#best urban design practice

[spasm-design-architects]

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[transit-fag]

Just Finished reading Walkable City bu Jeff Speck.

I highly recommend it, it is an amazing primer on urban design and best practices with numerous examples from real life. It covers street design, housing, bikeability, trees and more!

[nimadjart]

Happy halloweeen. :)

This is the commentary track(?) to my digitober. It's just rambling, so don't expect anything too interesting.

This first picture came out on a whim, I originally didn't intend to do anything for this october. I had just arrived home from helping my mom out with something, and was in a good mood. I think this picture, as sketchy as it looks, reflects that feeling. I'm content with it - and it's halloween themed! All the better.

For the second, I tried to follow the "official inktober" list (something I'd drop quickly in the following days). I'm disastrous at making backgrounds, so I gave it a shot for practice sake. I think it's not a bad result, it almost kinda tells something of a story.

"Boots", hah. It's not terrible, but it's also missing a lot of polish. I think the idea behind it works well for a cute/sexy picture of Angewomon. Maybe some day I'll revisit it? I should put more practice into drawing the human form in the meanwhile lol.

I really dislike the fourth one. I think Lianpunmon deserves better art, so I'll definitely do it again some day. My skills are so undeveloped, it's very obvious seeing this poor hatching.

Speaking of hatching, I bit more than I can chew with this one. The composition isn't interesting enough either, and just like with Lianpunmon there's no story here. At least Angewomon seemed to be interacting with the viewer lol.

The sixth is something I liked better. It's kinda shody, but there's something of an urban fantasy thing going on.

The Vamdemon one I can see the faults: I need better line control, the shapes aren't locked in as well as they should be. Yet, I'm partial to it…

Rapidmon deserves better lol. I still really dig the idea behind this drawing, I just wish I'd have given myself the patience and time needed to render a kickass explosion.

SkullGreymon, I have little to comment. It has zero story, but it's carried by the vibes. It's the first (and arguably last lmao) time I think I was cooking with the halftones.

The tenth is arguably the peak of the entire month. It has some story, a neat composition, and acceptable execution. Strangely enough it was one of the quickest to make: I had an idea, and it came out in a few minutes (compared to some other drawings where I was fighting for my life), and it ultimately was one of the most interacted with drawings in my entire blog. Funny how that goes.

I like a lot the Piemon one, as bland as it is. It's like a design piece, more than a drawing. It helps that the perspective deformation hides my poor linework haha.

I went too hard on the Mephismon X one, to the detriment of the piece. Instead of adding texture, it just looks dirty. Damn.

The thirteenth one was my poor attempt at making a background. Originally, Bakemon was gonna have this devious, whimsical look, but as I finished drawing the stairs I thought "I'd be kinda tired after climbing a few floors", so I changed Bakemon's expression to reflect that. Just a little trivia.

The Jesmon is what I'd argue was my peak. Shapes are locked (as best as my skill lets them), values worked well, it told a story. It's my favourite of the month.

Fiftenth was made, mostly, trying to catch some Adventure buff to the ammount of interactions I'd get. I mean, I had fun drawing the characters, but the reality is that I had petty reasons. I don't dislike it though.

I know exactly what I wanted to do with the sixteenth, and I didn't achieve it. Looking back, I think I should've done it in BW, rather than grayscale, to make it pop more. Fix the composition too. It's too plain. Shame, I really like Lilithmon X's design.

Seventeenth was also one where I just phoned it in. I think the values are all over the place; though I do like the harsh light. Impmon is a lot of fun to draw, all things considered.

Greymon was fun, lots of fun to draw. But this was another piece where I went too crazy trying to use halftones, I ended up making something that lacked impact or presence. I do like, in a self deprecating way, how the background seems okay until you look at it directly and see that it's kinda bad lol.

I made Nefertimon's torso too long! I only realized when I was doing the finishing touches lol. Yet I like the whole thing a lot, I think the texture and lightning kinda sells it as a photo (the white border was an attempt at selling that further). Saw someone refer to it as "the last thing I see before I die", and that comment might stay with me forever lol.

The twentieth is another I had a clear picture in my head as to what I was actually hoping to make, but failed to. Instead of landing some sort of finish, it's on a weird gray (lol) area. Making clouds is hard y'all.

Twenty one is one where I managed to stick the landing to what I had in mind. I think the composition needed a few more minutes of baking, but overall I'm content with the result. Death-X-DORUgoramon is a complex design, so any degree of succesful translation is a win in my book.

I think I needed to draw some more background Kuramon for the twenty second. Y'know, to really sell the swarm thing. It's kinda too clean.

Before twenty three, I had never given myself the time to draw a tree shilouette. It was fun to turn off my brainfor a bit and just draw line, after line, after line, after line. I did the tree first, and then I tried to figure out how to make Shurimon. Originally, I wanted him to be hunched over more dramatically, almost as if he was climbing down the tree, but I was incapable of drawing it in a satisfactory manner. So this is what I got.

Twenty four is so bad! I think Monitamon came out fine, but the background elements are so poorly done! I'm so embarrassed! lol

Kabuterimon was really fun, very dramatic looking. I think it has some serious readability issues with the hands, but I don't dislike the idea I had at all.

Hackmon's drawing was done almost like a sibling piece to the fourteenth, Jesmon's. Like, Huckmon is somehow watching his exhausted future, yet he stands stoic. On it's own, I think it's plain. Like, it has some charm, but it's lacking in impact compared to the fourteenth. But maybe that's for the best of the story?

The Wizarmon sticker came through me realizing I wasn't practicing my lineart! So I did a sticker instead. This was actually version two, but number one was so bad I had to redo it. Despite it being a humble sticker chibi, it's overall the day I spent the most time drawing.

Twenty eight came from me realizing I hadn't done any Alphamon! So I did what I thought would look badass. As much as I like Alphamon, though, his shapes are difficult for me to grasp so it came out shoddy and weak lol.

Twenty nine, Ragna Lordmon vs Ragnamon, was hurt by me recording it. While an exciting thing to do, I felt like I wasn't allowed to do anything but move forward quickly, or to change things (I'd have moved both Ragnamon and the main Ragna Lordmon body closer to the center) that would've made the composition flow better. It's not an abject failure, and the video is fun to watch, but still…

Dorumon is a simple piece that I was a bit surprised to make. My birthday is not information I tell people, but I was just compelled to share a bit of myself. I dunno, it feels weird. I'm weird. It came out cute at least.

And at the last! Noble Pumpmon again. I'd love to tell you that I applied everything I learned throughout the month and it's my best piece and stuff, but that isn't the reality. It's a better show for a similar amount of effort compared to the October 1st drawing, but it's not some crazy good display of betterment. A bit, yes, but less than I had hoped.

If you made it this far into this silly wall of text I wrote, I thank you. I thank everyone who interacted with my drawings, it pleases me a lot to see that someone gave it a like, or a share, or a comment. I learned about myself, and my limits, through this experience. It was tiring, but setting myself the goal of "make a drawing a day" was, paradoxically, liberating. Like, now I had a reason to draw! (despite me having some comission work to do lmfao). It was nice. This was one of the most entertaining octobers in recent years. Thanks again to everyone who participated in some fashion.

[thydungeongal]

Hey, in your opinion, which horror games have the best gleebor?

