#construction projects.

[shreetmtbars]

Discover the top 7+ essential factors you need to consider when purchasing TMT bars in 2024. Make informed decisions for your construction projects.

[foldingfittedsheets]

My betrotheds mom is big in the SCA and does tons of hand sewing and period accurate clothes, she’s got several custom made outfits and enters competitions with her special projects.

One of them she meticulously researched and created a custom glove. I have no idea how much work goes into such a thing other than A Lot but whenever she tells us stories about these competitions she’s always slighted in favor of flashier offerings.

Her most recent endeavor was some kind of stiff collar. I’m not going to embarrass myself pretending to know the specifics but the original ones back in the day used layers of fabric and whale baleen to get a nice strong silhouette. She researched the crap out of it and wrote up a report to go along with the item.

At the judging one of the judges commented, “Well, it’s alright, but it’s so disappointing that it’s not fully authentic, why didn’t you use whale baleen?”

She sputtered out, “Well, if you’d read my report you’d know it’s because it’s illegal!”

[stirdrawsandreblaws]

hate that i have the brownie curse where i can't do shit if people are around

[trixxedheart]

It is amazing how the "people that love and uplift transwomen" website will instantly fucking maul a transwoman if she even remotely insinuate that using radfem rhetoric harms trans people

[sunsetsover]

i wish i wasn't so exhausted because i want nothing more than to sit here and properly pick apart the inherent but unconventional ways their dom/sub dynamic presents itself between kant and bison. bc it's definitely always been there esp in these last few episodes but in episode 10 it was in everything. everything.

the pool scene was obvious. i already pulled that apart. but it was also in the way kant's reaction to being told off for being distracting during the mission was so different from the way bison reacted when kant told him off - bison basically looks like he's indulging a pouting child, while kant's face drops and he gets all sad looking. and it's in how different their reactions were to the being distracted too, how kant whined about how bison had promised not to distracted while bison firmly tells kant off for even trying.

and it's in how pissed and hurt kant when he finally saw bison in that car park - imo not so much because bison had told him they needed to stay away from each other, but because bison had been sneaking around watching kant when kant had no way of seeing bison or knowing he was alright at all, and that was so unfair to him, because that's not how it was supposed to work between them. they had just found their equilibrium and here bison was knocking it off kilter by giving and receiving while simultaneously withholding kant's ability to give and receive back. and that's not how they were supposed to work.

and it's in how silly kant was. how rambly and cute when he talked about the titanic experiment he saw or when he tried to get bison to reenact the king of the world scene. but also the way kant was just a brat the entire episode - going kinda rogue while on mission and mentioning the narc thing when he knows it pisses bison off and constantly pushing and pushing and pushing bison to find where the line is where bison will stop indulging him and start reprimanding him.

and it's the way bison does reprimand him and how kant listens. and it's in the way kant's eyes got all big and pleading when bison got all pissy and asked him if he wanted another scratch - and dare i say that and the pool scene were the first real little glimpses we see of what kant's like in actual subspace. and it's in the way you see bison notice that and realise kant's reacting positively, and how he reacts to that reaction with clear desire, but also decides to store that info away as opposed to acting on it bc it's not the time or place.

and most of all it's in kant asking bison to teach him to be like him. in kant handing himself over to bison the assassin and going 'use me. please please make use of me. mould me into a weapon you can wield.' and bison refusing to do that. refusing to make a killer of the boy he loves. in bison knowing kant's limit when kant doesn't and not crossing it. of protecting him from himself. but also making use of him anyway. knowing kant well enough to know that that's what he needed. to be used. because being used is being useful, and being useful is what kant has learned will have him kept around. and bc right now they don't have the time or spare energy to start unpicking that knot, bison meets it where it is: he finds uses for kant while also doing everything he possibly can to give kant agency and control: you don't have to do this. i can take it from here. will you help me with one more thing?

i know i've missed so much that i will kick myself for later. i also know this is incoherent. i've got maybe 10 hours of sleep in the past week. but i can't stop thinking about this fucking dynamic. it's so unique and yet so well defined in what it is. and i know the people that don't get that dynamic won't get what i'm trying to point at with this post. and tbh i get it! as obvious as it is there's also something elusive about it! it reminds me of that kaveh akbar quote where he's says trying to describe god is like trying to imagine a bladeless knife with no handle. the more language you try to put to kant and bison's dynamic, the more it recedes from view.

[snakes-and-fluff]

I think people blaming Amane aren't stepping back and looking at the big picture which brought us here, because frankly the sequence of events is insane and fantastic.

