#he can see it objectively. i believe. but

[loves0phelia]

Hi! I don’t know if you’ve watched part 2 of outer banks yet, and if you didn’t this request is a spoiler!!

Can you do JJ Maybank’s sister seeing him die and Rafe is just watching her break down and he’s comforting her while she cries in his arms? I’m sobbing over JJ right now 😭

Thank you!

Gone

Summery: outer banks season 4 episode 10/the anon

Words: 1.6k

Warnings: SPOILERS, death, grammar mistakes.

A/N: i also sobbed, i cant believe it and thank you for requesting love youuu.

The sandstorm hit suddenly. The air was thick, nearly solid with dust. You stumbled forward as the wind blew strongly, You screamed, begging JJ to come down before something terrible would happen but even if you pulled the scarf tighter across your nose and mouth every breath felt like swallowing shards of glass making it hard to speak. 

Everything was clouded and your goggles were smeared with sand dust. It was impossible to see your brother who was up high on that statue trying to find the blue crown you, the pogues and Rafe have been risking your lives for.

“Come down JJ!” You screamed as loud as you could, hoping he could hear you over the screaming wind. 

A surge of panic rose in you, he wasn't listening, only going higher and higher to reach the top.

“Hurry please!” You screamed again as the sandstorm was getting worse and worse. Squinting your eyes you could see JJ finally descending the statue after a while, carefully holding on to the rock.

“JJ, holy shit are you okay?” You rushed forward to him as he stumbled around frantically.

“I'm good! I'm better actually, I'm great. Look!” he yelled over the storm and held up the blue crown, it felt like a dream having it in front of you.

“No way, you found it” You both looked down at the dusty historical crown in silence for a second, sinking in it the victory that was so rare when it came to you and your twin.

“We got it!” He cheered, pumping his fist, jumping into place from all the adrenaline. The victory cheers didn't last long though, the next thing you knew shots were fired at you from the group who wanted to steal what was rightfully yours.

“Run, run, run” JJ shouted behind you as you ran through the sand blindly and desperate to find shelter.

The sandstorm roared with life around you, Yours and JJ's footsteps vanished almost as quickly as you made them, erased by the wind.

You coughed, your lungs stinging as you struggled to run down the stairs you had found leading inside the monument. 

But suddenly, a shadow appeared out of the storm. A strong hand gripped your forearms and in a sudden movement, your back was pressed on your “father's” chest, an arm around your neck holding on tightly, cutting your airflow and a sharp blade pressed into the side of your face.

“JJ!” you called out, trying to get out of his grasp.

“Let her go!” JJ shouted, his voice trembling with anger. He lunged towards you trying to rip you away from him but he only pressed the blade harder making you cry out. But Groff only shook his head.

You cried, struggling, and your heart pounding as Groff’s grip tightened. You fought against him, but his hold was unbreakable.

“You’re just like your mother,” Groff hissed, his gaze cold and unmoved. “Always standing in my way. Well, this time, you’re not going to stop me. Give me what I want”

“Let her go” He begged.

“If you had listened, we wouldn't be here JJ, you could have had everything. WE could have had the life we deserved as a family. All three of us. But now you get nothing. Nothing at all” Chandler pants like a maniac.

“I already have everything,” JJ says, shaking his head in disbelief. “I have everything I ever wanted. You want the crown? Sure, take it. I don't want it. Just let my sister go.”

“Give it to me, hold it out” He reached toward JJ for the precious object, his grip on you not loosening.

In a swift moment, an exchange was made. Groff grasped the crown, and JJ pulled you out of his arms.

“I got you” JJ breathed out with relief, like a weight was removed from his shoulders. He hugged you protectively. Holding your head against his shoulder like a shield. But then again, the victory was cut short.

“JJ, y/n” you were interrupted by the voice of your father, his call made both of you separate and turn to face him, JJ’s body still shielding you from further harm.

“It's a shame…you and I” You furrowed your brows and a gasp came out of your mouth when the sound of flesh being pierced rang out. 

“You should have given me the rope” Time was moving at a slow pace as the scene unfolded. Groff twisted the knife in JJ's stomach before pulling it out rapidly and running out into the desert.

"JJ!" You screamed, your voice raw with terror. You saw JJ stumble back, his hands flying to his side. Dark red blood was spreading through his shirt and across his fingers, and the sight of it hit you like a punch to the gut.

The world narrowed to the scene in front of you as you watched JJ fall, his face contorted in pain. 

“No, no, no” you cried, desperation thick in your voice.

You rushed to JJ’s side, catching him just as he stumbled. He looked up at you, his face pale and stained with tears.

“It's okay JJ, it's okay” You pressed into his wound, shaking terribly, sobbing when he let out a pained groan.

“No, please” you murmured, pressing your hand over the wound in a desperate attempt to slow the bleeding. “You’re going to be okay. Just stay with me, okay? Stay with me.”

“Hey, hey,” He whispered, his voice breaking. “Take care of the others for me, okay?”

“No! No” Your breaths shakes, your chest tight with sadness.

“I love you, y/n. You're the best sister anyone could ever have.” His gaze was beginning to drift, his eyes unfocused, and the strength in his grip was fading. Panic clawed at you.

“I love you, please don't go” you begged, but it was pointless he was already gone.

“No! No, no. Please! JJ, please” you shaked his shoulder weakly.

“John B!” You screamed, your chest burning from the lack of oxygen your lungs were getting.

“Pope! Rafe!” Your hands gripped your brother refusing to let go.

“Please JJ!” Your heart shattered completely, a part of you gone forever. Your brother, your twin, your best friend, the other half of your soul, gone. 

“Please” You pressed your forehead against him, your tears falling over the blood-soaked shirt.

The pogues came running towards you, sinking to their knees, calling out to him, crying, sobbing, mourning.

Everything in you gave out as you held onto him, you couldn't even fight when hands grabbed onto your shoulder to bring you away from your brother's corpse.

Your body fell limp into Rafe's lap. His hands held your body up as if he was your lifeline. 

“It's gonna be okay” He whispered against your forehead but you barely registered any of it, only sobbing, and screaming in pain against him. 

The Pogues stood in a tight circle, all eyes fixed on JJ as if somehow their stares alone could bring him back. But no one spoke, and in the heavy silence, the truth crashed over them, settling deep in their bones. JJ was gone.

Kiara’s shoulders shook, a small, trembling motion that quickly overtook her entire body. She fell to her knees, hands pressed to her mouth as she fought to hold back the sobs. 

Pope was beside her, his eyes frantically looking over the scene, he didn't want to believe any of it, as if it was a cruel joke.

John B stood, rigid.  His fists were clenched so tight his knuckles were white, and his jaw was set, teeth gritted as he tried to hold it all in, to keep the pain from breaking him apart. 

Rafe's arms wrapped around you gently, his hand resting on the back of your head as he let you fall into his chest. You buried your face in his shoulder, the grief and sorrow pouring out in waves as he held you.

He didn’t speak of the rivalry, the old wounds and the bitterness between your families; none of that mattered now. At this moment, all he saw was your pain, and he was there, his own heart breaking a little as he watched you crumble.

When the sobs finally subsided, leaving you weak and exhausted, Rafe pulled back slightly, brushing a strand of hair from your face, his eyes filled with something you’d never seen in him before—softness, understanding. 

“It's okay,” he murmured, his voice a promise, his hand gentle as he brushed a stray tear from your cheek. “I’ve got you.”

You sat on the sand as a fire crackled in front of you, you had just buried him, the silence was thick nobody wanted to believe the truth. 

Your head pounded, even when you were softly laying on Rafe's legs using them as pillows. His calloused fingers gently rubbed your hair and you tried to concentrate on the movement in an attempt to forget about the previous moment but you failed.

“Groff said he was going to Lisbon” Rafe whispered above you, making your eyes open and looking up at him. His eyes met yours and he continued.

“If he was my friend or my brother… I would go after the guy that just killed him” The mention made your heart burn but he had a point.

“He's not wrong” Kie whispered, agreeing with your inner thoughts. You snuggled against Rafe's legs one last time before sitting up and leaning your head on his shoulder. 

“JJ would already be on his way to kill him if it was one of us,” you said and everyone's eyes snapped towards you, those were the first words you had spoken since it happened. 

“He'd get even,” John B added.

“Let's get revenge,” you said, your voice more confident than it was before, you felt a hand grasp onto yours and slowly you turned your head to face Rafe. He nodded and tightened his grip in a comforting way, never letting go.

