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margaretoakgrove · 1 year ago

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HEISENBERG'S METAL ARMY

● HAULER

Mutant corpses revived by the Cadou parasite, the Haulers were modified by the vengeful engineer Karl Heisenberg, using electrodes from attached headgear of his own creation to stabilize their neural activity. Despite the 1.01s having combat capabilities that's virtually non-existent, the Haulers were repurposed as slaves that serve as workers and low-level guards under Heisenberg's control.

Humanoid appearance

Surgically mounted headgear

Capable of wielding handheld weapons with accuracy

Ashen complexion

Limited mobility, slow moving

Moderate intelligence

Heightened aggression

Moderate physical strength, durability and endurance

Crystallization of cellular structure after death

● SOLDAT EINS

Empowered by the mutagenic Cadou and industrial technology, the Soldat Eins were the basic grade of soldier from Lord Heisenberg's army of mechanized corpses. A more proficient machine of murder thanks to its Cadou Control Reactor and weaponized prosthetic, the Eins series would be the first of many variants to utilize the dead for the Village Lord's vendetta.

Humanoid appearance

Surgically mounted headgear

Exposed reactor replacing heart

Singular arm replaced with mechanized industrial drill implant

Ashen complexion

Limited mobility, slow moving

Moderate intelligence

Heightened aggression

Heightened physical strength, durability and endurance

Crystallization of cellular structure after death

Detonation of reactor core after sustaining significant damage

● SOLDAT ZWEI

An upgrade to the Soldat Eins bioweapon, the Zwei series were augmented with dual industrial-grade drills to remove the weakness of their necrotic flesh. With their Cadou Control Reactor relocated to a less conspicuous spot on their patchwork body, a single Soldat Zwei is capable of annihilating multiple targets endowed with the mutant parasite in a singular minute.

Humanoid appearance

Surgically mounted breathing apparatus

Exposed reactor replacing heart relocated to upper back

Both arms replaced with mechanized industrial drill implants

Ashen complexion

Limited mobility, slow moving

Moderate intelligence

Heightened aggression

Heightened physical strength, durability and endurance

Crystallization of cellular structure after death

Detonation of reactor core after sustaining significant damage

● SOLDAT JET

A flight-based variant of the Soldat Enhancement Development Project, the Jet series were developed for more mobile soldier amongst Lord Heisenberg's mechanized army of the undead. Equipped with rocket engines and head stabilizing wings, the Soldat Jet's three-dimensional maneuverability can get across even the most rugged terrain in combat deployment.

Humanoid appearance

Equipped with crude armor-like scrap metal encasing upper body

Equipped with rocket engines and head stabilizing wings for flight

Exposed reactor replacing heart

Both arms replaced with mechanized industrial drill implants

Capable of short distanced aerial attacks

Moderate intelligence

Heightened aggression

Heightened physical strength, durability and endurance

Crystallization of cellular structure after death

Detonation of reactor core after sustaining significant damage

● SOLDAT PANZER

An armored mutant from Lord Heisenberg's Soldat Enhancement Development Project, the Panzer series were engineered as soldiers with absolute protection against conventional firearms. Encased in full-body aluminum alloy armor, the Soldat Panzer are formidable bioweapons amongst Heisenberg's arsenal with their unyielding defense and overwhelming destructive power.

Humanoid appearance

Exposed reactor replacing heart

Overall body encased in crude armor-like aluminum alloy

Both arms replaced with mechanized industrial drill(s) implants

Ashen complexion

Limited mobility, slow moving

Moderate intelligence

Heightened aggression

Heightened physical strength, durability and endurance

Crystallization of cellular structure after death

Detonation of reactor core after sustaining significant damage

● STURM

A prototype Soldat-based bioweapon developed by Lord Heisenberg, the Sturm's turbo-prop aircraft engine in place of its torso makes it an unbeatable force through head-on confrontations. Deemed a failure due to its uncontrollable nature and self-destructive capabilities, the Sturm was instead utilized as a subterranean executioner for Heisenberg's factory.

