered out a confession of your own.

You and Senku didn’t immediately label yourselves, nor did you share your confession with anyone but Gen, who was more than happy (and more than taken aback) that your feelings for Senku were mutual and that you weren’t both burdened with the Hanahaki disease.

It wasn’t until a little while later that the two of you actually talked about the disease. Even though you were cured, you still felt horribly for letting your feelings become so strong that they manifested in the form of an illness. Senku gazed at you with a grim look as you told him the timeline of your experience with the disease, from his celebration party, to Gen connecting the dots and helping cover for you, to the immediate lightness you felt when you realized Senku reciprocated your feelings. All the while you couldn’t look him in the eye.

“That was a close one you know. You could’ve left me feeling responsible for your death.” And you held your breath, enormous guilt overwhelming you because that’s exactly what you didn’t want. But then suddenly, you felt a sharp pain shoot through your head. “Ow!”

Senku leaned over with his hand in the air. “But you didn’t, so stop looking so gloomy.”

“I could say the same for you!”

To think that a misunderstanding could’ve been the reasoning for your death.

Senku chuckled. Yeah, things could’ve turned out a whole lot differently were it not for his confession. But you were here, you were safe, and you liked him back. And for once, Senku decided to focus on the present and be thankful to have you by his side instead of hyper fixating on the ‘what ifs’ of the past and future.

#dr stone scenarios #dr stone headcanons #dr stone imagines #dr stone oneshots #dr stone oneshot #senku ishigami headcanons #senku ishigami x reader #senku x reader #senku ishigami scenario #senku ishigami fluff #senku headcanons #senku oneshot #senku ishigami oneshot

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gaybae1021 · 9 months

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Talkin mcd werewolves

I always had such a spot spot for the mcd werewolves. Specifically, I really liked how they didn’t go down the Twilight route, keeping traditional anthro and scary designs and not doing Alpha bs (cough cough mystreet).

That being said, the werewolves felt kind of poorly defined to me, the tribes were more like plot devices, appearing and vanishing without any real discussion of the impact. The fact that Bodolf’s tribe was hardly mentioned in season 2 I think shows that they ran out of ideas for the werewolves.

Luckily my brain is absolutely overflowing with ideas about them, so here’s my redesigns and thought process:

To anthro or not to anthro?

While I really liked the choice of anthro werewolf designs, I absolutely suck at drawing anthros. It also felt weird doing that for child characters, I know the series kept kids as normal wolves but does that mean werewolf puberty involves an awkward transition from animal to anthro? It just kind of Icked me out, so I’ve decided to keep all werewolves as full wolf transformations. Unlike twilight though, I’ll be largely referencing Wolfwalkers.

Tribes

I know the series had four tribes, but so far I’ve only needed three for the story. If I ever need more tribes, I’ll add more. I haven’t named them yet either, so I’ll denote them by color for now.

Red Wolves

Og wolf tribe, led by Bodolf and Khira. Wolves in this tribe are smaller than the other tribes, with shorter limbs, tails, and muzzles. They have light patches on their muzzles, above the eyes, and on their paws. Brown and Amber eyes are most common.

Brown Wolves

Yip’s destroyed tribe, and also the type Logan was turned into, hence Yip bonding with him so quickly. They are the largest and stockiest wolf tribe, with wide muzzles and short ears. They have lighter markings under their eyes, on their chests, and the underside of their tails. Green and hazel eyes are most common.

White wolves

Fenrir’s tribe. Medium-sized, but thin and lithe, almost more fox-like than wolf. Large ear tufts, neck ruffs, and tails make them look larger than they are. They have dark markings inspired by huskies. Blue and grey eyes are most common.

All tribes, despite size difference, are significantly larger than actual wolves, and most adults werewolves outweigh the average human.

Werewolf Creation

Werewolves can be born by having one or two werewolf parents. They can also be created by being bitten by a werewolf while in wolf form. The person will become the same tribe as the wolf that bit them. Children’s marking will usually follow basic genetics, but those bitten can develop markings independent of the appearance of the wolf that bit them.

Transformation

Transformations, like in Wolfwalkers, are astral projections. The person does not physically transform, rather their consciousness leaves their body and manifests as a wolf. This most often occurs during sleep, but anything that causes a “disconnect” between mind and body can also cause the transformation. So being knocked unconscious, meditation, or sufficient intense emotion will also do the trick.

Communication

Werewolves in wolf form can still understand spoken language, but they cannot be understood by humans. Werewolves in human form can still understand werewolves in wolf form.

Injury

While transformed, the two forms are still linked. Injuries sustained to either form will transfer to the other. In the same way, so long as one body is being sustained, the other does not have sustain itself. Since the body is technically resting, the wolf does not need sleep, and so long as the wolf hunts, the body does not need food. Hypothetically, werewolves can remain transformed indefinitely. However, there are risks associated with this.