Send request please xx

[tinythebunni]

rafe had his eyes on you for a while. you were new to the island and everyone wanted to be by you. you seemed to have this energy that attracted everyone, like a fucking magnet.

rafe couldn’t believe his eyes when he saw you. you were everything he could want in a girl. tall, slim, curvy, shiny skin, beautiful hair, and most of all you were so feminine. he loved a girl he could take care of, provide for even.

he first saw you at the country club. you were clad in skimpy pink bikini with white polka dots, a white bow in the side of your hair, and white flats on. you read some magazine he couldn’t be bothered to even pay attention to. for right now, you were his main object of his attention. you could feel his eyes on you, you usually did.

you’d been here only two weeks and you knew all about the infamous rafe cameron. there were rumors he killed some cop and he had a drug problem.

people said he was one of the most fun people in the world but he would blow up in the quarter of a second. no girl could hold him down and he always got what he wanted. everyone wanted to be him or fuck him.

he’d made slight advances in the short amount of time you’ve been in the outer banks. holding a door open for you, paying for your drink, offering to apply your sunscreen while you tanned at the beach, the whole shabang.

you didn’t give him the slightest ounce of your attention. you wanted him to work for it. obviously you wanted him but you can’t let him know that! if rafe always got what he wanted then he wouldn’t mind a challenge.

you liked this game of cat and mouse you guys played. you didn’t know how much longer you could take it though. your friend daphne had invited you to some kook party at her stupid chad bfs house.

you went of course because rafe would be there. and you wanted him to see you, especially in this outfit. a lacy pink halter neck and pink mini skirt with ties on the sides. it showed just enough of skin to make him crazy. you wanted him to know what he was missing out on.

who knows? maybe tonight you’ll let him have a taste.

after a while of being at the party you started to get a bit bored. there were people making out in the corners, the alcohol tasted shit, and rafe still wasn’t here.

you were slightly buzzed and contemplating walking out when you saw him. he wore only a white wife beater and some denim jeans. what really caught your attention was the way his eyes were immediately on you when he came in.

he looked you over, greeting a few people, but not once did his eyes stray off you.

“top, i gotta go handle something. i’ll catch ya later.” and with that he strides over to you, grabbing you by the wrist and pulling you into a room upstairs.

you had butterflies in your stomach. after a month he couldn’t take it anymore. you were excited to see what he would do now.

he swiftly locked the door and turned towards you with an almost primal look in his eyes. you giggle as he rubs the back of his neck and glares.

“do you think this shit is fuckin funny? been wanting you for months and you think it’s game. do you know how hard you make me? those skimpy fucking skirts and that coy smile.“

you were positive you looked like a fish out of water right now. you could feel a heat rising in your belly and a blush flushing your checks and neck.

“i didn’t know i affected you that much” you whispered.

“bullshit. i see you close your thighs each time i fucking look at you. can barely focus on anything when you’re near by.”

rafe is stalking towards you now, and you back up more and more until your knees finally hit the bed. he pushes you back until your lying on your back, with only your elbows and forearms holding you up.

he pulls your skirt over your tummy, glancing up at you as he places a kiss on your thigh.

“tell me this is okay. i needa know what you taste like. i can’t fucking stand it. so close to your pussy i can practically feel you on my tongue already.”

you give a shaky nod but that’s not enough.

he pinches the inside of your thigh and shakes his head with disapproval.

“no. baby i need words. use your voice, ain’t even touched you yet so i know you’re not fucked out already.”

“yes, yes rafe this is okay! please i need it” you whine while your lips pout slightly.

he was being so mean right now! is this what it felt like for him all this time?

he places a kiss on your clit over your panties and thumbs at your entrance. he smoothes your arousal over your lips and curses under his breath.

rafe takes his time making you whimper and whine. you push your hips up for some kind of friction, something more than he’s giving you. he uses his left hand to hold you down while his right pushes down on your clit, the pressure making your eyes roll back.

“calm down sweet thing. s’okay. m jus getting you ready. been dreaming bout this and i wanna take my time”

the cameron boy takes off your underwear and pauses. you can’t tell if he’s in awe or disgusted.

“so fucking pretty baby. is this all for me?” he questions as if he doesn’t already know the answer.

“rafe of course it is, do you see anybody else in this fucking room?” you’re mad now, you’re so fucking horny and he’s being a tease!

“alright alright” he laughs, placing a kiss to your thigh and looking up at you one last time.

“not letting you go after this is done. you’re mine.”

[wonderjanga]

Marvel Can Be Intense

Billy wants these little guys to go into heroics being the best hero they can be. He just doesn’t realize that while he has good intentions, he can come off as kind of intense. Like the time he tried teaching Wally how to vibrate his entire body through an object.

Marvel: *holding Tim by the neck with one hand while his other hand is crackling with electricity* “You better hurry up Wally or else I’ll blow his brains out on the floor!”

Kid Flash: “WHAT DUDE IM TRYING.”

Robin!Tim: “HE’S BURNING MY HAIR! I THINK HE’S ACTUALLY GOING TO KILL ME IF YOU DON’T HURRY!”

Kid Flash: “I’m TRYING!” *only got his arm through it*

Marvel: “Try harder!”

Or the time he tried teaching Stargirl how to fly one of the ships.

Marvel: “Alright, so the best type of practice is getting it firsthand so what you’re gonna do is fly straight through that asteroid belt.” *points to the belt*

Stargirl: *sounds super concerned* “What? I can’t do that!”

Marvel: “Yeah you can! You just gotta believe. Now do it.”

Stargirl: “I just told you, I can’t. I can barely fly this thing already. Flying through an asteroid belt would completely total the entire thing and we might be stranded out here for God’s sake.”

Marvel: *nods head* “I see. I see. I get your concerns. So instead I’ll just…” *grabs the acceleration and cranks it all the way up and they start flying to the belt*

Stargirl: “WHAT IS WRONG WITH YOU?!” *grabs the steering wheel and starts making the ship dodge the asteroids*

Marvel: “You’re doing great!” *sunny ahh smile as if he hadn’t put the both of them in mortal danger*

Later…

Marvel: “That was wonderful for your first time, Stargirl.” *looking at the dents in the ship*

Stargirl: “You’re a psychopath.” *still a little shell shocked*

Marvel: “Nuh uh. Here, have some candy.” *hands her some candy*

Then there was the time Beast Boy was interviewed.

Interviewer: “So, who would you say is your toughest teacher? Batman?”

Beast Boy: “Oh, definitely Captain Marvel.”

Interviewer: *slightly surprised* “May I ask why?”

Beast Boy: “Well, he’s a psychopath. Like actually. Like don’t get me wrong. He’s really nice. He makes us cookies. He’s like super kind, but when it comes to training, he’s a complete psychopath. Like the other day he said he’d tear off Starfire’s arms if I couldn’t complete a training exercise. I did complete it don’t get me wrong, and he gave me cookies afterwards, but you don’t just threaten to tear off another person’s arms!”

[quodo-brainrot]

I did an interesting thought exercise with this. Several people in the notes have already pointed out that Odo would have been super OP if he could flawlessly shapeshift into other people like the other Changelings can. (And in the course of the series, we see exactly why it's so OP.)

But! There is one interesting and hilariously simple weakness they could have introduced if they decided that Odo was that good.

Quark is on to something when he starts licking objects to try to figure out if one of them is Odo. You know why? Because Odo doesn't have a sense of smell or taste. I doubt he could replicate something that he can't even sense, so an Odo shot glass would almost certainly taste weird compared to a normal one.

The fact that Quark uses this strategy repeatedly suggests that it has worked at some point, even if we never see it on camera.

I believe that lacking a sense of smell would be surprisingly devastating to any attempts to masquerade as someone else.

Science and speculation under the cut.

As kids, most of us were taught that animals (especially canines) can smell a kajillion billion times better than humans can, but that's a pretty broad statement that has a bit of an 'apples vs. oranges' bent to it.

Humans are actually quite good at smelling the things that are important for us to smell... like each other.

I'm sure you've heard of how blind people are sometimes known to develop a much more keen sense of smell to compensate. Some become capable of identifying people based on scent alone.

Well, it turns out that we don't actually need to go blind to be really good at smelling each other, it's just that a lot of our scent processing is done subconsciously.

With all that in mind, I'm now envisioning a hilarious episode where Odo tries to mimic Rom and Quark just fucking instantly shuts him down because not only has Odo failed to mimic Rom's specific scent, but Quark can also hear that his heartbeat and breathing patterns aren't anywhere near accurate.

