#but built on solid principles

[raidhosketchonhematite]

So, let's talk karma. You are trapped. So is everybody else. Mind follows the soul in endless rebirth. However, this is not the sole consequence of this situation. Using the resonance built up when living, the separating soul also imprints an echo of its memory into its alternate self, pushing them back in their enlightenment. (One can even induce this phenomenon to gain passage to the alternate worldlines at its peak.) This resonance can be reinforced by sufficient experiences or practices, and decayed by straying away from the other selves - thus, some may never awaken from the dream to try again (though they would still wake up, albeit in a different body), and some may yet be so tenacious as to claw back to reality even from the void. Though, to be fair to the latter, unless they actually will themselves to return, they are stuck in a half-realized state that, while capable of reinforcing the resonance of other beings, is in itself frayed, unable to meaningfully interact with the material world. "Speaking" in this form is more like intertwining their being with the other's - rather enlightening, but always brief, pushing away as soon as possible, temporarily breaking their superposition with the affected worldline. And when immersed in the void, the one affected escapes the confines of reality, and is crossed out from the endless cycle in this tightly shut box. The more resonance, the more karma, the more of their self escapes. Unless, of course, they don't actually want to die.

[cy-cyborg]

Tips for writing and drawing Wheelchair using characters: Your character's wheelchair can tell us a lot about them

When you first start learning character design, you'll often be told something to the effect of "use your character's outfit to tell us more about them" - and this same principles can be applied to a disabled character's mobility aids.

Mobility aids like wheelchairs, to many disabled people, are a part of us. They can be an extension to a person's body and chances are, if you're going to be using this piece of equipment every day for the foreseeable future (or at least for a good amount of time for the foreseeable future), it's going to start reflecting some aspects of your personality, your interests, your passions, especially when you remember, a lot of people get their wheelchairs custom built for them.

You can use your character's wheelchair to tell us a lot about them without ever needing to show/describe them directly.

Let me show you two examples:

Take a look at these two wheelchairs. they're similar in shape and build, but still pretty different to each other. Can you make some guesses about their users based only on what's shown here?

intended answers below:

Please note, the following points are all generalisations and the real world is rarely this simple. This is to demonstrate how to use disability aids to contribute to your character's design, not how to make assumptions about real people in real life.

So here are some similarities between the chairs:

Both wheelchairs have ridged frames, this means the wheelchair can't be folded in any way. These kinds of chairs can imply a few different things depending on the person. They are typically lighter, sturdier and more durable, and indicate the person probably will be using the wheelchair for a long time and/or has the money to get something built to last (or lives in a place where cost not an issue due to universal/subsidised access to healthcare). They are also typically better to travel with when flying, as they are less likely to be broken by airport security/staff.

Both wheelchairs also lack anti-tip wheels, which are a third set of wheels that extend from the back of the chair. Them not being present could indicate the person is likely pretty confident in their ability to use the chair without worrying about tipping out. It could also indicate they are in an environment where the anti-tips could be more of a hazard than a help, such as on rough terrain.

So lets look at some specifics for the green wheelchair:

Take a look at the wheels. The front wheels are pretty small and appear to be solid, while the back wheels appear to be quite narrow (compared to the orange chair anyway). This indicates the user likely lives somewhere with decent accessibility like a (well funded) city where they are unlikely to encounter unpaved/dirt roads/grass. Small front wheels and thin back wheels are good for manoeuvrability and a smooth ride over even terrain, but they will get stuck as soon as bumps appear, so this probably isn't an issue for this person.

While its a bit hard to tell unless you have seen other similar wheelchairs, this wheelchair is very long in the front, meaning the footplate and front wheels are further away from the seat than most. There could be a few reasons for this. One either indicates the person has very long legs, or a lack of motion in their knees, making it harder to bend their legs. This is moves the chair's centre of gravity forward by a decent amount, making it harder to tip back, which could indicate the person's legs are very light. You tend to see this most often in the wheelchairs of bilateral leg amputees, who are at a greater risk of tipping backwards due to a lack of weight at the front of the chair (even if they wear their prosthetics).

The colour of the chair is bright. This could simply be the character's favourite colour, or maybe this colour has some significance to them?

There are stickers on the side of the chair relating to the Paralympics. This could indicate the person is a fan, or perhaps had some involvement in the games?

The wheelchair has handles on the back, but they are able to be folded down. This is a popular feature for people who are independent enough to go out on their own, but still want to have the option for some help. folding down the handles also deters random strangers from grabbing at you (an unfortunately common experience for wheelchair users).

There is some mild paint scratching to the front of the wheelchair, but nothing too noticable. This is typical of older chairs and people who are a little rough on their chairs. Maybe they've had a few stacks and falls throughout the years, probably going a decent speed.

Ok, now let's look at the orange chair

This wheelchair has very large, inflatable front wheels, and very thick back wheels. This will make the chair slower and less manoeuvrable on flat/even surfaces, but much, much easier to push on rough terrain. This is supported by the amount of mud on the wheelchair.

The seat on this wheelchair tilts upwards slightly. This is called a bucket (or according to an old basketball teammate of mine, a dump-truck lol). This is a feature you typically see in wheelchairs made for people with spinal injuries who are unable to move their legs and engage their lower bodies or core to help keep them stable.

The back of this chair is very low, indicating that if this wheelchair user has a spinal injury, it's probably pretty low on their spine, likely fairly close to the hips, making the person a low-level paraplegic. Higher-level paraplegics and quadriplegics usually need a higher back to help support them and keep them from flopping over, since all the muscles below their place where their spine broke either doesn't work, or is significantly weaker. Higher backs though can get in the way of pushing and reduce mobility, so people who need less support will likely opt for a lower back rest.

This wheelchair has no handles, which indicates the user is probably very independent and doesn't need a lot of help getting around.

The paint on this wheelchair is very scratched up, showing the person is very tough on their wheelchair and doesn't care to get the paint touched up.

This wheelchair has no breaks. This is very common on chairs with larger tiers as they don't tend to be as effective, but also on many outdoor wheelchairs, for two reasons. One is because they are made for rough terrain, so chances are, you aren't going to go far without a big push to get you moving. The second reason is that to get over large bumps and obsticals in a wheelchair, it can be helpful to do very large pushes using the top and front of the wheel. When pushing a normal chair, most people will only use the top section of the wheel to push since it's closest, but these big pushes that use the front of the wheel make it easier to push, since you can benefit from downwards momentum. However, this is also where the breaks are located on most wheelchairs, which can create a hazard. I've lost entire fingernails by them getting snagged on the breaks when pushing this way. So if you live somewhere where the breaks are not going to be helpful to you often, it makes sense to not get them.

And here are the characters who own these wheelchairs

The owner of the green wheelchair is an amalgamation of a few people I knew from when I played wheelchair basketball. They're a bilateral leg amputee, and judging by their outfit (The Official National Wheelchair Basketball uniform for Australia), they're an elite athlete. This wheelchair is not the one they play sport in, but it still needs to be durable enough to withstand the rough treatment of airport staff when traveling, as well as heavy day-to-day use that comes with being an active person. While it needs to be rough, the person also seemed to want to prioritise speed and manoeuvrability, and likely doesn't need to worry about rough terrain too much, so they probably live in a major city.

The owner of the orange chair was inspired by a family friend of mine. They live on a farm, and need a chair that can handle life in those conditions, rough terrain and all. This comes at the cost of speed and manoeuvrability on smoother terrain, but honestly, anyone who's lived in the country knows you won't find many of those around there anyway, so that's not too big of a sacrifice. They are paraplegic, are very confident in their ability to use their wheelchair, and probably doesn't need help too often, but still benefit from some extra stability support from the raised seat on their chair.

Conclusion

Once again, these are generalisations, and in real life there are always exceptions, but I hope this helped demonstrate what I meant when I said you can use your character's wheelchair to tell us more info about them if you're smart about it.

I originally planned to do a whole series of these, showing a wider variety of wheelchairs and the people who they belong to, but I guess I kind of forgot because they've been sitting, abandoned on my hard drive for the last 2 years 😅. If that's something you folks would be interested in seeing though, let me know, I'd happily revive the series lol.

[literallymechanical]

Zap Energy says that they’ve solved Z-pinch by “shear stabilization”, where they have different sections of the plasma moving at different velocities (faster outside, slower inside). Doesn’t shear like that cause instability, not suppress it? Or are plasmas not subject to that law of fluid dynamics

You’re thinking of instabilities in flowing plasma like it’s turbulence in flowing fluid. This is partially correct, but like... okay. So, the field of physics that governs the movement of plasma is called magnetohydrodynamics, where you introduce Maxwell’s equations into Navier-Stokes. It is horrible. I am but a humble mechanical engineer, and I leave the physics to physicists.

The physicists tell me that Zap Energy's science is solid.