Humanoid appearance

Surgically mounted turbo-prop engine to upper body

Exposed reactor replacing heart

Loss of hands and forearms due to oversized propeller

Low intelligence

Heightened aggression

Superhuman physical strength, durability and endurance

Crystallization of cellular structure after death

Detonation of reactor core after sustaining significant damage

#resident evil 8 #resident evil 8 village #resident evil village #re8 #re8 village #re village #Lord Heisenberg #Karl Heisenberg #Heisenberg

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materialsscienceandengineering · 2 months ago

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Most rechargeable batteries that power portable devices, such as toys, handheld vacuums and e-bikes, use lithium-ion technology. But these batteries can have short lifetimes and may catch fire when damaged. To address stability and safety issues, researchers reporting in ACS Energy Letters have designed a lithium-sulfur (Li-S) battery that features an improved iron sulfide cathode. One prototype remains highly stable over 300 charge-discharge cycles, and another provides power even after being folded or cut. Sulfur has been suggested as a material for lithium-ion batteries because of its low cost and potential to hold more energy than lithium-metal oxides and other materials used in traditional ion-based versions. To make Li-S batteries stable at high temperatures, researchers have previously proposed using a carbonate-based electrolyte to separate the two electrodes (an iron sulfide cathode and a lithium metal-containing anode). However, as the sulfide in the cathode dissolves into the electrolyte, it forms an impenetrable precipitate, causing the cell to quickly lose capacity. Liping Wang and colleagues wondered if they could add a layer between the cathode and electrolyte to reduce this corrosion without reducing functionality and rechargeability.

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purpletyrant · 25 days ago

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Here, the matriarch of the Hennenberg clan, Azalee Hennenberg, is depicted with her younger sister, Dahlie. While Azalee poses with her wand, Dahlie, a non-practitioner of necromancy, takes a deferential position behind her elder sister. Dahlie holds in her hand two flowers that represent their status as the only children of Narzisse Hennenberg. Dahlie would assume the position of the clan's matriarch following Azalee's passing, but never commissioned a portrait depicting herself as such.

ive been doing some lore housekeeping, which includes fleshing out the maternal side of orchidees family. the hennenberg women are really cursed to give birth to their own mothers, huh? azalee was a demanding, distant mother whose affections were withheld from her children who could not match her expectations. its no wonder why edelweiss left the schloss, and why returning home never occurred to her as an option when ottone died. azalee may not have even allowed her to come back, simultaneously disappointed by edelweiss' poor abilities but also slighted by her eagerness in leaving with a strange man. one has to imagine that when orchidee popped out as a near-perfect clone of her grandmother, edelweiss knew she would never be able to treat her child warmly. not that its culturally expected of her to do so, anyway. azalee was certainly sent a little handheld birth portrait of orchidee - i wonder how she felt about it?

the hennenbergs lock themselves within the schloss when the deerwood falls and the surrounding states fall into war. they more or less go mad in isolation, and dahlie emerges as the new matriarch. under her leadership, the tiny region is able to fall into relative stability. she attempts to establish contact with orchidee when she learns that edelweiss' daughter was brought back alive from the deerwood, but orchidee either never reads her letters, or they never make it into her hands. i want her to be a recurring character but im not certain of the circumstances thatll lead to it

azalees horn is aquamarine, while dahlies is mother of pearl… sort of reminiscent of orchidees own opal horn. i initially intended for dahlie to have an amber or jasper horn, but then remembered that i dont really like orange and instead went with something more neutral. do you think she can hear with her ears under that torque? i want to note, too, that the kind of coat azalee and orchidee have can be considered a sort of leucism. unicorns refer to it as "losing ones color." truthfully, the deep lore is that orchidee and eubora were the first unicorns of this setting i created, and as i continued making new unicorns, these two stood out in how plain their coats were (though eubora may well have markings we cant see under his count dracula clothes). so azalee is serving as another generation in this mother-daughter torment nexus and orchidee 1.0, but i also made her look this way so that its clear no one in lafossa suspected edelweiss of infidelity, LMAO. she didnt need help being infamous. azalee is the final boss of pre-downloaded hair brushes. i think over half her hair is fake and simply pinned to her real hair. the hair of trixie mattel and the attitude of a parochial school headmistress

okay well anyway blah blah blah the yapper has logged in. im crawling in here covered in blood after emerging from a massive depressive episode. will be remedicated soon. then youll see. YOULL AAAALL SEE!!!!!