Figuring that maybe Ferengi are just an edge case due to their natural hypervigilance, Odo tries to mimic a human and finds that even the humans are suddenly suspicious of him - even if most of them can't put their finger on why.

To the humans, it's very much a classic example of being in the presence of an 'Alternate' - there's something uncanny about this person, but the explanation for why is juuust out of conscious reach.

I think it would be especially funny if humans and maybe Bajorans are the only races who can't really articulate why they feel suspicious. Almost every other race just immediately nails it with 'he doesn't smell right.' I feel like Cardassians would be especially good at it.

Even with this weakness, the storylines with the other Changelings mimicking people wouldn't necessarily need to be altered or removed. You could just write that they isolated themselves enough to avoid too much suspicion, or they simply used their authority to quickly shut down anyone who doubted them.

But poor Odo is absolutely no match for DS9's found family - they all know each other too well, to such a degree that the Station-Wide Polycule is a widely accepted headcanon. They're all so accustomed to the thick fog of pheromones hanging over Ops that they're going to immediately be suspicious when Bashir shows up smelling mostly of nothing (but also faintly of Quark for some weird reason).

Absolutely transcendent move from Star Trek to write a shapeshifter character who's kind of bad at it. You're like, "oh so he can impersonate other characters?" and they're like no he's not very good at faces :(

[murderofsomeone]

it's probably decently obvious that my main lemon demon design was created BEFORE seeing any fandom depictions (or even really that much official art past the logo) because of how violently he stands out in comparison to other designs. it's a little obvious that my inspiration was self-contained and it granted me a bit of creative freedom along with a completely different train of thought while designing him. his three eyes however is very much a relic of 2022 because I was designing a lot of demons with asymmetrical faces at the time and well, why not make another

anyway here's a comparison of him to my most recent lemon demon original design (where it's a bit more obvious I was influenced by somewhat of a fandom culture)

extra bonus rambling under the cut

my general design process has actually stayed relatively contained with a few exceptions like soft fuzzy man's color and weirdly neil himself. yeah sorry chat neil is the first guy that was highly influenced by someone else's design you can shoot me too if you'd like. but I legitimately believe he's the only real example because every other character that has a design remotely similar to someone else is likely due to us both following a similar source material (like my cabinet design being based off polybius) or there being only so many ways to interpret the design (gef the mongoose would've fallen into this category if it wasn't for the fact I made him Joker colors)

in general I tend to follow a mindset of how "weird" I can make a design or how much I can push a lyric/implement it into a design. I also like to twist around the convention and try new things. a good example of both of these apply to my doctor amnesia design.

really the main things going through my head were "well he didn't state HOW many eyes", chosing an eye color that often is overlooked in conventional beauty standards to elevate them and cause you to think, while leaning into the somewhat otherworldly nature she's depicted in by giving her blue skin, a color I associate with the song.

another fun thing I'll do is create a "design pipeline" where I'll take an attribute and run it through a list of connections before we end up in a place long past where we started or just combining a bunch of traits that could be interpreted that way, resulting in designs like this.

though wolfgang isn't my weirdest design, he definitely did not start where we ended off. I believe before the wizard of oz theming for clown circus was set in stone (a choice that has EVERYTHING to do with oz explodes and an element I'll explain later), he was some kinda mirror object head that had absolutely nothing to do with his current namesake. since I wasn't satisfied with that design, I kept a relative aspect of the personality and shapes and thus ended up creating a really interesting take on a character who is largely depicted as... well there's no really good way to say this, but Bad.

since I was working with a new fresh aspect I started by making him a wolf... and then connecting him to "there's a robot in my head". this kind of connected the dots to ultimately make him associated to the tin man, since no one was connected to that character for the wizard of oz element and it was up for grabs (this is also how he somehow got associated with toasters via connecting the previously mentioned song to "what's in the toaster", etc etc). these pipelines of connecting songs that aren't normally related, but making them Work in a believable way makes designs more interesting for me and gives them a bit more purpose and personality. I think this is what ultimately makes people get a bit lost on my interpretations considering they aren't super simple by just being about One Song, but by being about multiple that aren't originally related in the source material. just like how I connected dr amnesia to when he died, explaining a bit of her more mildly supernatural or off-putting elements by making the man in that song her father.

the final real design element that I focus on is the strange rule I follow in terms of how these characters are shaped. there's a massive sort of "alice in wonderland" theming going on in terms of how human/humanoid designs look in contrast to designs that look less and less human. their proportions become more cartoon and shaped, their sizes are affected etc etc all while the human/humanoid characters stay relatively normal next to each other with more believable design elements.

here's the horrid long strip of nearly 100 different character renders next to each other to get a general idea on what I'm talking about

the silhouettes of the human characters "pop" less because they're supposed to contrast to their nonhuman counterparts. which isn't something I normally do, but given the source idea of a sort of "wonderland", I think it works in this specific context.

in conclusion: I'm design autistic and like to use designing to try new things, which is why I fucked that lemon up. sorry about that chat

[leletha-jann]

This might not be an original observation, but I'm looking at Agatha's inner circle - her immediate family - and you know what all of them have in common?

Every single one of them has been so, so lonely.

Agatha, who grew up knowing she was broken, that she was fundamentally wrong in the very core of herself. And everyone else knew it too, and she was a pariah and an object of pity because of it. That she had been left behind like a burden, something useless, and been forgotten.

Krosp, who was a fugitive under a death sentence for being a "failed experiment". The King of All Cats - and the cats didn't care. Who had no one he could talk to or ask to care about him, no one he could trust without risking execution just for existing, and nowhere to go.

Gil, who thought he was no one, that no one wanted him - and who traded the first person who chose him for a name and a Spark that he then wasn't even allowed to have. That he had to keep lying to everyone about. Who wasn't allowed to be fully himself with anyone, ever. (And look at Agatha as she slides in and out of fugue state font, a difference people can hear, and think about how much control Gil had to exert, every single moment.)

Zeetha, who was a castaway in a place that didn't even believe her home existed, who couldn't prove anything except that she existed, and who was coming to believe that maybe she had made it all up. That she wasn't a warrior princess and a beloved daughter, and never had been. Just a stray with a story she'd made up, and all her legacy and skill good for little more than stage clowning.

Tarvek, who had no one he could trust, ever; who was trapped with a serial killer and a monster, lying for his life with every breath, with no way to escape a conspiracy that would spend him as a pawn or a corpse or breeding stock without a second thought, and call that family.

Violetta, who no one believed in, who was overlooked and dismissed and sent away; Tarvek counts her as the one person he did manage to protect, but Violetta knew that she'd been set aside and abandoned. Violetta doesn't even want Violetta, because what good has she ever been to anyone? Who's ever wanted her?

.

So goddamned lonely, every one of them.

.

...so yeah, I really enjoy watching Gil and Tarvek being referred to as Agatha's, as belonging to her, and watching them be content and confident in that.

But also seeing Zeetha find her joy and home and family in her exile, and Violetta flourish and be valued and happy (and tell the so-called family she's left behind to go to hell), and Krosp become a respected power in the world in his own right.

And Agatha, the last of the Heterodynes, surrounded by the family she's brought together.

[usafphantom2]

Paint it Black! Making one of the first titanium airplanes was difficult .

Titanium was corrugated to make room for expansion when the titanium heated up at top speed of 2200+ mph. The skin panels were fastened to the underlying structure with oblong holes which would allow the skin to expand and contract without the fasteners causing buckling. And the skin over the wing was also corrugated to prevent warping during expansion, this is actually quite noticeable, you can see the sections that are corrugated quite clearly here in this artistic photo.

Titanium makes up 93% of the SR 71 structure. It’s strength to weight ratio, or specific strength, is better than Aluminium. Yet today very little titanium is used in everyday objects. Planes primarily use aluminum, not titanium.. why is it not used?

The development of the A-12 the Skunk Works, a small division of Lockheed discovered that making the blackbird out of titanium was going to be anything but easy

Titanium is expensive because its refinement process is a nightmare. To make Titanium, we start with a feedstock in the form of Titanium Dioxide, with this chemical formula. This oxide ore called rutile can be found in high concentrations in dark sandy soils.

Build the SR-71 the US needed to buy vast quantities of the mineral from the Soviets. To do this they purchased the material through ghost organizations to hide the final destination of the material. One of the companies that were made up was a company to make pizza ovens supposedly��� the Russians believed this story!