Eureka: Investigative Urban Fantasy by @anim-ttrpgs is not a straight horror game, being primarily an investigative game, but it intersects a lot with horror due to being urban fantasy. It has a lot of extremely gleeblor stuff:

Actually clearly putting it out there that failure to solve a mystery is not an actual failure state. Even though many trad RPGs actually build tangible consequences for failure into them, the accepted practice of adventure design has basically begun to favor a model of adventures where there isn't any way to progress in an adventure unless the characters keep succeeding. Some games have sought to remedy this with rules that make it so that even failure moves the story forward, but it is also refreshing to see a game just sincerely take the position of "hey: a failure to solve a mystery just means that the story has a different ending."

The investigation points and Eureka! mechanic is actually genius. I alluded to the design trend of "failing forward" in the previous point, and while I think failing forward can work in some contexts, at worst it can rob failure of any meaning, especially if used within the context of a traditional challenge type game where overcoming obstacles is part and parcel of the gameplay. The investigation point mechanic rewards failure in such a way that it rewards engaging with the environment and not being afraid of failed skill checks, while also making sure that failure now means that you have a delicious Eureka! to look forward to later.

The composure mechanic is the best "sanity" mechanic I've seen in a horror game. Instead of robbing characters of agency it simply puts a cap on their ability. It's so simple and effective.

But honestly that's just scratching the surface, the game is full of stuff that makes me go "why has no one else thought to do that?" (And reportedly has made others do that as well) I heartily recommend checking it out.

But a few other honorary mentions:

Dread's use of the Jenga tower to represent the tension and release of a slasher flick is pretty dang inspired and was eye-opening in terms of how a game could reinforce its theme via mechanics.

Mothership is fun in how it marries what is pretty much just a very old-school D&D type of structure with a sci-fi horror theming. It's not straight up mind-blowing, but it's neat.

I can't think of a third one right now sadly. Hi! :)

[mc-cookies]

Golems and Eureka: Investigative Urban Fantasy

I did a writeup about how a character based on the Jewish folkloric golem might work in Eureka: Investigative Urban Fantasy! It includes a short essay about the thematic implications of the golem, and a set of custom rules for living dolls made of unfired clay.

If you don't know what Eureka is, it's the first tabletop RPG by @anim-ttrpgs, an up-and-coming indie studio making carefully designed and rigorously playtested tabletop games outside of the D&D 5e ecosystem. Eureka is a system for stories where amateur investigators look into intricate and (sometimes deadly) mysteries, trying to get to the bottom of whatever conspiracy is at hand. It also has robust rules for a variety of supernatural phenomena that may or may not exist, letting players explore the thematic and logistical implications of people who are vampires, man-eating alien shapeshifters, supernaturally animated dolls, or a variety of other strange creatures. It's one of the best RPGs I've ever played or read, so if you're interested in finely crafted tabletop games, mystery and detective stories, social commentary on the rights of "unsavory" marginalized people, or just supernatural creatures that eat people, I'd recommend checking it out.

My writing under the cut!

(I wouldn't normally post my own long-form writing here, but I felt good about this and also couldn't pass up an opportunity to talk about Eureka. This isn't very polished, so ignore any typos or awkward wording, but feel free to check it out and give your own thoughts. Enjoy!)

Thoughts on golems in Eureka (Essay – Rules below!)

Contrary to how the word is usually used in English-language fantasy media, a golem in its original context is not just a generic term for any supernaturally animated artificial creature. (If it were, then it would be more or less synonymous with Eureka’s use of the term “living doll” to begin with!) Rather, it refers to a specific creature in Jewish folklore: a facsimile of the human form made out of clay, animated by various words of power placed in or on its body, acting as a source of protection and power for the impoverished and oppressed communities which created it. It is a servant which exists to meet a need of its community, animated by the power of God as channeled through the expertise of a meticulous member of the Jewish community. (Arguably the most notable difference from the genre fiction definition is this inherently Jewish perspective. The creation of a golem is a closed-practice, specifically Jewish tradition, and also, the tradition of Jewish mysticism implies high degrees of specialized knowledge – some written down in studied texts, and others discovered by training under a mentor or interacting with other Jewish leaders. In this way, the golem implies a degree of studiousness and community engagement on the part of its creator, both of which are heavily emphasized values in Jewish spheres.)

My analysis of the thematic role played by the golem is probably best represented in the best-known folkloric golem, the golem of Prague. In this story, a 16th century rabbi of the Prague synagogue creates a humanoid form from clay with the purpose of protecting the ghetto (in this context, the dedicated Jewish quarter of the city) from pogroms and other antisemitic attacks, animating it into a golem by inscribing holy words on its head or placing a scroll of those words in its mouth. Things go wrong in ways which vary from telling to telling, with a common version of the story stating that the golem becomes too dangerous and destructive, and the rabbi removes the inscription of the holy name to render the golem dormant (although rather than destroying his creation, he preserves it in the synagogue’s attic to be reanimated if it’s ever needed). In a fun bit of wordplay, some tellings describe the holy inscription as being the Hebrew word “emet” (“truth”), which is only one letter away from the word “met” (“dead”), with the idea that the rabbi deactivates the golem by erasing a single letter. More traditional interpretations would describe a formula consisting of various divine epithets, either instead of or alongside the previous method. In the Jewish mystical tradition, names of God are thought to be emanations of God’s own glory, and invoking their power in specific ways is seen as a way of causing things beyond the bounds of normal reality.

A few thematic points jump out at me about the golem, both from the story of the Prague golem and from the broader characteristics of the golem. One is the fact that a golem is implicitly lacking in personal identity. Golems are almost never named, and they have very little agency in their own stories – in almost every version of the golem of Prague, for instance, it is deactivated because it has gained too much autonomy. It fights the wrong people, uses too much force defending its community, or even just falls in love, and so it is too dangerous to keep around. Even the terminology being used implies this lack of identity, as it etymologically derives from a Biblical Hebrew term, used only once in the Tanakh, which describes the unfinished form of a human before God breathes life into them. A golem is not perceived as a fully formed individual, but rather as an extension of its creator, built by someone else’s will and discarded whenever it isn’t needed. To me, this has a high degree of relevance to the themes associated with Eureka’s living dolls, who often also grapple with defining their own identity and purpose in the absence of their original context. Their unique struggles evoke concepts of alienation and depersonalization, and I think a golem without a master would have to deal with all of the same issues on that front as they navigate life as a newly independent person.

Golems as a whole, and especially the story of the Prague ghetto, also raise another problem that can create thematic conflict for a character: in their attempts to defend vulnerable people in their community, they can end up making situations more dangerous, rather than helping to defuse them. When the golem of Prague rampages, in many tellings, it doesn’t fully stem the tide of antisemitic antagonism. Instead, it destroys more of the ghetto and allows the gentile population to create a post-hoc justification for their hatred of the Jewish community. In the context of Eureka, I think that this can be a powerful metaphor for how the fear of oppression can lead people to become paranoid, closed off, and destructive to themselves and others. A golem whose purpose is to protect and serve the people around them might want to do just that, but if they find themselves in a situation where superhuman strength and stamina can’t solve a problem, they may be in way over their depth, and they might accidentally harm other people when they try to navigate that. (My use of the phrase “protect and serve” here is no accident – one of many inspirations for this thematic element is people who call for increased police presence in their neighborhoods, even when those communities are more harmed by over-policing than they are by crime. Being afraid and wanting to support their community spurs them to action, but it also blinds them to approaches that don’t use force.) For example, one golem character I’ve come up with has had to flee her home and change her name because she saw someone being harassed, didn’t know her own strength, and intervened in the first way she could think of: violently. She was lucky not to be arrested.

