#Concrete additives production

[rmxsolution]

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[balioc]

Looking at the world from a manager's perspective, you can productively model the pool of workers as being divided into a few basic groups, which are defined and characterized by their driving motivations.

Insert all the usual disclaimers for this sort of thing - this is the roughest type of rough typology. I pulled these categories out of my raw intuition, and possibly a few more would crop up with some additional thought. In reality, the boundaries of these categories are incredibly fuzzy, and almost every individual is actually going to be motivated by a complicated mix of all the relevant motivations; we're talking REALLY SIMPLE HEURISTICS here. Etc.

There have been other well-known worker typologies that share a lot in common with my thoughts here; this is mostly not novel, it's mostly meant to refine a few ideas for particular purposes.

Hustlers are motivated by concrete personal advantage. Most commonly, and most straightforwardly, they want money - as much of it as they can get. They may also be interested in fame, idiosyncratic perks, etc. They do whatever they have to do in order to get what they want.

No surprise: you see huge preponderances of these guys in fields that provide outsize concrete rewards, e.g. finance, the upper echelons of management, etc. But not every natural-born Hustler is in a position to enter a glitzy high-paying field, and in fact you find Hustlers all throughout society and all throughout the economy, finding or making hustles wherever they go.

Having Hustlers working for you is mostly pretty great. They get shit done. They can be induced to work incredibly hard - probably harder than anyone else, under most circumstances - and they'll shank their own mothers if the price is right. If you need anything really important from them, anything at all, it's just a matter of bribing them enough.

...they will also, of course, cheerfully shank you if the price is right. Hustlers aren't the only wellsprings of institutional politics and infighting, but they're the most dangerous ones; they're always potential rivals to everyone around them. Also, you need to keep the tangible rewards flowing in a steady stream in order to get anything out of them, or else they'll put most of their effort into jumping ship (one way or another).

Craftsmen are motivated by the desire to do good work in their chosen fields, for its own sake and for the sake of their treasured self-image as people who do good work.

As you'd expect, for the most part, they're excellent workers and should be prized. But they're not perfect workers. Common weaknesses and downsides include:

They tend to have their own ideas about How Things Should Get Done; they're often resistant to externally-imposed product/service requirements or process changes (and bad at implementing those things) (no matter how important or well-conceived they are), and they're very resistant to "just get it out the door, right now done is better than good."

Being driven chiefly by internal motivation is great, but sometimes it's useful to be able to push things along with external motivators, and Craftsmen are pretty resistant to those. They don't like working more or harder than they're naturally inclined to work, they mostly sneer at carrots, and sticks make them sad and unproductive.

It's important to note that, while noteworthy skill within a field correlates with having a Craftsman temperament and motivation suite - for obvious reasons - those things are not identical at all. Plenty of Craftsmen are bad at their jobs, or just average, and plenty of the best workers are most motivated by things other than the Excellence of the Work Itself.

Fanatics are a relatively rare and specialized group, whom you find mostly within a few specific sorts of culturally-valorized fields. They're motivated by a desire to be part of something Important and Good in a Broader Sense: to Save the World, or some smaller-bore version of that.

They make amazing front-line soldiers, in the sorts of institutions that have "front-line soldiers." They work super hard, and you don't even need to bribe them, you just need to keep them hopped up on inspiration.

The big problem with them is that they're mostly motivated by a feeling - the feeling of Being Righteous - and it's not easy to control where they get that feeling, in any kind of precise way. They're just as resistant to external motivators as Craftsmen are, or even more so, but they're also not being guided by an ideal of effective quality. (No, not even if their chosen cause is theoretically all about an ideal of effective quality, hem hem.) They will happily waste vast amounts of time and money doing useless things, or even counterproductive things, so long as they're engaged in tasks that hit the right psychological buttons for them. There's also a constant risk that a Fanatic will decide that his employer is unrighteous, or that one of his coworkers is unrighteous, and start an internal conflict; the risk scales in a more-than-linear fashion with the number of Fanatics you keep around.

The biggest group, unsurprisingly, is the Normies. In most fields, it is much the biggest group. Normies are motivated by the desire to be members in good standing of their communities, to have positive relationships with the people around them, and to live up to basic norms and expectations.

Managerial skills, in the traditional sense, are incredibly important with Normies. If you want them to do good work for you - and you should want that, as a manager, you've almost certainly got a whole bunch of them - not only do you have to keep them pointed in the right direction, you have to make sure that they're supporting each other. With Hustlers, you just have to throw money at them (and avoid their power plays); with Craftsmen, you just have to let them do their thing, and occasionally badger them into giving you what you need; with Fanatics, you just have to be inspirational; but with Normies, you have to lead, and construct a productive community. You have to set reasonable, achievable norms and expectations that will get you what you need.

This wouldn't be complete if I didn't talk about the Defectors. The Defectors are motivated by not working. They don't want to be there, they resent having to do their jobs, and their primary goal is to shirk as much as possible. They will, by default, put much more effort into shirking than into their assigned tasks.

Obviously, managers don't want to have to deal with them, for good reason. But they're out there, in large numbers - not always in the places and fields where you'd expect to find them - and learning to manage them is sometimes more viable than trying to get rid of them. ("Moving Heaven and Earth to find them jobs that will change their attitude" is often a good plan, although of course it's not always possible and not always worth it.)

Crucially, Defectors are not Normies. If you start with the assumption that the average baseline worker is lazy and sour, you will make some incredibly stupid decisions. There are some fields where, for structural reasons, you can expect that a very large number of your workers will be Defectors; this is a huge and complicated challenge, well beyond the scope of this post, and good luck to you if you have to handle it, but it's not the default.

----------------------

Once you have those categories in your head, and can play with them, a number of obvious-seeming ideas present themselves. Just a couple, for now:

Most high-level executives are Hustlers, or have strong Hustler tendencies, for obvious reasons. Most of the people around them are Hustlers, or have strong Hustler tendencies. This means that they tend to overweight the Hustler outlook, by a lot, when they try to model what their workers are like. More specifically, I'd wager that a lot of them intuitively divide the world into "good workers" ( = Hustlers) and "bad workers" ( = Defectors). This will lead to a heavy overreliance on tangible rewards, a systematic shortchanging of community-building, etc. Which is in fact just what we see.

In particular - crucially - Hustlers and Defectors are the only worker types who ever become more productive under heavy stress. Hustlers actually benefit from it, because it raises the stakes of the game that they're already playing. (If you succeed, you'll be king of the world! If you fail, you'll be shark food! Go go go!) Defectors suffer terribly from stress, of course, but they can sometimes be spooked into doing their jobs as opposed to doing nothing, and sometimes that's the best/easiest way to get something out of them. But stress is terrible for everyone else. Craftsmen lose their focus. Fanatics lose their hope. It's worst of all for Normies, because they take all their cues from the vibes around them; they're productive when they learn to associate work with comfort and happiness, and when you fill their working world with frantic desperation, you just put them in a permanent cringe state.

stop trying to pit your Normies against each other in competitions for status and rewards dear God what are you stupid

To some extent, you can control your institution by controlling what types of workers you have. But only to some extent. There are only so many Hustlers and Craftsmen to go around, and if you want them, you will have to (a) be able to identify them reliably on little information [HINT: you are probably very bad at this], and (b) provide them with what they want [tangible rewards / comfortable security and interesting work]. "We are going to employ only the good special people" is feasible if you're an outfit of four workers; at a dozen, it's already become a stretch; at a few hundred, uh, pfffffffft. If you want to operate at scale, you need to be able to make Normies do good work, there is no substitute for it.

[karlachismylife]

Spot on the Mark || The Queen of the Clan pt.5

CW: fem!chubby!reader, mentions of animal marking/pasting, some piss mentioned again, dead animal mentioned (no descriptions).

A lot more work goes into a wildlife documentary than you thought. It was obvious that it’s not as simple as just grabbing good quality cameras and riding off into savannah blindly, but the amount of tricks and different ways to get enough shots for a compelling and educational storyline you’re learning about seems infinite: from studying animals’ trails and routes of migration to hauling senior operators up into the trees to film fluffy and feathered stars of the future documentary as up close as possible without disturbing their natural peace.

These people have done it time and time again, telling you about the months-long stakeouts on bigger productions, the ones that can afford to simply wait every day for an animal to come and do what the script requires; the masking of carefully placed hides that can still be not enough to trick a smart bird into thinking it was all alone and perform a beautiful mating dance; the difficult hikes that test everyone’s endurance and result in barely ten seconds of footage in the end cut. You can’t help but feel excited yet intimidated when your turn comes to participate in one such trick, intended to shorten the waiting time your smaller production just can’t afford.  It’s not that difficult, but it’s smart and elegant – at least in your opinion.

This is how you find yourself stuck in your Rover with Kir, wrapped in a small blanket for additional warmth, while he meddles with the sound equipment: speakers mounted on the hood of the car and a knot of wires connecting them to a laptop, screen covered up with a scarf to muffle its light. You’re holding your night vision camera pointed at a spot just several meters ahead, a fresh carcass placed under a tree to attract a carnivore, two more cameras planted at different angles on the ground and one more strapped to a branch right above the “dining table”.