Lost werewolves

In the past, Werewolves were occasionally used in blood sport and hard labor. A massive beast of human intelligence that never needed sleep? It was easy to see why fighting arenas and military generals were eager to capture werewolves and use them for their own gain. Sometimes, they would manage to escape, but they no longer knew where their bodies were. Being separated from their bodies for long periods of time would essentially cause them to go feral. These “lost werewolves” are essentially immortal, the strength and instinct of a wolf combined with a faded but still present human cunning, and no need for sleep. The stigma of werewolves as dangerous is mostly due to the few cases of attacks by lost werewolves. This is what happened to Logan, and also what destroyed Yip’s tribe.

Leaders

No alpha crap in my version, we’re following actual wolf behavior with a leading couple. I don’t necessarily think the tribe is a fully related family unit like wolf packs, bringing new people into the tribes is actually quite common, but most of the tribes definitely follow the idea of “they are our leaders because they take care of us” not for any strength/bloodline reasons.

Now onto the werewolf characters I have so far!

Bodolf and Khira

Leaders of the red wolves. Both have equal authority, though are quite different in their beliefs. Bodolf is more open to working with humans, whereas Khira is less trusting, and unless a human is joining their tribes wants very little to do with humans.

Logan

Turned after an attack by a lost werewolf. Initially struggles with accepting this new part of himself, but becomes more comfortable with support from Donna and Yip. Gains his leader mark after fully accepting his role as Yip’s guardian. His growing family kind of symbolizes the regrowth of a tribe that was almost wiped out.

Yip

Last surviving member of the original brown wolves. Was taken in by Donna and Logan while they searched for his tribe, and more importantly, his body. Eventually Logan and Yip find the ruins of Yip’s tribe, and after an epic showdown with the lost werewolf that turned Logan and attacked Yip’s tribe, are able to bring Yip’s body home.

Leona

Child of Kiki and Zane. Initially human, she was born very weak, and Zoey didn’t have much hope she would survive. Desperate, Kiki took her to the Red Wolves, hoping that turning Leona would give her the strength she needed to make it through. Bodolf was out, so Kiki had to plead to Khira, who has never been fond of her. Khira initially refused, as she had no idea what effects turning a child would have. She also insisted that if she did it, Leona would have to stay with the tribe. Kiki was able to convince her otherwise, and Khira begrudgingly agreed to turn Leona. The turn was successful, and Leona’s health improved, though she has some developmental delays and stunting.

Donna

Le gasp, a significant shift from canon! Not entirely sure if I want her to become a werewolf, but at the same time it would be incredibly cool and give her something else to do in season 2 besides generic mom. If she is turned, it was either an accident by Rollo/Lello, or she intentionally had Logan turn her. She gets her leader mark at this point.

Rollo and Lello

Identical twins, both in human and wolf form. It can be difficult to tell them apart while transformed, though their personality differences make it clear who’s who very quickly. Rollo is energetic and playful, while Lello is more reserved.

Fenrir

Prince of the White Wolves. Unlike the other tribes, during the timeskip his tribe has adopted many human practices. They live in a more traditional kingdom, and have more traditional power structures. For example, Fenrir’s mother has significantly less power than his father, and lacks the leader mark. Fenrir recognizes the problem with his tribe’s new practices, but doesn’t stand up to his father. He is kind, but also cowardly, and when push comes to shove his loyalty stays with his family. Takes the role of leader after his father is killed by Laurance.

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cowgurrrl · 11 months

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Love the writing! Could I get one where Joel is on your and the twins are still really tiny and oc!actress is having a really hard time and has to go home, I don’t know something really angsty and also just fluff at the end of him being a girl dad and loving his 2 little beans.

Love You

Pairing: rockstar!joel miller x actress!reader

Author’s note: sorry this took so long!!

Summary: Combining these two asks!! [1.5k]

Warnings: weird Hollywood questions, brief brief brief talks of body image, PPA if you squint, people on twitter being The Worst, Joel being The Best, I think that’s it!!

You weren't supposed to be working. Then again, you were still supposed to be pregnant. You normally wouldn't pick up new projects or anything super intensive until the twins were at least two years old, but you signed on for this interview two months ago when you didn't think you'd go into labor quite so early. But now you've got one-month-old twins at home and a mandatory event. Sierra would've happily called out of it on your behalf, but Joel told you it was okay if you wanted to go. You hadn't done much except focus on the twins since they were born, and he knew how much you loved to talk about your work— especially since this interview was for the anniversary of one of your first and most well-loved projects, Sweet Water. Carolina will be there too, and it’ll last two hours at most.

"Go. I can handle this." Joel reassured you. Still, when you went to leave, you cried and repeated instructions for the umpteenth time, even though Joel knows their schedules and habits as well as you. You got kisses from Sam and Joel before walking out the door and doing your best not to turn right around and come back. It's only a few hours, you remind yourself. Nothing catastrophic will happen in a few hours.