To get a little bit more specific, this theme is most specifically inspired by my own experiences in discussions among members of the Jewish community, as the scars from millennia of marginalization, expulsion, and murder don’t fade quickly. Paranoia is a veritable norm even within our households and places of worship. In our homes, many of us keep passports readily available if there’s a need to escape or show identification, and during any prayer service at a synagogue, there will likely be armed security guards standing at the door. Many of us laugh about it, but there’s a degree of genuine fear that we can’t shake. Often, that fear is harmless, but it can get exhausting to live with, to say little of how it affects other people or how it can be weaponized by bad actors. One look at how the Israeli government seeks to justify its violence in propaganda makes clear that the generational trauma of Jewish communities can be exploited and warped as a means to justify some pretty awful things. The figure of the golem is, in a sense our communal power fantasy – it’s comforting to think that with a bit of ingenuity and some elbow grease we can design our own hero to protect us and help us thrive – but even that fantasy is not free of the reality that, like a superhero, a golem’s innate abilities just aren’t always enough to save everyone. (Indeed, this tension is part of what inspired the Jewish creators of Superman: he has superhuman abilities that he uses to protect vulnerable people, but not every problem can be solved by punching it, and with all his strength he has to be very careful not to destroy everything he loves. This has been noticed by a lot of people, and I’m far from the first to bring it up, but in particular I’d say this observation is borrowed from the excellent video essay “The Golem and the Jewish Superhero” by Jacob Geller on YouTube.) A golem being fleshed out as a character can really lean into that tension.

One more theme I want to bring up is not something I’ve come to any particular conclusions about – it’s really just a few spare thoughts I’ve had rattling around, and an invitation to look into this concept more. It comes out of my research on the development of the word “golem” in Hebrew and Yiddish, as the term has developed beyond just the connotation of a humanoid clay form. It can be a pejorative term like “fool”, but more interesting to me is its use in reference to embryos and pupas. This made me consider the transitory nature of the golem as a representative of change, which I haven’t seen explored very much in any stories out there. Not only has the word gained those connotations, but also, looking at the characteristics of the golem as a creature gives some more fuel to that fire. The fact that it’s generally made out of specifically unfired clay gives it the sense of being unfinished. Its nature of being created in its adult form from the very beginning means that it can display a childish outlook as a seeming adult learning about the world outside of its creator’s life. The story of the golem of Prague even has an ending hook entirely centered around the idea of the golem being temporarily disabled but capable of being reanimated if need be. This idea of a golem as a character with a unique capacity to adapt and change hasn’t been explored very much, but I think it could be interesting to consider.

The last thing I’ll leave here is thoughts on character creation beyond themes. In this document, I’ve included a custom set of rules to play a living doll made of unfired clay, which is the traditional material for a golem. This isn’t playtested in any way, but since Eureka doesn’t try too hard to be balanced around physical attributes, I think it should probably work fine – it’s more thematic than anything. To make a golem, the doll’s purpose should be external in some way, pushing them to help and support other people in their community, especially the most disadvantaged of them. In terms of backstory, the details of a golem’s past can be left fairly foggy if you’d like, but the one thing that can’t be skipped is that they were intentionally created by a Jewish creator invoking Jewish traditions. It’s fine to make a living doll that was animated in some other way, but the character would not be a golem in that case. It’s similar to how Eureka vampires must have some association with Christianity, not because non-Christian undead monsters can’t exist, but because outside of that context, the specific vampire mythos lacks any meaning. (Honestly, also, if you don’t have background information about Jewish life and culture, I would recommend asking someone who does to help with your portrayal.) Finally, in terms of giving a golem a hook to investigate a mystery, it could of course be anything, but there’s one aspect in particular that I would consider: in some versions of the Prague golem’s story, it protected the ghetto by looking into cases where Jews were accused of murder and finding the true culprits, thus clearing the names of the accused. Which is to say, there’s genuine historical precedent for golems investigating mysteries, and it often happens as a means of helping people who are falsely accused of a crime. That’s not mandatory, but it could be fun to keep in mind. Have fun, and if anyone ends up playing a golem investigator using these guidelines, please let me know!

Wet Clay Living Doll – Rules

A living doll made from earthenware materials that have not been hardened by firing. This variant was originally designed to represent the golem of Jewish mythology, but it could also be used to portray, for example, an unfinished art project or a proof of concept for another piece. Depending on their construction and the flexibility of the clay they are made from, they may be treated as jointed or unjointed.

Wet clay living dolls weigh more than twice as much as an average person of their size would. They cannot swim or float, and will sink to the bottom of any body of water immediately.

These living dolls take half damage from all weapons while they have at least 1 point of Superficial HP remaining. Damage from falling is unaffected. Wet clay living dolls are immune to electrical damage.

When a wet clay living doll encounters fire or high heat (in excess of about 500 ºC), their outer layer of clay is fired and becomes hard and brittle. When this happens, this living doll should be mechanically treated as an unjointed living stone statue. If another character has access to tools to chip away the outer layer and a large supply of wet clay to replace it, they can reverse this process with a Full Success on a Technology roll. Regardless of the result, this process will take 1 Tick of time and cause 1 Superficial Damage to the living doll.

Wet clay living dolls are easier to repair. Do not apply the -3 Technology penalty when restoring Penetrative HP.

Wet clay living dolls generally possess superhuman strength, but when they are hurt, they may lose chunks of clay that would otherwise generate weight and power. They have a +5 Contextual Bonus to Athletics and Close Combat, but for each point of sustained Penetrative Damage, this bonus is reduced by 1 point.

Given 1 Tick of time, appropriate tools, and a supply of clay, a wet clay living doll can alter their physical appearance and proportions. They cannot precisely change specific details such as facial features, but can make themselves larger or smaller, change their perceived distribution of fat and muscle, and change the shape of their body enough to be recognizably different. When a wet clay living doll attempts to alter their body, roll Technology.

Full Success: The living doll successfully alters their body to exact specifications. They are able to completely alter their facial features and/or specify a new height and body type, and even on close scrutiny they will not appear out of the ordinary.

Partial Success: The living doll mostly succeeds in altering their body, but they get sloppy. They take 1 Superficial Damage, and close inspection reveals that parts of their skin have abnormal marks and blemishes, but they are still able to make the changes that they hoped for.

Failure: The living doll struggles with even the most basic alterations, doing a messy and imprecise job. They take 1 Superficial Damage, and cuts and blemishes are visible across their skin. They also don't convincingly make the correct changes to their bodies, doing either too much or too little to differentiate themselves from their previous form.

[anim-ttrpgs]

The A.N.I.M. interveiw with @tinytablerpg is up! Listen to our best interview yet with, with the first-ever interview appearance of @theblackwarden, designer of the snoops!

This interview will contain major spoilers for the tiny table actual play of the Eureka: Investigative Urban Fantasy adventure module FORIVA: The Angel Game. We highly encourage you to listen to that before you listen to this. Here's the episodes, and here's the list of questions they're asking us in the interview!

Rules Episode

Episode 1

Episode 2

Episode 3

Episode 4

Post-game Discussion

Questions:

Eureka wears its inspirations on its sleeves with traits like Bumbling Detective and Elementary, allowing investigators to emulate famous fictional detectives. What were the big detective and mystery inspirations for Eureka, and how did they help inform the game’s core design? Are there any that you love, but weren’t a good fit for Eureka?