Had the Soviets known what they were helping build, they would not have sold the material. However, the US likely could have just purchased the material from mines in Australia. This is a relatively common raw material and is primarily used as a white pigment for paints and is even found in sunscreen lotion as ultraviolet radiation blocking pigment.

The primary titanium alloy used in the SR-71 was thirteen percent vanadium, eleven percent chromium, and three percent aluminum. Both Chromium and Aluminium form thermally stable oxide layers on the outer skin of the metal. Which prevents oxygen from diffusing further into the metal and causing it to become more brittle.

Which raises the max operating temperature of the metal!

Vanadium acts as a stabilizer for a crystal structure referred to as the beta phase. This leads to a material with higher tensile strength and better formability. Through trial and error and problems that were solved by the geniuses that worked at the Skunk Works. They discovered that their cadmium plated tools were leaving trace amounts of cadmium on bolts, which would cause galvanic corrosion and cause the bolts to fail. This discovery led to all cadmium tools to be removed from the workshop.

This article just proves what we already know today when people work together and work hard to solve problems. New ground was broken with the formulation of titanium that led to the success of the SR 71 and the tremendous heat and strength that this magnificent airplane needed.

As Ben Rich head engineer and later, he replaced Kelly Johnson as the head skunk said in his book called the Skunk Works. ‘’I volunteered some unsolicited advice about how we could use a softer titanium that began to lose its strength at 550° to paint the airplane black

From my college things I remember that good heat absorber was also a good heat emitter it would actually radiate away more heat then it would absorb through thick friction. I calculated the black paint would lowered the wing temperature 35° by radiation think of how much easier it will be to build an airplane using softer titanium.

It was my father Butch Sheffield’s boss Ben Rich, who saved the Blackbird program time and money, with his idea of painting it black.

wisconsinmetaltech.com/titanium-and-t… is my Source and SkunkWorks by Ben Rich

Linda Sheffield

@Habubrats71 via X

[zigdirty]

By the time I got off work this year, I’d already seen that the election had been called. I already knew the results.

Normally I have the tradition of watching this spectacular film every Guy Fawkes Day, November 5th, so I can enjoy it all over again, but also do I am always aware of how easily fascism can take over.

The irony of this Election Day being on Guy Fawkes Day, and the stakes of said election, were not lost on me. Not in the slightest.

But having been unable to watch it before I went to work Tuesday, I planned to at least start it before the end of the day. That is, until I saw the news.

All I could hear in my head was the speech broadcast across the emergency channel:

Good evening, London. Allow me first to apologize for this interruption. I do, like many of you, appreciate the comforts of everyday routine, the security of the familiar, the tranquillity of repetition. I enjoy them as much as any bloke. But in the spirit of commemoration, whereby those important events of the past, usually associated with someone's death or the end of some awful bloody struggle, are celebrated with a nice holiday, I thought we could mark this November the fifth, a day that is sadly no longer remembered, by taking some time out of our daily lives to sit down and have a little chat. There are, of course, those who do not want us to speak. I suspect even now, orders are being shouted into telephones, and men with guns will soon be on their way. Why? Because while the truncheon may be used in lieu of conversation, words will always retain their power. Words offer the means to meaning, and for those who will listen, the enunciation of truth. And the truth is, there is something terribly wrong with this country, isn't there? Cruelty and injustice, intolerance and oppression. And where once you had the freedom to object, to think and speak as you saw fit, you now have censors and systems of surveillance coercing your conformity and soliciting your submission. How did this happen? Who's to blame? Well, certainly, there are those who are more responsible than others, and they will be held accountable. But again, truth be told, if you're looking for the guilty, you need only look into a mirror. I know why you did it. I know you were afraid. Who wouldn't be? War, terror, disease. They were a myriad of problems which conspired to corrupt your reason and rob you of your common sense. Fear got the best of you, and in your panic, you turned to the now high chancellor, Adam Sutler. He promised you order, he promised you peace, and all he demanded in return was your silent, obedient consent. Last night, I sought to end that silence. Last night, I destroyed the Old Bailey to remind this country of what it has forgotten. More than four hundred years ago, a great citizen wished to embed the fifth of November forever in our memory. His hope was to remind the world that fairness, justice, and freedom are more than words; they are perspectives. So if you've seen nothing, if the crimes of this government remain unknown to you, then I would suggest that you allow the fifth of November to pass unmarked. But if you see what I see, if you feel as I feel, and if you would seek as I seek, then I ask you to stand beside me, one year from tonight, outside the gates of Parliament, and together we shall give them a fifth of November that shall never, ever be forgot.

This has played on repeat in my mind since I learned of the election results, searing itself into my psyche.

We are now at that place. We are now the people to whom V was speaking in the movie.

I cannot bring myself to rewatch this marvel of live-action film. I do not believe it would bring me joy any longer.

We have no one else to blame but ourselves.

And we have a long road ahead of us out of hell.

V for Vendetta (2005)

[rosquinn]

One of my Dorian Gray hot takes is that there was absolutely nothing in Dorian and Basil's relationship that was healthy. I keep seeing posts like "Basil's love for Dorian was so pure, that's why the portrait was so pretty and the real villain of the story is Wotton because he corrupted it"

As I see it, yes, Wotton did corrupt him, but saying Basil's feelings for Dorian were pure is simply inaccurate to the story. Basil says himself he merely sees Dorian as an artistic ideal [Dorian Gray is to me simply a motive in art. I find him in the curves of certain lines, in the loveliness and subtleties of certain colours. That is all; ch1] and admitted he (a 10 year older man, who had power over him) tried to isolate him from other people and "keep him to himself". Furthermore, Basil also plays a big role in the way Dorian sees himself and his beauty, by painting him everyday and not maintaining any conversation with him, he's indirectly reaffirming what Wotton tells him: people only care about you because you're pretty and young. There is also this scene from the second chapter:

Dorian Gray turned and looked at him. "I believe you would, Basil. You like your art better than your friends. I am no more to you than a green bronze figure. Hardly as much, I dare say.

The painter stared in amazement. It was so unlike Dorian to speak like that. What had happened? He seemed quite angry. His face was flushed and his cheeksburning.

"Yes," he continued, "I am less to you than your ivory Hermes or your silver Faun. You will like them always. How long will you like me? Till I have my first wrinkle, I suppose. I know, now, that when one loses one's good looks, whatever they may be, one loses everything. Your picture has taught me that. Lord Henry Wotton is perfectly right. Youth is the only thing worth having. When I find that I am growing old, I shall kill myself."

Hallward turned pale and caught his hand. "Dorian! Dorian!" he cried, "don't talk like that. I have never had such a friend as you, and I shall never have suchanother. You are not jealous of material things, are you?-you who are finer than any of them!"

Dorian is even dealing with a suicidal ideation over what Wotton has told him and the way Basil sees him, he needs emotional validation, he's asking to be told there's more than him than that, and Basil's reaction is just─ no. You're prettier than any other object (indirectly comparing him to one, too).

Basil's view of Dorian influences how he sees people as much as Wotton's. For example, to Dorian Sybil was only what she pretended to be, he loved her performance, her acting, how she did exactly what the public wanted (which can apply to Dorian himself), not the real her. She was only an artistic ideal to him, she meant to him exactly what Dorian meant to Basil. He ignored her desires, pain and everything not related to what he wanted to see, since that's what he's been taught he must appreciate.

I also disagree with the interpretation of the portrait as a "pure" reflection of Basil's love (I would personally rather describe it as an obsession, though) and Dorians soul because it's not. At least not entirely. Part of the point of the book is that everyone only saw the part of Dorian they wanted: the portrait represents Basil's idolized version of him, what he wanted to see and how he refused to see Dorian as a person instead of an artistic ideal. That's why he tried to make him redeem himself, because he hated seeing his version of Dorian shatter into pieces. It was never Dorian entirely, not even after aging terribly because that's the result of Basil and Wotton's influence. The portrait was not his soul, it was a modified version of it other people played with because nobody cared about the whole thing, and the influence was so big those parts became his whole being. So it was just an idolized, molded version at first but turned into his real self with the time and the sins. Dorian's soul (the portrait) was constructed upon what others appreciated about him, so when Wotton motivated him to sin, because Dorian's potential to be terrible was what mattered to him, it became ugly and terrible. There was absolutely nothing pure about that portrait since day 1.

[taldigi]

Like IMO, as it's put into the game, the accomplice ending is kind of goofy in how out of character it is. Like not that Adachi is written out of character or whatever but like... What a massively out of character, heel turn sort of decision in n Yu's part. Other media I believe manages to make it work? Like I believe the animation does a good job of framing it as a protective thing.