You fight your anxiety to constantly check your phone for an update from Joel as Alexa does your makeup. She asks how you're feeling post-partum, how the kids are, and makes a point to tell you how good you look for just having twins. You're not sure if she's laying it on thick because she can clearly see you're frantic, but you appreciate the compliments, nevertheless. As you're walking to set, your phone buzzes with a picture of Sam snuggling up to the girls with a long text about how many ounces the girls drank and what Sammy had for lunch.

Now, we're watching Frozen 2 for the thirtieth time.

Thank you. Hopefully, I'll be home before the rock giants.

No rush, Mama. We'll see you whenever you get home.

I love you.

Love you too.

Reluctantly, you slide your phone into your pocket as PAs rush around to get everything set up, and the interviewer enters the room. He's an older guy you recognize from many other documentary-style interviews, and you smile as you shake his hand and introduce yourself.

"It's so nice to meet you. I've heard so many good things." He says, and you laugh. "I've also heard you just had twins."

"Oh, yes. Twin girls about a month ago." You say.

"Congratulations," the reporter says. "Who's watching them today?" He asks. The question takes you back a little bit. Who the fuck does he think is watching your kids?

"My husband, Joel. He's at home with our toddler and the twins."

"Oh, poor dad! Stuck babysitting." He laments, and you scoff, glancing around to see if anybody else is hearing what you're hearing.

"I don't know if it's babysitting when they're also his children, but he was very excited about spending time with them." You say, plastering a smile on your face despite the annoyance bubbling under the surface of your skin.

"Right. Of course." He says, but his tone makes it sound more like if you say so. You try to brush it off as just old, stupid ideas about parenting and the role fathers take when caring for their kids, but once the cameras start rolling and the questions start coming, all the questions are around the same lines. How did you physically prepare for the role of the young nurse you played in Sweet Water? What were your thoughts when you read about Alex and Griffin's relationship? How old were you when you played Alex? What was it like filming the scenes where you were exposed before the time of intimacy coordinators?

The questions made your head spin. None of them had anything to do with Alex's character development, what she meant to you, and how her relationships with other women helped you form life-long friendships. They're all bathed in misogynistic prying and thoughts about your twenty-four-year-old body. You smile and redirect where you can, but the whole thing makes you feel gross and invalidated. The second you're done, you meet up with Carolina in the hallway to warn her, and she rolls her eyes before going in.

As you walk out to your car, you open your phone to text Joel that you're on your way home when a headline from Twitter catches your eye. Your name is in the title, followed by "seen out working one month after giving birth to premature twins. Sparks debate about parenting." Normally, you're not one to doom scroll on the internet, but you can't look away from the thousands of people judging you for leaving your kids at home. Two hours. You were gone for two hours while your husband and the father of your children watched them, but to strangers, you're a vile, evil person who doesn't deserve those sweet babies. Many tweets focus on the fact that the twins were premature. They were if you're looking at typical, singleton pregnancies, but for twins, they were right on time.

You know it's all stupid and untrue, but you also haven't slept more than four hours a night since Sam was born, and you just went through one of the worst interview experiences of your life, and you miss your kids. You cry the whole way home, your therapized brain and your anxiety brain battling it out the entire drive. Joel doesn't think you're a terrible mom. These past few months, he's done nothing but care for you, and remind you that you're doing amazing and he loves you. So, why can't you focus on that instead of strangers on the internet? You go through the gambit of emotions, and you're completely exhausted when you pull into your driveway.

As soundlessly as possible, you unlock your front door, and Daisy greets you as you step over the threshold. It’s surprisingly quiet. You crouch down and scratch behind her ears, making her close her eyes in contentment, and you laugh. You look behind her, half-expecting Sammy to be barreling right toward you like he always does when you get home but see nothing. "Where is everybody?" You ask her as you kiss her big head and walk into the living room.

There, spread across the huge couch, is your family. Joel has the girls snuggled to his chest and Sam tucked under his arm as Frozen 2 plays softly on the TV. All three of them are sleeping, but Joel, ever the watchful dad, is awake. Barely, but he's awake. He's wearing his glasses and a half-buttoned-up shirt. You'd be surprised if he even looked at a hairbrush today, let alone used one considering how messy his hair is. He smiles when he catches you staring and beckons you over with a jut of his chin, careful not to wake any sleeping babies. You take a shaky breath as you walk over. Joel's brows knit together when he sees your flushed face up close. "What happened?" He whispers as you kiss him. You don't answer immediately. Instead, you lean down and kiss the girls and Sammy's head before perching on the edge of the couch near Joel's socked feet.

"Bad day." You mumble. His hand twitches to reach for you but Sophia shifts in protest. He sends you a sympathetic look and points his foot at you.

"I can't hold your hand, but you can hold this."

"Joel, I love you, but I'm not holding your nasty ass foot."

"Rude." He says, and you smile. "Do you wanna talk bout your bad day?"

"When there aren't three sleeping time bombs attached to your body." You say, reaching out to run your fingers through Sammy's hair. He sighs in his sleep and cuddles into Joel, making your heart jump. When you look closer at how they're tangled up, you almost start crying again. Sam is tucked between Joel and a pillow, but his right hand holds Sophia's foot, and Violet and Sophia hold hands as they sleep peacefully under Joel's chin— a perfect Miller cuddle.