A switch clicks, and the night fills with triumphant hyena whooping, a whole cacophony of different voices celebrating a kill. This is a dinner bell for lions – no matter what the public’s perception is, it’s often the big cats coming to steal hyenas’ fresh kills, not the other way around. You hold your breath, misty clouds of steam coming out of your mouth dissipating in the loud, poorly lit night. You wait.

Time doesn’t stretch as much as you would think. This isn’t a boring, monotonous wait of a text back in a stuffy big city apartment, the only “wildlife” sounds seeping through the closed windows – revving engines of nighttime dumbass street racers or neighbours yelling at each other over hysterically loud TV.

Compared to what you’re used to, savannah seems peaceful. Somewhere in the vast darkness big predators avoid each other’s paths, unwilling to start unnecessary fights. Grass rustles in a rhythmic pattern as little springhares jump through the night, stopping to glance at the huge, imposing shadow of a human car just once and continuing on their way. The wind breathes quietly and calmly with the cooling ground, welcoming a lively picture of a complex system, each part of which is perfectly in tune with others.

You feel like you could be a part of it – like it’s a place you can actually belong to, care for and be taken care of in return, unlike the constant hectic hostility of a city. They call it concrete jungles, but none of the brutal ways of nature you’ve witnessed in the wild so far can compare to the ruthless, pointless cruelty human kind inflicts on itself and everyone else.

There is a hopefulness inside you that was completely snuffed out previously, and it sounds like a smooth, lulling chirping of insects hidden in the wet grass.

Loud baboon yelling alerts you before you manage to clock any movement or hear an animal approaching your little spectacle. Insane luck. Before gluing yourself to the camera, you glance at the time and it’s barely an hour after you put the recording on – it’s hard to contain your excitement, but you manage to keep your hands steady as you scope the area in search of your guest. Kir shifts in his seat next to you, picking up his simple night vision binoculars and following the same trajectory as your camera lens.

When you see a distinctive hunched silhouette sniffing at the bait, you almost feel the tiniest bit of disappointment – no lions today, huh? – that quickly gets replaced with surprise.

The hyena doesn’t even touch the food you placed to lure animals in and turns its back on it, instead staring straight at you and Kir. Its ears twitch, clearly determining the direction where other hyenas’ noises are coming from, and slowly, almost leisurely, it moves towards you.

“It’s coming here, Kir,” you whisper, still keeping the camera rolling, too fascinated with the elegance of each silent step the huge, dark form with devilishly glowing eyes in your night vision tape takes. “Didn’t even try the meat… what do we do?”

“Ah, shit, that’s a first one.” He sounds more surprised than concerned, and after a moment of hesitation, reaches out to turn the luring sounds off. “Maybe it’s already killed and got territorial? Worst case scenario, we just scare it away. You getting the footage?”

“I… am, yeah… it’s pretty.” Somehow you aren’t even surprised anymore, when the hyena ignores the fact that the calls of its peers or more likely rivals stop abruptly – there’s something deeply wrong with them here, you decide, too much human contact or something. Maybe these ones were released from the sanctuary? But no one in their right mind would let such domesticated animals back into the wild, right?

While the myriad of possibilities swarms your mind, the camera keeps recording, and you, quite well-trained already, don’t even seem to realize that you’re following the hyena’s steps, turning the camera more and more to the side as the animal approaches your Rover. Wait-

“Tsk, hold up!” Kir’s hand hooks into your back belt loop and pulls you slightly back into the car. When did you even stand up to lean over the car door? “Let’s not diversify its diet today with soft city cookies, alright?”

“Sorry, sorry,” you whisper, sitting back down. For a moment – just a moment – you lose the animal out of sight while you pull your pants back up, and the next thing you know it’s already right in front of you.

Standing on its short hind legs and resting front paws on the car side to lean inside.

A big snout shoved almost into your face, coming into your darkness-shortened sight out of nowhere, is bound to freak you out – you drop your camera, luckily catching it in your lap, and pull back, pressing your back into Kir, who can only grunt quietly under the sudden weight and grip your shoulders protectively.

The hyena just snorts and tilts is head adorably, a soft, almost reproachful look in its bit wet eyes reflecting every little light on the car’s dashboard and your equipment. There’s something familiar to this slender, elegant snout, nodding in the air as the big nose takes in your scent, toned down by the contrasting savannah night cold.

“Chocolate?.. Is that you?” It’s a wild guess, honestly – you can’t see shit without your camera, only able to notice the hyena’s movements by the wet glistening of its eyes, nose and lips, and even through the night vision equipment you weren’t able to determine your guest’s colour – something that would definitely help distinguish Chocolate from any other hyenas; you doubt there are any others, who are already this big and grown up, yet still carry their childish dark brown hide. Maybe Chocolate is a melanistic variant? You’ve never heard of such mutations in spotted hyenas, but it’s not like you specialize in them, right?

A soft grunt tears through your thoughts again, a non-threatening pitch that almost sounds like purring – along with the repeated scratching of its claws on the steel side of your Rover, Chocolate seems like a cat more than anything. A huge, maned cat asking to be let inside.

“No-no-no, buddy, you’re not coming into the car. It’s humans only.” You try to sound stern – it seems to work on these animals, but it’s so damn hard, when your visitor whines quietly and flutters its rounded ears, staring at you hypnotically. “Come on, there’s food. Look!”

A nod in the direction of the carcass, attracting no one but some flies it seems, has no effect on the hyena. When you pretend to throw something there, Chocolate giggles quietly and lowers itself back on the ground – but when it realizes you won’t be throwing any of your real possessions for it to chase after, it stands up against, reaching its long, thick-furred neck to breathe a hot, steamy snort into your face.

And just like that, after you blink at the pretty muzzle in disbelief, trying to find an appropriate way to react to a wild, dangerous animal almost sneezing in your face, it leaves to inspect your car.

For a moment, you worry it’ll try and jump inside from the back, but it seems to have lost any interest to join a party it wasn’t invited to. Slowly, you scramble back into your seat, relieving Kir of your weight and earning a supportive pat on the back from him, and pick up your camera to watch Chocolate.

“What’s it doing?” Kir’s whisper suddenly elicits more of a reaction from the hyena than any of your stern talking – it lifts its head from the tire it was sniffing at and scowls, a striking killer smile flashing in your direction. Seeing its sharp canines nestled in the massive jaws makes a cold shiver run down your spine. This just was right in front of your face with nothing to protect you against a sudden attack.

“Shh, quiet… don’t agitate it,” you whisper back as soon as you manage to swallow the snowball-like lump in your throat. Kir shuts up, clearly a full-on believer in your hyena whisperer abilities now, and you watch on as Chocolate lowers its cute head back, sniffing and pawing at your tire.

After several minutes of looking between you and the wheel, sniffs and huffs growing more and more impatient and exasperated, it gives up on whatever it was trying to tell you – you could swear it rolls its eyes too! – and circles your car, flicking the fluffy brush on the end of its tail in what you can only assume to be a goodbye.

You’re wrong. A real goodbye is left a few meters away from the Rover on Kir’s side. Your curious night visitor stops abruptly, sniffs the air, tilting its head so far back that it almost rests on its shoulder blades, and then, without a warning – what warning could you expect though? – it crouches down to paste over a particular spot in the tall grass.

“Is that?..” – “Yes.” You tear yourself away from the camera to glance at Kir, just in time to see him sigh heavily and put his binoculars down, rubbing his hand down his face painted with disbelief, eyebrows raised high and lips pressed together. You’re still not sure – even though little snickers already start escaping your throat and roll down your nose in sweet snorts – so you pry again: “The spot where you went to-“ – “Yes.”

Even the need to hold your camera still to capture Chocolate marking its territory with a thick smelly paste smeared all over the grass Kir went to pee in several hours ago can’t prevent you from giggling. Anxious about scaring the animal and provoking it, you cover your own mouth and keep filming – eyes on the little black and white picture just in time to see Chocolate shake its plush butt, tail high up to assert dominance, and turn to look at you.

Or, perhaps, to look at Kir.

“Okay, okay, got it, no pissing on your territory. Jeez, buddy, no need to be so petty about it, I probably live here as long as you do.” Hearing Kir mutter under his nose as he gets stared down by a proud carnivore is hilarious.

“You disrespected it. What’s it like, to have a sworn enemy because of your bladder?” Your little giggles elicit two smiles at the same time – an embarrassed one from Kir, who threatens to snore into your ear directly once you wrap up this nightly stakeout, and another wide, toothy one from Chocolate.

You can’t be sure with the blurry image your camera shows you, but you once again feel like it winks at you. How likely is it for this hyena to have some eye problems that cause it to constantly dish out the flirtiest winks an animal is capable of?

“Oh, look, it’s leaving,” Kir finally turns away from the direction Chocolate left in, and just scoffs when you hear distant whooping slowly pick up in frequency before it disappears into the night. “Wanna try with the record again? I’m not sure we will attract anyone if there are actual hyenas around, though.”

