Plugged both Finn's height and my own height headcanons for their love interests into a height visualiser and I'm LIVINF
For reference I see Diluc as being the shorter, stockier built one between him and Kaeya, with him wielding a claymore and all that. Man's a short king, what can I say?
Kaeya is a total bean pole. Puberty hit him like a truck and he just shot straight up. He's also pretty slender with visible muscles, but not defined ones like Diluc.
Now if Kaeya is a bean pole, Childe is a lamp-post. But like, a muscular lamp-post? I don't know where I was going with that one— point is that he's tall AND muscular and we love to see it 😤😤
Oh also Fūjin is the name I gave my Wanderer and he is ONE centimetre shorter than Finn 😌 He totally hasn't added an inch to his shoes to appear taller. Nope. Not at all.
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Body Girls (1983) // dir. Bob Chinn
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"Stonehenge, ses Origines Révélées" documentaire de Pete Chinn (2021) - sur les recherches de l'archéologue Mike Parker Pearson et ses équipes sur les traces aux Pays de Galles des "Pierres Bleues" de Stonhenge (3000-1100 avant J.-C.) - juin 2023.
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Baby in womb - by Peter Chinn, English
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"Stonehenge, ses Origines Révélées" documentaire de Pete Chinn (2021) - sur les recherches de l'archéologue Mike Parker Pearson et ses équipes sur les traces aux Pays de Galles des "Pierres Bleues" de Stonhenge (3000-1100 avant J.-C.) - juin 2023.
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Wilson Chinn (fl. 1863) was an escaped American slave from Louisiana who became known as the subject of photographs documenting the extensive use of torture received in slavery. The "branded slave" photograph of Chinn with "VBM" (the initials of his owner, Volsey B. Marmillion) branded on his forehead, wearing a punishment collar, and posing with other equipment used to punish slaves became one of the most widely circulated photos of the abolitionist movement during the American Civil War and remains one of the most famous photos of that era.
The New York Times writer Joan Paulson Gage, noted in 2013 that "The images of Wilson Chinn in chains, like the one of Gordon and his scarred back, are as disturbing today as they were in 1863. They serve as two of the earliest and most dramatic examples of how the newborn medium of photography could change the course of history."
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