"Is there anythin' I can do to help?" He asks quietly, and you shake your head. Your entire day melts away as you stare at your precious family, and even though he had no way of knowing about your day, Joel gave you the gift of coming home to your favorite sight.

"This is perfect." You say, and he smiles. You cuddle up on the opposite end of the couch, somehow intertwining your legs, and catch the last ten minutes of Frozen before falling asleep too. Later, Joel will cook you dinner, and you'll do bathtime and get the kids to bed as a team. You'll check in with Sarah and Ellie and tell him about your horrible day. He'll hold you close and reassure you, and you'll feel better. But right now, a nap is the perfect thing you need to regulate your emotions, and you fall deeper in love with him for letting you sleep. Because as the years go by and your marriage changes, as do both of you, he still finds a way to read you better than you could ever read yourself.

And you can't imagine a better person to share your life with.

#one for the money two for the show #rockstar!joel x actress!reader #rockstar!joel miller #tlou au #the last of us au #the last of us fluff #joel miller series #joel miller fluff #joel miller au

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foxbirdy · 1 year

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can you talk a bit about what you do as conservation work? i’ve seen a couple of your posts float around (the seasonal worker comic and the one about the remote island) and have looked into conservation stuff a bit myself and it all looks super cool!! i was just looking for a bit of a more personable take that what job sites describe

Of course! :) A lot of the work I've done has been in either trail maintenance, habitat restoration, or biological fieldwork, with a little bit of outdoor recreation stuff mixed in. Pretty much all of those things (barring the outdoor rec) have been in partnership with or working directly for government agencies (DNR, USFS, BLM, NPS, USFWS, etc.)

Trail work is very trades oriented - you are using tools (generally handtools - especially if you are working in designated wilderness, which prohibits any kind of mechanization) and your body to build effective infrastructure that will last a good, long time. Project work covers a huge range - brushing trail, digging tread, building structures, fence repair, rock work/wall building, etc. Often you have to work with natural materials on the project site, because hauling in lumber or stone is not feasible. It's hands-on & technical work, and it needs a lot of creativity! Your end goal is that no one knows you were there at all, because your work blends seamlessly into the landscape. A lot of people who hike or mountain bike don't realize how much effort and complexity it takes to maintain a trail! It's a very secret service, & I think there's something really beautiful in that. It's dirty, hard work, and you'll very likely go long periods without access to service or utilities (lots of treating/filtering your own water, camp-cooking your meals, showering in the creek, and sleeping on the ground).

The habitat restoration I've done has generally involved the removal of invasive plants & the planting/seeding of natives. This is also pretty intense physical work! You might have to get certified/trained in working with herbicides, which are sometimes a necessary tool in fighting invasive plants. Hack-splash or drill-fill are the most commonly used herbicide techniques in restoration, because broadcast dispersion is considered a last resort. That involves individually treating each invasive plant with herbicide, using minimal amounts and concentrations to limit the effect on the surrounding ecosystem. The two biggest restoration projects I've worked on are the re-planting of disturbed alpine meadows (50K plants in about six weeks) and the removal of invasive coconut monocultures from native rainforest (hacking down palms with a machete, and spraying/injecting the cut stump with a small amount of herbicide to prevent it from coming back).

My biological fieldwork has been mostly marine-oriented - I've done a lot of work with seabirds, as well as coral reef survey & tagging sharks, mantas, tuna, and dolphins. My seabird work involved monitoring nesting colonies (counting babies, tracking growth) with some tagging, banding, and sample collection as well. The seabirds I worked most with were several different booby species, Greater Frigatebirds, Red & White-tailed Tropicbirds, noddies (both black and brown), & terns (white & sooty). Most of the marine tagging I did was using handline fishing techniques, and required me to have a lot familiarity with/certifications for boat operation & seamanship. Biological fieldwork has definitely been lower labor-intensive than trail work or restoration, but still requires a lot of hiking & hauling gear around remote (& sometimes treacherous) terrain! You will also have really intimate exposure to animal bodies and death, and will probably (definitely) get pooped on/thrown up on/bled on at some point.

A big common theme throughout these kinds of jobs is the ability to work in small groups, in isolated places, for long periods at a time. I hope this was the kind of information you were looking for in terms of what the actual work is! Feel free to reach out/message me if this didn't actually answer your questions <3

#sorry this got so long!#beckett.txt #asks #conservation #conservation work #anonymous #id is in alt text!#beckett.jpg #faq #dirtbag tag

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welcome-to-green-hills · 7 months

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So what do you think happened in between the time that Shadow was ejected from the ark and to earth after the ark raid fifty years ago? I really hope that is explored a bit more in the third film. On top of that, I think that you should treat yourself and go all sciencey with this post well. Mainly because I want to know your thoughts on the matter and I love reading your science posts and whatnot

Hello, my dear!❤️✨

I completely agree. I do hope that this is explored a bit more in the film. It wasn't entirely clear as to what happened within that time-frame in the games. I'm sure that many of us have an idea as to what happened with Shadow as he crashed to Earth from the ARK in Sonic Adventure 2. From my perspective, it seemed like Shadow had a bit of time on Earth before GUN Soldiers came to retrieve him from the escape pod.