“No, no, let’s try again,” you’re fully energized despite your arms feeling cold because the blanket slipped off your shoulders when you got spooked by Chocolate. Kir pulls it back up, wrapping you in a warm cocoon, and rubs your shoulder absentmindedly while he rewinds the recording and tries slightly different settings. “Maybe we’ll attract Stinky at least, these two seem to be buddies.”

“Yeah, right,” he responds, wrapping his own jacket tighter around himself. “Because that little shit will cause less chaos that the one we just saw.”

You can’t argue with that. If that was Stinky that came to the false call, it would have definitely jumped into the back of your Rover.

“At least that’s some good footage to post online. They’re cute. Will be good promo for the documentary.”

Kir grumbles something into the warm thermos, steam clouding the air between you, and hands it to you – to warm both your hands and your whole body from the inside.

Even if you don’t catch a lion tonight, you still caught something precious – right in your heart. You just have to find a way to define it properly.

Part 4 | Part 6

Series masterlist | Main masterlist

Tagging: @elaineiswithyou-blog @creepingeva @my-halo-is-a-little-broken @sillymanjaro @ihatethinkingofnames10 @ravensfeatheruniverse @yaminax @ljh861 @darkangel4121 @ginger-n-coco @grey-shadow6475 @cryingpages @mothsdrabbles @mc-glare-is-king @vixxie22 @aldis-nuts @terraantarctica @henhouse-horrors @blizzivy @perfectus-in-morte

Here's an illustration to Chocolate's visit:

Comrades, I think I'm too deep in this now, I started watching documentaries about filming documentaries, the docuseption is coming for me...

[blogport]

EPOXYSHİNE - DRAGON+ (4)

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Metallic Floor

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Quartz Flooring

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Concrete Floor

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Sustainability is another key advantage of concrete flooring. As a naturally abundant material, concrete has a lower environmental impact compared to other flooring options.

[fearfulfertility]

CONFIDENTIAL MEETING TRANSCRIPT

DRC, Medical Ethics & Compliance Division

Date: [REDACTED]

Subject: Above Average Fetal Quotas in Low Compliance Areas

Location: Paternity Compound [REDACTED], Unsecure Conference Room

Attendees:

Dr. [REDACTED], Senior Manager, Insemination Operations

Dr. [REDACTED], Administrator, Compound Oversight

Dr. [REDACTED], Senior Bioethicist

I… I need to voice my concerns again, Doctor. I understand the need for productivity, but these insemination rates already exceed what we know is a risky quota. We're well beyond the original operational guidelines that were put in place by HQ.

Dr. [REDACTED], Administrator

Doctor, we've had this conversation... twice this week already. The DRC's objectives are clear, and compliance rates should be raised. And [REDACTED] City has the lowest surrogacy conscription rates for all of Zone 6, which has the lowest rates for the entire country. With so few surrogates, increasing embryos is the only way to meet our quotas this quarter. I'd love to hear if you've found a way to double conscription rates by just waving your hands.

Dr. [REDACTED], Senior Manager

But... but... the physicality of it, Doctor. These surrogates... men, are not just numbers on a ledger. They're carrying life in multiples beyond the body's capacity, well beyond what our medicine says is natural. We are knowingly creating a dangerous scenario… and for what? Marginal increases in birth quotas?

Dr. [REDACTED], Administrator

While I appreciate your… concern for the surrogates' livelihood, we must remain objective. This isn't a hypothetical situation where we have the luxury of prioritizing ideals over results. We have mandates, strict deadlines, and expectations from the highest levels. The DRC is operating under intense pressure to show progress. We've all seen the latest reports on our population projections. Desperate times, as they say, call for desperate measures.

Dr. [REDACTED], Senior Manager

My concern is ethical, not emotional, Doctor. If I seem… invested, I can't help but think that pushing them to such extremes… to see them filled so… utterly... borders on sadistic indulgence at best. We cannot simply keep filling them up like a fish tank. The latest reports put our average pregnancy quota at 16 births per surrogate, and I know that the quota is higher now. This is too much for them, and their bodies can only hold so much.

Dr. [REDACTED], Administrator

"Borders on indulgence," you say? Interesting choice of words. But you know as well as I do that every additional fetus we bring to term brings us just barely into alignment with the national average. As uncomfortable as you are with their situation, your… fixation on the morality of the situation is, frankly, irrelevant.

Dr. [REDACTED], Senior Manager

It's hardly a fixation, Doctor. It's a… concern for their wellbeing. They're under endless strain, stretching and expanding, filled to their limits with life… and yet, we expect each new batch to endure more. Are we prepared to reduce these surrogates to mere vessels? Some of these men are barely adults, scoped up the moment they've hit the age of majority. And we're pushing them to physical extremes with little regard for the aftermath.

Dr. [REDACTED], Administrator

The aftermath is a healthy generation that will keep this country from falling into the dustbin of history.

Dr. [REDACTED], Senior Manager

Let me put this in concrete terms, Doctor. Consider the case of Surrogate S116-5221-O, who was conscripted at 18 and carrying 15 fetuses not three weeks after his birthday. The strain was so extreme that he required round-the-clock oxygen, feeding, and hydration to maintain his basic stability. His organs were compressed to such an extent that by Day 22, he couldn't breathe without assistance. Is this truly the level of strain we consider acceptable?

Dr. [REDACTED], Administrator

Yes, I recall S116-5221-O. However, as I mentioned, we specifically selected him due to his exceptional physique and vital health metrics. Despite the discomfort, he still brought each of those fetuses to term at a healthy birth weight and helped us meet our targets that quarter—an overall success in our otherwise abysmal quarter.

Dr. [REDACTED], Senior Manager

Success story? Surrogate S116-5221-O was so big we needed a forklift to move him to the birthing wing. And he's not the only one. Surrogate S116-4418-Q was assigned 17 embryos, a record for our unit. By his second week, he was bedridden and needed to be suspended from the ceiling lest his womb crush him. He spent his final days hanging from the rafters, delirious from the strain. Are we to pretend that these outcomes are acceptable, let alone humane?

Dr. [REDACTED], Administrator

Every surrogate conscripted will suffer some potential risks. No one denies the burden they bear, but each successful delivery justifies the process. Their lives, tragically short as they may be, are meaningful in the contributions they make.

Dr. [REDACTED], Senior Manager

Their lives are defined only by our demands, Doctor. We are bending them, breaking them, for output at a volume beyond any semblance of human decency. I can't look at cases like Surrogate S116-4418-Q and rationalize that level of suffering simply because it fits our agenda. This will not end well—morally or operationally.

Dr. [REDACTED], Administrator

Your concerns have been noted, Doctor, but let's keep sight of our objective here. We both know that the alternative. I'm sure they'd appreciate the DRC not enacting martial law or forcing raids on their families. We're weighing one outcome against another, and while it's not ideal, we're dealing with the greater good here. Besides, we're not enforcing this on every surrogate. Only the most robust candidates are selected for high multiples based on their physiological indicators. We're not arbitrarily assigning high embryo counts.

Dr. [REDACTED], Senior Manager

We must consider the limits of the human body, Doctor. And seeing these men in their… altered states, each with bodies so... distended, reminds us of our ethical boundaries. If we push them further, we risk turning this program into a grotesque display rather than a scientifically sound operation.

Dr. [REDACTED], Administrator

Such high ideals for the precarious situation we're in, Doctor. It's time we refocused on the logistics rather than the aesthetics of the problem. I'll take your concerns under advisement. However, we will proceed with the current embryo protocols unless I receive a directive to change course. Besides their surrogates... we have a legal right to do as we see fit to preserve our way of life, even at the expense of theirs.

Dr. [REDACTED], Senior Manager

Legal obligation does not absolve us of ethical responsibility. They are conscripts, but that doesn't mean they are disposable. We must maintain some semblance of humanity in our processes. This notion that quotas justify any means will backfire. It's only a matter of time until public scrutiny catches up, and then we'll be accountable for every life lost under our care.

Dr. [REDACTED], Administrator

Public scrutiny is not my concern. Meeting our birth quotas is. And, respectfully, the stakes are high enough that certain compromises must be made. These surrogates, as tragic as their fates may be, are providing an irreplaceable service to society. Their contribution is paramount.

If we cut back, we will lose ground, and soon, we will be too far behind to make any difference.

Dr. [REDACTED], Senior Manager

Let me be equally clear, then. I will formally request a review of these practices. There is a line, Doctor, and we are perilously close to crossing it. I will be escalating this to the Director's office.

Dr. [REDACTED], Administrator

You're welcome to try. But we'll continue with these measures until instructed otherwise.

[Transcript ends.]

----------------

Memorandum

Following a formal complaint submitted by Dr. [REDACTED], Senior Manager of Insemination Operations, to DRC Headquarters regarding operational protocols and perceived ethical concerns, HQ conducted a preliminary review and determined that no formal investigation was warranted. Dr. [REDACTED] was subsequently placed on probation for insubordination due to his ongoing objections to established protocols. After observation and review by HR, Dr. [REDACTED] has been reassigned to the Anchorage Office, where he will continue supporting DRC’s initiatives under adjusted responsibilities.