#oc bullshit #mad artz #hennenberg tag #cybdee tag #dahlie #azalee #unicorn #anthro art #furry art

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jadegretz · 30 days ago

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Sue Storm: Master of Invisibility by Jade Gretz

Sue Storm, also known as the Invisible Woman, was in her lab when the alarm blared through the headquarters of the Fantastic Four. She rushed to the central command, her heart pounding. Reed Richards, her husband and the team's leader, stood before the main console, his face a mask of concern.

"Sue, we have a problem," Reed said, his voice tight with urgency. "A parallel universe is on the brink of collapse, and if it goes, it could drag our universe with it."

Sue felt a chill run down her spine. The multiverse was a delicate web, and the collapse of one universe could have catastrophic consequences. "What do we need to do?" she asked, her resolve hardening.

"We need to stabilize the rift that's forming between our universe and the collapsing one," Reed explained. "But it's going to be dangerous. We don't know what's on the other side."

"I'm ready," Sue said, without hesitation. She had faced countless threats alongside her team, and she wasn't about to back down now.

The Fantastic Four prepared for the mission with their usual efficiency. Johnny Storm, her fiery brother, and Ben Grimm, the rock-like Thing, joined them in the hangar. Reed activated the portal generator, and a shimmering gateway to the parallel universe appeared before them.

"Stay close and be ready for anything," Reed instructed as they stepped through the portal.

The other side was a twisted mirror of their own world. The sky was a sickly green, and the landscape was a chaotic jumble of familiar buildings warped and twisted into nightmarish forms. The air crackled with energy, and an ominous feeling pervaded the place.

"We need to find the source of the instability," Reed said, scanning the area with his handheld device. "It's coming from the central nexus of this universe."

As they made their way toward the nexus, they encountered signs of the universe's imminent collapse. Buildings crumbled into dust, and the ground shifted and trembled beneath their feet. Strange, shadowy figures emerged from the cracks in reality, their forms flickering like static.

…(see the rest of the story at deviantart.com/jadegretzAI). For more supergirl, chun li, batgirl, tifa, lara croft, wonder woman, rogue and much more, please visit my page at www.deviantart.com/jadegretzai - Thanks for your support :)

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techplusgadget · 3 months ago

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#Gimbal online #phone gimbal #3 Axis gimbal #3 axis gimbal online #camera gimbal #smartphone gimbal #gimbal for videography #handheld gimbal #gimbal stabilizer

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izi-cart · 3 months ago

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From Shadows to Spotlight: Creating Content That Shines

In today's digital landscape, creating compelling content is more important than ever. Whether you're a vlogger, filmmaker, beauty enthusiast, or photographer, having the right tools can significantly enhance your creative output. Here are some essential tips and insights into how the right equipment can elevate your work.

Crystal Clear Audio and Perfect Lighting: The Dynamic Duo

Audio and lighting are the pillars of high-quality content.

Choose the Right Microphone: Capturing clear, high-quality audio is crucial. An omnidirectional microphone with active noise cancellation ensures your voice is crisp and free from background noise, perfect for any recording environment. It also helps to have a microphone that offers long-range performance and extended recording time, so you never miss a moment.

Use a Ring Light: Good lighting can transform your content. A ring light provides even, flattering illumination, reducing shadows and highlighting your subject's best features. Opt for one with adjustable brightness and dual colour modes to create the perfect ambience for any scene. A large, 16-inch ring light can provide ample lighting for a variety of setups, from vlogging to beauty tutorials. The IZI Light 16 offers these capabilities, along with a stable 7-foot tripod stand and 360° rotatable design for optimal lighting placement.

Test Your Settings: Before hitting record, test your audio and lighting settings. Ensure the microphone levels are balanced and that the lighting is not too harsh or too dim.

Smooth and Stable Footage: The Foundation of Quality Videos

Stability and smoothness in your footage can make a significant difference.