Onto to your last bit, are you asking me what would happen to Shadow as he crashed to Earth? Like... in a real world perspective? Something realistic? Uh, I can try and go all science-y like you've asked. Please keep in mind that my background in science is anthropological rather than astronomy and such.

The first thing that I should address is that most of my comparisons are in a modern-day setting. Yes, we can see that everything in the Sonic universe is technologically advanced, but we can't begin to fathom HOW advance they really are. We're only going on the notion that they're incredibly advanced. My logic and retelling of the situation is hypothetical. It should not be taken as a hard fact.

Let’s establish Shadow’s setting before diving into the intensity of the situation. Applying logic of modern day technology to the situation, we know that a shuttle from the earth to the moon is roughly three days (Dobrijevic, 2023). This is made with the assumption of using 21st century aerospace engineering/dynamics. We, as the audience, see that science and technology in Sonic's universe is highly advanced. The problem with this is that we don't necessarily have a strong understanding of how advanced it truly is. We can assume that it's drastically different from ours, but can't place a marker in time how how many years into the future it truly is. The best that we can say is that it's highly advanced. For the sake of my sanity and yours, we'll say that the escape pod's projection from the ARK to earth is in three days or less. (This is based upon the assumption that the escape pod cannot be piloted on Shadow's end).

What we need to realize is that Shadow is in a state of shock. Everything that happened on the ARK is still fresh in mind. That moment replays over and over again. When someone is in a state of shock, your entire body in sensory overload. Blood flow drops and resorts in a plethora of symptoms. Symptoms like irregular and labored breathing, cold and clammy skin, enlarged pupils, changes in mental behavior, and so forth (Mayo Clinic, 2023). These symptoms can vary depending on the intensity of the situation. And if anything, the ability to think rationally dwindles. The popular thought that the fandom has was why Shadow couldn’t teleport back to the ARK when ejected into space. While this may have seen like a logical idea, even if he bypasses his mental state of shock, there is a problem with canon rule. Before the rule change, Shadow could only use chaos control to teleport unless he possessed an emerald (Takashi lizuka, 2013). Chaos Control is different than a Chaos Snap, meaning that distance is a factor. This was the canon rule for when SA2 was released in 2001. Even if he were to rationally think and formulate a plan, he wouldn't get very far. He’s completely trapped in the escape pod.

Other than going through a state of shock, he learns how to quickly adapt to the void of space. These are physical changes. A few queries that are stressed from astronauts is how they must relearn to adjustment to earth's gravity, natural lighting, and sound after space travel. These assumptions could be implied with Shadow as well.

In space, Shadow learns to adjust to the light intake that's around him. There isn’t a lot of light, but there's enough for him to see stars, planets, and the ARK. Since the ARK functions as a space station, we can conclude that he exposed to select adaptations of light cycles is present (Guo et. al, 2014). This means that he's adapted a circadian (biological) clock and sleep cycles. His natural habitat is space; his circadian clock matches space time. Entering into a new habitat with a different volume of light intake may mess with him completely. Other than affecting his sleep cycle, it will affect how he's able to see in a brighter setting. This could potentially result in temporary blindness. So even landing on earth, he wouldn't be able to get very far due to lack of vision problems.

Another factor to mention is his adaptation to earth's gravity. We must assume that the ARK has his own gravitation field and one similar to earth. I stress the word "similar" because it's not a complete replica. It's artificial. We cannot make the assumption that the escape pod possesses a gravitational field like the ARK—we lack that detail in SA2. Therefore, we must conclude that Shadow is subjected to weightlessness. We've learned from physiological study that extended periods of time in space will result a change in how the body adapts to earth's atmosphere (Cranford & Turner, 2021). Since Shadow is isolated in an enclosed environment for a specific amount of time, his perception of spacial orientation, head-eye/hand-eye coordination, general locomotion, and balance might be minimal. There would still be difficulties of adjusting to earth, but he wouldn't spend countless years of his lift trying to adapt.

Finally, there's the adjustment to sound. The unit of sound is measured in a decibel. The decibel value can increase and decrease depending on the environment. Typically, we hear a sound frequency at a decibel of 70 in every day activity (Editor, 2018). This is the equivalent of hearing car horns or a crowd of people talking in a store. Compared to everyday life on the ARK, Shadow is thrown into the void of space. The lack of sound—other than his own breathing (which can be measured at a decibel of 10 in sound frequency)—will be what he’s used to hearing. Once welcomed to earth, the frequency of sound that he’s used to is quickly forgotten. The natural and human sounds that come from earth may be too loud for him to comprehend at first. This could result in ringing of the ears and muffled noises. Since he was not trapped in space for a prolonged period of time in the escape pod, he will adjust eventually.