In T1, if Kotoko was Guilty there'd be no physical attacks so no need for Shidou to help; no reason for Amane to get angry with him. If Shidou was Guilty he'd be unable to provide medical attention, which likely would've lead to Mahiru's death then and there. If any of the other Guilties (Fuuta, Mahiru, Mikoto) were Innocent then Amane would've been attacked, probably refusing medical treatment and probably dying because of it.

By the time we reached T2 there was no way of winning. Guilty Shidou would save him but kill Mahiru. Guilty Amane would save Shidou but we don't know the ramifications of two consecutive Guilties so Amane very well could've been in danger from that. And perhaps Mahiru would still die with or without Shidou, as it's been implied many times that her wounds were too severe.

It's the specific sequence of events, the very specific voting pattern that led us to where we are now.

Didn't someone on the Milgram team say something like "The guards have chosen a very dark route" at the end of T1?

Guess now we know why.

[hey-heigo]

eva tsunaka the most normal girl ever and damon maitsu a latest addendum to my faves

[bellshazes]

been meditating a lot on etho's documented* bdubs-induced self identity anxiety/guilt complex that characterizes solely their post-nHo interactions for reasons I really genuinely cannot pinpoint. this is me connecting dots and not I think true but it's really funny to consider that bdubs is wrong often in his perception of etho but that is directly traceable to what particular self identity anxiety etho experiences (tnt collection is the funniest of these incidents) so when etho, who almost certainly has a more complete theory of mind of bdubs than the other way around, seems hesitant to claim he knows bdubs in that way and talks about wanting to quiz and test bdubs on his storage bc he has never seen bdubs put resource collection methodologies in his videos so it doesn't count as etho knowing it bc it's not direct it's just hearsay or whatever his awareness of his limited knowledge means that they're both right and wrong when bdubs claims etho knows him so perfectly and that bdubs understands etho like nobody else does (nobody does). if etho were a little more wrong, he'd be far more right. bdubs is wrong but has faith and therefore etho cares to rise to the image bdubs has of him - so who is chipping whom down into the builder/player/person the other wants them to be?

[ace-and-the-rpg-horrors]

i headcanon that these three went to the same high school lmao

[good-advice-ganondorf]

Sir Ganondorf can you please tell me it’s alright to start a new project even though i’m worried about how long it will take or that it may not turn out well in the end?

[chippedshake]

Based on a prompt by @amethyst-writer

It's been a couple weeks since Darry and Ponyboy agreed to stop fighting. Of course, months of a strained relationship, of barely contained hollering and silent tears at night aren’t going to vanish with a simple conversation. They're going to keep on arguing, no one could believe anything else, but at least Soda won't be forced to be a middleman anymore. They won't tear their family apart anymore because they're communicating and talking to each other and not bottling up their emotions until they explode in a slap and running away and two of their friends dying.

But old habits die hard and Ponyboy is late again.

"Where've you been?" Darry asks, trying to keep the accusatory tone out of his voice.

"M'I late?" There’s a testy undertone to Ponyboy's voice, daring Darry to disagree. Is he the only one putting any sort of effort into this whole "no fighting" thing?

"Yeah, buddy, you're late."

They aren't screaming. Two months ago, they would be screaming. Now they're trading tense, passive-aggressive statements with long stretches of silence in between.

Darry doesn't know which one he prefers.

"Sorry."

"Can you stop with the sarcasm for a second and actually talk to me?"

"I am talkin' to you, Darry, you just don't care about what I say 'cause you already got your whole speech prepared."

A scathing reply is crawling up Darry's throat and dancing around his tongue, tickling his gums and pulling at his teeth, trying to force his lips open.

Pony ran away and Soda ran away because you can't keep your temper down.

"Right." He shoves it back and down his throat "I'm sorry, Ponyboy."

Ponyboy can't meet his eyes and shifts his weight to his right leg.

"Don’t worry 'bout it, Dar. I'll try an' be on time next time."

He is. On time, that is, the next time he goes out. Which is the day right after, by the way. As if he didn’t want to spend time with his brothers.

The problem this time is that he's gone out with Curly Shepard and TPd their principal's house.

Pony didn’t even tell Darry. He had to find out when the school called him because they got caught.

"I just can't believe you were this stupid! Don't you ever think, Pony? How do you expect to get out of here when all you ever do is get into trouble with Curly Shepard, who spends more time in the reformatory than in his own house?" Darry takes his coat off aggressively as they walk inside the house and Ponyboy flinches back on instinct.

Darry freezes.