2. What advice do you have to players who are new to investigative games? Mystery solving and the lateral thinking needed for it are skills not often stressed by the games that dominate the current market. What are some game-agnostic practices players can rely on to be better mystery solvers in the investigative genre of TTRPGs? What is some advice for Eureka in particular?

3. What systems inspired Eureka’s design? Which systems are anathema to Eureka’s design? What kind of direction would you like Eureka to push the TTRPG industry?

4. We’d love to hear about the process of creating a mystery scenario. How long does it take, what kind of resources do you rely on, and what does the structure of creation and playtesting look like?

5. We’d love to recommend new options for our listeners who want to run Eureka themselves and want to run something other than FORIVA after listening to it. What are some other scenarios that will be ready by the game’s release?

[serve-271]

PART 1 - The SERVE interview.

Matt, a 25-year-old with a lean, athletic build, stood before the mirror, carefully combing his blonde hair into place. His green eyes, vibrant with a mix of excitement and nerves, studied his reflection as if searching for reassurance. This was a pivotal moment—the first interview of his new life in a bustling city far removed from the quiet monotony of his small hometown. The company he was about to face was no ordinary employer. SERVE, with its sleek chrome logo adorning countless billboards and skyscrapers, loomed large as a beacon of ambition and progress. It was a chance to escape the familiar and step into the extraordinary.

His crisp white shirt and impeccably tailored navy suit were more than just attire; they were armor for the day ahead. He took a deep breath, steadying his racing heart, and glanced out the window of his modest hotel room. The city was alive with sound and motion—car horns, distant chatter, and the hum of life weaving through the urban tapestry. It was a stark contrast to the subdued stillness he had left behind. SERVE’s motto echoed in his mind: "Where obedience is pleasure and pleasure is obedience." The phrase was enigmatic and provocative, hinting at something transformative. Matt had spent hours studying the company’s mission, culture, and reputation, preparing himself to make the best possible impression.

The clock on his phone read 8:45 AM. The interview was scheduled for 9:30. He had built in plenty of time to navigate the unfamiliar city, but the efficiency of its public transportation system had surprised him. With fifteen extra minutes to spare, he paced the small room, rehearsing answers to the inevitable questions. Why SERVE? Why you? What can you offer? His polished shoes clicked softly against the hardwood floor as he ran through his mental scripts, each question a step closer to his aspirations

The elevator ride to the hotel lobby was brief, its sleek, mirrored walls reflecting his composed exterior. When the doors opened, a rush of city sounds and movement greeted him. People streamed through the grand entrance, their purpose and pace reminding him of SERVE’s relentless drive. He paused outside, taking in the morning air—a blend of exhaust, coffee, and the faint aroma of freshly baked bread.

On the horizon, SERVE’s headquarters loomed like a monument to ambition, its chrome logo catching the early sunlight. The building radiated power, a constant reminder of the opportunity awaiting him.

Matt navigated the bustling sidewalks, his stride purposeful as the city’s energy coursed through him. The diversity of faces and stories around him was invigorating, a stark departure from the sleepy streets of his past. The SERVE building grew larger with each step, its sharp, gleaming edges embodying the cutting-edge innovation it represented. When the glass doors slid open, a wave of cool, sterile air swept over him, grounding him in the present. The lobby was a study in precision—minimalist design, sleek surfaces, and an undercurrent of quiet efficiency.

The receptionist, a composed man with a practiced smile, acknowledged Matt’s arrival with a nod. After confirming his appointment, he gestured toward a row of plush seats. Matt joined a small group of hopeful candidates, each lost in their own thoughts. The air buzzed with a mixture of determination and unease, their faces betraying traces of the same excitement Matt felt. He couldn’t help but overhear snippets of conversation—whispers about SERVE’s groundbreaking projects and the mysterious fate of employees who excelled.

The walls of the lobby were adorned with striking images of SERVE employees clad in sleek, branded latex suits, interacting seamlessly with drones. The scenes were captivating, equal parts aspirational and uncanny. Matt had read about the conversion process, the transformation of employees into drones—a melding of humanity and technology. Now, faced with the visual reality of it, the allure was undeniable. There was power in surrendering individuality to become part of something greater, something transcendent.

As he sat, Matt’s excitement grew. SERVE wasn’t just a job; it was a gateway to transformation, a chance to be part of a world where obedience wasn’t just expected—it was celebrated. He straightened his tie, his resolve solidifying as the minutes ticked by. This was his moment, and he was ready to embrace it.

At 9:25 AM, the doors to the inner sanctum of SERVE’s headquarters parted, and a middle-aged man with a gleaming bald head emerged. He was dressed impeccably in a form-fitting latex shirt and trousers that reflected the lobby’s artificial light, the material stretching tightly over his muscular frame. Despite the air-conditioned chill, beads of sweat glistened on his forehead and the back of his neck. His shoes, a mirror to his attire, clicked sharply against the marble floor as he approached. His tie, also made of the same shiny material, fluttered slightly with each step, the only indication that he was, indeed, human.

Matt's eyes followed the man as he approached, the clack of his shoes punctuating the silence like a metronome. The man’s gaze swept over the candidates before settling on him, his eyes narrowing slightly as if he had found what he was looking for. The man’s expression was unreadable. But something in his posture—the way his shoulders squared and his chest puffed—conveyed authority and confidence.

The latex-clad figure offered a firm handshake. "Good morning, Matthew," he said, his voice a low purr that seemed to resonate through the very fabric of the lobby. "I'm Alex, your interviewer for today. You must be quite the eager bee to arrive so early."

Matt felt a rush of heat to his cheeks at the compliment. He took Alex's hand, noticing the strength behind the man's grip. "Just eager to make a good impression," he replied, trying to keep his voice steady. Alex's attire was indeed striking—his latex ensemble fitting like a second skin, emphasizing his toned physique. The way the material shimmered in the light made him seem almost superhuman, a living embodiment of SERVE's ethos of power and efficiency.

They walked side by side down the corridor, the sound of their shoes a rhythmic echo. The latex against the marble was a symphony of squeaks and taps, a sensual soundtrack to the otherwise clinical environment. Alex's stride was fluid, his hips rolling with an allure that was difficult to ignore. His confidence was palpable, and it was clear that he reveled in the attention his outfit drew from both the interviewees and the staff that passed by. The other candidates couldn't help but glance up, their curiosity piqued by the interplay of sex appeal and authority.

The interview room was stark white, with chrome fixtures and a single round table in the center. Alex gestured for Matt to sit in the ergonomic chair across from him. The room felt smaller than it should have, the walls seeming to close in as the door slid shut with a hiss. The chair was cold, and the room was calming.

Alex leaned back, his latex outfit whispering against the chair, his arms folded over his chest. "So, Matthew," he began, his voice like gravel, "why do you want to work for SERVE?"

Matt took a deep breath, his heart racing. This was his chance to articulate his dreams and ambitions. "I've always been fascinated by the integration of human and machine," he said, trying to keep his voice steady. "The idea of becoming a drone, a cog in the wheel of something so much larger than myself, it's… intoxicating."

Alex's expression remained unchanged, his eyes piercing as he studied Matt intently. "You understand that the process of becoming a drone is not for the faint of heart," he said, his voice a low rumble. "It's a journey of dedication, discipline, and ultimately, transformation. The path to conversion is not one that can be rushed or taken lightly."