Bit of context: Zap Energy is taking an old fusion energy concept from the 1950's called a Z-pinch, and revamping it with modern plasma physics.

A Z-pinch works on the principle that passing an electric current through a conductor generates a magnetic field, which in turn crushes (or "pinches") the conductor. The first observations of the pinch effect were in hollow metal tubes that were used as lightning rods, like this one from a factory in 1905:

Image by Brian James, CC BY-SA 3.0, Wikimedia Commons

Plasma is electrically conductive, and is subject to the same compressive pinch effect as metal. Lightning itself is a plasma pinch, actually.

When you pinch a plasma, it heats up. The fast-moving, charged plasma particles repel each other and push back against the magnetic field until the system reaches equilibrium. The stronger the plasma current, the harder the pinch, the more pressure, and the more heat. With sufficient plasma current and the right hydrogen isotopes, you can create a pinch strong enough to induce nuclear fusion.

The pinch effect was first utilized by a class of fusion machines called Z-pinches in the early 1950's. However, those Z-pinches were extremely unstable. The most common analogy is that compressing plasma with a Z-pinch is like trying to squeeze jello with rubber bands.

UK Atomic Energy Authority, Public domain, via Wikimedia Commons

Both linear and toroidal Z-pinches have been built. The toroidal Z-pinch above shows some of the characteristic kink instabilities of a pinched plasma – it goes all squiggly. Researchers started adding external magnets to Z-pinches to help reduce instabilities (which eventually led to the development of the tokamak), but could never get a truly stable plasma. Z-pinch fusion research was largely abandoned in favor of the tokamak and stellarator.

However, the external magnets of a tokamak or stellarator are massive, complex, and use incredible amounts of power. The University of Washington and Zap Energy went back to the old concept of a magnet-less linear Z-pinch, but with a more modern understanding of plasma physics. They discovered that by using a flowing plasma rather than a stationary one, with a faster flow rate on the outer layers (a "sheared-flow" Z-pinch), they were able to achieve great stability with no magnets.

Credit: Zap Energy

Rather than filling a chamber with stationary hydrogen and then pinching it, they blow a "smoke ring" of plasma around a cylinder into their chamber. An electrode at the tip of the cylinder then fires a pulse into the plasma, which creates a pinch with a complex velocity profile.

Credit: Zap Energy

Zap Energy’s physics basis is good. They’ve pretty convincingly demonstrated that sheared-flow does indeed stabilize a pinched plasma, and if they can pull off magnetic confinement fusion with no magnets, it will be massively cheaper than any other method. The uncertainty that Zap is facing comes from mechanical considerations (in particular, electrode erosion is a tricky problem to solve), and the relatively thin margins for efficiency that are inherent to any pulsed fusion technique.

[evitirey]

ok so this was a beast to draw and research good GORD. this one requires a glossary so i'll be putting the entire text under a read more bar, meet me there?

I think most of us in the Avatar fandom have some range of obscure knowledge (or who knows maybe the knowledge is less obscure to everyone else and I'm the silly one) but here's a handful of words I had to learn for this: Chinampa: small, stationary, artificial island built on a freshwater lake for agricultural purposes. Chinampan was the ancient name for the southwestern region of the Valley of Mexico, the region of Xochimilco, and it was there that the technique was—and is still—most widely used. (Encyclopedia Britannica)

Conuco: A portion of earth that the native Tainos of the Caribbean would grow their crops on. (More on that later)

Winnow: In the western world, to remove (something, such as chaff) by a current of air. I specifically based theirs off of a video that @aketchjoywinnie on tiktok posted of her culture's winnows. She is from Uganda and I love her videos whenever they come across my fyp. In this case it is more of a woven basket/plate that is used for food.

As for the drawing:

The Ro'atni have 2 forms of 'floating' gardens. The first and most productive are their chinampas; kind of important to the context is that the Ro'atni were originally a river people, but a portion of their river gave way to an oxbow lake. The young lake has turned into their gardens. The chinampas are made by their swimmers who usually chose their lifestyle very young, as their bodies adjust and grow to adapt underwater better; their strakes go from soft, unobtrusive cartilage to actual strakes, smaller than the reef people's. They dive under water and plant the reedy plants that they then weave together into a roughly rectangular box. Each chinampa is a labor of love that normally takes years to make (though if they feel the next season will not be fruitful they can and will build some quickly). The base layer of the chinampas is essentially a refuse pile. Their compost, their unusable bones, any trash (which is much less than most modern societies) is thrown into the woven reed "basket" to form the solid base along with base stones. The middle layer, still submerged in water, is a combination of compost, mulch, manure, night soil and gravel.

As the compost decomposes, they churn the dirt and build it up over the years until they build above the water level; once the dirt remains relatively dry on a sunny day, and they can dig without immediately hitting mud, they begin to build the conucos on top of the chinampas.

The Conucos are logs stacked up and packed with earth, the shape keeps plants that need dryer soil out of the water, and retains water when the lake starts drying down during the dry season. As the logs decompose they leave behind air pockets for the roots to take up as well as the necessary microorganisms. Most of the weeds are allowed to grow to an extent - once they begin to choke out the plants they want, they will be cut down. The Ro'atni believe that even the most annoying creatures (weeds) have a place in the balance of life. If they're uprooted, they're tossed on shore where they continue to grow. To combat the growth of weeds, they plant a groundcover berry-producing vine that functions as a nitrogen fixer as well as food.

The second form of floating gardens tend to be used for children to learn, as they operate on the principles of aquaponics. The winnow pads are sometimes made specifically for the purpose, but often they're made from a winnow that has reached the end of its life. If it is no longer buoyant, it is tossed into the bottom of a new chinampa. If it is buoyant, then small anchors are tied to the bottom, and a fast growing plant is placed on the winnow to take advantage of the nutrition in the water. Often seedlings for the chinampas are grown this way and transplanted once they're big enough.

Now for the plants they grow; I only had the mental bandwidth to name ONE plant, and I welcome any professional Na'vi speakers to correct me on it lol. So, they grow: Furina'ngrr: Primarily this plant functions as a starchy tuber, but it also grows "beans" (in the way that a coffee bean is a bean but its actually a berry) with a soft outer fruit that the entire clan uses to produce a bright red stain/dye. Combined with red ochre and animal fat, it creates a thick, water resistant body paint that they use both to ward off bugs and to paint pretty patterns and symbols on their skin; certain ones are protective symbols. The fruit can be peeled off of the bean and the beans can be eaten; they're more often replanted to avoid genetic monocropping. They only ripen every 2 years more or less, so the elder gardeners know to stagger their crop growth to accommodate for it. The root however is the main crop from these plants. It is ground into a pulp, seasoned and wrapped in leaves, then either boiled or cooked in a firepit. It's dumpling-like in the firepit, and more like a mochi if its boiled. It can also be fried and baked depending on preparation. The roots can be replanted and this is the quickest way to propagate the plant. They also store for a long time in a root cellar like environment. This is their first source of starch.

Reed-maize: Many different kinds of reeds can be used to create chinampas, but reed-maize is the favored choice; even after their cultivation the reeds remain for a good while before decomposing, giving the gardeners time to grow their replacements, replant them around the chinampas and weave them in again. The reed-maize grow seed pods that can be harvested; they usually require a good strike to release their seeds, which is an adaptation to release their seeds during windy season when the fluffy seeds can fly far away. These were a gift from the Sa'anre side of the clan, and comes originally from the swamps and deltas they traverse; in the oxbow lake the wind is only strong enough during typhoon-like weather to open the seedpods. The seeds release from the pods wrapped in tightly coiled fibers that spring open as they fly out; the fibers carry them on the wind. So the gardeners beat the seed pods open only inside of the hometree or where large structures have been built to catch them. The fibers are hand-ginned off of the seeds, and the seeds are then winnowed free of chaff. The fiber can be processed into cloth, but its very time consuming so they often trade it out to other clans. Other uses are compost mulch, or bedding for their fishing companions. The seeds range in color from soft oranges to gray-blues; an act of love is to separate the specific color seed your child/mate/parent loves most and to make them ground cakes from the singular color. It's extremely time intensive to sort, then grind these seeds separate from all the rest. Normally however, they are stored as grain alongside the furina'ngrr. The grain can then either be processed into flour, "grits", or eaten with minimal preparation. Boiled, they taste both earthy and floral.

Oh my gosh almost done guys lets go. Together with dried and powdered meat, the clan makes a type of pemmican out of their crops; dried roots, dried meat, dried berries and fat are mixed with reed-maize flour, then dried down and stored in their root cellar caves. Their stores are for the long rainy season when hunting is difficult and flooding is common. They have also experienced famine before so they prepare for it again at all times.

Mothers sometimes make the little pemmican cakes into cute shapes for their young ones!