Use a Gimbal Stabilizer: A 3-axis gimbal stabilizer helps eliminate camera shake, ensuring smooth, professional-looking footage. Built-in features like LED fill lights and OLED displays can enhance your filming experience, providing additional lighting and easy monitoring of settings.

Leverage AI Technology: Smart AI tracking and shot guides can provide helpful tips and automated object tracking, making it easier to capture stunning videos. The IZI GO X is perfect for this, with its smart AI tracking and creative video modes.

Creative Lighting Effects: Experiment with different lighting effects and angles. A versatile ring light with 360° rotation and RGB colour options allows you to play with different moods and settings, enhancing the visual appeal of your content.

Extended Recording and Universal Compatibility: Ready for Any Challenge

Long recording times and compatibility across devices ensure you're always ready to capture the moment.

Extended Recording Time: Choose equipment that offers long battery life and fast charging capabilities. This ensures you can keep recording for extended periods without interruption.

Universal Compatibility: Ensure your tools are compatible with various devices, from DSLR cameras to smartphones. This flexibility allows you to switch between different setups effortlessly.

Practical Tips for Content Creators

Incorporate these practical tips into your workflow to elevate your content creation game.

Plan Your Shots: Before you start filming, plan your shots and angles. A well-thought-out plan helps you capture the best footage and reduces editing time.

Experiment and Be Creative: Don’t be afraid to experiment with different settings, angles, and lighting effects. Creativity can set your content apart and engage your audience more effectively.

Stay Organized: Keep your equipment organized and easily accessible. This saves time and ensures you can quickly adapt to changing filming conditions.

By integrating these tips and using high-quality tools, you can enhance your content creation skills and produce engaging professional-quality videos. Investing in the right equipment, like a versatile IZI ring light 16, and an IZI GO X 3-axis gimbal stabilizer, can make all the difference in your creative journey.

Happy filming! Source :- Medium.com

#gimbal #handheld gimbal #gimbal stabilizer #3-axis gimbal

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dr-futbol-blog · 4 months ago

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The Siege I, Pt. 6

So, whether or not Sheppard and McKay had been in contact with each other between the dark of night and the light of morning, we are explicitly told that they now have 29 hours until the wraith arrive. For what ever reason, they keep leaving these pockets of space and time where we are given no explanation for them... until alter, when they attempt to explain them all away with "the game".

Anyway, back on the weapons platform, it does not appear as though Grodin has been doing anything particularly useful while McKay had been preoccupied by what ever his handheld device is supposed to be. We see McKay rather obviously shifting his mind back into thinking about their current problem from what ever he had been thinking about just a moment ago that was not this:

McKay: Alright. Let's just step back here. Think about it: this baby is a directed energy beam weapon--it runs off a relatively low-yield charge like our naqahdah generator, so that means it's gotta be continually building up a charge in some kind of a buffer, or a capacitor, until it's discharged. Grodin: I think I found something like that. Yes, here it is. Right now the buffer's at ninety percent. McKay: OK, so power's getting to the buffer, it's just not getting to the actual weapon.

He calls the satellite "this baby," which is perfectly appropriate space pilot parlance, as we learned back in The Defiant One (S01E12) during their 15 hour flight to the same place. Sheppard just told Ford that a fistfight and a beating are "a long drive apart," which is also what Sheppard and McKay currently are from each other. McKay also makes a reference to this: "We've got twenty-nine hours til showtime, so let's hope we don't have to order parts, huh?" They both seem to be thinking about the distance between them.

We are never explained even a little bit what the device in McKay's hand is or what it's used for but it does not seem to be a part of the satellite. It sure does look like a communication device.

Later on, even though he is wearing his ear piece, it looks like Grodin is talking right into it when he's communicating with McKay during his space walk which suggests that the ear pieces somehow connect with the device. So, given that Grodin and Miller were both in the same room with McKay when he was fiddling with the device that allows one to communicate with the ear pieces, he sure hadn't been communicating with them right then. And there's the fact that he was punching buttons on it in frustration like someone that had just been hung up on.