In parallel, Dr. [REDACTED], Administrator, Paternity Compound [REDACTED], [REDACTED] City, has been recognized with a personal achievement award. This award acknowledges Dr. [REDACTED]’s dedication to maintaining and exceeding local birth quotas amidst low surrogacy compliance rates. His contributions have been instrumental in stabilizing output levels despite challenges.

End of Memorandum

----------------

Click Here to return to DRC Report Archives

[chefkids]

So what comes next?

In case you have not heard. Season 3 might be the last. This was the same source that first announced that the bear will have additional episodes and they would begin filming in February so I would say they are pretty reliable. It was also Chris' intention to just do 3 seasons, and based on the major themes I do think it makes sense.

The timeline to pay back Jimmy was 18 months. We're already 3 months in. I doubt Season 3 will cover an entire year and 3 months. So why end it at Season 3 when there is still so much that could happen and they could explore?

The Bear will shut down.

It's not unheard of for Michelin star restaurants to shut down. I could see them giving it their all and even getting a star or two, but in the end it still not being enough. Operating costs is extremely high. Gentrification was touched lightly in season 1 with the landscape of the neighborhood changing. Many Michelin restaurants are part of restaurant groups and have large financially backing plus generate income through other products like books or packaged goods.

The show has been setting up everyone to be ready to be on their own if or when the time comes.

Marcus becoming a legit pastry chef.

Tina leveling up in the kitchen as a sous.

Richie becoming a high end host and expediter.

Natalie becoming a manager and also a mom.

They have all gained skills that could get them a job anywhere else. Carmy and Sydney are the ones still stuck.

Sydney is terrified of having to start over once again, because she's scared of time running out for her. She's not even 30, most people don't get to have their own restaurants until much later in life. She wants what Carmy got and she wants to share it with him.

Carmy doesn't know what he's doing on his own. Mikey was his motivation but now that he's accepted he's gone, the only thing that seems to get him motivated is his fear of disappointing Sydney. He started cooking out of spite and has seemingly ignored all his other interests like fashion and drawing.

They need want each other. I think it will end with knowing that they will have each other even if it's not about the restaurant anymore, because really this show was never really about the restaurant but the people in it.

Syd will stop stressing about time, Carmy will find his own purpose. And maybe 10 years down the line they'll give it another try and build something completely new and he'll actually be there for her in the process. I think it will be bittersweet, but still hopeful.

Honestly this is the only way that I can see it having a concrete ending, without leaving a ton of questions in the air, while still having a optimistic door open for the future. In the end the restaurant might have not succeeded financially, but it brought everyone together and made them better.

[inariedwards]

Museum news from Finland:

Museum of Northern Ostrobothnia donates its Sámi collection to the Sámi Museum Siida

The Sámi Museum Siida is the national museum with the responsibility for preserving the material and cultural heritage of Finland's Sámi people. The Sámi objects in the Museum of Northern Ostrobothnia's collections were mainly acquired between 1900 and the 1960s with the last ones added to the collections in the 1980s.

The first part of the donation, which includes the textile items of the collection, will be transferred to representatives of the Sámi museum in the collection facilities of the Museum of North Ostrobothnia on Tuesday, 16 January 2024.

– As the new collection and exhibition facilities of the Sámi Museum Siida are now completed, this seemed like a good time to donate the objects of Sámi origin back to the Sámi community, says Pasi Kovalainen, Director of Cultural heritage work at the Museum of Northern Ostrobothnia.

– The Sámi objects and their return have a profound meaning for the Sámi community. The donation is a significant addition to the oldest part of the Sámi Museum Siida's collections. We thank the Museum of Northern Ostrobothnia for this important decision, says Taina Pieski, Siida's Museum Director.

The collections of the Museum of North Ostrobothnia that include objects of Sámi origin date back to the early days of the only professionally run museum in Northern Finland. The objects were collected by Samuli Paulaharju (1875–1944), a folklorist and museum curator from Oulu. The collection was destroyed almost completely by two fires in the museum buildings in 1929 and 1940. After both fires, replacement items were collected in Lapland.

The collection of approximately 400 items now donated consists of Sámi textiles and utensils, including a goahti (traditional Sámi hut) and several sledges. The oldest items include a cheese mould from Enontekiö dating back to 1797 and rare crossbow stocks, the oldest of which dates back to 1730.

As a large part of the Sámi cultural heritage is still held by museums outside the Sámi region, the transfer of the collection is important for the Sámi community.

The Sámi material culture is both practical and beautiful in its diversity, and the museum objects contain a wealth of intangible knowledge about their manufacture and use. This knowledge is best preserved in Sápmi by the Sámi themselves. Through the study of artefacts, it is possible to revive the old craft traditions and techniques of the Sámi community, knowledge of materials and the vocabulary related to the production and use of the objects. The revitalisation processes are a form of communal and intergenerational transfer of learning and knowledge, and they contribute to the transmission of Sámi material and immaterial culture to future generations.

The transfer of Sámi collections to the Sámi Museum Siida over the past decade is a concrete demonstration of genuine cooperation between museums and the increased understanding of the importance of cultural heritage for the Sámi community.

[vashvenus]

★ミ serpentine.

synopsis: naga knives has a sort of morbid fascination with you than manifests in a strangely sexual manner.

contains: naga/serpent knives, knives’ taxidermy hobby is mentioned, sort of medical? but he’s just exploring and weird, dubcon i think?, he has two weewees, and afab reader. 3.5k words.

note: teehee!! this is a (late) christmas present for my BEST FRIEND!! my cool, adorable, and wonderful bff @knivesbunny <33 hehehe enjoy bee + everyone else!!

it was about time you moved on in the world. getting a fresh start in the form of a cozy cabin at the edge of the woods sung your name and the price point was staggeringly low so, after confirming there were no safety hazards, you took the place. with dark wood and muted tones alongside a beautifully kept garden by the previous owners, how could you possibly go wrong? well, ‘wrong’ is an arbitrary term and ultimately up to the individual for judgement.

your moving process went without a hitch. furniture and belongings all being placed properly following a good deep clean plus a couple coats of paint, things any place would need upon a new owner arriving. you'd been rather happy at the final product, something dreary at first taking the form of your own home; a fond word. trinkets, cupboards of dishes, and an amalgamation of photos and artworks lining the walls to create an atmosphere you almost wished you could share but, alas, a solitary life was your preference.

the garden out back was complete with a greenhouse tucked to the side, surrounded by an abundance of flora and fauna that also colourfully dotted the rest of the greenery. small plots had been sectioned out for different fruits and herbs and the idea of being able to grow a large quantity of your own food was an exciting new feeling, one that you couldn't wait to grasp. thusly, it wasn't long until you found yourself kneeling in the grass and working new seeds into the dirt. a variety of the basics alongside some of your favourites was the route of action, one also deemed reasonable. between fondly nestling new seeds and sipping at cool beverages, the thought of the greenhouse slowly slipped your mind despite how vital it was to your task. swiping the gathered sweat from your forehead, you rose up to analyze your progress to which brought your eyes back to that small addition cozied up to the side of the property. the bags of dirt and tools resting on the ground would need a place to go after all... so, you wandered over to that little building and fiddled with the door.

the wooden door was slightly overgrown and gave you a good fight to open, weeds and rust seemingly actively working to keep you out of the space. stepping back, you looked it over a bit more, not wanting any splinters, before pressing your shoulder into it for added force. with a combined 'bang' and 'groan,' the door scraped across the inner concrete floor before coming to a stop about three quarters open. you huffed and slipped in, cursing the rotten chunk of wood and attempting to get a good look at what you were working with. eyes glazing over various rickety shelves, a sharp and icy chill rolled down your spine. a small nagging voice in the back of your head whispered ‘something isn’t right,’ in response to the unusual, for lack of better words, appearance of the inside.

atop aforementioned delicate shelves lay different jars full of an indistinguishable liquid and what appeared to be organs, small ones so hopefully not human, as well as a range of entire animals fully submerged in their own watery tombs. wind chimes made of bones twinkled from the ceiling above firmly locked chests and you weren’t totally sure you were interested in the contents. the previous owners, an old couple, didn’t seem like the type to hoard such morbid trinkets but sometimes it’s the most innocent ones, you figure. still, the lingering idea of this being the work of some beast that had chased them away from their lovely home rattled at the back of your mind ominously. shifting on shaky knees and feet, you contemplated poking around a bit but rationality told you to at least find a sturdy pair of gloves first. though, as it would seem, the choice wasn’t yours to make judging by that same yet more aggressive scraping and slamming door.

whipping around, you came face to face with… a man? one with frosty eyes, near white hair, and a scowl that could skin you alive. more importantly, he was hanging from the ceiling of the small shed you were now trapped in; stuck. with him. this… not quite man, if your judgment of his long serpentine looking lower half meant anything. all wide eyes and dry mouth, you gaped helplessly at him, attempting to find some sort of explanation for what exactly you’re doing, as if this isn’t your property he’s on. his eyes turned to slits seeing you fumble for words and, with an amount of grace that shouldn’t be possible, he slithered off the ceiling to instead… stand? lay? rest? you’re not too sure but he’s in front of you now right side up. pupils merely scratches inside his powdery blue eyes, you fear he’s deciding if you’ll make a good meal and you’ve half the mind to assure him you’re not as tasty as he may think. alas, he speaks before you get the chance.