But like *as it is* in the game like.... Especially compared to the Persona 5 bad ends. Like... I can *see* those happening. I don't think those are outside of Ren's character to choose Maruki's reality over his own truth in order to ensure his friend's happiness above all else or even opt to accept the deal in order to stay with his friends as the PTs forever.

Heck, even the bad ending of Three has a perfectly reasonable blanket of "Even though my friends don't agree I'm doing this for them and their happiness" and it's bittersweet in that way.

But the accomplice ending like straight up puts people in danger right? It betrays pretty much the entire investigation team as well as the entire town. And retroactively we know that he's a threat but in the moment, based on their confidence when confronting him, the IT don't know that. That doesn't... feel like Yu at all. Even anime Yu who almost threw Namatame into the TV. Him trying one last time to reason with Adachi? sure. Going in solo about it despite that being a huge violation of his own rules? Sure. But throwing *everything* away? Including Nanako's memory? And for what? Idk man. I guess if you have the brain rot for it you can twist it into something bittersweet but personally I just think it's really silly.

Anyway my whole point that I'm getting at is that I feel that the neutral ending where they don't guess the killer and end up killing Namatame is the most genuinely upsetting and much more emotionally investing one. Especially with the context of how not discovering the reason behind it all will eventually consume the town. Like yeah sure. The accomplice ending is objectively worse right? But like I said, it's just so out there knowing what I know about the characters that it's a little hard to take seriously.

The characters give in to fear and despair, there will still be a murder on the loose and they don't even know it, nanako is dead, All that's left is guilt and fog and what-ifs and they're forced to take comfort in the fact that they must have done the right thing- because I don't think a single one of them could live with the truth that they did not.

They don't even get the luxury of knowing that soon the whole town will be consumed by fog, that every last person is going to be torn apart by shadows or turn into a shadow.. and the underlying horror that Yu is none the wiser and thinks he's just been forgotten once again once he's moved away... especially if you follow the belief that this is like.... The only time he's ever let himself love a place or people. That's so sad dude. It's melancholy and awful.

[twobellsilence]

Okay, so I finally have time to write down my feelings about Mouthwashing. Especifically, Captain Curly. This gets a little personal at the end - hid it below a cut for those who don't want to see it.

The beauty of Curly's character is that he's probably the most morally gray out of the whole crew despite his intentions being objectively good; his actions come from a genuine desire to do good by all of his crew members, but this does NOT mean said actions are correct. This distinction between intentions and actions is crucial when trying to understand his character. For instance, he believed Anya and genuinely cared about her, but he also cared about Jimmy as his friend, and so he chose to "be good" to both of them, even though being good to Jimmy inherently meant making Anya unsafe - good intentions (be a good captain and friend to both), bad action (not treating what happened with enough severity and being soft with Jimmy because of his biases). Many people seem to either think Curly was simply oblivious to everything, and others even go as far as to say he was actively malicious with his enabling. But I don't think either of these are quite right, and it's because, in my eyes, this man is the living incarnation of "The path to hell is paved with good intentions".

Captain Curly is a people pleaser. He wants to keep the peace, play devil's advocate, everything to keep all members of the crew feeling well with themselves and each other, and he believes his team is as genuine and honest as him. This trust, this inclination to think that things can be solved with compassion, is what earned him his good reputation and the respect of his crew, which persisted even after they believed he'd deliberately tried to kill them. But it is this same desire to do things from a place of true care and act as a mediator that caused him to break protocol with the higher ups' message, fail Anya, and ultimately doom everyone. I don't think he was oblivious to Jimmy's flaws, but rather, like he implied in the pixel scene, he saw only "the bigger picture" and gave Jim the benefit of the doubt because he saw his perceived qualities over his issues despite knowing they were there. Of course, this perception was undeniably distorted because of his and Jimmy's close relationship, which meant he extended an inappropriate amount of trust to Jimmy despite his actions and past because he genuinely, wholeheartedly thought Jim was just misunderstood and what he did was a mistake. Jimmy played Curly like a fiddle by taking advantage of his belief that Jim was as honest as he and the rest of the crew were.

Of course, there is a lot to be said about the fact that Curly put his perception of Jim over Anya - Curly is undeniably an enabler, if a naïve one, and is at fault for the bad decisions he took about the matter regardless of his mental state at the time. He is NOT all innocent, not by a long shot. But at his core, all he wanted was to help everyone and work things out. Because he's *Captain* Curly, and he ALWAYS made it work, and in his sleep-deprived, slightly unwell head, Jimmy's interests and Anya's need for protection clashing didn't mean that Jimmy was an actively dangerous person that needed to be stopped, but rather that he was just not trying hard enough to make things better. This was exacerbated when Jimmy pointed out everything would fall on him as the captain, and he froze, because he knew Jim was right. It would fall on him, and it'd be just, because he failed to stop it. He completely failed Anya, not only as a friend, but more importantly, as a captain, and suddenly his fears of not doing enough came true.

And this is where it gets really personal for me, because I see a lot of myself in Curly. I, too, have trouble examining people's flaws. I let my biases cloud my judgement of others from time to time and allow them to manipulate me because I hoped they'd have good intentions like I did for them. I am also a mediator, a peacekeeper, a people pleaser. And I have also been an enabler. Not of things as horrible, of course - not even close - but an enabler nonetheless. And like Curly, I too have had to watch helplessly as my tendency to give everyone the benefit of the doubt damaged me, and at times even the people around me, because I kept on hoping things would work out if I kept everything "going smoothly" but they never did. The way this game makes Curly go from unable to see the dead pixel to being forced to stare at it, unblinkingly, as it eventually blows the whole screen - something HE could have prevented if he had listened to the one person who was all too aware of it being there - makes me very uncomfortable, because I've been there, and it makes me feel bare in a way no other game has done before. The situations I've been in are the size of a grain of sand when compared to the tragedy that happened in the Tulpar, obviously, but seeing such a parallel in Curly has left me shaken and invited deep introspection regardless. You can't fix everything. You can't always play both sides. Not everyone has the will to change and be better. And you must take action before said action is taken for you. All things this god forsaken game has made me think very long and hard about by showing me a man whose fatal flaws, almost the same as mine, made him lose everything and more.

[rametarin]

Also I'd like something clarified VERY FUCKING HARD

Calling something "actually just christofascism" is such a dodge to say, "you can't be part of our ideology because you have a bad take, and our ideology can't have bad takes. Bad takes means it's not our ideology" is just No True Scotsmanning, and it feeds into this idea the plan can't be lead to a wrong result, or it must not be the plan and other people may have just tried to institute "other disgusting plan"

No. TERF logic is ONLY different from Intersectional Feminist logic in that TERFs do not consider you a woman just by your self-identified gender, and treat being a woman as something static and biological, not a mutable fact. They otherwise maintain everything else about Class Struggle Theory, greviance studies, and the idea of Critical Gender Theory.

They still hold that we arbitrarily live under a "patriarchy" because, "the nature of conflict is one must oppress and the other be the oppressor- woman is inarguably oppressed because they aren't in control, and as the designated oppressed demographic, that makes their intrinsic relationship to men as one of oppressed to oppressor."

It is the nature of this absolutist "IF X IS Y THEN Y MEANS Z ABSOLUTELY" of Class Struggle Theory that is the problem. It is the "lens by which to analyze" (a stupid truism pretending to be anything scientific whatsoever) that is wrong. And it's the same lens they hold up to the issue of why BDSM is wrong.

These people believe that you cannot allow something to exist in fiction, because they believe culture is more or less monolithic and society is this hivemind of intellectual objects. If you let a bad object into this collection, you "taint" or "poison" what they think society is- which is the great big metaphoric monolith that we all draw our perceptions and understandings from. Which is asinine, because this is not how individual human beings work, this is how sycophants and people with broken social wiring try to emulate one another to fake understanding things, the way sociopaths try to mimic emotions and their appropriate use without actually feeling or understanding them.

So they dogmatically approach this idea of how culture absolutely works, and they tie it into the idea of policing it to keep it "healthy." They maintain this convenient top-down idea of authority and the idea good-authority still uses power to police the dangereous or bad stuff from people "for their own sake." And they believe NOTHING can exist in fiction that doesn't count as something "Society" (capital S), the embodiment of the collective of what is Right(tm) and Acceptable(tm). In short, they believe the fact rape fiction exists, is why some random person will just suddenly feel like raping another human being. Because, "that's part of our culture, he's just acting within how the media and literary culture of our people are told they are allowed to operate," look you in the eye when they say that, and say THAT is the reason why you shouldn't be allowed to write spicy fanfiction if you happen to like sexual assault themes.