But, like. If McKay and Sheppard had a 'phone call', why do we not get to listen in on it? Why? For what possible reason?

Meanwhile on Atlantis, Sheppard and Ford question Teyla in her quarters, and if there was a visual parallel between her and Bates laying on the hospital bed between the previous episode and this, here we see a visual parallel between Weir and Heightmeyer in her private quarters in the previous episode as opposed to the two men now. This could be interpreted as a kind of stabilizing triangulation: that it's easier to have two people in one's private quarters when discussing personal matters than it would be to have to do it one-on-one. It depersonalizes the interaction, creates a bit of distance. There definitely seems to be more space between all the participants here than there was between the women.

At the same time, as they are inquiring about where and whom with Teyla spent her night, we are asked to call attention to the fact that a night has just passed and perhaps also to question where other people had spent their nights. Teyla claims to have been in her quarters:

Teyla: You know me, Aiden. I never would have taken it that far. Ford: I know, so let's just see if we can't rule it out altogether. Where were you last night? Teyla: I was here, in my room. Ford: The whole night? Teyla: Yes. Sheppard: So there's no way of knowing whether you blacked out or not? Teyla: I have no way of proving it, no, but I did not leave this room last night--I am sure of it. I did not leave this room.

So, although we do not know how Sheppard spent his night, we now know that at least he did not spend the night with her. But Teyla does not actually say that she had spent the night alone, only that she has no way of proving that she did not leave the room. Her certainty might actually suggest otherwise--that there had been someone there that she is not at liberty to disclose. She did get pretty cozy with Heightmeyer in the previous episode, but I'll circle back to that later.*

But all of this just highlights the question of where people spend their nights, whether they spend their nights alone, and whether they might have reason to say that something is one way when it is, in fact, another way. It is safer for them to have this discussion in an episode where we know that Sheppard and McKay could not possibly have spent the night together--at least physically.

It is difficult to know what Sheppard is thinking here because he is purposefully concealing it. He does seem to be careful not to accuse Teyla without just cause probably not just because of their friendship but also his own past experiences. But even though he gives an unequivocal "Of course not" to her question of whether they think she did it, he seems far from certain. While Ford is looking at his superior officer to know what to do here, Sheppard himself has no one to turn to. He doesn't know what to do because the person he would like to run his thoughts by is not available for him.

The fact that they are purposefully playing with what information the audience is given and what is held back seems to be lampshaded in the conversation Weir is having with Zelenka at the same time:

Weir: No matter what we choose here, invaluable information's gonna be lost, and that is just the information that we've deciphered. Now we all know we have barely even begun to scratch the surface. What if we destroy the cure for all disease, or even some piece of information that could lead to the downfall of the wraith? Zelenka: I don't know what I can tell you. I will try to improve on McKay's compression ratios, but we are at war, Elizabeth. In war, there are casualties.

Zelenka says that there are casualties in war, and we transition from this directly to McKay. What Zelenka says is foreshadowing Grodin's death at the end of the episode but the fact that we cut straight to McKay is not only a bit of misdirection, letting us worry that he might be one of the casualties of war, but is also priming us for the climax in which that is precisely what Sheppard thinks.

Back on the weapons platform, they run into a problem during which the resolution of the episode is likewise teased. Someone is very definitely going to die. Naturally not knowing this in advance, McKay and Grodin keep making little digs at each other.

McKay: I guess our guy took a hit. Must have disrupted the main power conduit. Grodin: We need to reroute the power from our buffer to the actual weapon. If we can do that, it will arm. McKay: See, now, your masterful grip on the blatantly obvious continues to impress me, Peter! Grodin: Thank you.

We can compare this scene with the exchange McKay and Sheppard had in Before I Sleep (S01E15):

McKay: What's that mean? Sheppard: I assume something worked. McKay: Yes, that's very sharp! Sheppard: Thank you!

Grodin and McKay's exchange is basically the same and again very different at the same time. First of all, McKay is not being very kind to Grodin but is taking his anxiety and exhaustion out on the man in a way that we are certain he feels bad about after the events of the day are through. He has nothing against Grodin, he is merely frustrated and he happens to be there to take the brunt of it. He even seems to notice himself that what he said was unnecessary the moment he saw Grodin's reaction to it. Grodin's reply to him is sarcastic because while he does know what McKay is like, it still stings.