“name,” it’s a simple but firm commanding question you weren’t quite expecting but, to be real, what were you expecting from an interaction with a snake man? you stutter out a whimper of a reply and he clicks his tongue; it’s forked, you note. with all confidence you can muster, not much, you promptly for his own. he hums low. “millions knives. shorten it to knives at most. don’t dare to give me any sort of nickname, as you humans often do; it’s abhorrent,” and you’re shocked he’s so eloquently spoken. perhaps there’s snake people schools you aren’t aware of?

“right. noted, millions knives,” you hesitate, not keen on irritating him further, as clearly just your presence has perturbed him, “i… apologize if i’ve intruded but… this is my property after all. some sort of explanation on your,” you gesture widely at the space, “hobby would be appreciated.” your poor attempt at mimicking his speech pattern has him letting out a chuckle that sounds more like an array of chitters. palms sweaty and desperately avoiding eye contact, you gulp hoping he’ll entertain your question before potentially swallowing you whole; snakes can do that. his tail flicks your shin jolting you to bring your eyes back to his, admittedly handsome, face.

“my… hobby, hm? it’s nothing to you,” a disappointing response, “were you hoping i’d have a jar your size, little human?” you’re positive he’s making fun of your fear yet somehow his words feel flirtatious in a way that has your brain swinging like a pendulum between crying out of petrification and placing a hand on his built chest. “i’ve been watching you for some time now. you’re utterly,” his tail wiggles up to grip your waist, “fascinating. a perfect experiment.” if he didn’t sound like he was flirting before, he sure does now.

his words were true to an extent beyond your knowledge. ever since the first tour you took of the place, he had kept an eye on your every move. knives hadn’t found an ounce of appeal in new people moving into the small home but, if he had it his way, it would turn abandoned for him to find sanctuary in. alas, the housing market wasn’t on his side as people inspected the place top to bottom and he was stuck merely seething beyond view; that was until you came along. all bright smiles and eager nods, he was beyond irritated with the way he found you undeniably irresistible. something so... keen would make a lovely study after all, he thought, though destroying you utterly and completely was off the table for he'd never be able to poke and prod at you after that. unfortunately, in the time it took for him to mull over a game plan, your first visit was over and he slithered back into the thick woods while scowling; unfair. the jump knives felt in his heart upon your second visit was one that caught even him off-guard, an emotion towards humans beyond that of revolt? unheard of and vile. yet, he was the one who had it and couldn't simply deny that he was feeling something beyond curiosity. your scent, perhaps? he muses over a handful of biologically reasonable conclusions for his reaction to a distantly nodding vash whos already figured out the truth. he saves it though, as to not have his other arm lobbed off, and instead hums along agreeing to every point with faint amusement.

it's with thoughts racing past at speeds no human could match, that knives brings himself back to the present, large palms and boney fingers coming to trail your jaw. another flick of his tongue appears between the grin now forming along his pink lips and impossibly long teeth; even a playful nip would draw extensive blood. he makes a sound between a hiss and growl as one sharp nail trails along your neck down to your sternum slowly, as if assessing a piece of meat; perhaps, in a way, he was. silvery tail wrapping around your left ankle, he tugs your leg up with his head dipping to peer curiously at the limb. you can't really blame him considering legs are the only human trait he lacks but the unsettling nature still makes you shiver. knives takes turns with each of your legs and arms, taking them in at all angles and seemingly pleased with what he was seeing. sure, he wasn't fond of humans at all but, he can appreciate when one is well made; easy on the eyes. a slightly morbid fascination, maybe. finally letting you go from his clawed grasp, he nods, satisfied.

"alluring. remove these pesky clothes," he scrunches up his nose while pinching the fabric of your shirt, "and seat yourself atop that cabinet." his gaze never once easing up, you're between bolting or following his instructions. the former would rely on you being stronger and faster than the behemoth of a man-snake standing directly in front of the door and you're positive you'd be dead two steps in. with trembling fingers, you pull the dirt dusted shirt from your body and shiver at cool air ghosting across your bare chest, only held back by the simple bra clinging to your breasts. you swallow thickly before shimmying off your denim shorts past your thighs and awkwardly down your feet. having not removed your socks or shoes, it was quite the task, but potential tetanus from the rickety floors wasn’t on the menu today. knives found amusement in your struggle, if the chittering in front of you meant anything though, in truth, he was rather charmed. such clumsy behaviour almost reminded him of a newborn bunny. face flushed, you finally unclasp your bra and slip off your panties with no more grace than your shorts had been discarded with, before perching yourself on the cabinet knives had dully gestured to.

“is this… is this good?” the words slide past your lips before you let them, sounding too pleading for your liking but knives seemed to enjoy that despite a hum being all he offered in return. his strong chest was quickly in front of your eyes, curse his fast snake body, while his hands found purchase on your legs again. with one palm on each of your knees, he gently eased them open, nearly purring at the sight.

“you’re something of a gem, hm?” his voice was low, hands inching up your thighs with sharp nails leaving a trail of goosebumps. “how very kind of you to welcome me with such a,” the forked tongue of his makes a third appearance, “wonderfully prepared gift? such a lovely homeowner…” though sarcastically sweet in tone, his words did nothing but shoot directly between your legs. “i’ve got a keen nose, little rabbit, are you enjoying being my area of study?” his gaze was hard as he looked at you down his nose and from between long lashes. “your most intimate nodes are crying out ‘yes’.” he presses against your folds to spread them with feather light fingertips, much like one would a dissection. spreading you softly, his head tilts to one side while his eyes seem to slowly drag up and down the weeping slit of yours he's not fully exposed. knives wedges himself fully between both of your legs as to not allow you to close them and his other hand joins in on the fun, prodding softly at your entrance. he seems to revel in the small whimpers you make, crystalline tears clinging to your lashes from a mixture of desperation and humiliation at letting him do such to you so easily.

employing a sort of gentleness and patience you didn't think he had, knives slowly eases in one of his fingers down to the second knuckle before pulling it out with a wet 'schlick' to wrap his mouth around it. the taste seemed to please him based on his own moan and he returned to his previous ministrations, softly thrusting the finger in and out of you. with the hand that had been used to spread you, he smoothly switched to rolling gentle circles over your clit, eyes still fixed firmly on watching the way your body reacts. a second finger accompanies the first in its delicate rock, encouraging more of the sweet sticky essence of you to drool out and across his hands. panting and whining, you buck pathetically into his hands with closed eyes and red bitten lips; you miss the way he slides to his knees. for a man so large he is more than quiet, something you can't match with the harsh suckling on your clit coaxing loud cries from you. his mouth curls the slightest bit with a smug smile and you can feel it past the swirling of his tongue and sharp incisors teasing your skin. briefly, you hope he won't bite. the soft plunging motions of his fingers turns harsh alongside the movements of his mouth. he seems eager to have you unravel on his face and, despite your own tattered pride, you can't stave off the shuddering of the orgasm that washes over in the most intense waves you've ever felt. embarrassingly loud slurps echo around the small shed as knives continues his own motions with glee. it's only when you gently push at his forehead that he shifts backwards and up, allowing you some reprieve from what he had just done. you're breathless, to say the least, having been made to come so shamefully on the handsome mouth and hands of this stranger but somehow you don't feel as though you were the only one who had fun despite his firm acclaims of experimentation.

you're struggling to regain your breath while knives looks you over with thinly veiled lust, you figure teasing him for it wouldn't go well so you restrain despite the thick atmosphere begging for some reprieve. while still gasping for air and shaking the post-orgasm fog from your head, he's pushing you down with his body weight and adjusting the way you lay across the cabinet to his personal preference; legs bent around his waist and hand beside your head. with hazy eyes, you look down to catch the way not one but two thick cocks slide out from the slit they had previously been held in. hanging heavy but curved up slightly, thick arousal is pooling at the tips and you think you can see ridges along the base of each. your jaw is slack as knives lets out another one of those chittery laughs.