"Shoot, Pony, I'm sorry. I didn't mean to, I swear I didn't mean to scare you." His voice is soft and careful now; he's talking like he would to a scared child on the street who's missing his parents and scared of the big stranger talking to him.

Oh.

"I'm sorry, Pony." His voice is pleading and he's forcing tears back because he knows it won't help anything if he starts crying now. He's apologising for so much more than just taking his jacket off and they both know it, but Ponyboy won't meet his eyes. He looks anywhere but at Darry, his face drawing back awkwardly as his shoe tries to make a hole in the floor.

"S'fine Darry, I know you didn't mean to."

Pony may say it's fine, but nothing about their situation is fine.

Darry starts noticing. Every time he pulls a chair back. When he wanders out of the kitchen with a knife. A quick hair-ruffle without warning.

It all feels violent. Reminiscent of that night that gets further away with every day that goes by but still haunts Darry's mind the moment he closes his eyes.

And he's trying, he's really trying, to make sure Pony knows he doesn't mean it. Blubbering out apologies, moving slower, announcing actions.

None of it's enough.

Ponyboy doesn't seem to spend any time at home anymore. He's always out. With Cathy or Curly or Mark or even Bryon, who seems to hate him for some reason Darry can't wrap his head around.

He gets home right for dinner and hardly says a word.

It's Darry's fault, if course. No matter how much he apologises, no matter how much he tries to take back all the stupid yelling (and that night, that goddamned night that haunts every night that's come after), it's never enough. Ponyboy isn't going to forgive him and, honestly? Darry can't blame him.

But they promised. They promised Soda that they would try and that they wouldn't hurt him anymore.

And now they’re back in the same place: unspoken tension strung tight in the air whenever Ponyboy and Darry are in the same room, Soda trying his best to dissuade it without taking sides.

Darry doesn't know what to do anymore.

Is there even anything of his family left to save? Did their last hope at functionality die with their parents on those train tracks ten months ago? How can he get his little brother to forgive him?

Does he even deserve forgiveness?

Soda's gone to sleep and Darry's own eyelids are heavy but Pony isn't home yet and he's waiting up.

Ponyboy's fine. He's come home late before, always in one piece. Darry himself used to come home at ungodly hours of the morning when he was still in highschool, and his parents never waited up.

No one waits up for their kids when they go out with friends.

But the moment Darry thinks about going to bed, Ponyboy appears in the park, drowning because Darry trusted him to cool down and come back.

Sue him for being nervous.

The door squeaks open as Ponyboy comes inside and Darry leaps to his feet.

"Where the hell've you been?"

Ponyboy shrugs his jacket off and hangs it on the hook by the door before answering.

"Out."

"Out," Darry repeats sarcastically, "like you always are these days. I'd be surprised if you spent a single minute in this house that wasn't so we could feed you! You ever think about your brothers when you're off on joyrides with Curly Shepard – don't look so surprised, you know I talk to Tim –"

"If you know where I am all the time then you don't gotta worry about it, do you?"

"Yes, I do hafta worry about it because you’re my little brother and Curly Shepard is nothing but trouble."

"Like you ain't friends with Tim–"

"That’s different and you know it. I don’t know how you'd even know who I talk to since you never spend any time at home anyway, but–"

"You ever think that maybe I don’t wanna come home because all I ever get for doin' it is you hollerin' at me? Oh, it's all better now 'cause you apologise fer yellin' all day, but that don't change the fact that you do!"

"What else am I supposed to do? You know damn well we can't keep tearin' Soda apart and God knows you ain't puttin' in any of the effort. Tell me, Pony, what do you want me to do? 'Cause that's all I do, aint it? Just follow your every–"

"I want you to be a better brother!"

A beat of silence.

Ponyboy's breathing quickly, his chest shaking, and Darry can hear the tears he won't let fall.

"D'you remember when I lost your football a year ago?" His voice is fragile, tense, barely audible over the silence that's rushing through Darry's ears. "The one the whole team had signed. You hated me for days. Then we bounced back a week later without even a sorry. And now–" His voice breaks and a faint hiccup makes it through his defences. It takes all that Darry has not to wrap his arms around his little brother "–now ya can't even say two sentences without a sorry bein' in the middle of them and I'm sick of it! I'm sick of it because I ain't fragile and I ain't gonna break if ya tell me to do my homework! I just didn't want you on my case all the time, but even that's better than whatever this is.

"You wanna know why I'm always with Curly? 'Cause he calls me an idiot when I mess things up and he wrestles with me and only says sorry when he actually hurts me. 'Cause he don't treat me like I'm made of glass. And I'm not!"