Matt nodded, his throat dry. "I'm aware of the commitment required," he managed to say, his voice a tad shakier than he'd have liked. "I've read about the training, the conditioning, and the final procedure. I'm ready for whatever it takes to serve the hive."

Alex leaned forward, his elbows on the table, his hands steepled in front of him. The latex of his shirt stretched, outlining the contours of his biceps. "What is it that draws you to this life?" he asked, his eyes searching. "What do you seek to leave behind?"

Matt swallowed, his palms slick with anticipation. "My hometown," he began, "was a place of stagnation, a pond where ideas and dreams went to die. I crave the rush of innovation, the thrill of being part of something that shapes the future." He paused, collecting his thoughts. "And…I want to be part of something so much larger than myself, to feel that unity of purpose."

Alex nodded thoughtfully. "Your desire to escape your past is commendable, Matthew," he said, his voice like a gentle caress. "But to truly serve the hive, you must be willing to shed the last vestiges of your old life. Your family, your friends, your past… they will become irrelevant. Tell me, have you ever felt truly alone?"

Matt's gaze drifted to the floor as he considered the question. "I was abandoned by my family when I was 18," he admitted, his voice barely above a whisper. "They couldn't accept who I was." The words hung in the air, a silent confession of pain and rejection. "I've been on my own since then, supporting myself through university. I've learned to survive, but I crave more than mere existence."

Alex leaned in slightly, his expression a mix of empathy and curiosity. "Abandonment is a powerful motivator," he said, his eyes never leaving Matt's. "It can either break you or forge you into something stronger. Tell me, what did it do to you?"

Matt took a moment to gather his thoughts. The memory of his family's rejection was a raw wound, but it had also been the catalyst for his relentless drive. "It made me self-reliant," he said, his voice gaining strength. "It taught me that if I wanted to succeed, I had to do it on my own terms. I worked multiple jobs to put myself through university. I studied hard, graduated with honors. But most importantly, it made me crave belonging, to be part of something where I could truly make a difference."

Alex's smile grew, a knowing glint in his eye. "Ah, the sweet taste of potential," he murmured, his gaze lingering on Matt's face. "We do appreciate ambition here at SERVE." He leaned back in his chair, his latex shirt creaking as he folded his arms over his chest. "Very well, I can see that you're eager to prove yourself. We'll start you on a probationary period. You'll begin as a janitor, but if you show promise, the hive will embrace you and guide you toward your true calling."

Matt's stomach plummeted. A janitor? That wasn't what he had envisioned when he thought about joining SERVE. But he knew he couldn't let this setback deter him. He nodded, forcing a smile. "I'm ready for whatever it takes," he said, trying to keep the disappointment out of his voice.

Alex's smile grew broader, a gleam of amusement in his eyes. "Excellent," he said, his tone warm and approving. "Your dedication is commendable. Be here at 6 AM sharp on Monday. You'll be provided with your uniform then. And remember, Matthew, once you're in the uniform, you are a part of the hive. You will only wear it here, even during breaks. It is a symbol of your commitment to SERVE. Do you understand the gravity of this?"

Matt nodded, trying to suppress his apprehension. "I understand," he said firmly. "I'll be here."

[smallgodseries]

They are best-beloved of the young, when they must compete with a host of other divinities for attention, with small gods of plush toys and fashion dolls, of cartoons and new experiences, of fear and joy and novelty.  They are never powerful in the eyes of their youngest applicants, although they are sometimes leant additional strength by the allure of the forbidden.  They don’t make kids hyper.  That’s an urban legend, bolstered by the natural excitement born of getting something rare and nice, and the occasional child whose system is wired to respond to a burst of energy by burning it off immediately.  Still, they receive credit—or perhaps blame—for any number of hijinks, for broken windows and woken infants, for the natural exuberance of childhood, and they don’t deny it, because they are not a small god of childhood nutrition or the like.

They are small, and simple, and content to be what they are.  Bright, colorful, cartoonish, and implicitly extraterrestrial, even though there is more of Boise than Betelgeuse in their list of ingredients.  Their boxes are designed to be inviting, and they can make any kitchen their cathedral with a minimum of preparation and but a single invitation to arrive.  With cleverly clipped coupons, they will come virtually for free, and they like it that way.  It allows them better access to their adherents.

And of course, there are always those who will continue their worship into adulthood, those for whom marshmallow sweetness and color-changing milk are reminders of a childhood spent sweetly, or proof that they are finally secure, finally free from the ownership of parents who put their own preferences at the head of the line, finally able to live their own lives.  Those will not always be the people you assume.  The judge in her solemn black robes eats a bowl of Frostie-Os before she proceeds to the courthouse, the accountant in linen and wool enjoys Fruity Sugar Dreams every morning before he turns to his spreadsheets.  They turn none away.

They do not cause tooth decay when proper dental hygiene is practiced; they are not solely responsible for poor nutrition or any other ill.  They are only here to bring us light and joy and to serve as part of a balanced breakfast.

They are a neutral god, and we would do well to treat them as such.

[hirocimacruiser]

Honda Civic brochure pages.

CIVIC

The Super Civic was a new trend car with economy and dynamic performance suited to the 1980s.

1300 S

1500 SC

It perfectly combines the best fuel economy in the 1500cc class with powerful driving performance.

Resource and energy conservation are common themes around the world. The new CIVIC is available with a new engine system that takes advantage of the excellent combustion efficiency of the lean burn method, which is the greatest advantage of the CVCC engine. It offers not only excellent fuel economy, but also low maintenance costs and a low price.

10 mode driving, Ministry of Transport inspection value

1500CE model E-SR 18 km/l

60km/h constant speed test value

28km/l 1500CE, GF (5 door) Model E/SR, Model E-ST

And yet, it still has the powerful driving feel of a sports car. It's truly a Super Civic.

For example, the new cliff-cut panel in front of the passenger seat provides enough space that there is no need to push the seat back.

An aerodynamic body that provides a smooth ride.

The styling minimizes air resistance and is focused on practical aerodynamics. It is agile in urban areas and stable and smooth on the highway. The new suspension grips the road firmly.

The springs of the front and rear suspensions have been offset to provide a more comfortable ride. The rear also uses a new Honda-style strut system, a world first, to ensure sufficient compliance. The suspension is much tighter.

1300・5-door LX

A new instrument panel.

The functions necessary for driving are concentrated around the driver. The centralized target meter () that places the speedometer and tachometer in one view, as well as the newly designed rotary channel radio, are also standard equipment. The design is easy to see and use.

A large, international-sized interior designed for the world.

Compared to conventional 5-door vehicles, the interior length is 25 mm longer and the interior width is 35 mm wider. Furthermore, the clever use of each space has resulted in an amazingly efficient interior.

All models are fully open hatchbacks.

It is a big opening that opens to the full width of the body from a low position, that is, just above the bumper. Moreover, the interior floor is low and flat. Large and wide objects can be easily loaded. The three-stage variable rear seat is extremely practical. It is a design that prioritizes ease of use.