They will act like your very input of spicy smut has poisoned the culture, like chat GPT learning to use slurs and inappropriately using them at every opportunity. They argue their censorship and policing are required to prevent sexual assault and rape by sanitizing "the culture".

Do you understand how draconian and collectivist and psychotic that is? Do you understand how it's similar, but SO VERY DIFFERENT in origin, source and scope from the justification theocratic authoritarians operate?

Calling it just "another form of christofascism" deflects the true horror of what is being done here, and fails to really address how horrifying the implications are to this ideology. Akin to seeing something like a movement in, I don't know, Southern India to oppress and deprive North India of civil rights, property and life, and calling that, "another form of White Supremacism." (I chose South doing it to the North for a reason- because calling it white supremacism when it is a different source to a similar outcome is what it has in common with calling godless Marxist philosophy operating like theocratic Christian authoritarianism, is just like when you use call a browner demographic white supremacist for acting in its own demographic interest over another demographic.)

terfs are incredible

> “it doesn’t matter if they consented, you’re a bad person if you get off to causing other people pain”

so you agree? you don’t actually care about consent and you just have moral standards for what people do? you don’t think their consent matters because they’re doing something you personally find gross? that’s what you’re saying there?

damn girl hows the christofascism taste

[applestorms]

4 and 16 for the DN asks 👀

HEHEHE. ok <3 original ask game

4. who’s your favorite underrated or obscure character?

NEAR. we've got a pretty good community of near lovers around here but i'm counting him as underrated due to fandom-wide opinions. alternatively, kiyomi. <33

16. who do you believe is the smartest character?

i was actually considering writing a whole post on intelligence in DN, but didn't think i had enough to say for a full ramble so here's a (not so) brief overview of a bunch of notable characters. i'm of the opinion that trying to rank/judge intelligence by some kind of hierarchy or objective standard is kind of impossible (say it with me everyone, IQ tests are bullshitttt) and personality/temperament plays quite a significant role in DN's mind games, so. idk. here:

L: if you Demanded i choose one person to be the smartest character in DN, i'd probably give in and say L. that being said, i think L's intelligence mostly surrounds things like his logical reasoning/pattern recognition/memory for details/etc. his knowledge of people in particular is interesting to me, as while i don't think he intuitively Gets people very well, his ability to reason out their mindset/emotional character is one of his key abilities in the series (see: figuring out KIRA's mindset to confirm that he's even a real person at all)-- so, idk, it's kinda hard to judge if that could be considered Emotional Int or not. he's certainly also got great potential to learn more, esp if it's for the sake of a case, though his personality n picky, princess-y attitude trips him up a bit.

NEAR: while i don't think near has as much Collected Knowledge as L, if only due to not having the same amount of lived experience/time to get there, i do think he's got one advantage over him when it comes to his rationality. i.e. near is Chill where L gets very, very invested in his projects, which can at times cloud his judgement when it comes to things not directly related to said projects. near just seems more likely to be the type to take a step back n reflect on everything, perhaps even to a fault, though this grants him the Distinct advantage of allowing him to keep his ego in check. don't get me wrong, he's still cocky and fixated and kind of an asshole, but man's got hobbies. he knows how to take a vacation.

LIGHT: light is dumb as fuck. at the start of the story he's in a similar position to near, lacking the lived experience and Collected Knowledge of L, and his planning/judgements are screwed not only by his lack of intelligence, but his overwhelming ego n temper. light's real strength is his ability to manipulate people, knowing the exact type of mask he needs to wear to get what he needs, and his ability to keep (outwardly) calm in the face of stress. once/if he gets past his temper, he's very good at reacting in the moment n rolling with the punches. light is also an interesting case in that his intelligence will often backfire against him-- where L can sometimes get his view clouded by viewing Everything through the lens of the case and missing some of the greater consequences of his actions (see: granting KIRA god status through lind l. tailor), light gets fucked up in that his reasoning allows him to better Repress and Deny the facts of reality that he doesn't want to have to deal with (e.g. his own murders). also, Knowledge-wise, i think it's notable that one of the few academic subjects we see light being Really good at (in the anime, at least?) is english-- communication is light's biggest strength, you could say. ig he is a Warrior of the pen and all.

MELLO: i kinda see him as suffering from the same faults/strengths as light, but to a more extreme/overt degree. he Struggles to keep his temper and ego in check, especially since it is constantly being aggravated by his inferiority complex-- but when he can, he is similarly quite good at keeping calm and chill and reacting well to the circumstances. i actually think he's one of the better planners in the series, and his willingness to take action grants him the advantage of catching other people off guard. it always gets to me that what ultimately takes mello out is his kindness/courtesy, allowing takada her blanket and her chance to kill him. he seems to care about People in the most genuine way out of anyone to me in this series, which is both lovely and tragic.

MISA: anyways, onto someone who Does Not care about people. misa's biggest strength is her acting and YES, SHE'S GOOD AT ACTING. SHUT UP. i would say she's even better than light at this, since it's literally part of her job and also she apparently fools half the fandom into thinking she's a moron. i actually think misa has a similar strength to near as well in that she's capable of getting outside her own head and reflecting on the situation in a way that isn't purely driven by her own ego-- part of her fault is just that, like L, she often doesn't care enough to bother. misa knows what the fuck she wants, and pursues it successfully and rigorously enough to keep light in a stranglehold from the minute she meets him until the day he fucking dies. the question is whether or not this Thing she wants so badly will actually make her happy, or whether she will allow herself to drop the stubbornness for two goddamn seconds and chill out enough to actually consider other options.

KIYOMI: kiyomi is book smart and has quite good logic and reasoning as well, but she is Stifled by social expectations a way that i see as very much parallel to light. i think her biggest strength and weakness are knotted up together, in a way-- she makes the connections, but only rarely bothers to say them out loud. i actually think she might have a similar mix of self-doubt and ego as mello, though the way they express those traits are polar opposite. she's Aware of people in a similar way too, or at the very least conventional rules of morality/ethics, enough so to be horrified when light asks her to kill (but not enough to stop herself from doing it). i fucking adore the idea that she's a bit of a closeted sadist too-- etc. etc. horror at her actions, or her own capacity for them in and of itself? juicy shit.

NAOMI: taking from LABB murder canon for this one too-- naomi Definitely has strong logical reasoning, being able to keep up with/follow much of the mind game bullshittery of beyond and L even as ryuzaki is fucking with her irl. she's got a more blunt, brutal version of near's Don't Give A Fuck-ery too, throwing away the bullshit without a second of doubt or care when she recognizes it. her weakness is again in her kindness, though naomi's has got more of a maternal edge to it than mello's. remember-- what fucks her up, what causes her to separate herself from the FBI in the first place is not her own experiences with racism or sexism from her coworkers, but her inability to shoot a child. kind of opposite to kiyomi in that way, actually, horror at her inability to execute violence against someone that she sees as an inherently innocent being? perhaps part of what endears her to L as well, and light.

SOICHIRO: his greatest strength is his capacity for reflection, which i see as a side effect of his age. soichiro is not caught up in the throes of his own ego, he doesn't have much patience for the mind games, and why would he? he's got a job to do, a family to take care of and love. he's more cool-headed than a lot of the younger characters because of this, capable of reconsidering his morals and the nuances of his ethical stance as he comes in contact with new situations, not holding to some Static idea of This Is How Reality Must Be 100% (see: him softening his stance to say that the true evil is "the capacity to kill," in his hospital bed). yet this love for his family, the fact that he has kind of Made It, is also his greatest weakness-- he's got something to lose now, and especially in the second half, we can see that Fear really get to him.

BEYOND: is simply not that smart. worse, he's all ego and got a simultaneous superiority/inferiority complex. he comes up w/ dumb, overly convoluted puzzles n then looks down on other people for being too Pedestrian to get it, walking naomi through his reasoning bc he thinks she's too stupid to figure out the important shit. i don't even think he's on naomi's level of reasoning, he's just good at murder mystery-esque puzzle bs and lighting himself on fire.

[saphronethaleph]

Palpy Had A Bad Day Some Time Ago

“...I see,” the Chancellor said, with a nod. “You’re certain?”

“Fairly sure,” Mara Skywalker replied. “They declared that… there would be no peace with us while we continued to make use of our foul technology, and that we were all infidels as we did not believe in their gods.”