"scared, bunny? no need, i'll make it work," his smarmy expression is nearly enough to have you shooting something snide back but he's lining up the tip of the lower cock and sinking himself in faster than you can think. "let go of any premonitions, this will be mutually beneficial."

if you could have any thoughts, they'd be nothing more than slurred curses but with the thickness and impossible length occupying and stretching your insides, you're rendered incapable. he's slow enough to give you some time to adjust but still fast enough that your body can't quite keep up with what he's giving; a pleasurable form of purgatory. knives allows his hands to wander your body, one coming to grip and gather your wrists to now rest above your head while the other fondles your breasts harshly. he's grabbing you in a way that feels inexperienced and almost charming though the harsh penetration is tearing you away from the idea. knives trails his hand from your breasts, to your stomach, and back up to grip your throat as he finally bottoms out inside of your tight heat. the wetness and warmth covering him is seeping out and down his tail to leave a lewd trail of combined juices he briefly admires the shimmer of before he's sliding himself out and roughly back in with a resounding slap. a high and needy sound escapes your throat as the tip of his cock taps your cervix and the rest of it rubs across your walls, eagerly taunting all of what's to come. the hand around your throat compresses your blood flow just enough to have your head feeling like it's full of cotton and your body even more pliant for his use. nails tilt your chin to have you make eye contact with the man currently deep in your guts, a glittering and dangerous grin spread across his face. with your eyes on his, knives begins pounding into you with earnest.

all of the sounds that leave you are high-pitched and warbled with unshed tears borne of the hand around your neck and stretch of your cunt. he's letting out strangled grunts and eager clicks at the grip of your wet pussy trying to milk him dry. his second cock his sliding against your clit and lower stomach with every harsh thrust he gives you, rubbing and pulling pleasurably. all of your nerve endings feel ablaze with the way he's using your body in a way that's filled with determination. his head drops down to make contact with your shoulder, his mouth sliding up your neck to replace his hand and add plentiful marks along the untouched skin; he figures an array of bruises will decorate it better than any necklace. dark indigo and rouge dappling the skin as blood comes to the surface, he's enamoured with how it looks tainting your flesh. both of his hands are now around your hips to hold you still for every pump of his cocks along and into your body, forcing you to take it all in full. you're crying with your back arched and chest forced to the ceiling as he continues his fast pace with teeth grazing your nipples. knives is biting numerous times across your tits, imprints of his fangs left in the wake akin to a path on a trail; he's oddly proud of his work. you're beyond your own body, desperate for him to bring you to a second high of the day, hips trying in vain to undilate against his own but his grip is too firm; his unnaturally strong. tongue flicking at your nipples, one cock deep in your guts, and the other beating against your clit, it's not long before you're babbling useless pleas for him to not stop. through choked sobs and moans, you're falling to pieces with his cock nestled deep inside of you. your brain is blank as lights splatter across your vision, eyes rolled to the back of your head and drool leaking from the corners of your mouth. still, his heavy rutting hasn't ceased. every limb of yours is twitching as sobs move past your lips without permission and your hands slide from his grip to claw uselessly at his back from overstimulation until knives is letting out an otherworldly growl as he sinks to the hilt one final time. you can feel the thick ropes of his seed coat your insides as his body curls around you protectively; a mating instinct maybe. he's grumbling lowly as an impossible amount of his spend leaks in and out of you with each twitch of his shaft.

you're still feeling a touch foggy when he pulls out, globs of shared slick pooling beneath you. knives is assessing your form critically, hands and eyes sliding over every bruise and bite left behind from his own roughness. it's almost sweet, how he seems to care for your well being despite his words claiming otherwise, and you simply allow yourself to enjoy the way he's fussing over you. once satisfied, he nods to himself and moves to scoop you up in his arms despite your small whines of protest but your indignation doesn't last long as he slithers you both over to your home, mumbling something about a shared bath; for purely experimental purposes, of course.

[fromadistantstar]

A flimsy little pamphlet lies forgotten on a concrete floor, its cover missing. The title page is all block-print- the regulations for obtaining additional copies feature almost as prominently as the title. Big, black letters: MANUAL FOR SALVAGE AND DISPOSAL OF WITCHMADE DOLLS. Beneath, of course- FOR USE OF PERSONNEL ONLY, and further a neat little logo proclaiming it a product of the Imperial Scout Corps War Conduct Oversight Committee. The occasional gust of wind flutters its pages, revealing their contents. "In light of certain indiscretions on the part of members of the Imperial Scout Corps," the first page begins. The rest is illegibly ink-stained.

[solar-wing]

Please, stop using ai in your writing 🥺👉👈

so here's the thing...and for context sake for me, I'm gonna assume you're the person who asked me before if I use AI in my writing.

Once again:

note where I said what I use it for! Proofreading my drafts, structuring my outlines, and helping me find words and phrases. for example...

or...

Trust and believe me, I have my fair use of looking up synonyms and phrases online outside of AI. Just look at my bookmarks.

Now, I want to take this moment to address something about my use of AI in my writing. For me, AI has become a tool that has helped me in my productivity. It removes some of the mundane and time-consuming aspects of the writing process, allowing me to channel more of my creative energy into crafting better stories.

I fully understand that everyone has their own perspective on this topic. Some choose to use AI, while others avoid it entirely, and I respect both positions. I also recognize the moral and ethical concerns some have about AI. However, the way I use it does not harm others or have a negative impact outside my platform. If I ever saw clear, concrete evidence that using AI was genuinely detrimental to authors as a whole, I'd 100% reconsider my use of it. But so far, I’ve mostly encountered personal opinions and feelings on the matter. While those feelings are valid, they remain just that—personal.

(EDIT:)

(Something to also consider, I have an Apple Laptop, a MacBook, and with their new features releases this year, specifically the Apple Intelligence, AI is quite literally built into my phone and laptop. So, again, if’s a tool that is available for me to use and it actually helps me, and it’s not harming others with my use or its use in general, then I will take advantage of it.)

What I take issue with is when those opinions are pushed onto me, especially when I haven’t asked for them and they’re delivered anonymously.

Now, let me be clear: I’m open to discussing this topic further if anyone has additional information they believe I should consider, but I prefer those conversations happen in private, not through my public inbox. My DMs are open for that kind of dialogue, and I promise those conversations will remain 100% confidential.

That said, this is the last time I will address this topic publicly. I’m always willing to hear feedback, but when it comes to questions about the tools and resources I use to create my work, I draw the line. I want this platform to remain a space for creativity, joy, and connection—not debates over personal tools.

To be clear, my inbox—especially the anonymous feature—is intended for discussions about stories, characters, requests, and similar topics. It is not the place for critiques of how I choose to create. I don’t want to feel forced into disabling it because of misplaced discussions.

If you’d like to share your thoughts or feedback with me privately, my DMs are open. Otherwise, I ask that we keep the focus on the stories and characters we all enjoy. At the end of the day, writing is something I’ve loved doing for as long as I can remember, and AI is just one of many tools I use to make that process more efficient. It’s not something I rely on, but it does help me, and it’s not something I feel the need to constantly justify. If AI disappeared tomorrow, I would still create stories—because that’s what I’ve always done, and that’s what I will continue to do.

Thank you for understanding, and let’s keep this space positive and fun for everyone.

Thank youuuu💛

[nalyra-dreaming]

Hello there, sorry to pester you about it, but do you know if production will begin soon-ish? Just to see if we can expect a 2025 release or 2026 instead

I cannot really answer that.

The writers are on crunch deadlines, but they do not seem to be done. However, if the first seasons are any indication, then that means that they are actually in pre-production right now, since both times the actual writing was actually quite close to production starting(, with season 1 even starting filming with only three scripts done due to the rewrites).

Which might indicate table reads etc soon as well.

We know they have a concept and songs written already for Lestat, we know Rolin hired two song-writers (in addition to Daniel Hart).

There have been rumors, rumors which will be interesting to see if they hold soon.

All that... might give us hope for a late 2025 release, however, as just said in the previous asks, there are interviews were Sam iirc talked about Lestat "in the present time in 2026"... and so they might go for that.

(IF they do... they better give us a proper tour and a real double album. Seriously. :))

But I don't have a concrete answer right now at least. Not yet.

[solarpunkbusiness]

Swiss researchers develop robotic additive manufacturing method that uses earth-based materials—and not cement

Researchers at ETH Zurich, a university in Switzerland, have developed a new robotic additive manufacturing method to help make the construction industry more sustainable. Unlike concrete 3D printing, the process does not require cement.

According to a press statement from ETH Zurich, the robotic printing process, called impact printing, uses cheap, abundant, and low-carbon earth-based materials such as clay or excavated earth. Currently, the robotic additive manufacturing method uses a mix of excavated materials, silt, and clay. Most of the custom material is common waste product sourced locally from Eberhard Unternehmungen, a Swiss construction company. In the future, the process could use other materials.

With ETH Zurich’s method, a robot deposits material from above, gradually building a wall. On impact, the pieces of material bond together, with minimal additives. Whereas concrete 3D printing creates layers, ETH Zurich’s method extrudes and drops the material one bit at a time at velocities of up to 10 meters per second. The fast speed allows the material to bond quickly.

ETH Zurich’s process can build full-scale, freeform structures, including one- or two-story walls and columns. The printing tool has been used to build structures as tall as almost 10 feet. The process results in walls with a bumpy texture, but robotic surface finishing methods can achieve a smoother finish.

The custom printing tool can be integrated with multiple robotic platforms. As a result, the tool can build walls in both offsite facilities and onsite construction projects. At ETH Zurich’s Robotic Fabrication Laboratory, the tool has been integrated with a high-payload gantry system. The hardware can be mounted on an autonomous legged excavator to build walls on sites with variable terrain.

ETH Zurich says it aims to increase the cost competitiveness of sustainable building materials through efficient and automated production.