1500 3door CX

Wild ride. CX

1500 3door CE

CIVIC

1500 5door CF

1300・3-door SE Model E-SL Engine model EJ ●CVCC・1,335cm2・Water-cooled inline 4-cylinder horizontally mounted OHC-68 horsepower ●Fuel economy 22km/ℓ(60km/h・flat road test value)●Front-wheel drive●Overall length 3,760mmOverall width 1,580mm ●Strut-type four-wheel independent suspension●Front-wheel disc brakes ●4-speed

1500, 3-door CE, Model E-SR, Engine model EM CVCC-1.488cm2, water-cooled in-line 4-cylinder, horizontally mounted, OHC-80 horsepower, Fuel economy 28km/ℓ (60km/h, constant speed test value), 18km/ℓ (10 mode running, Ministry of Transport review value), Front-wheel drive, Overall length 3,760mm, Overall width 1,580mm, Strut-type four-wheel independent suspension, Front wheels, Disc brakes with servo, 5-row

*1500-3 door SE is made to order.

If you're looking for a Civic, visit your local Honda dealer.

CIVIC VAN

Gentle on luggage and gentle on people. The capable Civic Van is born.

The luggage compartment is 1,520mm long (with two occupants), 1,270mm wide at its widest point, and 805mm high, making it spacious and easy to handle. Highly refined quality. Powerful and robust dynamic performance. Extremely quiet and safe, this is the birth of a reliable business car that pursues a high level of harmony between passengers and business.

1300-5 door SV, LV model J-VC Engine model EN 1,335cm * Water-cooled inline 4-cylinder horizontal OHC, 70 horsepower ● Fuel economy 18.5km/(60km/h, constant speed test value) ● Front wheel drive ● Overall length 3,995mm, overall width 1,580m, overall height 1,385mm ● Front wheel servo disc brakes ● 4-speed

[spasm-design-architects]

Best Indian Architecture Firms Build a Gomati Home in Lonavala

Spasm Design Architects the Best Indian Architecture Firms based in Mumbai, India. We build a Gomati Home in Lonavala. The aim was to provide a vessel for the family to enjoy a life under the skies and enjoy the rain and wet breezes.

[eretzyisrael]

by Joel Margolis

Israel’s military operations in the Gaza Strip comply with international humanitarian law in part by guiding civilians away from the urban battlefields that arise ad hoc during the war. Yet astonishingly, some observers have mischaracterized these public safety protocols as violations of law.

Human Rights Watch has called Israel’s relocations of civilians in Gaza “displacements” that amount to the odious crime of “ethnic cleansing,” a displacement to make a community ethnically homogeneous.

Sens. Bernie Sanders (I-Vt.) and Chris Van Hollen (D-Md.) have echoed the false ethnic-cleansing charge, as have certain other self-described congressional progressives. But under international humanitarian law, the removals are valid “evacuations,” not displacements, a difference with enormous legal and moral significance.

The international humanitarian law’s rule of evacuation requires—to the extent feasible for civilian safety—that an army evacuate civilians temporarily from the vicinity of a military operation before attacking area combatants. For example, an evacuation order may relocate civilians from a neighborhood targeted for a bombing raid on an enemy rocket-firing position. By contrast, the rule of displacement prohibits the permanent removal of civilians from an entire occupied territory or country unless required for the security of the civilians involved or for imperative military reasons.

Evacuation orders issued by the Israeli Defense Forces in Gaza have consistently followed the rule of evacuation. Virtually every order has repositioned civilians from a military sector to a safer area before an IDF military mission; no order has moved civilians permanently or pushed them outside of Gaza. Moreover, the IDF has enhanced civilian safety by preparing evacuation routes, establishing humanitarian zones for the evacuees, communicating escape routes through multiple modes of communication and providing reasonable prior notice of the plans. These actions have mitigated the unfortunate, but inevitable difficulties faced by families that must temporarily leave their homes.

The success of IDF evacuations is especially impressive considering the machinations of Hamas to frustrate these protective measures. Hamas embeds military personnel and ordinance in homes, schools, hospitals and mosques, and then blocks the residents of those neighborhoods from obeying evacuation orders. The militants attack IDF soldiers who prepare humanitarian zones for temporary habitation. And the terrorists steal truckloads of humanitarian aid meant for evacuees. Those cruel acts are egregious abuses of the human shield rule as outlined under international humanitarian law.

Evacuations of Gazans from combat areas happen even when the practice hampers the IDF’s military progress by sacrificing the element of surprise. Hamas terrorists who flee the site of an imminent IDF strike can and do blend into the evacuating population and launch attacks from the designated humanitarian zone. That terror tactic illegally creates a new batch of human shields and often compels additional evacuations. It has forced many of Gaza’s residents to uproot themselves multiple times.

Top military experts have lauded Israel for the professionalism of its evacuations. One such assessment was delivered by the renowned authority, John Spencer, chair of Urban Warfare Studies at Modern Warfare Institute at the U.S. Military Academy a West Point. Similar praise was extended by other military experts as well.

Different military commanders may disagree about the best way to evacuate civilians during the chaos and peril of war. An evacuation can be extremely arduous, especially when the action must be repeated due to enemy interference. But even a burdensome or repeated evacuation is evidence of proper compliance with international humanitarian law, not a sign of displacement or any other wrongdoing.

[thebluestbluewords]

vaguely urban fantasy AU

Maleficent Junior, first and only daughter of the Mistress of All Evil, heir to the underground Fairy Intelligence network of the city of Auradon, daughter of Hades and dark dragon of the underworld, was having a crappy fucking day. 

"COLD." Mal snapped at the goblin working the counter of her favorite, barely-tolerable GobBucks coffee chain. "I SAID COLD. LIKE THE CASH YOU WON'T BE GETTING TIPPED IF I DON'T HAVE THIS DRINK IN MY HAND BY THE TIME I'M DONE MAKING THIS CALL." 

The goblin rolls her horrible eyes. "Yeah, yeah, everyone says that. You'll get it however I make it." 

"You know I have the gold to tip well." Mal wheedles. It's undignified and unbecoming for the daughter of Maleficent to beg for anything, but the pounding in her head and the damp creeping up her socks from the hole in her boot meant that desperate times call for desperate measures. "It could be yours if you get my pond sludge ready faster." 

The goblin, whose bottle-blonde hair is covering her nametag, grimaces. "You're the fool for drinking it. We don't clean the sludge blender." 

"I don't care--" Mal begins to snap, eyes locked on the phone in her hand. The case she's put it in is purple as always, but this one is dark purple, and devoid of her usual dragon designs on the back. Before she can work herself up into a really wicked rant, the phone rings, and she pounces on it like a rat on a piece of subway pizza. "Mother. Hello." 

Maleficent cackles. "Hello, daughter-mine. Still rotting with your father?" 

"Mother, please. You know he doesn't rot. The man lives in a deep freezer, and his body is practically pickled besides. And I have my own life now." 

"And yet you still won't visit your poor mama," Maleficent coos. "I'm hurt. Hurt! I spent the best years of my life raising you and this is the thanks I get." 

"You said you had news for me," Mal prompts, instead of picking up the fuel for their ongoing fight. She's nineteen years old now, and her own person. With her own apartment. And her own job. She doesn't have to come crawling to her mother's every beck and call anymore. 

"Ah, well," Maleficent sniffs. "The news can wait until after I've had a chance to catch up with my only daughter. How is the little mystery business going for you, daughter-mine?" 

"Perfectly." Mal growls. 

"Glad to hear it, And your father, he's as awful as ever?" 

She can hear her mother checking her nails. 

"Yes." Mal grits out. "He's perfectly adequate as a parent, mother. Unlike you, he never left me in the middle of the city. Alone." 

"You kept yourself out of trouble, dear." 

"I was five." 

"And what was I supposed to do with an immortal five year old who wouldn't be reasoned with, and kept lighting the kitchen on fire!" 