She rolled her arm, wincing. “I lost a few of my men and women getting out of that.”

The Chancellor frowned.

“I understand your loss, Mara,” she said. “Are you injured?”

“Not seriously,” Mara replied. “Do you have further need of me? I haven’t seen my husband or our son in weeks.”

“I’m… afraid we’ll need you for a bit longer, Mara,” Grand Master Windu said. “You’re the one with the most experience with these aliens. The future has been clouded recently… any insight you can give is valuable, even if they are strangely invisible to the Force.”

“All right,” Mara conceded, leaning back, and frowned.

While Mara thought, Chancellor Mothma turned her attention to the others present in the meeting.

“Admiral Pellaeon?” she said. “The status of the Fleet?”

“Could be better,” Pellaeon said, unflinchingly. “The active squadrons are ready, but it’s going to take a few months to activate the Reserve. That’s partly training time for the new recruits we’d need. It would go faster if we called up all the Clone pensioners, though.”

“We are certainly going to call up the pensioners,” Mothma answered. “Unless, that is, the Senate is entirely worse than it has been throughout my entire tenure… the Hutt Wars were less clear-cut than this, by far.”

She glanced up at Mara. “Speaking of which, Mara – do you have any information about their ships?”

“Their ships…” Mara repeated, closing her eyes and focusing.

Everyone present knew what she was doing. It was an old Jedi trick, paying more attention to her own memory, focusing on it as precisely as she could and allowing her to gain information she hadn’t noticed at the time.

“Their fighters are odd,” she said. “No shields, but our shots didn’t connect when they should have done – the laser blasts arced.”

“You were firing?” Fey’lya asked.

“They shot first, if you’re wondering,” Mara replied, dryly. “Firing high temperature objects, stronger than our own fighter guns, and the shields had trouble with the projectiles but I was able to shoot them down as they came in. There was… I think there’s some kind of gravity effect involved, but I don’t have enough information to be sure. But the reports are true – all their technology that we saw is organic.”

“Organic spacecraft?” Pellaeon said.

“Coral, I think,” Mara replied. “Thinking about it now, it looks right, and there was far too much variance within the same squadron for it to be a ship class manufactured in ways we’re used to. As for their larger vessels…”

She went silent again, thinking. “They had several different sizes of ships, and some of them were as much as ten kilometres in diameter – roughly disc shaped. I didn’t get more information than that.”

“Then we’re dealing with a sizeable fleet threat,” Pellaeon said. “Chancellor, this is going to mean more than just a mobilization of the Reserve.”

“I understand,” Mothma agreed, heavily. “And if they have come to invade, they are going to be trying to invade our worlds as well.”

She looked up at the final member of the cabinet. “Marshal?”

Marshal Harek – CC-11380 – nodded to her in reply.

“You’re asking about mobilization, I take it?” he asked, continuing as soon as Mothma had confirmed it. “The recall of pensioned clones is technically a volunteer matter, but all indications I’ve ever seen are that we’ll get back functionally all of them. With ten years of reserve status after a five year career, that means we’re looking at… call it seventeen million, after allowing for losses during service over the last fifteen years.

“Not exactly enough to fight an intergalactic war,” Pellaeon said. “If that is what’s going on.”

“You don’t need to tell me that,” Harek replied. “It’s what we’ve got among the regular army, though. Chancellor, it is my professional opinion that some kind of nat-born mobilization is needed… if these aliens are targeting the Jedi, then a lot of our manpower is going to be needed keeping them safe.”

“I agree with you,” Mothma agreed. “I do not want to enact conscription. Indeed, I would like to be able to offer all currently serving clones the option of terminating their contracts early. The system is set up with the understanding that clones serve five years in something close to peace.”

“Chancellor… my brothers would see it as an insult,” Harek replied, quietly. “As a formal announcement, anyway. I’ll see about making it quietly known, and there might be a few hundred who take it up, but I wouldn’t expect more than that.”

Mothma nodded, and was silent for a long moment.

“Master Windu?” she asked.

“The Jedi will protect the Republic,” the old Jedi replied. “That has always been the deal.”

“I know,” Mothma said, quietly. “But I remember a time you were nearly destroyed by it.”

“If the loss of the Jedi leads to the survival of the Republic, it’s worth it,” Mara declared. “I certainly hope it wouldn’t, but… how could we place so few sapients over so many worlds?”

Mothma met Mara’s gaze, then closed her eyes in understanding.

“Very well, then,” she said. “Minister Fey’lya? Do you see any issues that would result with a prompt shift to a war footing?”

The bothan frowned, ears twitching as he thought.

“Have we considered the old droid armies?” he asked.

“You’re not suggesting we fight alongside a droid army, are you?” Harek said.

“He has a point,” Mara volunteered. “If you didn’t see it… you don’t realize how much these aliens hate droids.”

Harek made to reply, then stopped himself.

“...I guess,” he conceded, reluctantly. “It just doesn’t feel right, clones fighting alongside droids.”

He glanced at Fey’lya. “And I know you’re planning on using this to get gratitude from the great merchant houses.”

“We need as many troops as possible, as quickly as possible,” Fey’lya said. “We are all part of the Republic… it has been long enough that the high leadership of the great merchant houses was not even born during the Separatist Crisis.”

“And you didn’t deny it,” Harek said, then sighed. “Well, Master Windu – Chancellor – it’s up to you. I’m just a simple soldier.”

“Hardly that, Marshal,” Windu replied, quietly. “I understand your reluctance. In truth, I feel it myself… but this is a war to defend the Republic. If there are measures we will be forced into by war, then if a droid army is the worst I will count myself a happy man.”

“All right,” Mothma decided. “I believe I have a sense of what we will be doing… Borsk, if you could draft a declaration of war and the mobilization acts? Gilad, Marshal, any groundwork you need before the official mobilization – please, begin as soon as possible.”

She sighed. “Master Jedi…”

“I’ll have members of the Jedi Council discuss things with the shipbuilding houses,” Windu said. “While there are limits, Chancellor… we are at your service.”

“Thank you,” Mon Mothma nodded. “And Mara… you should go and see your husband and son. It’s the least I can offer you.”

[givehimthemedicine]

lumax as a premature relationship

first: I don't mean any of this like "the show shouldn't have done it". what I mean is that with lumax, ST is telling the story of a relationship whose flaw (if it can be summarized into just one) is that it happened too soon.

probably out of comparison to milkvan, and the delay of canon byler, lumax gets lauded as the wholesome ship based on true friendship that slowly blossomed into romance. but that's not accurate. Lucas is a good friend to Max, but Max isn't to Lucas, and it certainly wasn't slow.

even platonic lumax should've been a slow simmer but was a speed run

the newly-introduced Max has high walls, which suggests anyone who wants to get close to her will have to take a slow approach. but then before you know it, Lucas is just kinda. in there.

yes, it takes him most of the season to earn Max's trust, which sounds long, but isn't. the first time Lucas and Max ever spoke was Halloween, Wednesday. the arcade I think is Saturday, and the junkyard is the day after that? so she broaches the darkest subject in her life... 4 days after meeting him. with like. zero prompting. "that fog looks cool! btw my parents are divorced and..."

Max's walls are only so high because of how badly she wants to let someone in, so it's understandable that the right person could get in relatively fast. I have no problem with that trope. sucker, in fact. but opening up here was CRAZY for someone with huge trust issues:

you have to be careful who you confide in about abuse because if your confidant mishandles it so that your abuser finds out you told, things could get MUCH worse. she simply doesn't know Lucas well enough to know he won't accidentally put her in more danger (which actually he already did: by following her out of the arcade after she said not to, and again by showing up at her house).

this talk was moments before Max saw a demodog, meaning she's gone along with the supernatural story without any evidence. I'm not criticizing that; she's a kid who likes fantasy, wants friends really bad, and isn't above playing make-believe in order to be included. what bothers me is she confided in Lucas about her abuse BEFORE seeing a shred of proof this entire outing wasn't the elaborate prank she feared it was. in the infinitely more realistic scenario that these boys are just messing with her, and will ditch her after they've had their laugh, this could so easily have led to a much darker situation at home.

the timing of that conversation was so objectively, stupidly unsafe that I'd call it bad writing if it was an isolated incident. but, self-preservation instincts so terrible they can sometimes be better explained as elf-sabotage - that's just classic Max.

romantic lumax seemed kind of forced because as a new kid in town, all Max wanted was friendship

the snow ball is about a month after everything else. Max and Lucas don't seem to be a couple yet. it doesn't even look like they're dates. so to kiss him suddenly felt like another jump way ahead. he sure looked surprised.