[weclassybouquetfun]

On the OLD GUARD cast front, it's either feast or famine and we are in now for hint of an impending feast. Charlize Theron gave an update on the sequel to the film, and while it isn't much more than what Matthias Schoenaerts provided when he talked about it while promoting HBO's THE REGIME, it's heartening hearing something from the leader, herself.

The question mark I have about her assertion that post-production was shut done due to the Netflix exec shuffle is that, by all appearances they aren't seeking shooting of additional footage. The cut I saw in June 2023 had three scenes (at least!) that would actually need the actors to film additional scenes - it's not something they could use CGI for, unless they've scanned the actors' images and will superimpose them over a stunts team. Or maybe they have decided to jettison those scenes.

What is the rest of the cast up to?

KiKi Layne has a film out in limited release: DANDELION

KiKi at the screening I attended.

KiKi with costar Thomas Doherty.

-Luca Marinelli has been making the rounds talking about LE OTTO MONTAGNE / THE EIGHT MOUNTAINS (STILL!) with buddy Alessandro Borghi (who gives an  exhilarating performance in SUPERSEX, the series about adult actor Rocco Siffredi) He has also been named one of the jurors for the upcoming Locarno Film Festival.

The long-awaited Joe Wright series about Benito Mussolini, M. IL FIGLIO DEL SECOLO / M. SON OF THE CENTURY will play the Venice Film Festival. And unlike THE OLD GUARD sequel, it has a target release date: winter 2025.

Marwan Kenzari will have a film playing the Toronto Film Festival - THE RETURN - a take on the Odyssey starring Ralph Fiennes and Juliet Binoche makes port (at least at TIFF) in September.

Kenzari will also have a role in series two of Netflix's THE NIGHT AGENT starring Gabriel Basso.

In between time he and his partner Nora Ponse have moved homes.

Marwan and son Karel exploring their new neighborhood.

Also at TIFF will be the Henry Golding film DANIELA FOREVER

Right now, Matthias Schoenaerts have four things in development, but nothing seemingly concrete. He posts street art and quotes on IG, but my favourite type of posts are ones about his late mother.

[forgottensibiria]

Advanced Ichthyocetus - Batrachorusalkas

Usually, the rate of evolution of secondary aquatic animals is high - for example, in whales, the transition from semi-terrestrial to semi-aquatic animals took no more than 8 million years. In ichthyosaurs, this interval is reduced to 4-5 million years (from 250 to 246 million years), in mosasaurs it increases to 39-18 million years (from 125, counting from the species Kaganaias or 99, counting from the species Aigialosaurus to 86 million years ago). One can also recall seals (26 million years), metriorhynchidae (3 million years), plesiosaurs (6 million years)*... This is enough time to transform the limbs into fins and become adapted to life in the open seas.

Whale evolution. Author unknown, found in internet.

The situation becomes strange when looking at ichthyocetus, which initially retained many features for life in water and almost never went on land. The ancestor of the clade, tulerpeton, lived in the Ural Sea 365 million years ago: however, 58 million years later (!) we see quite primitive species that differ from their ancestors only in increased size and a narrower skull (as well as a specialized tail). Obviously, in addition to such forms, we must inevitably find more advanced species capable of permanent life in open waters.

Ichthyocetes - late primitive species of Ichthyocetesidae (we will use there terms as synonyms, meaning whole clade, not concrete species).

Before we proceed to their discussion, let's clarify the features of ichthyocetus. These animals are ideally adapted for shallow waters, characterized by developed limbs for movement in difficult coastal environments and a movable neck. We should immediately note that this fact makes this clade dependent on glaciation cycles, therefore, transgression and regression of the seas. As a relative of tulerpeton, ichthyostega, ichthyocetus moved on land (if the situation forced them) like seals, stretching their body with their forelimbs (while the body could not bend similarly to modern lizards or salamanders). Thus, ichthyocetes, when moving in water and land, more often use their tail and limbs, especially the front ones, while the body itself is motionless. The neck is mobile, but limited in length and mobility due to its primitiveness.

It is quite obvious to see a tendency in ichthyocetes to decrease body length and tail/fin development. Nevertheless, in all ichthyocetes, the forelimbs never became fins completely, but on the contrary, developed mobility and flexibility for - oddly enough - capturing prey. This fact is explained by the limited mobility of the skull and the diet of ichthyocetes - the search for benthos/armored mollusks. The "hands" allowed them to capture prey, while the powerful jaws crushed the shells. However, the limbs themselves are flattened due to soft tissues, and the fingers are connected by webbing. This allows them to actively use it in swimming, especially if they need to quickly get up for a new breath of air. In other cases, the tail is used for movement.

Tulerpeton and Ichthyostega found fossils

As a result of these adaptations, the most progressive group of ichthyocetes from the Early Carboniferous appears - Batrachorusalka (mermaid frogs). This group is a medium-sized nautiloid and ammonite hunter. They appear after the Serpukhov extinction, as shallow waters lost most of their species and became less productive due to a decrease in carbonate platforms (shallow waters built by reefs) and, consequently, a slowdown in speciation of species. Nevertheless, it was during this period that ammonites and natuiloids reached their heyday, and some representatives of ichthyocetes began to specialize in them, becoming batrachorusalkas. The remaining species of the clade under consideration remained in shallow waters, almost ceasing to evolve, as well as gradually reducing their range: the only thing that led to the emergence of new species was a drop in sea level and fragmentation of the original populations into smaller isolated groups.

Batrachorusalkas have reduced hind limbs, a short barrel-shaped body and a long tail convergent to those of ichthyosaurs and mosasaurs. When moving, the forelimbs stabilize the body, as well as a small "dorsal fin". The developed "hands" are capable of folding into a compact fin and are usually placed to the sides. When chasing prey, batrachorusalkas captures prey with its jaws after a high-speed pursuit, after which it stretches its "arms" forward and captures the shell of the nautiloid, after which this ichthyocetes goes into depth to dismember prey. This is done as follows: the animal crushes a part of the shell to deprive the mollusk of the opportunity to hide in its house, after which it grabs the flesh of the prey with its teeth and pulls the nautiloid's body with its forelimbs from the head, lifting them up. Then the batrachorusalka swallows the part of the prey caught in its jaws, shaking its head, and the process repeats. Since farmhands can hold air for up to an hour, they can take their time in eating food.

Batrachorusalkas have two types of teeth. The teeth on the palate and lower jaw are flat, oppressive, and concentrated in the back of the jaws. The extreme dentition, on the contrary, is cutting, convergent to the teeth of Eugeneodonts with symmetrical teeth. Another feature of the species is the nostrils, which retain their position at the tip of the muzzle: these animals have a habit of floating vertically, "like a soldier".

The decline of batrachorusalkas, which could reach a size of about 4 meters, occurred with the appearance of large eugeniodonts in the region, which surpassed marine tetrapods in speed and agility, and also hunted the same ammonoids and nautiloids better. Moreover, the edestus of the Ural Sea easily took away the caught prey from the farmhands, since the latter ate their prey too slowly. Meanwhile, the more primitive shallow-water batrachorusalkas suffered from habitat loss and competition with their more basal relatives. 310 million years ago, the last mermaid frogs became extinct. The remaining ichthyocetes die out at the end of the Carboniferous due to changes in the hydrochemistry of the coasts caused by the extinction of carboniferous forests, although some representatives (descendants of batrachorusalkas, who began to live on the northern side of the Ural Ocean and became inhabitants of mossy reefs) live to the end of the Asselian Permian, having experienced a short-term surge in speciation 294-292 million years ago due to the largest transgression of the sea in the Permian (regression finally destroys the last ichthyocetes).

So the unique amphibian dynasty and the last of the Stegocephals (Stegocephali, which does not include the ancestors of modern tetrapods) ceased to exist.

NOTES (*) The calculations are approximate and made by the author of the article. The author looked for basal representatives of the family with legs and without legs, after which he calculated the gap between these forms. They are accurate enough to give general ideas on the topic under discussion, but nothing more.

[blogport]

EPOXYSHİNE - DRAGON+ (3)

Epoxy floor coating is not just a practical choice for enhancing the durability of your flooring; it's also a stylish solution that can transform any space. Whether you're a homeowner looking to revamp your garage or a business owner seeking reliable commercial flooring solutions, understanding the benefits of epoxy will help you make informed decisions. As you search for "floor polishing near me," consider how an expertly applied epoxy coating can elevate your interiors while providing a long-lasting finish. 

Epoxy Floor Coating

Epoxy floor coating is a highly durable and resilient flooring solution that has gained popularity in both residential and commercial spaces. This type of coating is made from a combination of resin and hardener, creating a strong bond when applied to existing concrete surfaces. The result is a seamless surface that can withstand heavy foot traffic, chemicals, and abrasions.

One of the major benefits of epoxy floor coating is its versatility. It can be customized in various colors and finishes, including high-gloss and matte textures. This means that property owners can choose a look that complements their interior design while still providing the durability they require. Additionally, the smooth finish of epoxy makes it easy to clean and maintain, which is particularly advantageous in commercial settings.