If Shadow was able to land on earth safely before GUN Soldiers came to retrieve him, then realistically he'd spend some time recovering from his escape. He wouldn't be moving around a lot. Then again, I'm not entirely sure of his recovery rate in order to say this with confidence. It would only be a matter of time before he was found and imprisoned with his creator by the United Federation. As I've said before, this is all hypothetical.

Jesus Christ this turned really dark... I hope this answers your question.

#sonic movie #sonic movie 3 #movie!shadow #shadow the hedgehog #mystery anon #off topic #Well this depressed the hell outta me. Anyone else need a hug?

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marlowethelibrarian · 10 days

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I need you to tell me all about Project Cannibalism actually

Okay! So I have like 10 pages of worldbuilding just for this project, so if you wanna know something more specific, feel free to send me another ask!

Project Cannibalism is currently still in the planning stages.

The story takes place in Suya, a theocracy dedicated to cult of Suyo, a cthonic earth goddess, ruled by hereditary priestesses. Suyo was founded by exiles from the lowlands, banished to the steppe where most of them were killed by the harsher conditions at higher elevations, or by the nomads that lived on the steppe.

All living creatures have some kind of magic inside of them. Life itself is an energy that can be bent towards magical working. Usually this is expressed through alchemy- creating effects by brewing potions and later, by runesmithing. It can be a labor intensive process and biomes with more biodiversity have more options when it comes to alchemy. It is a useful technology that underpins most the engineering accomplishments on the peninsula.

The exiles discovered a way to use the magic of human life, amplifying another's energy through their own bodies to do bigger magic, bypassing the need for the process of alchemy. Other creatures can serve as batteries, but the closer the battery is to human, the more efficient the process. It is with this magic that they created arable land out of the rocky steppe and drove away the nomads.

You couldn't light a candle with the life of a cockroach, but with a another human, you can break up boulders, divert rivers, raise shelters, and only take a few years off of their lifespan.

The story for Project Cannibalism centers on a pair of identical twins, separated by birth. One raised in the temple of Suyo as a talented priestess, the other a genius alchemist that has run out of luck and time and realizes they have an uncanny resemblance to the up and coming priestess.... However, they find themself with more than they can chew, as the aging queen priestess and her heir are at odds with each other, and their twin is being groomed to possibly replace the crown priestess.

#project: cannibalism #writeblr #worldbuilding #society is built around matriarchal clans #inheritance goes to the youngest daughter and paternity isn't really tracked #women are the landholders while the men take on either trades to bring value to clans they marry into.#marriage is a serious business contract- you are obligated to make things for and use the products of your spouse #sleeping with someone else isn't cheating but not using your potterer husband's pottery for your dinner table is a GRAVE INSULT #polygamy is also a thing here but usually its only women with multiple spouses #women marry each other but that's serious business because that's a joining of land together #unless you forswear your inheritance #and if you're genderqueer in anyway you are expected to go into service as a priest of [CURRENTLY UNNAMED]#god of fortune and light #Not everyone enjoys this #our mc is a nonbinary agender character who decides not to do that

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brandwhorestarscream · 1 year

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how did Megatron Starscream and Soundwave die in the repopulation au

Nyehehehehehe >:3 oh, I'm so glad you asked. Placed under the cut cuz this content is pretty heavy. Read at your own risk

They all went out in the same category: dying from stretching their bodies too thin over millenia in the name of the repopulation project

Each of them had been mnemosurgeried and shadowplayed to the point they had no more sense of self, no recollection of the war, what they fought for, or who they are. As far as they know, they've lived their whole lives in these rehabilitation centers, birthing and raising sparklings "for the future"

Megatron died during the birth of his 26th child; he suffered a massive hemorrhage. A vital, major energon line ruptured from the pressure of the sparkling during emergence, and they prioritized saving the baby's life over saving his. He bled out before his son had even opened his optics for the first time, and that was that.

Starscream's spark imploded due to mounting stress. Even with all his memories gone, his instincts and base coding as a seeker couldn't be overriden or smothered. He was exceptionally attached to all of his bitties; seeing as seekers have sparklings in threes, their sparks undergo a lot more intensive labor than non-seeker mecha during the gestation cycle. Having to support 3, 6, 9, or even more baby sparks at once is extremely taxing. It's necessary that seekers be given ample time to recover between each batch, and you can bet your ass that they weren't given that time during the repopulation project. The constant heavylifting his body had to do to support litters near constantly combined with the stress of having his bitties taken away ss soon as they were able to survive without him... it was just too great a strain for him. Struggling to support a litter of 6 unborn sparklings (his 10th litter) and devestated at having his previous litter ripped away from him, it was all too much. His spark went into sudden failure, pushed to it's limit, and fizzled out in almost the snap of a finger. It was a near instant thing--he suddenly just collapsed, and attempts to resuscitate him were unsuccessful. His unborn children died with him that day