They are both antagonistic toward each other, have been for all the time that we have known them, for seemingly no reason. Sometimes people just do rub each other the wrong way. But while McKay was basically telling Sheppard the same thing, that he was being unhelpful because he is a big dumb face, McKay knew perfectly well that Sheppard was doing it to get a rise out of him. Sheppard had said it just to get McKay to say something back to him in return, to get his attention. And when Sheppard deadpans him with "Thank you!" he is likewise being sarcastic but not because he was in any way hurt by what McKay said. It was just the next thing that was designed to get a response from McKay. Because he likes it when McKay says things to him. He likes it when McKay gives him attention. He does not like it when McKay gives attention to old half-dead women, he likes to have it himself, thank you. McKay may even have said what he said to Grodin because he misses Sheppard but even though Grodin used the exact same words to respond, he immediately noticed that it's just not the same. He even attempts to lift everybody's mood then using a lighter tone.

Now, it seems as though resolving the problem with the satellite requires one of them to do something potentially very dangerous, and none of them seem eager to do it. While he obviously is going to do the heroic thing, do what must be done, this also tells us that like Sheppard, McKay has no desire to put himself needlessly in danger. He too has something to want to live for. He has someone he wants to get back to in one piece.

McKay: Alright. We need to route power around these damaged circuits. If we can do that, we should be laughing. Alright, I'm disoriented. Where are these? Grodin: They're outside! McKay: What? Grodin: Look. See? McKay: Oh, great! Grodin: Someone will need to EVA. McKay: Yeah, but there's nothing to hang on to. Grodin: I'm not saying it will be easy, or safe.

Miller seems to really enjoy McKay's company, is the thing. It is not clear why this is but he just really seem to like him, and is being extremely respectful toward him. McKay is being his usual self but it is unusual for people to be into that. Miller is a proxy for Sheppard and whether or not Sheppard did have a talk with him before they took off, he certainly seems to be in McKay's corner. But however much he might like the man, Miller is not Sheppard, and this is made abundantly clear.

They end up doing something that they never would have had to resort to if Sheppard had been there with them. It shows the limits of the effect of what ever discussion Sheppard may have had with Miller--he is not willing to risk his own life for the Doctor. Or he just doesn't think that he would know how to do anything even if he did go. But if Sheppard had been there, there would not even have been a discussion on who goes. He would have been out there already. Now, they have to argue about it:

McKay: OK, so who goes? Grodin: We could draw straws. McKay: Oh, brilliant! OK, Miller, break out the straws! Grodin: It doesn't have to be straws! Miller: We could do rock, paper, scissors. McKay: OK, on three. One, two, three. OK, obviously rock, paper, scissors doesn't work with three! Anyone have a pencil? Miller: Yeah, I think I've got one. McKay: Well, get on with it! Miller: Okay, short piece goes. McKay: You go first. Hmm! Well done. Good for you. Miller? Yeah. Miller: You're the best qualified to fix it anyway, sir. McKay: Mmm. Flight of the dead man.** Good.

We are heavily implied that it is McKay who is going to die because that is precisely what Sheppard thinks has happened at the end of the episode. McKay is marked as "the dead man" here. But here it is still presented in a comedic light with their fumbling over who has to go outside. McKay draws the short piece which could symbolically be interpreted as him having the smallest dick out of the three (emphasized by his line "good for you" to Grodin; it's entirely possible they do have some insight into each other's dicks that is played out in the undertones but since we have been implied that McKay is very well-endowed previously, I don't know what kind of an elephant dong Grodin is meant to have here). But the fact that he is the one to actually go outside to do it actually tells us that out of the three of them, he is the one with the biggest balls.

He also doesn't seem to be afraid. He is cautious, he would rather not risk himself needlessly, but it is not for his own safety that he feels fear here.