Furthermore, the installation process for epoxy floor coating is relatively quick, often completed within a few days. However, it’s essential to hire professionals who have the expertise and equipment to ensure a flawless application. The right team will properly prepare the surface, allowing for optimal adhesion and longevity of the coating.

Floor Polishing Near Me

When searching for floor polishing near me, it's essential to find a service that not only meets your expectations but also understands the unique needs of your flooring. Professional floor polishing can revitalize old surfaces, restoring their shine and luster while protecting them from future wear and tear.

Many local companies offer specialized services in floor polishing that cater to various materials, including hardwood, tile, and concrete. A quick search in your area will yield numerous options, allowing you to compare prices, services, and customer reviews to find the best fit for your needs.

Additionally, hiring professionals for floor polishing ensures that the job is done correctly and efficiently. They use advanced equipment and high-quality products that not only enhance the appearance of your floors but also extend their lifespan. So, don't hesitate to reac

Commercial Flooring Solutions

Commercial flooring solutions are essential for businesses seeking to enhance their aesthetic appeal while also ensuring durability and functionality. The choice of flooring can greatly influence the overall atmosphere of a commercial space, leading to improved employee morale and customer satisfaction.

Among the various options available, epoxy floor coatings stand out due to their seamless finish and resistance to heavy foot traffic. These coatings not only provide a sleek look but also protect the underlying surface from wear and tear, making them ideal for warehouses, retail spaces, and industrial environments.

Moreover, businesses often explore additional options such as vinyl flooring, carpet tiles, and laminate surfaces to meet specific needs. Each of these materials offers unique advantages, allowing business owners to choose the most suitable flooring solution that aligns with their operational demands and aesthetic preferences.

Metallic Epoxy Floor

A metallic epoxy floor offers a stunning visual appeal that enhances the aesthetic of any space. The reflective properties of the metallic pigments create a unique look, resulting in a three-dimensional effect that can mimic a variety of surfaces, such as water, marble, or even molten metal. This type of flooring is especially popular in modern homes, showrooms, and commercial spaces, providing an eye-catching yet durable surface.

One of the significant advantages of a metallic epoxy floor is its durability. This flooring solution is resistant to stains, chemicals, and impacts, making it ideal for high-traffic areas. Additionally, it is easy to clean and maintain, which means that business owners and homeowners can save time and resources. The seamless nature of epoxy flooring also contributes to a hygienic environment, especially in spaces like hospitals or laboratories.

Installing a metallic epoxy floor can be a customized process, allowing property owners to choose their preferred colors and patterns. Whether you’re looking for a sleek, industrial look or a vibrant, artistic finish, this flooring solution can be tailored to meet your unique vision. By consulting with professionals, you can ensure that your metallic epoxy floor is installed correctly and maximizes its longevity and beauty.

[wei75631]

P6 Idea : Jungles and World Trees

"Jungle" in P6 is equivalent to the palace in P5. It is an obstacle that players must pass to advance the main plot, and it is also a turning point for adding new companions. The concept of "jungle" corresponds to the saying "concrete jungle = city". Each jungle is the product of human collective subconsciousness, corresponding to the Kleshas and Three Poisons of Buddhism respectively.

Jungle of Mirrors

This is the jungle created by "Delusion (Moha)", rooted in the subconscious of young people who feel confused during adolescence, and the sport girl breaks in to save her club members. When players go deep into the jungle, they also have to rescue people trapped in the mirror. The boss of Jungle of Mirrors is named "Jabberwocky of Moha". It will temporarily disappear like a chameleon. At this time, players cannot damage it with weapons or physical attacks. Only by using skills can they force it to appear. In addition, it will summon Bandersnatch and Jubjub Bird to serve as its thugs. After Jabberwocky is defeated, it will laugh at the protagonist's futility before leading to death, because if you want to solve the problem, you must catch the mastermind behind it, otherwise this lost world will be filled with many subconscious monsters like it.

Jungle of Webs

This is the jungle created by "Hate (Dvesha)", inspired by the use of cyberbullying by prejudiced people, with spider web elements that also correspond to the computer "web". The advisor boy came here to rescue the navigator boy. As long as he joins his companions, he can rescue people trapped in spider silk.The boss of Jungle of Webs is named "Yatsukahagi of Dvesha". Players cannot directly attack its body and must break its eight legs one by one. In addition, this big spider will spin silk and give birth to spiderlings to hinder players. After Yatsukahagi is defeated, the people of Ragnarok will forcibly take the navigator boy away. From this time on, players must be mentally prepared to confront Volva.

Jianmu the World Tree

Jianmu is not a jungle, but the World Tree in Chinese mythology. There are obvious differences between the World Tree and the Jungle. The World Tree is an indispensable part of Ophion like Dragon Veins, and the Jungle is produced by people's twisted subconscious and must be eradicated. Therefore, every time the player defeats a jungle boss, the jungle will follow the boss. disappeared together, but the World Tree did not. In addition to the previous statement, Jianmu is basically not much different from Separate Shangri-La. Players will still face Baize and Volva.

Jungle of Birdcages

This is the jungle created by "Conceit (Mana)", which is caused by the comparison mentality between companies and people involved in consortiums. Except for replacing the air battleship with a birdcage and avoiding fights with masculine boy, the overall structure of this jungle will not be too different from Clipper of Clouds. The boss of Jungle of Birdcages is named "Vucub Caquix of Mana". Because this big bird can fly in the sky, players can only use firearms to damage its two wings before shooting it down. After Vucub Caquix falls to the ground, it will attack the player with its claws and beak. In addition, it will put its companions in a birdcage as hostages. The player must destroy the bird cage to release the companions.

Yggdrasil the World Tree

Once the player comes to the World Tree in Norse mythology, the plot will take a very obvious turn. In addition, the Volva, which is opposed to the protagonist, has full home field advantage here. Yggdrasil will faithfully represent concepts from Norse mythology, for example, the guard shadows here will transform into the appearance of Norse gods.

The boss here is "Nidhogg of Raga", which is caused by people's overexploitation of nature and excessive abuse of substances. In order to prevent Nidhogg from eating the roots of this world tree, players must try to avoid damaging the roots when attacking this big worm. Nidhogg will burrow into the ground to avoid physical damage, and players must use skills to blast it out. After Nidhogg emerges from the ground, it will forcefully swallow its companions. Players must climb on its head and attack its vitals to rescue its companions.

Jungle of Witches

After the problem of Yggdrasil is solved, players will have to develop several different endings from now on. At this time, the level of community improvement of players and partners must be taken into consideration to affect the development of the ending. The first is Amalthea, she will be the most important key to the ending. If her community is raised to full, she will tell us the truth when she first enters Jungle of Witches, and will continue to accompany players to fight against the mastermind behind the scenes.

Instead, once her community is not full, she enters Jungle of Witches to fight the player, leading to a bad ending where the protagonist and Amalthea are buried in the jungle. In other words, Amalthea is the boss of Jungle of Witches. Her confusion and low self-esteem about her identity make her the only exception among the subconscious monsters, which is "Doubt (Vicikitsa)". The guard shadows here will transform into the appearance of famous demons in monotheistic religions.

In the boss battle, she will fight the player under the name "Amalthea of ​​Vicikitsa", and her persona will change from three bugs to Heidrun. This persona will release milk to hinder the player, and the player must use skills to prevent it. After defeating Amalthea, you will enter the next round of battle. The dying Amalthea will immediately transform into "Shub-Niggurath the Elder Mother", which releases several "Spawns of The Black Goat" to serve as thugs. In addition, Shub-Niggurath will spawn previous bosses to fight players, including Jabberwocky, Yatsukahagi, Vucub Caquix and Nidhogg.

Irkalla and Primordial Sea

Once you avoid the bad ending, you'll end up here, where the mastermind (final boss) lives. Irkalla is part of the Primordial Sea, and different ending developments will still be distinguished here, but I have to give a hint and I will explain the details later.

Once players enter the interior of the Primordial Sea, it is full of organic and body horror style, and the guard shadows will become representative gods from Middle Eastern mythology.

After going deep into the base of the mastermind behind the scenes, the final boss here is Nammu. She is actually the shadow of Gaia's consciousness, just like Ophion is the persona of Gaia's consciousness. Nammu looks like an innocent girl, but in fact her nature is full of pathology and distortion, which also highlights the result of her distortion of maternal nature. The reason for her distortion is the Gaia consciousness caused by the destruction of the natural environment by humans, which has caused everything to be imbalanced. And Nammu is the side (shadow) that Gaia doesn't want to face.

After defeating Nammu, she will transform into the huge "Tiamat the Chaotic Mother" before she dies. This monster, which is like a fusion of aliens and human deformities, will derive tentacles with the appearance of Cambrian creatures on its body to fight. The names of these tentacles are Musmahhu, Basmu, Usumgallu, Ugallu, Uridimmu, Girtablullu, Umu-dabrutu, Kulullu and Lahmu.

I will stop here first, and I will find time to explain the detailed truth later, so stay tuned!