[angeliqueiguess]

Focus! (Character Endings) Pt.2

(must read after reading the fic)

Ten Lee

After the success and growth of NeoMagazine, Ten decided to return to his home country, Thailand. There, he spent some time sharing his knowledge and passion by offering professional makeup courses. During this period, an unexpected opportunity transformed his life: the creation of his own makeup line, "Chitta Cosmetics." The brand became a reflection of his artistic vision and deep connection to his roots. It didn’t take long for Chitta Cosmetics to gain recognition, and soon, Ten found himself competing and collaborating with industry giants like Maybelline, solidifying his place as a prominent figure in the beauty world.

On a personal level, Ten never lost touch with his best friend, Y/n, whom he cherished deeply. Despite their busy schedules and the changes in their lives, he always made time to celebrate her successes, proud to see her thriving, happy, and healthy. Though the dynamics had shifted since the days when they all worked together, Ten treasured every moment they spent together. He never forgot where he came from or the value of the friendships that shaped him. Humility and loyalty remained central to who he was, even as he achieved remarkable things.

Mark Lee

After the growth of NeoMagazine, Mark let his creativity run wild in the urban fashion scene, creating not just innovative outfits but also collaborating with designers and producing pieces so exceptional they could have been displayed in a museum. His brand, "127", quickly gained traction, and soon, big-name rappers and music artists became his clients, rocking his designs at major events and on stage.

On a personal note, Mark kept uploading his freestyles and original songs to his secret SoundCloud, where he shared his music without the pressure of fame. For a while, his music career felt more like a side project, but everything changed when one of his followers went viral with one of his early mixtapes. This boosted his visibility, and soon millions of people were asking for a full album. Mark eventually delivered on that demand, launching his debut album, which became a major success. Now, Mark was rubbing shoulders with top rappers and artists worldwide, forming important partnerships in both music and fashion. He not only solidified himself as a rising star in the music industry but also became one of the few rappers creating 100% custom designer pieces. By blending his love for fashion and rap, he carved out a unique and successful niche for himself.

Nakamoto Yuta

After NeoMagazine’s growth, Yuta focused his efforts on further expanding the magazine and other ventures in his native Japan. His expertise and vision led him to teach business and statistics, not only in Japan but across various countries in Asia. Through these classes, he inspired a new generation of entrepreneurs. His practical approach and ability to connect with people earned him a reputation as a trusted leader in the business world.

On a personal level, while Yuta had firmly established himself as a successful businessman, life had unexpected plans for him. His charisma and natural presence landed him a supporting role in a Japanese film—a project he initially saw as a fun new challenge. However, his performance caught the attention of a well-known director who stumbled upon the movie by chance. Impressed by Yuta’s talent, the director offered him a lead role in his next feature film. Balancing both worlds, Yuta discovered a newfound passion for acting without stepping away from his business pursuits. His debut as a leading actor was a hit, propelling him into the spotlight of the film industry. Now, Yuta is not only a respected businessman but also a rising actor, proving that embracing unexpected opportunities can lead to extraordinary paths.

—-

Focus Masterlist // Main Masterlist

prev // next

Taglist: @apolloxxivmin @aerivrs @chan-yeoldelling @livingdoll-hara @cryingforjae @heavenjae @milanco @sibwol @neocupidd @minkyuncutie @miniature-tragedy @kukkurookkoo @kodasity @injunnie-lemon @thegracerammy @hahaechans @illitzen @pandagirl753 @flamingi

[gattnk]

Only Dolce's saccharine nature could counter Kabalè's acrid attitude.

Probably one of my best pairs in terms of contrast, hands down! I'm really proud of how they came out :D Let's go over them design notes:

While Kabalè gave me a lot of room for exploration between her two canon designs, Dolce was pretty straightforward in terms of source material, since she's a series-exclusive character.

I wanted to keep Dolce as part of the main cast because I noticed some animosity from the fandom towards her back in the day, particularly over how "dumb" and stereotypically girly she was. There should be room for ultra-feminine characters in girl-focused media, because I know a lot of girls and women love them and look up to them, and who am I to deny them their fun?

My position regarding Dolce pretty much defined what I would do with Kabalè. If Dolce got to be unapologetically feminine in the traditional sense, why, Kabale HAD to be feminine in a transgressive sense! Those familiar with Ever After High know what I'm talking about: the "opposite" figure to the pink goodie-goodie princess is the purple rebellious evil witch.

My decision to make Kabalè more tanned than her canon counterparts stemmed from the same place as Mefisto and Gabi's changes: it matched her new design much better in terms of color contrast, and adding a bit more variety to the devils wouldn't hurt. I also wanted to pay homage to her hair in both iterations by making her blonde with a high ponytail and a streak.

I studied Dolce's key traits and focused on them for her new design: hearts, pink contrasted with blue and white, and puffy hair. I actually increased the amount of pink but used less saturated hues so they wouldn't clash or feel like too much, and used cyan and off-white accessories to visually segment her body by her joints, similar to an articulated doll.

For Kabalè I chose to mix her "spooky-chic" colors from the series with her comic design, and then I focused on modernizing said design! Not gonna lie, I had a lot of fun looking at current urban fashion and playing around with Kabalè's purple palette, it's not too common apparently (outside of Gengar apparel, lol).

Dolce's mascot, a blushing phantom butterfly, is right atop her hairband to represent how Dolce is the most emotionally mature of the group, since she's also naturally open-minded and focused on positive self-growth. Meanwhile, Kabalè's badger bat perches inside her jacket's inner pocket, symbolizing how Kabalè's polarizing nature often isolates her from the world around her.

Honestly I'm glad these two came out as well as they did, for the longest time I was stuck with them until some good friends of mine gave me a crucial helping hand (my most special thanks go to @fairy-of-the-black-willow). To put it bluntly, I wanted them to look grand but my sense of fashion is a bit too practical... all my pants are denim and I only wear grayscale t-shirts :V

I'll Fly With You (rewrite fic) Art masterpost

[clare141312]

MHA X READER WITH ATOM EVE´S POWERS

Words: 1,338

Chapter 2

It’s the day of the Entrance Exam, and despite all my preparation, I can’t shake my nerves. I feel like laughing. I’ve spent an entire year getting ready for this moment, so logically, there’s no reason for me to feel this anxious. But maybe it’s just human nature to feel this way when faced with something that could shape your entire future. I applied for the General Studies course as well as the Hero Course, just in case things don’t go as planned.

It’s a good thing I woke up at 5:00 a.m. to prepare. It’s now 7:30, and I’ve already finished my morning workout, had breakfast, and squeezed in some extra studying. Factoring in the time it takes to walk, potential train delays, and any unexpected incidents, now is the perfect moment to leave. I grab my bag packed with my workout clothes and take one last glance in the mirror to adjust my school uniform before heading out.

“Sayuri, are you sure you have everything?” my grandmother calls from across the house.

“Yes, Grandma. Bye!” I reply as I step out the door.

Thankfully, everything goes according to plan, and I’m now sitting on the train, set to arrive early. As I scroll through my phone, passing the time until my stop, a man steps on my foot without so much as an apology. I wish I could kill him, but obviously, that’s not an option—I’m not going to risk prison over something so trivial. So, for the rest of the ride, I spend my time, imagining all the ways I could get even, until my stop arrives.

