#Cylinder Wars

[wheelsgoroundincircles]

1939 Packard Twelve V-12 Roadster

1939 was the first year for the column shifter on the V-12 Packard.

In the late 1920s, Detroit found itself immersed in a phenomenon later termed the ‘Cylinder Wars,’ a concept that may seem peculiar to us looking back 90 years. During this period, prominent manufacturers vied for supremacy in the multi-cylinder luxury car market, striving to be crowned the ‘king of the hill.’ Despite the looming grip of the Great Depression on the global economy in the early to mid-1930s, Cadillac, Auburn, Franklin, Lincoln, and Pierce-Arrow all unveiled their 12-cylinder models.

[forlath]

In my defense I just figured they must do a lot of paperwork in the future...

[verndusk]

re-drawing a Bad Batch scene a day until season 3 comes out (or i forget): day 31

[sw5w]

Anakin Pulls Out His Lightsaber

STAR WARS EPISODE II: Attack of the Clones 00:20:11 - 00:20:12

[trooperst-3v3]

Katie and Little Roomba decided to "clean" Captain Peavey's room today. They came home with all sorts of stuff: loose credits, a pack of gum, a First Order Academy graduation ring, and several code cylinders that they should NOT have.

When asked how they found all this stuff on the floor, Katie replied, "Must have fallen out of his pockets."

Upon further interrogation, I learned the truth. Then, I spent the rest of the evening telling Katie she is NOT allowed to remove the Captain's uniforms from his closets, turn them upside down, and then shake them until stuff falls out.

Now I need to go sneak all this stuff back into his quarters.

Sigh. I love this droid, but she is going to get me fired some day.

[sheliesshattered]

My last post about the progress on my Batuu vest left off with me contemplating exterior pockets, looking to Bix Caleen as an example of a fitted vest in the Star Wars universe. I ended up talking myself out of any visible exterior pockets, with or without flaps, after looking at all those pictures of Bix. I've got enough other bits of visual interest going on with my outfit that I felt like exterior pockets just cluttered up the look.

Once I had decided against adding additional pockets, I was able to move on to the next step: finishing all the edges and attaching the lining to the exterior in preparation for getting the zipper in place. I turned under the armscyes of the lining and the exterior separately, both using a blue lace hem tape that I originally bought to go with this fabric back in 2016. Eventually I'll top-stitch them together with the hem tape sandwiched invisibly between the exterior and the lining, but for now they're finished enough to allow me to try the vest on without fraying the armscyes.

It took me awhile to think through all the steps for attaching the zipper, with all the asymmetry and overlapping and exterior and lining, while also not wanting the zipper to show from the outside at all. Eventually I figured out that I would need the underlap (left front) to be completely sewn together with the edges finished before I could attach the zipper to that side -- but I would need the overlap (right front) to not be sewn together yet, so that I could attach the zipper just to the lining.

With that finally figured out, I put the lining and the exterior together with right/finished sides together, lined up all the seams and notches carefully, then pinned the edges together from the left (underlap side) shoulder, down the center front of the underlap, and around the lower edge of the vest all the way around to the bottom corner of the center front on the overlapping right side of the vest.

After a lot of ironing to get all of that to lay flat when right side out, I was able to trim the center front edge of the overlap to be nice and clean and straight again. When I drafted the center front panels, I modified that right side to have an additional ~2" of width past where I wanted the zipper to be, specifically so there would be a built-in flap to cover over the zipper. Remember: no visible zippers in Star Wars!

Once I had the overlap panels of both the lining and the exterior all trued up, I marked the center front line on the lining side (in the below pic, the angled line going from lower left to upper right), laid half of the separating zipper onto the fabric so that the teeth were lined up with where the center front line met the lower edge of the vest, then measured from the outside edge of the zipper ribbon to the cut edge of the overlap panel. It was just about 7cm away from that edge, so I measured that distance all the way up (past the dashed line that marked the underbust elevation) and drew a nice crisp line with my chalk pen.