[freemilkshakesposts]

Draw Me Like One Of Your French Girls

⚠️Warning⚠️: Sexual content (18+ MDNI) + mention of cheating!!

a/n: This is pure filth so be warned!!

Levi x Reader (Smut)

Summary: It's strange enough that you never discovered Captain Levi's secret talent for drawing, but even stranger is how readily you accepted his request to sketch your bare form every night. As your captain, you've clearly crossed professional boundaries. Yet, the most significant boundary you've breached is sacrificing a relationship you had built with your supposed partner, all for Levi.

"Would you kindly shift to the left? (Y/N)," he commanded, gesturing with his pencil towards the spot where he envisioned you, a perfect tableau for his gaze to devour.

I complied, leisurely strolling to the designated spot, assuming the familiar pose: sprawled across his crimson red sofa, its plushness teasing my bare skin, while my gaze, heavy-lidded and drowsy, locked onto his tempestuous eyes.

"Perfect, my pretty girl," he drawled, a smirk curling his lips as he glanced at me, his gaze lingering on my form before returning to his sketchpad, now fixated on capturing my essence. Now that was all left in the confined space of the room, the only sound was the scrape of his pencil against the paper, etching the contours of your body with meticulous precision.

It was a routine as consistent as the ticking of a clock. He'd clutch my hand as practice concluded, not asking, but demanding my presence in his quarters, shrouded in secrecy. There, he'd command me to disrobe, offering my form for his meticulous sketches, each stroke etching my essence onto the pages of his coveted notebook, preserving me solely for his consumption.

So strange, I never once dared to challenge his whims. Why? A rational mind would have, but mine, swayed by an irrational devotion, always ceded to my emotions. In those fragile moments with my captain, I entertained the unsettling certainty that I wasn't just an ally, but a possession—undeniably, unequivocally, his.

His gaze lingered on me once more, a smirk etching onto his cold facade. And then, a transformation: his once piercing ocean-blue eyes dissolved into inky blackness.

"You know what, I'm feeling experimental," he declared, setting aside his sketchbook with a casual flick. "I'll give you a choice, but remember, refusing ends it all."

His words, laced with venom, seeped into my consciousness. The thought of it ending was unbearable. I craved his attention, his affection, his validation. I longed to be his muse, his 'pretty girl'.

"I'll do whatever you desire, sir," my voice whispered in the confined space that enveloped us. The walls closed in, suffocating any semblance of resistance. I couldn't bear for it to end. I'd forsaken everything to join the Corps, leaving behind family and a partner in pursuit of the hero's mantle I once coveted. And now, I'd sacrificed even more to be by his side—my principles, my integrity.

"Sit up and spread your legs for me solider."

My eyes stretched wide, almost popping out, tethered only by the veins snaking within my sockets. What in the hell did he just say? Did Captain Levi, my corporal, just order me to-

"You promised to fulfill my every whim, didn't you?" His words sliced through the silence like a gleaming knife through silk.

"I did but-"

"Come on darling, stretch those beautiful legs out for me. I want to draw that prized pussy of yours," his voice oozed with a yearning I'd never witnessed. He craved a peek into that sanctified domain, the territory you safeguard solely for your lover.

Fuck it. I've already relinquished too many sacrifices. I've bared my body entirely for my captain. I've shattered all trust with the man back home, who within these walls, thought I'd be the hero. I'm already damned.

I peeled myself off the crimson-red hairs that clung to my naked limbs, their touch like a devoted lover's, tenderly stroking and caressing my flesh. Then, I positioned myself upright, and once more, scrutinized Levi, attempting to dissect the thoughts behind his eyes. His gaze remained impassive, unflinching. Did he really want this? Or was I merely fabricating the utterances that spilled from his mouth?

Then, the signal I awaited emerged: he slid his chair deliberately closer, his face encroaching on my space, the intoxicating scent of him saturating the air around me. "Atta girl, show me it. Show me your cunt."

His words ignited an unbearable heat, a searing intensity capable of liquefying flesh. This was his method, I deduced-a calculated attempt to break any woman, and goddamn, it worked.

I spread my legs apart, exposing the fortress that shields my most precious possession, a coveted treasure glimpsed by few and touched by even fewer.

This is a grotesque twist, a descent into madness.

What would he think, seeing me in such a compromising position before another man—my captain, no less? The very thought is unbearable, a macabre revelation I can scarcely fathom.

A shiver ran through me as I caught Levi’s eyes fixated on my secret grove , his gaze consuming it with an unsettling intensity. Fascination, allure—these weren't the emotions I'd expect from the cold, stoic captain or the quiet artist who sketched my naked form with detached precision. This was a different Levi, a stranger hidden behind the familiar façade, captivated in a way that felt disturbingly alien.

"Is this what you wanted, captain?" I murmured, each word tumbling out in a fractured whisper, my voice betraying the turmoil within. I'm committing a grave, obscene error—a descent into sin, a plunge into wickedness beyond redemption.

He smirked, a fleeting kiss brushing my temple, before shifting his chair away, carving a chasm of space between us. I exhaled a breath I hadn’t realised I was holding, an unconscious gasp escaping into the sudden, cold distance.

"You look fucking divine," he exclaimed with palpable fervor.

Rising abruptly from his chair, he was irresistibly drawn to his desk. With eager hands, he yanked open one of the drawers, revealing a long and slender object: a ruler.

What the hell does he need a ruler for? He never used it when he sketched me. Why does he-

"You know," he interrupted, swiveling his body to face me directly. "As an artist, perfection is paramount." He advanced towards me, tapping the wooden tool against his palm. "You don't mind if I measure some dimensions, do you?" His face loomed closer to mine, that damn smirk never leaving his lips.

He's orchestrated this from the start. I should put an end to it now. Any person with a shred of decency would.

"N-no I don't mind," I muttered, my voice barely holding up against his suffocating presence. Damn it, why am I always such a pushover with him?

"That's why you're my muse. Mine." He swiftly knelt beside me, commencing to press the icy ruler against my inner thigh, his gaze unyielding as he meticulously gauged his indispensable dimensions.

This is so twisted. So goddamn twisted. Having my captain-my superior-between my legs, and another man, not my supposed lover, not my partner, but him. Fuck, I'm so sorry. But then again, no, I'm not sorry. I'm assisting with his masterpiece, after all. He only seeks to refine his artistry. I'll do whatever it takes to make it the most beautiful piece ever created.

"Hmm." Levi purred, his vibrations resonating within the claustrophobic confines that isolated us from the outside world. He snapped his head up, locking eyes with me once more. Another glint in those obsidian orbs, and thus, another scheme was born.

He frantically inched the long object closer and closer to that sacred land, his breath ragged with desperation. His face was almost touching it now. I watched his every move, his expression shifting with raw, insatiable hunger. He was ravenous, desperate to devour you until there was nothing left. He was starving for you.

"It smells so good, I wonder if it tastes even better," he muttered, groaning at the thought of his own words.

Levi was desperate-so fucking desperate for a quick taste-his eyes pleading with a vulnerability I had never seen before. Over the years, I had sensed his desire for me, just as mine had simmered for him. It all made sense now: his nightly ritual of drawing my portrait was a prelude to finally claiming me. He wanted to mark me as his own. And I wanted it too. That's why I never questioned his intentions, why I always entered his room with such a skip in my step. I took pride in being part of this filthy act, my captain sketching my naked form. And now, here he was, between my legs.

But then there was him-the man I had woven an entire romantic narrative around, the one I had promised to marry once the world was free of Titans. Had I ever truly loved him?

Reflecting on it now, I realise I never did. The raw, intense yearning I felt for him never surpassed that feeling that I held for my captain. I desired Levi with an all-consuming passion. In those drawing sessions, as he completed each work, all I could think about was him taking me, praising me as his ideal muse, his perfect muse. And now, the opportunity lies before me. I won't waste it. This is what I've yearned for, what I've sought to possess. Finally, I can attain it.

With a sudden, deliberate motion, I brought my mouth to his ear, my breath hot and intense, like the scorch of a furnace. "Go on, Captain," I whispered, my voice laced with a predatory calm. "Taste it. Eat me out until I'm fucking dry and empty."

Those words were the final snap of his restraint, the fragile mask of his role as captain, as a superior. He gripped my thighs, forcing them apart further with a controlled violence, his lips descending to my exposed core, sucking on my swollen clit with a ravenous precision.

"Shit!" I snarled, my fingers entangling in his dark hair, yanking his face closer to my dripping pussy. It was so wrong, so exquisitely perverse, but the pleasure was undeniable, intoxicating. I was pressed against the red walls of the sofa, driven to an internal rapture. His mouth was a relentless, burning brand on my pussy, as if it had been welded there, his lips consuming my swollen clit with a fervor.