And Soundwave, his is arguably the most tragic. Because he and Blaster were the only ones of their kind left, his situation was pretty unique. Post operations to make him compliant, he was moved in with Blaster. It was like a morbid game of house--Soundwave trapped as a housemate meant to do nothing but churn out sparklings, never stepping outside, constantly sequestered in the house to raise them. He doesn't remember his life before, but his telepathy is intact. He reads Blaster's thoughts, he knows that this is wrong. That this isn't who he is, that this wasn't the life he always had. He stews and boils in that knowledge for centuries. He can't remember ever seeing the outside world, and the collar on his neck won't even let him get out the door without shocking him. This life seems like a happy one--his "conjunx" is kind to him, he has a warm home and plenty of fuel. His sparklings are all darling, full of laughter and very sweet, with a great deal of love for their carrier and sire alike. But it isn't real, and he feels like he's slowly suffocating locked inside that house. Eventually, on his 6th sparkling, something snaps. In his spark, he feels it when their unborn baby suddenly dies inside of him. A miscarriage that was no one's fault, that couldn't have been predicted or prevented. Their little spark extinguishes, and their bond to him shatters

And he doesn't, say, anything.

He silently swallows the news, doesn't speak a word of it to Blaster. He rarely says anything to Blaster, so it's not that weird. Occasionally he'll touch his abdomen, as if the baby is still kicking. Still fluttering and alive inside of him; only he knows that he's lugging around a corpse in his womb. As time ticks on the body ofc starts to decompose, rusting and unfurling and filling his gestation tank up with putrid poison. Soundwave says nothing. He can't. He won't. As the carrying cycle "progresses", Soundwave gets increasingly sicker. He hides it masterfully, doesn't so much as flinch even when infection and sepsis start to kick in. By the time it's discovered, months or even years after the sparkling has died, he's unconscious in his bed, caught in the grips of a raging fever. The infection has spread throughout his entire body, from the most far flung reaches of his limbs to his processor and his spark. He hated his life up until the very end, and this is the only way he could think to escape. Poisoned by his rotting child, still held safe and close within him til the very end when he dies in hospice shortly after

#the repopulation project #HAVE SOME ANGST #megatron #Starscream #Soundwave

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dumbass-tumbler-cryptid · 1 year

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Cabin in the Woods Prologue

Hello everyone! Welcome back! I most definitely went overboard writing nothing but family fluff knowing full well I was going to kill the mom and mentally destroy the dad. I honestly made myself cry a little so if you cry too, sincerely my bad. Enjoy!

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Everything was complete when their son was finally born. Paz was over two weeks past due, when her water broke the night before she was scheduled to be induced. Miles was immediately ready to rush her to the hospital going into complete commander mode, as he gathered their things and hustled everything into the car. Paz was much more relaxed, her contractions so far apart that she knew it’d be a long time before the baby was ready.

Miles marveled at his wife when after nearly thirty hours of labor it was time to push. She endured so much pain, screaming through her teeth, fighting like hell to deliver their son. And then, just like that, he was born, his cries of life piercing the air mixing with the relieved gaspes of his mother and the amazed huff of his father. Miles cut the cord. Their boy was cleaned, and placed right on top of the bare chest of his exhausted mama. The feeling of her baby in her arms breathed new life into Paz who nearly cried in overwhelming joy.

“Miles,” Paz breathed the name while looking at their son with the purest love.

“Yeah,” he said with a dreamy smile.

Despite all the physical pain and overwhelming emotions of the day Paz chuckled, playfully poking him in the forehead. “No silly, that's his name. This is Miles jr. Your Miles Sr now.” It was the greatest honor he had ever been given. To be considered a man worthy enough of sharing a name with this perfect little baby, resting peacefully with his mother.

Miles watched them both as something primal started to grow within him. These two people were his. His son. His wife. Intense love, the likes of which he’d never known washed over him and in that moment he knew. There was nothing he wouldn’t do for them.

#miles spider socorro #spider socorro #miles quaritch #colonel miles quaritch #paz socorro #avatar fanfiction #cabin in the woods #my fanfic

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ghostlycollectorchaos · 1 year

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A Study In White:

The first wave of cocaine use occurred in the second half of the 19th century, between 1860 and 1905. This stimulant, which has the characteristic of causing a pleasant effect, evidenced by a feeling of well-being, euphoria and lack of shame, was greatly welcomed in the medical community as a miraculous panacea that could be used to solve various diseases and ailments, from toothache to labor contractions, as well as mental disorders such as “hysteria” or “melancholy”. One of the greatest enthusiasts of the therapeutic use of this substance was the Austrian physician Sigmund Freud who often prescribed this drug during consultations with his patients to resolve the most varied emotional or physical pathologies.