That gave me an easy line to follow when sewing the zipper to the inside/lining of the overlapping flap. Since I hadn't sewn the edge of that panel together yet, I was able to move the exterior layer out of the way and sew the zipper only to the lining, for now. I sewed one line of stitching just slightly in from the outside edge of the zipper ribbon, then did a second pass about halfway between the edge and the zipper teeth. It's on there nice and secure, but has a bit of room to separate from the fabric while it's being zipped, so it doesn't get fiddly.

After that, it was just a matter of pinning the other side of the zipper to the lower front corner of the underlap (this time on the exterior side of the fabric, where it faces the lining of the overlap), then try it on with the rest of my Batuu Bounding outfit and pin the underlap side of the zipper until I had the fit I wanted.

I sewed down that side to match the overlap panel side of the zipper, then tried everything on again to double-check the fit. It was a bit weird with the exterior of the overlap flap still unattached, but it fit well enough that I decided to sew the edges of that overlap flap from the lower corner up to the shoulder seam. The back of the neckline is still open, and the armscyes have been turned under but not attached to each other yet, so I can turn the whole thing right side out by pulling it through the back of the neck. With all that ironed and the zipper zipped up, the vest looks like this currently:

Folding back the outer edge of the overlap reveals the zipper. Because of all the overlapping and underlapping, the zipper is just top-stitched in place. It was way more mind-bending to figure out where everything needed to be placed to get this look, but way easier to actually sew on than, say, an invisible zipper set into a seam.

At this point I was able to try on the vest (with my Jyn Erso sweatshirt) and get a pretty good idea of the overall look. I still want to do a bunch of top-stitching both for accent and to help everything lay flat, but even with that I think I'm going to need something to keep the flap over the zipper from coming open.

I looked at a bunch of options for Star Wars-y looking buckles, settled on one I liked the best, then cut the basic size of them out of paper and taped five of them to the outside of the overlap just to get a basic idea of how it would look. I got Jack to weigh in on it too, and we both felt that the buckles were reducing the sleekness of the vest, and weirdly pushing it more towards an Imperial/First Order sort of look. My character isn't an out-and-out rebel, but she doesn't side with the First Order either. I pulled the taped on paper off again, and both Jack and I felt that that was the significantly better look.

But since I knew I still wanted some sort of closures to keep the flap down -- including one at the top left shoulder, that will hang open most of the time, along the lines of Han Solo's and Cassian Andor's shirts (and a bunch of others, this sort of overlap detail shows up frequently all throughout the franchise) and thus be visible where it hangs open.

I ended up finding these slightly unusual looking hooks-and-eyes that I think will provide a nice, nearly invisible look through the torso of the vest, but not look totally out of place on the flap edge that's hanging open. Bix's fitted coat has a similar closure of just barely visible, just slightly odd hooks and eyes, so I feel like I'm in good company there. They should arrive tomorrow, giving me enough time to hopefully get some of the top-stitching done before then.

That top-stitching is the next step, and one of the last things I need to do for this vest project. I want to top-stitch just inside all the finished edges, including the armscyes, and on each side of each of the seams, probably 2-3mm away from the edge and the seamline. That's going to involve getting everything lined up correctly and all the seam allowances lying flat inside the space between the exterior and the lining, but I think the effect will be totally worth it, both for the smoother fit and the subtle visual interest.

After that, I'll have some handsewing to do to invisibly anchor the zipper to the exterior of the overlap panel and to attach the hooks and eyes, once they arrive. The very last thing I'll do on this project is decide if I want a little stand-up half collar that ends somewhere on top of the shoulder, a bit like the one on Jyn Erso's vest.

I'm pretty sure I want a collar like that, the question is just if I need to lower the neckline in the back first, and then how far forward on the shoulder I should bring the collar. Once I've decided on that, I'll cut it out in two layers, lining and exterior, and sew the outside edges together. Then I'll be able to sew the lower edge of the exterior to the back of the neckline, and hand-sew the lining lower edge to fully encase all the raw edges. I did something similar with the Moment vest, and it comes together pretty quickly. I think I should be able to have the vest completely done by this time next week without much trouble. Hopefully.

Alongside working on my vest, I've been continuing to hand-sew the pleated panels onto Jack's jacket. In the tags on my last sewing update, I mentioned that I had about 5" still to go on the first panel. I was in the really annoying section in the middle of the sleeve where I really had to put my whole arm into the sleeve just to pass the needle through, and it was slow-going. I had to make myself push through that annoying section, rather than continue to put it off.