It took all my restraint not to scream again, as his tongue traced intricate patterns over the sensitive peak, each flick igniting jolts of electricity through my system. His guttural groans reverberated against me, primal and urgent. He added a finger, then another, both digits curling expertly into that sweet spot, massaging my soft inner walls with ravenous hunger. His tongue and lips moved relentlessly over my clit, each motion pushing me further into an otherworldly abyss. I couldn't believe how close I was.

"Oh shit, oh god Levi-" I gasped, signaling to him, and he groaned against me again, sending electric pulses through my trembling pussy. The pleasure built quickly, the tightly coiled rope in my abdomen unraveling and propelling me over the edge. My thighs quaked, sparks of ecstasy shooting through them, splattering onto Levi's face like paint on a canvas.

I reclined my head against the back of the sofa, allowing the high to wash over me. His tongue, as I had anticipated, was nothing short of phenomenal.

"You did so well, darling." Levi's voice cut through the haze, emerging from between my thighs, his lips glistening with the evidence of my surrender. His movements were calculated, each step deliberate as he settled beside me on the crimson sofa. He grasped my face with a firm hand, forcing me to meet his gaze. The darkness that once swallowed his eyes had receded, unveiling the ocean-blue beneath. "You did so fucking well, (Y/N)," he murmured, pulling me into a ravenous kiss, his tongue invading my mouth, dominating mine. The taste of myself on his lips sent a shudder through my body, prompting me to reach for his belt, only for my hand to be slapped away with a swift motion.

"What the fuck, Levi," I whined. I pressed my lips against his neck, the kisses sloppy and frantic, each one a plea for more. I was the one so fucking desperate now, a mess of need. I wanted him to utterly destroy me, to push me to my limits until I was spent and empty, yet filled with his cum.

Levi rose from the seat beside me, forcefully removing my lips from his neck. "Not tonight. It's late," he asserted, his voice cold and unyielding, his eyes locking onto mine with a fierce intensity that brooked no argument. A flicker of panic coursed through me—had I done something wrong?

"Right, my apologies, captain," I stammered, springing up from the sofa. My heart raced as I scrambled to collect my clothes, a frenzied urgency driving my actions. First, I yanked my knickers up over my thighs, the fabric snapping into place with a sharp tug. My shirt came next—I thrust my arms into the sleeves, fingers fumbling as I hastily buttoned it, each button slipping through the holes with a sense of escalating dread. Finally, I ripped my trousers up my legs, the zip screeching in protest as I forced it to close, the metal teeth barely holding together.

"Thank you, Captain Levi, once again," I murmured with a practised smile, watching the back of his head as he returned his sketchpad and art tools to their designated drawer.

He turned his head slightly, just enough to acknowledge my presence with an indifferent "Goodnight, Y/N." The same flat tone.

It seemed impossible that just moments ago, this man had been between my legs, his mouth working me over with such intense hunger. Had it been a mistake? Had I jeopardised my relationship for a fleeting moment of desperation, craving the warm touch of Levi? Now, he was back to being Captain Levi, as distant and detached as ever.

I moved towards his door, my hand poised to break the seal and release me back into the sterile, indifferent corridors, but there was an unsettled matter—something that should have been addressed at the outset of these nocturnal encounters. Pausing, I turned and fixed Levi with a steady gaze. "Levi," I said, my voice a controlled monotone, "why is it that you insist on depicting me in such an unprofessional manner?"

At my question, he smirked, a predatory glint in his eyes. He advanced towards me, each step calculated, until my back was pressed against the cool surface of the door, trapped by the oppressive heat of his body. "Because someone once told me in order to relax before or after a mission is by drawing things I find beautiful," he murmured, his breath hot against my ear. Then, without warning, he claimed my lips in a swift, possessive kiss before pulling away just as abruptly.

"Now, goodnight, (Y/N)," he insisted once more, a playful flick of his wrist gesturing towards the door. I hurried to comply, grasping the doorknob and casting him one last, gleaming smile before the door closed, sealing off the view of his serene countenance.

It wasn't a mistake. I made the right decision.

[eemamminy-art]

not obligated to answer this but if you have anymore thoughts about alex sdv (or stardew valley at all) please share. i am obsessed with alex

Oh hell yeah anon you've activated my current hyperfixation 😁 I have a google doc where I'm dropping my headcanons and a bulleted timeline for a Alex/m!farmer longfic I've been writing in my head that's up to about 13 pages now ahaha so here's a few things!!

When he first moved to Pelican Town he was actually really quiet and reserved because he was still grieving heavily, so he never really got close to the other kids. He talks about how he played gridball with his mom so I think once he got the chance to play that in school (in another town no doubt) I think he came out of his shell then and made some friends, but all those friends lived far enough away that after graduating high school he's been pretty lonely and never could connect with the other people his own age in town.

He never goes into the saloon to my knowledge prior to the 10-heart event dinner scene, so I headcanon that it's because he doesn't drink alcohol and doesn't want the temptation to try it. I don't remember if it's said explicitly but I got the impression his dad's abuse stemmed from being drunk so I imagine Alex refuses to touch the stuff out of both principle and fear of becoming like his father one day.

I said it in another post but I headcanon him as gay and suffering comphet. He's built himself up as this cool popular guy, so he tries to emulate the sexist straight guys he's seen in movies but there's absolutely nothing behind it. He says something rude to a girl and then is like uhhh (shit what now) bye! 😅 I want to think that in getting to know the farmer he not only does away with that facade but also gets more comfortable in his sexuality!!

and on a sidenote to the above: I hc most of the town as gay or bi and I am toying with the idea of Abby being transfem! Sam/Seb is a given, and maaaybe they're in a poly relationship with Abby but I'm still undecided!! I like Maru/Penny as a concept but need to marinate on that a bit more, I see them always sitting together and it makes me happy but I need to think more on how they met and what their relationship would be like. I don't have anything solid yet in terms of other characters' gender or sexuality headcanons exactly, other than Caroline and Jodi being bi and desperately yearning to run away together 🥰

But back to Alex!! With how his storyline goes of trying to impress others with his jock persona, then trying to switch gears and be super booksmart, I headcanon that he gets close to the farmer via the farmer tutoring him so he can take a community college placement test. :3 My thought for why he's in the rut he's in is that he wanted to play college gridball but his grades in high school were so bad he has done nothing with himself since graduation and has just been stagnating and becoming more and more bitter (which only amps up his shitty attitude when the player first meets him). So trying to get educated is doubly good for him because he can work toward his sports dream (in a way) and try to impress the farmer. Though of course, the thing that brings them closer is Alex learning to be true to himself 😊

This is getting long, so last thing: he's actually a really well-rounded homemaker but does not even think about it really. George has been disabled for a long time, so all of the handy work around the house has to be handled by Alex, and he's so eager to help out his grands. :3 They put a roof over his head so of course he'll climb up onto it to fix the leaks when it rains! Evelyn is always cooking and baking and Alex is so soft for his granny he has been in the kitchen helping her for as long as he's lived with them, so he's actually got a real talent for cooking and baking too! One of the first things he learned after moving in with them was the proper way to set a table, and the best way to wash dishes efficiently. He's spent enough time at Haley's house having no chemistry with the poor girl, but found Emily's whole sewing setup really fascinating and she taught him to mend the holes in his letterman jacket when he asked so he knows how to hand sew! These are all skills that he has but doesn't recognize as skills, he just inherently has this desire to help the people in his life so he picks up this and that to make it easier!

Anyway! Thank you for letting me ramble 😄 Alex is really sweet and soft underneath the mask he wears, and he's been rotating in my head for the last few months hehe

I had bought sdv when it came out but barely touched it, and started it up again on a whim earlier this year and I'm so glad I did!! I really adore the game and it's bringing me a lot of joy currently 🥺

[psychics4unet]

🌹 PAC: Shocking Details About Your Future Relationship Revealed! 🌹

Instructions: Look at the 3 images of the piles below. Choose the pile that you feel most drawn to. Trust your intuition and select the one that resonates with you the most. Once you have made your choice, scroll down to read the description for the pile you selected.

I put a lot of effort into this reading, so please show some love by leaving comments, likes, reblogs, and follow me! ❤️💬✨

Paid psychic reading (7 questions for just $7) is available here:

Pile 1: 🌟 The Lovers 🌟 The Sun 🌟 The Hierophant

The Lovers represents a deep and harmonious connection in your relationship, filled with mutual respect and balance. The Sun brings warmth, positivity, and joy into your life together, suggesting a bright and fulfilling future. The Hierophant suggests that tradition, commitment, and shared values will play a significant role in your relationship.

Together, these cards reveal a relationship rooted in love, happiness, and shared principles. You and your partner will find strength in your bond, creating a solid foundation for a lasting, joyful partnership. ❤️💫

Pile 2: 🌟 The Star 🌟 The Two of Cups 🌟 The Ten of Pentacles

The Star represents hope, renewal, and faith in your relationship’s potential. The Two of Cups highlights a deep emotional connection and partnership built on love and equality. The Ten of Pentacles indicates that your relationship will bring long-term stability and abundance, both emotionally and materially.