While McKay prepares for his space walk, Sheppard and Ford are at Elizabeth's office discussing the Teyla-situation. Sheppard is leaning back in his chair and has his arms folded in front of him, once more as a barrier because this whole situation is making him uncomfortable. Make note that the readout of the long-range sensors are on a screen behind Weir showing the approach of the wraith and the ticking down of the clock. They are surrounded by this knowledge at all times.

It is interesting that Weir does not outright trust Sheppard's take on the situation, wanting to know what Ford thinks independent of the influence of his superior officer. And in this, she is again confirming Sheppard's belief that she thinks his personal feelings compromise his judgement which is precisely what Bates had thrown in his face earlier. Weir is questioning his leadership right in front of someone serving under him which does not sit well with him even if he doesn't begrudge Ford for speaking his mind.

Sheppard: I know there's no love lost between her and Bates, but I can't see her beating the hell out of the guy. Weir: Ford? Ford: Ma'am? Weir: What do you think? Ford: I worry about what she might have done unknowingly. The whole wraith connection thing and her nightmares make me nervous. Sheppard: Yeah, well, what are we gonna do about it? Stick her in the Brig? This is Teyla we're talking about.

While they are discussing the situation, Beckett runs in and informs them that Teyla hadn't been the assailant (and it is only when he hears that Teyla's name as been cleared that Sheppard finally unfolds his arms)--there is a wraith loose in the city. Things keep on getting worse.

Continued in Pt. 7

-* We never really find out what the natives of Pegasus think about the sexual orientations of people. There is a case to be made for the Ancients, their "Ancestors" to have been bisexual across the board (see discussion on the sexual desire between Ancients as an assortative mating strategy to ensure the survival of their species), so one possibility is that they passed on their own sexual mores on the natives of the galaxy. The other option is that due to the constant cullings keeping their populations diminished, sexual practices not contributing to procreation might have been heavily frowned upon (except for the societies whose survival strategy was to keep their population manageable, which would have had the opposite effect). The only information we have on this is Ronan's non-reaction to Sheppard's suggestion that he might want to date a man, which tells us very little even if we viewed him as somehow representative of native Pegasusian sentiments.

-** There may be a reference to The Book of the Dead Man poems by Marvin Bell here, especially About the Dead Man and the Dead Man's Beloved because it resembles that chapter in War and Peace that Sheppard had apparently been reading recently (regarding the singular way in which couples communicate with each other):

The dead man and his wife have an ongoing conversation, make that discussion, let's say debate, call it a disputation, maybe it's an argument. To wit: who gets to go first, the dead man or the dead man's beloved? When the dead man's wife strikes the dead man's funny bone, a kind of electricity surges from his elbow to his pinky. The dead man and his wife bump their skeletons together like keys in a pocket. When the dead man strikes his funny bone, his arm goes rubbery and his pinky quivers like a ripe raspberry. When the dead man and his wife bump their bones together, there's no disputation, there's thesis and antithesis, action and reaction, give and take, physics and geometry, but there's no discourse in any metaphysical sense. Notwithstanding literary compasses and other mathematical, magnetic or gyroscopic conductors of sexual metaphor. The dead man's funny voltage is all physical. When the dead man comes, he goes, and when he rises, he falls. The dead man is the only one who goes to the ends of the earth for his beloved. To wit: if they can't go together they aren't going at all.

We never see McKay enjoying poetry or literature, not in the same way Sheppard does. His references are usually very pop culture. But the way that he says "flight of the dead man" sounds like a reference to something. Marvin Bell was an anti-war poet, so it would be kind of fitting for him to be thinking about his poetry at a time like this. There are a number of the Dead Man poems that might work as a reference but this seems fitting in the context of this particular episode, what with McKay falling with the artificial gravity and the obvious sexual metaphor in the docking of the jumper. And it is interesting that both this poem and the only chapter of War and Peace where dreams and nightmares are mentioned (as per the multiple references to same in The Gift (S01E18) where we see the book), this concept of the on-going and singular conversation between two people in love is mentioned.

#stargate atlantis #sga #sga meta #john sheppard #sheppard is bi #rodney mckay #rodney is gay #ep. the siege #ep. before i sleep #ep. the defiant one

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