Eventually I worked my way all the way down to the cuff, cut off the excess from the pleated panel, turn under the edges of the lowest pleat, and hand-sew that into place. I am so pleased with how it turned out, but to keep Jack from making jokes about only having one sleeve done (and so that I wouldn't find myself with time to hand-sew and nothing ready to sew), I quickly pushed on to getting the second pleated strip started. I took a bunch of measurements from the finished sleeve and transferred them to the second sleeve, pinned the pleated panel into place, and had Jack try it on just to double-check the placement.

I was able to tear through the upper section of that second panel, between my increased speed and confidence in my method of hand-sewing this, the easy access through the neck side of the jacket, and a couple of long-ass work meetings where I was basically just there to listen in and take notes every now and then. As of posting this, I'm about halfway through with the second panel, and starting to get into that annoying section of the sleeve again.

The effect of the pleated panels on both sleeves is just so cool that I will definitely be getting photos of the jacket on Jack at some point, either on our Disneyland day or during a try-on before that. He's somewhat allergic to photos, but damn it I'm proud of how this looks, and I want to show it off. I've been calling it a 'sewist flex' from the very beginning -- look at what I can do, look at how cool and Star Wars-y it is -- and I'm really looking forward to sending this beauty out into the world in all its epicness.

And I think Jack feels similarly, based on how he's been talking about wearing this jacket all the time once it's done. His whole outfit together (this jacket, cream colored henley shirt with the buttons and bottonholes removed, mustard-y tan moto jeans, hiking boots) looks wonderfully casual Batuu Bound. The effect of the whole thing is Star Wars, but none of the individual pieces feel weird or costume-y. He might not wear those pieces together for anything other than going to Batuu, but each piece paired with something else looks pretty normal. So if Jack is able to get a lot of wear out of this modified jacket, all the better. I know I'll get that burst of sewist pride every time I see him wear it, lol.

[zvaigzdelasas]

Folks can you imagine a social media platform that makes you feel bad? [15 Dec 22]

[anonmonitor]

Was going through some lightcycle run photos I saw online and just came to a stunning realisation. IS THAT AN MCP DRINK???

[air-mechanical]

The scanner that monitored the main entry of the military detention center on Coruscant accessed the coded information contained in the insignia squares affixed to the left breast of Krennic's tunic, and with a chirp of approval the thick door pocketed itself into the partition, allowing him to pass.

I'm finally reading Catalyst and what, the rank plaque badges contain coded information? I didn't know that. I love that. I'm waay behind on reading/watching Star Wars content, and haven't seen this mentioned anywhere else. Does anyone else have this? Or is it just Catalyst Krennic?

[queen-mabs-revenge]

never been busier organising literally I'd say 85% of days this month have been events, actions, or planning for them and without that level of work I think I'd be going fully insane watching the news, but my fuck my brain is straight up pudding

[daisyachain]

Invited my friend over to watch Siege of Mandalore and it kicked me so far up the stress-arousal curve my teeth started chattering at the second episode

[itslilypad]

i cannot stop thinking about the part in revenge of the sith where obi-wan kicks general grevious and then screams in pain clutching his leg

like what did you think was gonna happen man you can move shit with your mind and you chose to kick the gigantic man made of metal

[blueheartbooks]

"The War of the Worlds: An Epic Extraterrestrial Odyssey"

H. G. Wells' timeless classic, "The War of the Worlds," unfolds as an enthralling tapestry of science fiction and societal reflection. Published in 1898, Wells catapults readers into a gripping narrative where Earth becomes the battleground for an interplanetary conflict of catastrophic proportions.

The tale begins in suburban England, where an unnamed protagonist recounts the sudden and ominous arrival of massive Martian cylinders, heralding the onset of a ruthless invasion. Wells masterfully weaves a tale of fear and survival as humanity grapples with the unimaginable – technologically advanced, malevolent aliens with their dreaded heat-ray weapons.