Together, these cards reveal a relationship filled with love, mutual understanding, and a prosperous future. Your connection will be both emotionally fulfilling and provide long-term security, giving you peace and happiness. 🌸💍

Pile 3: 🌟 The Moon 🌟 The Wheel of Fortune 🌟 The Knight of Cups

The Moon indicates that your relationship may have moments of uncertainty or mystery, but also deep emotional insights. The Wheel of Fortune suggests that fate and timing will play a significant role, bringing changes and opportunities. The Knight of Cups brings romance, charm, and emotional depth, promising that love will blossom in unexpected ways.

Together, these cards show that your relationship will be full of emotional exploration and change, guided by fate and passion. You’ll experience growth and transformation together, with a love story filled with charm and surprises. 💖✨

Love this post? Spread the positive vibes by reblogging with your favorite pile number! Remember to like, comment, and follow me for more tarot insights and spiritual guidance. By sharing this post, you'll invite positive energy from the universe into your life. Let's journey together towards enlightenment and fulfillment!

Attention! This reading is for entertainment purposes only. This tarot reading does not give a 100% guarantee that all the described situations will occur or being ultimate truth. You build your own life and destiny and only you know yourself best. Remember to reblog, like, comment, and follow for more cosmic guidance and positivity!

Paid readings (7 questions for just $7) are also available for more in-depth insights and personal guidance! 🌟💫

[freetobeeyouandme]

Chapter 12: This Is The Part Where Someone Gets Stabbed In the Back and We All Act Shocked

...actually that title is a lie. The stabbing happens in the front, but either way there is violence and so, what bliss. Will has a vision, Mike makes a bold move, and the party is no closer to fighting One because, shocker, there is more to the story.

Tags: M, Graphic Descriptions of Violence, Fantasy AU, Canon Typical Violence, Canon Typical Horror, Friends to Lovers, Slow Burn

Summary:

Mike Wheeler hates High School, so when he almost dies and falls through a portal to another world, he’s not going to complain. Especially not when that world does not only have swords and magic but seems to work exactly according to the rules of his favorite tabletop role-playing game. But his euphoria might be short lived because the party of adventurers he falls in with turns out to be the target of an evil god and the fate of the world might rest on their shoulders. So, exactly like his games of D&D. Except the wanna-be Paladin soon realizes that being a hero is much harder in real life than it is in-game. - Or, Mike gets isekai’d into a world where D&D is real.

An excerpt and taglist below the cut:

Excerpt:

There is a small, rational part of Mike’s brain that knows that people sometimes wake up and get out of bed in the middle of the night. He has gotten up to get a drink before and then again later because the drink had finished circling through his system. There is no reason, really, why the same principle shouldn’t also apply to dragonborn Clerics living in a fantasy world, and for all he knows Will has simply stepped out to relieve himself.

And yet the first thing Mike feels on seeing Will gone is panic. He wants to say that it is because Will hadn’t even wanted to get up for breakfast yesterday, but his sleep foggy brain doesn’t think about that later, when it’s already too late. For now he opens his eyes, finds the sleeping bag beside him deserted, and bolts upright as the realization that something is wrong wakes him up worse than chugging a whole six pack of cokes would have. He brings his blanket up around him to protect him from the cold – and sees the fire pit has puttered out. The reason for that is the third thing he notices: Someone has left the door to the barn open as they went out, and the wind whipping inside has blown out the flames. The reason he can see all of that in the first place is that it’s not the middle of the night. Sunlight streams through the open door, making the snowflakes that drift and collect in a solid pile around it glitter white and gold. It also lights up the soundly sleeping shapes of his friends around him, some buried under blankets and cozied up to each other as their unconscious bodies react to the shift in temperature but none yet rested enough to properly react to the danger. However long they had decided to go last night, the practice had wiped them out good: No one seemed to have stayed up for watch, which spoke favorably for the trust they had built as a team but also would have left them wide open to an attack. Especially since the snow dizzying around the entrance does so in lazy whirls more so than the storm that had raged when they went to bed.

It’s good news for their journey and gives Mike some hope that when he finds their wayward Cleric it won’t be frozen into a Will-cicle.

Mike pulls on his boots as quietly as he can, secures his blanket around his shoulders and tip toes out into the freezing waste beyond. The snowstorm has abated more than he anticipated, leaving the surrounding fields and woods clearly visible, as is the destruction One’s descent up the mountain had wrought on them. In the advancing flurry of the storm they hadn’t been able to see the black tendrils that sneak up their trunks, boring into and under the bark and leaving the pines look half dead. The farmhouse to his right doesn’t look much better, the wooden slats that make up the building rotted and caving under the weight of the snow. Mike has barely set a foot outside when the groaning of the building catches his attention, and he watches in horror as the roof over the front porch caves in, sealing off the entrance. He whirls on the barn with his heart beating an even faster staccato in his throat, but at least the side building has managed to avoid the worst of it. The dead remains of vines reach like the grasping fingers of the dead up the side of the building, but at least the structure looks intact.

It still doesn’t mean they should dawdle for much longer now that the skies are clear again.

He tears his eyes away from the building, surveying the rest of the clearing that farm occupies for a clue to where Will could have gone, and finds him at the far edge of it, a dark and still figure. Mike approaches carefully, not wanting to startle his friend, but Will doesn’t so much as twitch, even when he should be able to hear the snow crunching under Mike’s feet. His gaze is fixed on something in the far distance, far above the line of trees, but either dragonborn vision is better than that of humans or Will isn’t fully awake, because Mike can’t find whatever he is looking at. Considering the way his hands hang limply at his side and his shoulders slump, the latter seems more likely. And when Mike rounds him, he finds that Will’s eyes are indeed fixed on nothing: They’re rolled so far back into his head that only the whites are showing, and not even the cold wind rustling his thin tunic seems to be enough to snap Will back to reality.

Unofficial Tag List (aka you interacted with my posts about this fic, please tell me if you want me to not tag you in the future (or want to be added)): @smalltownwheeler @wheelerpilled @wrong-energy @foodiewithdahoodie @doggozzy @gardenfairie @beelikesbirds @beverlysclown @yickarus @sourdough-el @hessolivagant @hesquietoday @oldfashionedmorphine @total-serene560 @bylersrise @hawkinsunderground @generalstorecashier @snixx @camel-casing @bylersbear01 @turningsoft @casatoan @maru-chu @mid13s @goldentrunks @bunnybylerfangirl @willbyersenthusiast @letterstomichelangelo @drowninginideas @fluffyfangirl @artsyna @absolutelynotyouidiot @bymarara @unknowmiau @are-you-reddie @elherself134 @longtallglasses @kennahjune @easilyentertained99 @bylerschapter @eli-being-silly @bylerina

[fashionbooksmilano]

Chinese Design

Daab, Cologne 2006, paperback, 400 pages, 19x24cm, ISBN 9783937718347

euro 18,00

email if you want to buy booksinprogressmilano@yahoo.it

In this book Chinese Design, we are pleased to introduce a wide array of different architectural projects, and the various designers, architectural ateliers and developers that have made these works come to light. The distribution of the book has been done in three chapters according to the three main geographical areas - Beijing, Shanghai, and Hong Kong - where most of these projects are located. A fourth chapter covers the architectural projects located in other parts of the Chinese mainland. 

Like the Great Wall, which with its 2.400 km is the only built structure on earth visible from outer space, China is so huge and profound, that to make an attempt to analyse its design is practically impossible. The basic principle, however, that seemed to influence space design in China was related to a number of different philosophies like Confucianism, Taoism or Fengshui. Although nowadays, in general, people do not really like being bound by ancient tradition, still most of them follow, or at least cannot ignore, that Fengshui laws of space direction or some other philosophies. China's complex, harsh and hazardous history partly explains one of the reasons why many residential houses and buildings look often like solid fortresses, with its inner space clearly separated and differentiated from the outer part of the house. Inside the house compound, the patio serves not only as a source of visual delight, but it is used also for outdoor inner living throughout the various seasons of the year.

Finally we would like to introduce a few distinctisyve examples of iconography in China, symbologie that plays a very important role within Chinese design. Colours like red, aside form being the colour of the Chinese national flag, have signified fortune and luck, since ancient times. Visually, sometimes it seems as if every single city of the country lies under the overriding spell of the Chinese character script.

China's extraordinary appetite for the new was certainly a powerful driving force for its rapid change. The end product is as somewhat general retrofuristic urban landscape spreading all over its cities.

26/04/24

[warrioreowynofrohan]

@potatoobsessed999 oh eyyy you read the scholomance books! talk to me about the scholomance books!!!

Oh, lots of thoughts!