Standing in front of UA High, I feel really intimidated. I take a moment to look around, amazed by the grand entrance as I step inside. After finding the bulletin board, I check where I need to go for the written exam and make my way to Exam Room B. I complete the written exam quickly and with relative ease. Then was present mics speech about the exam in the auditorium. I sit in my assigned seat.

“What´s up UA Candidates thanks for tuning in to me your school DJ. Come on let me hear you” Present Mic shouts but everyone remains silent. I am so Excited. Pro Heros as our teachers. School will be so much fun. “Keeping it mellow huh, that’s fine I´ll skip straight to the main show. Let’s talk about how this practical exam is going to go down.”

“Like your application said, today you rocking boys and girls will be out there conducting mock battles in super hip urban settings. Alright my friend, after I drop my mic here you´ll head to your designated battle center sound good? Okay.” Present mic says and everyone stats to pick up their cards. Battle center H alright I can do this.

“Three different types of faux villains are stationed in each battle center. You earn points for each of them based on their level of difficulty so choose wisely. Your goal, dear listeners, is to use your Quirks to earn points by shredding the foe villains like a wicked guitar solo. Of course, attacking other examinees is a no, no you dig.”  I listen intently as he speaks. But then some guy with glasses stands up raising his hand. Excuse me sir, but I have a question." the guy said.

"Hit me," Present Mic said pointing at the boy and a spotlight hit the boy.

"On the printout you've listed four types of villains not three. With all respect, if this is an error on official UA materials it is shameful. We are exemplary students. We expect the best from Japan's most notable school. A mistake such as this won't do. Additionally, you with the unkempt hair" the guy said and then pointed at a green haired boy, "You've been muttering this whole time. Stop that, if you can't bother to take this seriously then leave. You're distracting the rest of us." the guy said, and the boy covered his mouth muttering sorry. What an Asshole that glasses guy could have been nicer.

"Alright, alright. Examinee number 7111. Thank for calling in with your request. The fourth villain type is worth zone points. That guy's just an obstacle we'll be throwing in your way. There's one in every battle centre. Think of it as a hurdle you should try to avoid. It's not that it can't be beaten, but there's kinda no point. I recommend my listeners try to ignore it and focus on the one's top of the chart." Present Mic said and the guy bowed.

"Thank you very much. Please continue," he said sitting down.

"That's all I got for you today. I'll sign off with a little present a sample of our school motto as General Napoleon Bonaparte once laid down a true hero is one who overcomes lives misfortunes. Mmmm now that's a tasty sound bite. You ready to go beyond? Let's hear a plus ultra. Good luck. Hope you practised hitting more than just books." Present Mic finished.

Now I’m standing at the gate, feeling incredibly nervous. Everyone around me is talking, and I feel like I might throw up. Suddenly, Present Mic’s voice echoes, “Alright, let’s get started! There are no countdowns in real battles, so run, run, run!” The crowd surges forward, and I start running too. I quickly remember that I can fly but decide against using it. I know I can succeed without flying, and it’s better to keep that ability hidden for now. If I make it in, keeping my flight ability, a secret could give me an edge during the sports festival as my hidden weapon.

As I move further in, I start blasting every robot I see while charging ahead. Suddenly, I notice someone in danger of being struck by a robot. Instinctively, I create a shield around them and blast the robot away, sending it flying. I rush over to check on the person, only to see a set of floating clothes. A voice speaks, and I realize it’s a girl with an invisibility quirk. After making sure she’s okay, I return to blasting robots.

When the exam is finally announced as over, I take a seat and let myself rest. As soon as I go home, I´m going to eat everything I can see, I think to myself while turning the air into a bottle of water and taking a drink.

1 Week later:

I jog down the road, counting the days since the UA entrance exams—it's been a week, and I’ve been anxiously waiting for the results. As I return home, my grandmother rushes toward me, a letter in hand. “Sayuri! The letter from UA has arrived!” she exclaims excitedly. My eyes widen, and I snatch the letter from her hands before dashing to my room to open it. I sit at my desk and carefully peel open the envelope, and a circular metal thing fell out and it projected a screen.

"I am here." All Might appeared on the screen, " Sayuri Kuramoto you did extremely well on your written exam. You are probably wondering why I'm giving you your results, well it's because starting this term I am the newest teacher at U.A. high school haha. You Sayuri Kuramoto also did well on your practical exam and managed to get 40 attack points, but that is not all here at U.A. We like to take into account what really makes a hero and that is protecting people and so we had a panel of judges watch from behind the scenes and they would give out points to whoever they saw perform a heroic attack and give you rescue points you 15 rescue points putting you in 4th place getting you into U.A.'s Class 1 A hero course. Welcome you have made it."

As soon as I hear All Might say that, I dash outside to share the news with my grandmother. The moment I tell her, she embraces me tightly, overwhelmed with joy.

[adobe-outdesign]

now with [SPOILERS] a new evo announced, can you review duraludon and its upcoming Urban Expansion?

I'll be honest, I've never been the biggest Duraludon fan. I do think the idea of a kaiju-mon that's basically the building that kaiju normally knock over is extremely fun, and it being able to drop down to basically become a laser cannon is also pretty neat.

However, it's just always been way too stiff for my tastes. I feel like being able to imagine how a Pokemon lives in its environment and functions is important, but with this design it's straight-up impossible to picture how it even moves. It's mostly just the body being a singular unit, combined with the legs having no joints, that really does it for me.

(Pictured: Duraludon, in the middle of realizing there's no way it can actually eat that plate of food)

Visually, it's alright—the zig-zag down its side is neat, the dark blue accents are nice, and the head shape is interesting. However, I do feel like it's hard to figure out what it's going for at first, and the random bit of red above the head adds nothing.

Admittedly, the g-max form is pretty fun. Obviously the stiffness thing is still an issue, arguably even more so, but at least the building theme's a lot clearer now. Not only is it a skyscraper, it seems to be The Shard specially, the tallest building in the UK:

Which makes sense thematically for a g-max, given that the entire idea is that it's a "bigger" version of the original both conceptually and literally.

Visually, I like the addition of the light blue accents, and how the stomach gains kind of a glass window-like look instead of the entire body. It's also neat how the head becomes a helicopter pad. I do think the dark blue areas on the hands should've become lighter blue to match, but still, this is an effective albeit silly improvement over the original.

Duraludon was kind of a weird choice for an evo, given that it was already pretty strong as-is, but I guess they wanted to compensate for it looking it's g-max form. And, thankfully, we did get a pretty good design out of it.

Archaludon's still too stiff for my tastes, but I do like it more than Duraludon and its g-max. It feels like a good blend between the two, wherein it has more of the subtly present with Duraludon but a clearer theme more like the g-max form.

First, it can form a bridge when it drops down onto all fours. This is a neat practical element that's fairly clear even in the base design. It's also neat because The Shard is also known as, to quote Wikipedia, "the Shard London Bridge and formerly London Bridge Tower".

The additions of blue and red along the front really make the design pop more, and feel like a good continuation of Duraludon's more subdued palette. This color expansion, along with the forked tail, head spikes, and exaggerated limbs, do make it look stronger than it's pre-evo. Also, the little gold tips on the limbs compliment the eyes and are nice touches, while the strange arm shape now serves a clear purpose in the design. It's still not my favorite thing in the world, but Archaludon's definitely my favorite design out of the three, and the line as a whole feels a lot more complete now.

Anyway, overall: Duraludon has a fun concept, but is a bit too stiff and vague for its own good. The g-max is a bit over-the-top but is much clearer thematically, and Archaludon is the best out of the bunch.