What sets "The War of the Worlds" apart is Wells' ability to transcend the confines of genre and delve into the social and psychological impact of an otherworldly invasion. The narrative serves as a poignant commentary on the fragility of human civilization, challenging our collective hubris and highlighting the vulnerability of our technological prowess in the face of superior extraterrestrial forces.

Wells' descriptive prowess vividly paints scenes of devastation and chaos, capturing the raw emotions of a populace in the throes of an existential crisis. The author's exploration of the survival instinct and the breakdown of societal norms during times of crisis remains eerily relevant, resonating with readers across generations.

As the narrative unfolds, the protagonist navigates a landscape transformed by alien dominance, encountering both the best and worst of human nature. Themes of resilience, adaptability, and the consequences of unchecked imperialism emerge, prompting readers to reflect on the broader implications of human actions and their impact on the world.

"The War of the Worlds" stands as a seminal work that has not only influenced countless science fiction stories but has also become a cultural touchstone. Its enduring legacy is evident in the numerous adaptations across various media, attesting to the timelessness of Wells' exploration of fear, survival, and the indomitable spirit of humanity.

In conclusion, "The War of the Worlds" is a literary masterpiece that continues to captivate audiences with its riveting narrative, thought-provoking themes, and timeless relevance. H. G. Wells' exploration of the extraterrestrial unknown remains a literary triumph, inviting readers to ponder the delicate balance between humanity and the vast, mysterious cosmos.

"The War of the Worlds," H. G. Wells is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 185

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[blueheartbookclub]

"The War of the Worlds: An Epic Extraterrestrial Odyssey"

H. G. Wells' timeless classic, "The War of the Worlds," unfolds as an enthralling tapestry of science fiction and societal reflection. Published in 1898, Wells catapults readers into a gripping narrative where Earth becomes the battleground for an interplanetary conflict of catastrophic proportions.

The tale begins in suburban England, where an unnamed protagonist recounts the sudden and ominous arrival of massive Martian cylinders, heralding the onset of a ruthless invasion. Wells masterfully weaves a tale of fear and survival as humanity grapples with the unimaginable – technologically advanced, malevolent aliens with their dreaded heat-ray weapons.

What sets "The War of the Worlds" apart is Wells' ability to transcend the confines of genre and delve into the social and psychological impact of an otherworldly invasion. The narrative serves as a poignant commentary on the fragility of human civilization, challenging our collective hubris and highlighting the vulnerability of our technological prowess in the face of superior extraterrestrial forces.

Wells' descriptive prowess vividly paints scenes of devastation and chaos, capturing the raw emotions of a populace in the throes of an existential crisis. The author's exploration of the survival instinct and the breakdown of societal norms during times of crisis remains eerily relevant, resonating with readers across generations.

As the narrative unfolds, the protagonist navigates a landscape transformed by alien dominance, encountering both the best and worst of human nature. Themes of resilience, adaptability, and the consequences of unchecked imperialism emerge, prompting readers to reflect on the broader implications of human actions and their impact on the world.

"The War of the Worlds" stands as a seminal work that has not only influenced countless science fiction stories but has also become a cultural touchstone. Its enduring legacy is evident in the numerous adaptations across various media, attesting to the timelessness of Wells' exploration of fear, survival, and the indomitable spirit of humanity.

In conclusion, "The War of the Worlds" is a literary masterpiece that continues to captivate audiences with its riveting narrative, thought-provoking themes, and timeless relevance. H. G. Wells' exploration of the extraterrestrial unknown remains a literary triumph, inviting readers to ponder the delicate balance between humanity and the vast, mysterious cosmos.

"The War of the Worlds," H. G. Wells is available in Amazon in paperback 11.99$ and hardcover 19.99$ editions.

Number of pages: 185

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[sw5w]

Damn Good Ones Too

STAR WARS EPISODE II: Attack of the Clones 00:33:26

[trooperst-3v3]

Ugh. Climbing stairs all day (since Deej took my code cylinders for the lifts) suuuuuuuuuucks.

Why are there so. Many. LEVELS‽

If I get to influence the design the next First Order ship, I will eliminate multiple levels altogether. Just one big, flat ship where no one has to climb.

That would leave me with the new problem of getting from one end to the other quickly, but that's an issue for Future!ST-3V3.