I’ve only read the first and third ones (and read the TVtropes entry for the second), but I enjoyed them a lot! The biggest thing that sticks out to me as a very intentional theme is that, unlike most action-oriented stories, they’re not really about the protagonist defeating a main villain or groups of villains: instead, the antagonist is the status quo, the structure of society and people’s acceptance of that structure. It’s not about defeating the bad people because, essentially, everyone is the bad people, and everyone is the good people: the third book in particular focuses on both the willingness of ordinary people to do and accept horrific things and their willingness to do better when they’re shown an alternative and pushed towards it.

One of the things that the series solidified for me is the idea that ‘there is no alternative’ is the voice of evil. People will do and accept terribly evil things so long as they’re convinced that these things are the only option, or that every other possible option is worse. El’s mother stands out as the character who defies this: she will not live in an enclave, even for the sake of her infant daughter’s safety, knowing what they are built on. She will do and sacrifice anything for her daughter except going against her conscience. This makes her bargain/petition - even though she could not know and did not intend its consequences - appropriate to the story, because it’s flowing from a place of sincerity: an alternative to the evil of the current system is what she cares about most, because it’s basically the only chance for her daughter to live in a decent world. (I was going to compare the low-level use of malia to the carbon economy - pretty sure I did get that comparison off tvtropes - which is funny because if anyone in the wealthy parts of the world is managing to live a carbon-neutral life, it would be El’s mom.)

El’s fascinating because she’s such a cranky jerk while at the same time having such strong principles underneath that, and especially in the earlier parts of the first book is such a great unreliable narrator. She’s not liked, but she’s also terrible at recognizing when people are genuinely being nice to her, and tends to attribute pragmatic or self-interested motives to people who are actually being kind. She starts getting over this over the course of the book, but even in The Golden Enclaves she takes a while to realize that a woman who is willing to cross the world for her is actually her friend. The funny connection is that she also deliberately attributes selfish and hostile motives to herself that don’t line up with her actions - again, mainly in the first book. It’s like she’s deliberately trying to be more cynical than she really is.

I don’t know how much of this is from tvtropes and how much from the books that I read, but there’s a bit where one if the enclaver kids says that the Scholomance isn’t that dangerous and El just boggles, because she and the other non-enclavers are being attacked on basically a daily basis, and I thought that was a solid understanding of how privilege works: all the things you just don’t notice or think about because they’re not part of your life, to the point where it’s strange and confusing to realize that these are things other people deal with every day.

Oh, one more thing. It seems like one of the things that pushes El to be a good person is that, due to the nature of her powers, she can’t make small moral compromises (e.g., regarding use of malia): she can stick to the straight and narrow, or she can topple off a cliff. So much of the rest of the series is about where the choice to make small, apparently harmless or unavoidable moral compromises leads to making bigger and bigger ones (the mals exist because of low-level malia use worldwide, which leads to more low-level malia use to fight off the mals, leading to even more mals, leading to the enclaves with their horrific secret). While El’s dark power is stated as being important in the books in order for her to have the firepower to deal with mawmouths and other mals, I think it’s also a key element in who she becomes, because the path of the ‘lesser evil’ has been effectively closed off to her; she can choose good, or she can choose the ‘greater evil’, and she’s confronted with needing to reject the choice of the ‘greater evil’ nearly every day. This - and her mother, who raised her as someone who would reject evil - is what gives her the foundation to become the hero she does.

[esmiara]

How do you come up with your poses? They all seem so cool and I struggle with coming up with anything/finding references.

Posing huh? This is quite an interesting topic so let's have a real talk about it. Though it won't obviously cover every single details there could be and explanations may be sloppy, I am no real art teacher after all. By the way I apologize in advance if there is any messy spelling or grammar mistake as english is not my first language.

To begin with, let's say the key words here are force lines, simplicity and body langage. Anatomy is a whole another topic so I won't talk too much about muscles and bones, as we are mainly here for posing.

Firstly, what are force lines? To put it simply, a force line is the core line guiding the figure's movement but also the whole composition, thus also guiding the eye itself toward (or away) the most important parts. With shipping, Soukoku in particular (since they have different temperaments), I like to have two lines that complement each other, via either inner or outer curves.

But those are whole compositions and we're not in a composition class either. However, when it comes to a single pose, the same principle can be applied. This force line can guide your whole body and even become your literal spine. As the spine is the most essential part of the human body (and non-human living body), it will act as the central part which the rest will follow naturally. Don't be shy and use a stickman for your overall structure! If you have a hard time simplifying the overall movement of your figure, try drawing it in a smaller size first. It doesn't matter if it looks ugly, you'll clean it up later.

If you're still struggling with your understanding of structures, try to decompose a reference picture (go check Pinterest, it's a true gold mine) with simple lines to determine where and how are positioned the spine, ribcages and main bones then transpose it to your own drawing as a guide.

"But how do I get those dynamic lines and cool curves??", you may ask. Well, have you tried figure drawing and more specifically gesture drawing? You can of course take a class with a nude model (they don't bite don't worry and you will focus more on the art part than the nude one), but you can also do so with tons of videos, pictures and even websites such as Line of Action, which allows you to have a custom built-in timer when drawing. To have only a mere 30 seconds to draw may sound terrifying but trust me, it's not that difficult. The point of drawing a whole figure in 30 seconds (or more) is to force yourself to simplify and avoid to focus on unimportant parts that aren't essential to the overall understanding of the pose. This will put you in a focused state of mind as well as training your hand muscles (this is a great warmup exercise). Feeling a bit uncomfortable on your wrist or feeling like you can only do tiny strokes one at a time instead of big elegant lines? Well firstly... stretch your wrist regularly, drink water and stop drawing every once in a while, this is very important, may you be a beginner or a professionnal artist. Secondly, try drawing on a bigger format! It will train you to use your elbow and shoulders to draw big lines more easily, like getting a bigger compass to draw a circle. I for example draw mostly with my elbow and shoulders, even unconsciously, as this is way more comfortable for me.

That's great we are talking about a lot of technical stuff. But what about the actual drawing you want to do? Well first, you need to decide which feeling you want to convey. Is it a scary scene? A gentle one? What do you want to depict? Is there something in particular you want to focus on? Something is needed to act as the solid base and this applies to everything, not only posing. Let's take a look at some examples with what we have seen with force lines and see more of the thought process behind my own poses.

And that's about it of what I'll tackle in this single ask ahah. This is basically a lot of brainstorming and thinking as well as taking inspiration from how real life people move, especially when it comes to body language. I took it a bit too seriously but I do hope it was of some help!

[scotianostra]

21st March 1901 saw the launch in Dundee of the Royal Research Ship Discovery, the ship that would help Captain Scott make his name as an Antarctic explorer.

Designed for Antarctic research, she was launched as a Royal Research Ship (RRS) in 1901. Discovery was the first ship of its kind to be constructed specifically for scientific research. She was also the last wooden, three masted ship to be built in this country and is the only one that survives.

The basics of the ship were built on the same principles as the whaling ships - hundreds of them worked out of Dundee in the 19th and early 20th century.

The Discovery's first captain was the famous explorer 'Scott of the Antarctic'. Captain Robert Falcon Scott, was appointed in 1901. He was Born in Devon, England, basically a shy man who also had great courage and strength. It was said that Captain Scott was responsible for the errors that turned his expedition into a disaster. However, research in the past few years has discovered that it was some of the men under Captain Scott's command, who disobeyed his orders that led to tragedy.

Another famous explorer joined Captain Scott on RRS Discovery's first voyage and that was Sir Ernest Shackleton. He would later sail in another famous ship the 'Endurance' in 1914-16.

Since 1996 Discovery has been berthed at Dundee, and is a major tourist attraction to the city, the ship however is said to be one of the most haunted in the world and paranormal teams regularly set up all sorts of equipment on the ship, I wonder if our resident expert on the paranormal, Leonard Low has anything to say on the subject?

Anyway, one of the main spirits said to roam the ship is that of Charles Bonner. While Discovery was leaving New Zealand, the young seaman fell from the crows nest, on the mainmast, landing head first onto the deck, crushing his skull. Quite a few independent psychics have picked up on the seaman and feel that he is still a strong presence on the ship. His spirit is said to be most powerful on the deck at the place where he fell to his death. It's also been reported that people have sensed and seen the spirit of Shackleton roaming around the ship and it may be his spirit that has been observed in one of the cabins. Psychic mediums have also picked up this presence on numerous occasions. Other apparitions include the spirit of a little boy and shadow figures are seen roaming the ship in various areas.

Electricity seems to attract the spirits on the Discovery. In the cabin that belonged to Ernest Shackleton, light bulbs constantly blow despite the area being checked by electricians. In addition when the 'Ghost Club' investigated the ship, light bulbs in Captain Scott's cabin were found to be dislodged from their fittings.