In this sense, when considering the close patient-physician relationship that was probably established between the latter and Mr. Sherlock Holmes during treatment for the absence seizures that he reported to be having due to malicious hypnosis techniques, it is possible to assume that cocaine was indicated by Dr. Freud to Mr. Holmes. Furthermore, if Sir Arthur Conan Doyle's transcripts are taken at face value, it is noteworthy that in the first book, which would give rise to the series of the detective's adventures, “A Study In Scarlet (1887)”, Mr. Holmes mentions taking regularly, 3x a day more specifically, the stimulant at 7% dilution intravenously. A high dosage, but not particularly shocking as the occasional use of the drug was common practice in Victorian England.

Reaffirming this fact, in “The Sign Of Four (1890)”, cocaine is referred to as a mind stimulant and nerve tonic during idle moments, being extremely useful for strengthening logical reasoning. It is thus clear why the use of the stimulant is so appealing to Holmes, since there are few other things he values in equal esteem as the power of his brain and the importance of keeping his wits sharp. In addition, if Freud had indeed prescribed the drug there would be even more reason for Holmes to use it religiously in order to avoid the relapse into the absence seizures that made him seek help from the Phoenix Brotherhood in the first place.

It is also noteworthy that Holmes did not consider himself an addict in the most common sense of the word, but maintained his chemical dependency as something to be managed. This sense of control over one's addiction, whether justified or not, will be a relevant point as this discussion moves towards its conclusion.

Now that the foundations of this essay have been laid on the character of one of those involved, it remains to discuss the other. Unfortunately, due to the specific quality of the fraternity of which it is said and I quote, "Amelia is all about secrets", there has been a difficulty in obtaining reliable data about the past life and believable personality of Arthur, the Interviewer and many of the claims that will be made here are based on speculation and empirical analysis. In order to avoid unnecessary bias when dealing with an individual who is already sufficiently obscure, two main sources were used: "The Amelia Project Wiki: The Interviewer" and "The Amelia Project Personality Database: The Interviewer".

Based on these, the following information was extracted:

“The Interviewer is a very jolly fellow. He is often enthusiastic and can be quite intense, especially when engaged in something of his liking. However, he is also very easily bored, and doesn't like to partake in things that's not interesting to him. While often friendly, he can come across as a bit arrogant, rude and self centered. He does care a lot about the people closest to him though, and often seems genuinely interested in helping other people, and of course to hear their stories.”

Furthermore, he fits as a 7w8 ENTP by the Myers-Brigg method, associated with the sanguine temperament described by Galen of Pergamum.

Although the ENTP 7w8 personality is seen as a particularly cheerful, outgoing, intellectual and quick-witted type who value creativity, freedom and self-expression above all else, these have as their main characteristics the impulsiveness that leads them to take unnecessary risks and accomplish poor planning in medium and long term consequence analysis. These individuals tend to be irresponsible, often putting themselves in dangerous situations, since the journey for “freedom and stimulation” can lead them to destinations that are sometimes easily avoidable.

In addition, the sanguine temperament only reinforces these traits. While they are generally communicative, expressive and cordial, they are also prone to emotional instability and indiscipline, often being exaggerated and unproductive in their decisions.

It is emphasized, of course, that the use of stimulating substances is related to several intrinsic and extrinsic factors to the individual, but several researchers such as the Institute of Addiction Medicine, in Philadelphia, USA, point out personality traits that are common in people with greater chance of developing chemical dependency, namely: Impulsivity, non-conformity, low stress tolerance, sensation seeking, etc.

It is possible to observe that Arthur, the Interviewer has most of these traits, having a personality that almost presents itself as a risk factor.

That, coupled with a close friend, Mr. Holmes, who makes prescribed use of the drug while denying the addictive quality of the substance, plus the fact that at the time there was no knowledge about the negative effects associated with its use, such as neural destruction, liver and kidney damage, mental illnesses, among other problems, corroborate the speculation that Arthur could have been exposed and even introduced to the stimulant during the period referring to the cohabitation between him and Mr. Holmes.

Furthermore, it is chronologically possible with what was exposed during the year 1929.

BIBLIOGRAPHIC REFERENCE:

Available at: <https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.victorianweb.org/authors/ doyle/addiction.html&ved=2ahUKEwiHlLXfzL3_AhUurpUCHZ-FCNUQFnoECBEQAQ&usg=AOvVaw3P5rR8LLkdUh3gx32ln5Vj>. Accessed on: 13 June. 2023.

Available at: <https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.gruporecanto.com.br/ blog/what-leads-a-person-to-use-drugs-understand-the-reasons/&ved=2ahUKEwiL16iGzb3_AhUSrJUCHZdIDR0QFnoECBAQAQ&usg=AOvVaw06pjH1omH5FVLgpi3PAlX8>. Accessed on: 13 June. 2023.

Available at: <https://www.personality-database.com/profile/602939/the-interviewer-the-amelia-project-mbti-personality-type> . Accessed on: 13 June. 2023.

The ENTP 7w8 : Characteristics, Weaknesses and Famous Characters - Introverted Growth. Available from: <https://introvertedgrowth.com/entp-7w8/>. Accessed on: 13 June. 2023.

@ameliapodcast though you would like the essay

#the amelia project #tap #sherlock holmes #the interviewer

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