Ponyboy ends his rant with a little stomp that looks so absurdly childish after their fight that Darry almost laughs.

But it's a stark reminder of the fact that Ponyboy is just a kid. He's just a kid and he's gone through about as much as Darry, who still feels unprepared for it. Ponyboy's fourteen but he isn't, not really. Fourteen-year-olds don't have to worry about their friends crumpling under streetlights or drinking so aggressively they end up in a hospital bed they can't pay for. They don't have to worry about carrying out their best friend's dying wish.

Ponyboy's sick and tired of everyone around him treating him like a kid when he can't really be called one anymore because kids are innocent and what part of Ponyboy can be called innocent right now? He's gone through enough loss to know what he can handle and how he should cope, and yet everyone's assumed he doesn't because he's a scrawny little kid.

Darry walks – stumbles – over to the couch and sinks down into it. He rubs his eyes with the palms of his hands and runs a hand down his face.

He can't look Pony in the eyes, not now. Not if he really wants to say it right. Instead he stares holes into the couch in front of him, trying his best to find where to start.

"God, I–" He cuts himself off with a sigh. "I'm so sorry, Pony. You're right. It's stupid, I wanted to protect you from the world, at first, make sure you got outta here." He laughs humourlessly. "Can't believe I didn't realise how pointless it was. You can't protect someone from the world they live in. Then I wanted to protect you from myself, which was even stupider, I don't even know what I was trying to do, but I was trying–"

He's cut off by a small body – too small, hasn't he been eating? – ramming into him as Ponyboy sits down on the couch next to him.

"I know," Ponyboy whispers as his arms snake around his older brother, his head buried in Darry's shoulder. "You're tryin' and you ain't perfect." He takes a deep breath. "And I also know I ain't exactly helped much."

Darry gives a breathless laugh. "It's fine, Pony. I wasn't a saint at fourteen either."

He wraps an arm around Ponyboy.

"We'll figure this out, someday, right?"

"'Course we will." Ponyboy's voice is muffled by Darry's shirt so he turns his head to awkwardly look up at him. "We did that thousand-piece puzzle that one time, remember? We're invincible."

He laughs again and ruffles Ponyboy's hair.

"Fuck yeah we are."

[aspecbuddie]

me, the entire episode: adhd buck is alive and well!!!

[os-eclipses-tamen-son-yuri]

A thing I really enjoy about RGU is how when producing the anime the crew was aware of the budget and limits that often come with TV shows at that time and created their own cinematographic language based on them.

The roses, the frames, the transformation sequences... Not only were they able to use them smartly but also make them reinforce the core themes of the show; that of repetition, circularity, a repeated movement, a revolution.

I personally greatly appreciate when narrative media is -meta- not in a direct way but in its semiotics. Utena creates this language based on repetition and is constantly seen subverting it, adding new "rules".

Episode 33 is cinematographicaly one of the episodes I find most interesting because they literally put the turning point of the story (I personally think of this episode as a turning point because we see Utena finally with her "prince"; except that, instead of the happy "ending" one would expect in traditional stories, it is here where everything comes into place and the grim reality is made perfectly aware. Were Utena a traditional princess story, episode 33 would mark a happy conclusion. Instead it is only the beggining of what lies inside the box and once opened it cannot be closed again) in an episode that is all about repetition. A recap.

Also, for as much as many people gloss over the Black Rose Arc I very much think it crucial to establish all of RGU's symbols. Because Utena doesn't tell us things, it wants us to learn them by noticing the patterns, by seeing the repetitions and where they are being broken, so that we ask ourselves why. The elevator sequence is one of such cases where we learn more of the characterization of these characters by seeing how they act inside of it. It's even a basic screenplay exercise: "how would your characters act trapped inside an elevator".

Mikage itself is a shadow, not just of himself but of Utena as well, an omen forever frozen in time.

Because that's another theme, shadows. And how in a way they are echoes, simplified and distorted repetitions of oneself.

And while shadows are cast in contrast, projections are cast forward. While one is a memory of something, projections are the reproduced illusion of it.

Utena works with parallels and repetitions and understanding their semantics and syntax allows us, the viewers, even subconsciously to feel their weight.

[cioror]

My part in the Goodbye Sun MAP!

3D modeling/WIPs under the cut!

First time using Blender! I wanted to get the perspectives just right.

[bereft-of-frogs]

I really do not know how to take pictures of myself anymore (what do I do with my hands? What do I do with my face?) but project #1 of 2025 is finished and wearable 👍🐦‍⬛🖤

( Pattern: Seve by Isabell Kraemer )