The Ghost Club investigators experienced strange movements of a rope. This was a very heavy ship's rope that couldn't be moved simply by walking past, so why it began swaying remains a mystery. In addition investigators felt the chairs or benches that they were sitting on being moved by an unseen force.

There are also frequently the sound of footsteps roaming around the ship. These have been heard by people and also caught on recording equipment. Investigators have yet to find out who is making the footsteps - could it be Charles Bonner or Ernest Shackleton?

There is also one interesting account of a visitor to the ship who had spent some time talking with a sailor, but no one else could see the person she was speaking to. Similar events have happened with other visitors to the ship, where they have seen a spirit that looked solid and stopped to talk to him only to realise later that the person was not anyone alive connected to the ship.

[elisabethbabarci]

RELATIONSHIPS

The cornerstone of a healthy relationship is one that fosters and promotes unity, respect, and unconditional love. The foundational elements of a strong healthy relationship are based on mutual trust, honesty, freedom, accountability, transparency, and mutual respect. When one embraces consistency, dependability, care, and acute communication, intimate or interpersonal relations flourish as they are within the realm of nurturing cohesive love. To form an effective connection, both parties must effortlessly be at the same trajectory in life, which is illustrated by a willingness to be mutually exclusive, a foundation of friendship which evolved into intimacy, and a healthy respect for one another’s lifestyle, without one having to sacrifice their dreams, ambitions, or personal goals. Relationships extend beyond the primary partnership, with a special emphasis to maintain a healthy respect for their respective families and close friendships, with a solid commitment and agreement to enhance and support a stable environment, where interconnectivity promotes unity.

To navigate life’s complexities, it is imperative that one is adaptable, resilient, and fosters a clear vision of what the future would entail. Clear communication, active listening, exploring and learning from shared experiences, commitment to see rough terrain through, exclusivity, support, and love, promotes mutual growth, acceptance, understanding, and respect. Relationships require consistent effort, acceptance of imperfections, patient with time, and will require compromise to achieve solutions. Partnerships support achievements, milestones, respect fundamental rights, and honour traditions. One should always feel worthy, valued, supported, acknowledged and considered. We are all perfectly imperfect, and relationships enhance our self awareness, self reflection, and self development to open our hearts and minds to alternative perspectives, to be adaptable during life’s challenges, to foster growth and development, to mirror our true selves to enhance healing, and most importantly to become empathetic and compassionate to have concern for others and their needs.

As our environment becomes one of love and unity, it enhances the moral fabric of society to become strong, acceptant, and inclusive. When we evoke patience, act with intention and mindfulness, to accept others as they are and not how we wish them to be, to be happy for others success and to share in those precious moments, listen with compassion, to foster friendship, intimacy, and trust creates a union that is built on strong ethics and principles which can withstand the test of time. To be open minded, tolerant, and willingness to forgive to achieve inner peace creates a foundation based on mutual unconditional love which enhances the balance of cooperation and reciprocity.

The importance of self exploration is crucial, prior to engaging in a committed relationship. It enables an individual to experience freedom, solitude, and have undefined parameters to explore and define what they want within life or to promote healing within through inner reflection. One that is confident, understands themselves deeply, is comfortable within their own skin, respectable, accountable, and has their priorities intact, sets a frequency that fosters commitment and coexistence. When one creates situations due to confusion of self, and lacks transparency or accountability, promotes uncertainty or unstable environments, will vibrate at a lower frequency that will karmically negatively impact a cohesive environment. When one promotes uncertainty, manipulates or forces relations, it destroys the spirit of another, as they may not trust again due to the experience.

Always be mindful of how your actions impacts another. If you willfully seek to engage or create casual or undefined titles, it forms an imbalance, which leads to a paradox of control — as your intention is not to settle but to keep your options open in hopes for something better. The paradox of disharmony — If one individual desires stability and another willfully or intentionally deceives or sets a precedence for commitment free ideology, it causes deterioration of not only the friendship but ethically speaking, individuals that are carefree or lack moral accountability for their actions, are not respected within society and their integrity will be questioned by others. No matter what the conscious norm of the society may be, be mindful that your actions will be mirrored back karmically or have a way of revealing themselves at a later date — what is done in the dark, always comes to light. Always focus on a relationship that represents stability, commitment or strong foundations of respectable values however, if this is not present, please be mindful to refrain from hurting your partner or their families. When one engages in a relationship, you are not just engaged with your partner, your actions will be reflected and mirrored onto their external families, their children that have come to depend on you, or even worse common animals that you may share that you may later have to abandon. Remember, you are not only hurting one individual, the dysfunction that is caused within the relationship will significantly impact others within their lives. If you are not respectful with your actions, you will not create an environment to attain a stable loving environment.

When there is a genuine lack of trust, or one feels reduced to an occasional or temporary encounter, you have to refrain from the experience, and examine the impact on your self worth or self esteem. The actions of another do not define who you are however, what you accept defines your character. If this is not how you would like your life to unfold or progress, forgive the situation, and move forward with integrity. No one can take away your power without your consent, and consistently be true to yourself. If you continue to engage in situations that promote neglect, it will have psychological, and emotional ramifications, as it will represent or be associated with abandonment and trauma. Temporary gains to control emotions, to seek financial support, or temporary companionship does not foster growth, it signals a deeper core root of lack of ethics, or a loss of self from understanding what unconditional love entails which is partnership. The word temporarily is defined as “limited” and “not permanent.” You cannot grow in an environment that is faking a future or not promoting respect or understanding, it will not change. Within this paragraph, I am placing no judgment on those that partake in these actions, it is just written to be a cautionary reminder or to bring awareness to others, that actions have consequences, that can impact personal growth or healing. Always be mindful of the emotional turmoil abandonment or temporary arrangements can cause — we as humans deserve love, peace, and the ability to coexist in harmony, when that is not promoted, it causes damage and destruction. Temporary arrangements may in the short term seem non impactful but can cause one to lose faith in everything they believed in as safe or secure. Never promote relationships that make you feel transitory, you deserve more.

Within relationships, there should be a limited amount of power struggles, imbalances, or disagreements — should one experience these three elements, there needs to be deep reflection of what one party has allowed or enabled to transpire. Relationships enhance the overall experience of one’s life, through their strengths ,while seeking solutions for any divisions or weaknesses. Boundaries are essential, as both parties are able to maintain their individuality, emancipation, and are able to communicate their comfort levels. Relationships should not be abusive, manipulative, ghosting episodes, or to represent withholding affection for control — these demonstrate an immature short-term view of life, and does not promote longevity, it is what I like to call “the here and now phase.” Within the first three months, both individuals need to communicate their goals, desires, and plans without compromise. One must be willing to be patient to wait for the right suitable partner, as forced connections lead to endless barriers. If a situation does not reflect your personal views, beliefs, or does not represent love or respect, you need to define your parameters of what you are willing to accept, and acknowledge that you deserve to feel as a priority and not an option.

Oftentimes, one might state — “I placed so much effort into the current relationship by __________ amount of years, I can not just throw that away,” “Once I withhold affection, and start to get my act together before they decide to leave, then they stay,” < This indicates that the relationship means nothing to other party that is causing distress as they evoke cyclical behaviour to keep you within the net. Love is not compromise, love is not sacrifice, love is not the erosion of personal boundaries, and love is not control or games. If someone does not have the maturity to commit, this will be evident in other aspects of the relationship going forward such as a downpayment for a house or condo, inconsistent with responsibilities and care, a childlike approach to solving problems, which will appear as immature or avoidance, and it will represent that when you need them the most, there will be no reliability or dependability. The real question is “What is the rush?,” If there is an urgency to settle for less than what you deserve, meaning you are settling for lack of care, uncertain unpredictable future, or holding onto the promise of what “will be” within a few months down the line — please note, this is faking a future, the imagination phase, and you must refrain from consistently placing energy in this vicious cycle that will only end up in disappointment and heartbreak. If they are uncertain about their future with you, they are not confused, they are uncertain that you are “the one,” and will not proceed to make a commitment only false empty promises. Please, maintain your dignity, and do not be a placeholder. Release the relationship if it does not enable you to express or be who you truly are or what you truly value because you do not have to sacrifice your morals, ethics, or principles just to retain a relationship. Relationships thrive in environments that encompass stability, accountability, respect, care, and support, and if there is a lack of these ingredients, the foundation is not strong to withstand the future.

Relationships should never promote : Hostility, jealousy, manipulation, control, abuse, or violence. Please be aware there is a fundamental difference between compromise and sacrifice — sacrifice is when one individual continuously accepts hostile or disrespectful treatment, loss of self, broken down due to force, gives up ones personal freedoms to see their loved ones or the ability to participate in activities that enable them to foster healing, growth, or development. Compromise entails working cohesively to achieve balance and equilibrium, it is where partnerships foster a merger and balance of friendship and partnership to achieve attainable goals with respect, compassion, and mutual support. One is control the other is love.

Signs To Observe :

If the individual that you are interested in, admire, love, or in a committed relationship with does not (call you) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (confide in you) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (explain why they are being secretive) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (respect you) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (demonstrate affection) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (introduce you to their family, friends, coworkers) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (make plans with you) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (want to be seen in public with you) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with does not (speak about the future) = red flag

If the individual that you are interested in, admire, love, or in a committed relationship with (disrespects, controls, or manipulates you) = red flag

Questions To Reflect On:

What defines your relationship? Exclusive? Open?

How do you define a healthy relationship?

Are you ready for a relationship?

Does this relationship make you feel safe? seen? heard? valued ? supported ? loved?

Does this relationship promote equilibrium?

Does this relationship make you feel used or promote the illusion that you need to sacrifice your goals or close personal connections?

Does this relationship make you feel that it is safe to be who you are? Or, have you lost yourself?

Does this relationship make you feel like a future can be established?

Is there a power dynamic that is causing disharmony?

Is your partner your friend that you can confide in during your moments of need or support?

[ghostmartyr]

I don’t really think Ymir went back on anything her arc built up to, I think her goal was to live a life that she could be proud of, and by saving r&b she followed her principles. It’s tragic but that’s the irony of Ymir, she always wanted to be selfish but couldn’t escape her nature of being a good person. Historia on the other hand…yeah her arc is fucking infuriating

I'm breaking my own commitment to not dip my toes into this, because impulse control what impulse control.

Here's my starting point problem with that:

Ymir does not save Reiner and Bertolt.

At best, her actions get them a pat on the head by their oppressors. They continue to live out being child soldiers for a society that considers them devils. Bertolt dies in their service almost immediately after. Reiner is a suicidal mess whose will to live is bound up in other child soldiers he's responsible for.

No one is saved.

That's a fair tragedy, with someone trying to repay a debt only for it to amount to nothing because the cycles they're all caught up in are larger than any one personal act of altruism. Even trying to good can't undo the harm of systemic cruelty. It's a valid plot for a story like this.

Except Ymir is one of the few characters who realizes how fucked the world is. She's a better person than she ever wants to be, because being good gets you jack shit and she knows that -- but she can't help but lend people the hand she was never given. On its face, that makes her a good candidate for a hopeless sacrifice that saves no one.

The core problem is that, again, Ymir knows how fucked the world is.

You’re going to kill yourself, the ultimate act of submission. Is that how much you want to please the people who treated you like a nuisance?! Ymir, Chapter 40

Ymir kills herself for Reiner and Bertolt, providing the people who left her with decades of living a nightmare a weapon.

Doing stupid shit to help Reiner and Bertolt out tracks. If they hadn't shown up, she'd still be in that nightmare, and she killed their friend.

But she specifically kills herself in a way that aids people who violated her, who will continue to abuse Reiner and Bertolt, and continue to launch offensives that put Historia's life at risk. Ymir has the knowledge to understand that she's not saving anyone from anything here.

There are many potential layers of story that could have been approached with this, but the bottom line for me is that Ymir's most solid convictions are all ignored when she goes with Reiner and Bertolt. There are facets you can examine to make it make sense, just as there are all kinds of things you can examine with Historia's reversal of her arc. It's always a tragedy when someone fails their principles so stunningly. It's the Bad End coming as was dreaded.

It's just that the story does not examine any of it. It's taken as a given that Ymir goes through with this, leaving us with Ymir killing herself for people who hate her in order to give Reiner and Bertolt a temporary reprieve that only condemns them to a familiar suffering.

Even then, you could make a case for characters doing stupid things if the story at least admitted that it was a ridiculously bad idea on all fronts. Our protagonist's arc is built on that. Eren makes bad choice after bad choice after bad choice and every character in his vicinity rightly goes "what." Characters can utterly fail the best of themselves and it can still be a compelling story.

With Ymir, there simply is no story. She chooses to die, and it's taken as inevitable that a character who is so anti-fate and so anti-dickheads would die in a way that benefits a "fate" she rejected and a bunch of dickheads.

Ymir kills herself, and it makes Marley happy and saves no one. She knows enough about the world to understand that.

I do not personally think that the story should get credit for tragic irony that amounts to "what if everything went to hell" without actually bothering to come up with a why for everything going to hell.

Eren's a tragic disaster; Ymir's a dropped thread.

[rebelscum218]

Jason and Piper: how they brought the best out of each other

Despite heightened feelings that eventually didn't last, there was no denying that Jason and Piper cared for each other and valued each other's thoughts, because throughout Heroes of Olympus, these two followed through with each other's advice, ultimately leading them to where they are eventually in Trials of Apollo.

From The Lost Hero to Mark of Athena, Piper is insecure about her own abilities, as well as being self-conscious about herself and constantly comparing herself to others, especially Reyna. At one point she tells Jason 'She's beautiful. She's powerful. She's so...Roman.' In which Jason replies 'You're beautiful and powerful, and I don't want you to be Roman. I want you to be Piper.' So what does 'being Piper' mean for her? To figure out who she is as a person means that she needs to get rid of all the pressure from the gods and her family, as well as the expectations that come with being a child of Aphrodite. This unfortunately also includes her relationship with Jason, because it was an illusion created by Hera, and something encouraged by Aphrodite and her fellow cabin-mates while Piper herself was still conflicted and struggling to make sense of everything. In The Burning Maze, we see her continue in this direction: figuring out who she is outside of demigod responsibilities, who and how she wants to love, what she actually wants in a relationship and falling in love in her own terms etc. And it's ironic to know that it was Jason, whom she broke up with, that helped set her on this path.

As for Jason, he was insecure about making the wrong choices. He confided to Piper in Blood of Olympus: 'I don't want to end up like my mom, chewing on my regrets forever.' Also, he is not used to working among a team of equals after being treated as a leader for so long. And through it all, Piper was there to tell him: 'You, Jason Grace, are very familiar with your own bad spirits, and you try your best not to feed them. You have solid instincts, and you know how to follow them. Whatever annoying qualities you have, you are a genuinely good person who always tries to make the right choice'. She also tells him 'being a hero doesn't mean you're invincible, it just means that you're brave enough to stand up and do what's needed'. Looking back at what Jason did in The Burning Maze, it was exactly what Piper had said to him: standing up for what's right, making the choice to do things for others even at the expense of himself. He even passed on this lesson to Apollo, and through his actions became the example of selflessness that inspired others to keep moving forward. He lived and died by the principles that defines being a hero, something Piper encouraged him to do.

It has been said a lot that Riordan backtracked on a lot of stuff in Trials of Apollo like the breakup, Piper's sexuality, or Jason's sudden and devastating fate. In a sense it is true: there was no buildup or clear groundwork for these characters' new paths. But it's not entirely out of the blue either, because there is existing material to be built on and elaborated. And what's great about reading is that we readers decide how we interpret the text, since we react and connect with the story in different ways. So from my perspective, Jason and Piper is a story of two young people who despite complicated feelings, high stakes and overwhelming expectations, were there for each other and brought out the best among themselves, experiencing the highs and lows of life both together and separately, and eventually when the time comes, knew when to let go and treasure the things they've given each other. It may not be the most compelling relationship written by Riordan, but it certainly is realistic and well thought-out.

[wildgeese98]

I got a sunburn yesterday so now I'm thinking about how so many of the things that keep us alive can also harm or kill us in excess.

And of course because of the TMA parasites in my brain that got me thinking about whether avatars and other manifestations can take in too much fear.

It seems like most don't feed all that often. Every couple weeks or months seems to be enough. What if an avatar found themself in a situation where they could feed off fear continuously for a extended period (before the apocalypse when this becomes the norm). A slaughter avatar finds themself in a warzone, a creature of the buried stumbles upon a group of miners trapped underground, etc.

I like the idea that they could get overfull with fear. That too much fear too fast might start to get uncomfortable, even painful. Especially for those who were once human, it might start to physically harm them, cause their body to degrade or mutate.

Maybe once they reach a limit of how much they can consume the excess fear starts to feed back and make them afraid. Circling back around to being fed on by their power like they would if they abstained from feeding.

I also like idea that overconsumption of fear over a long period could start whittling away at the humanity they still have. Most avatars can pass as human, but maybe too much fear will start to erode even that facade. They become even more thoughtless and beastial, forgetting how to even fake humanity.

A bit like what happened to Daisy, though in her case that was caused by the opposite, long term deprivation. But I think it could follow the same principle. After so long with no fear, any amount was enough to overload her. So for someone who feeds regularly a huge excess would be required to get the same effect. They have a tolerance built up.

Just some casual musings. TMA is fun because it doesn't really have many solid rules about how things work, so it's easy to toss your own bullshit in there if you want.