I guess a month is a while when you're 13, but the romantic aspect felt rushed to me because the whole season is full of indications that Max only wanted friendship. and that's made super clear by her constant focus on group friendship. her dialogue throughout 2 is consistently group-oriented.

her behavior is too: as of Halloween, Max has Lucas and Dustin in her pocket. if she's crushing on Lucas, or enjoys attention from boys in general, why on earth would she go out on such a limb seeking Mike's acceptance after she already has what she wants?

because that's not what she wants most. she wants to belong to the whole group, like she keeps saying. (I'm going to ramble much more about this theme in another post soon)

Max continues to prioritize friendship / group activities even after lumax becomes a thing

a few examples:

lumax's idea of "romantic time" can include their friends, in contrast to milkvan prioritizing alone time.

Max (and Lucas) drop 1 on 1 time (washing out his eyes is a scene that's an easy kiss opportunity for your standard tv teen couple) in favor of a long trek in the sun to build a radio tower so Dustin can talk to a girl she doesn't believe exists. Max and Lucas do skip off together, but again in contrast to El and Mike who leave early to make out, they only leave because it's time to go home.

^that's the same Max who tagged along and earnestly participated in armoring up a junked schoolbus to fight monsters without any proof.

despite downsizing for trailer living, she kept the Michael Myers mask in memory of the first night she felt like a part of the party.

unlike others who yell for their loved one from the UD, Max calls out for Lucas and Dustin.

her life-saving montage includes many platonic as well as romantic moments.

alright killjoy, if Max only wanted friendship, how's it make sense that SHE initiated all the romantic stuff?

ST is not a universe where grabbing someone's hand in a tense moment is necessarily an indicator of romance. Dustin said he could feel "the electricity" when Lucas and Max held hands on the bus, but then, Dustin also ships stobin.

the kiss, I could actually come closest to calling a writing misstep because.. it wasn't written. it feels forced because it was, as a last-minute unscripted thing - not because the Duffers decided it fit Max's characterization, but purely because they thought it was funny how uncomfortable Sadie was with filming her first kiss. <- this interview is actually so gross.

but, that kiss is canon regardless of how I feel about bts lore, and it fits and it works in the sense that this is the story of a flawed relationship. Max initiated it despite not being ready for it, simply because she thought she was.

Max's childhood fears about bad relationships have made her overeager to prove a good relationship can exist. so the first time a boy is actually kind to her, she's like OH SEE LOVE IS REAL I DONT HAVE TO GROW UP TO BE MY MOM LET'S GOOOO and hurls herself into something she's not mature enough to realize she's too immature to execute well.

if that kiss was so misguided, how's it still Max's happiest memory?

there's no conflict there.

she grew up around terrible relationships and probably feared she was destined for the same, so to find a nice boy like Lucas must have given her such incredible relief and hope. in her young mind, that dance was her happily ever after. you never forget how good a moment like that felt, regardless of how well reality lived up to it.

that said. can I point out that reality hasn't lived up to it?

Max choosing the moment lumax began, as opposed to any moment from the year-and-change of its actual contents... might be less good the more you think about it. like. she doesn't describe this as her favorite memory. she says it's the time she was happiest. in other words, she hasn't been as happy before or since.

that kiss marked lumax's moment of greatest potential, which I think is what made Max so happy. not the relationship she's actually gotten so far.

mmkay and then what do I do about the fact Max STILL wants to date Lucas?

once again, Max is the one who makes things overtly romantic by doodling a picture of them holding hands. but as you may know from my recent lumax diatribe, I don't see how the ship is seaworthy at present.

so the top layer of my interpretation is that Max is still operating under the same ideas that caused her to kiss Lucas in the first place. she's not thinking about how it'll work; she just wants. this is fast-forward Max again. it's a similar moment of hope to the snow ball kiss. romance with Lucas once again looks like her lifeline out of an awful situation.

the layer underneath that is less fluffy:

Max might've accepted this invite in as much an "I might die tonight so it won't hurt to make some lighthearted plans for the future, he did just save my life so why hurt his feelings for no reason" way as anything else. I don't mean her affection is fake. she just might consider the movie date a pipe dream.

consider that her attic monologue happens only a couple minutes after the doodle, and shows that her suicidal ideations are barely behind her. like, the wanting-to-die part is just bait at this point I think, but the deserving-to-die sentiment still feels fresh and sincere.

consider that Max so recently scolded Lucas for assuring her things would work out because that's "never true" in her life... and now here she is drawing a doodle of things working out.

sure, this could be a girl who's thinking "yes!!! ✅ Attending Event! I genuinely expect to be alive, deserving of love, and in the mood for romance this Friday!" but to me, it honestly seems more like a girl thinking "God, I wish."

btw the doodle would've been perfect as the advent of romantic lumax, imo

if lumax had grown slowly out of a healthy mutual friendship, Max really could be ready right here.

imagine: s2, Max earns her place in the party, but to grow especially close friends with Lucas takes a year; the bus talk happens in s3. we can tell their friendship is starting to want to become more. depression interferes in s4. but their bond helps pierce the fog, and they protect each other from Vecna/Jason.

you hit me with the movie doodle after THAT buildup? adorable, precious, showstopping. at that point, that date could've been their happily ever after. <- this is what people think it is already!

lumax is one of many flawed relationships (and that's okay)

another sign that lumax is supposed to be flawed is its place in the larger pattern of flawed relationships: parallels with other characters and ships.

Max and El in particular share a similar stumble into their relationships: both bond with the first boy to treat them with kindness, and throw themselves into a relationship that actually costs them the friendship they should've had with that boy.

and all the party relationships illustrate different friendship/romance progressions:

lumax is the story of a romance that should've been a friendship first/also and isn't going to succeed til it gets this right

byler will be the story of a romance that was a friendship first and will succeed by remaining one also (or so the themes and patterns suggest)

mileven is the story of a romance that should've been a friendship instead.

literally all of ST's relationships, including the endgame romances, have flaws that are intentional and meant to be explored. in fact that's like... most of what the show is. and most fans can readily admit that about all of them, until they get to lumax, which they think is uniquely meant to be perfect and is flawed only in its writing. this view strips lumax from its broader context and ignores many lessons it's there to teach us about ST's overarching themes.

understand: my aim in pointing out lumax's flaws is not to persuade anyone to enjoy it less or stop shipping it!

flaws don't mean you aren't allowed to like a thing. if anything, it makes them way more interesting to discuss, and more compelling to root for/against. we don't have to pretend our characters are perfect in order to enjoy, ship, and learn from them.

more on all this coming soon in another post exploring different types of love in the Max plot!

[katerinaaqu]

It is possible since the only passage we see that Odysseus might have been on the horse is that second one that says "they flew" aka "they ran off". My estimation is that Odysseus was also on a horse (or even a chariot given how a chariot is mentioned to the passage before) is that Diomedes jumps on a horse. If Odysseus were to run by the horses then why would Diomedes ride? That would make them slower (yeah we know Odysseus is a fast sprinter given how not only he is mentioned to be so by Antilochus in the Iliad but also according to myths he managed to beat Icarius (a known champion sprinter) for the hand of Penelope but him running next to a horse with a rider sounds impractical. Unless of course their objective was not to flee while riding but quietly take the horses away. That could work. Diomedes is on the horse that would allow him to carry the spoils better while Odysseus from the ground hits the horse with his bow and they both lead the horses away.

It is possible indeed, you are not at all incorrect, that Odysseus was running by the horse at first or holding the horse while Diomedes was on the horse and holding the spoils of Dolon, which could explain how it is Odysseus to hold the horses to a stop so that Diomedes can jump down and give HIM the spoils and jump on the horse again so that he would lead the horses in the camp and Odysseus could continue on foot with the spoils.

But yes either way as I said Odysseus knows how to handle horses for he can stop them or urge them to walk and he has a chariot of his own but yes he definitely seems not a confident rider and I find it extremely interesting and not to mention even stronger persuades me that Homer was one writer; Odysseus is shown to have basic knowledge on horses in Iliad and in the Odyssey Telemachus confirms that in the island of Ithaca they do not generally have horses. Which is why I find this narrative so well done that is almost seamless in my brain. But yeah.

(I see! Interesting information! Although I could argue that "bronze age horses" still had different breeds and such. Even Homer comments on how the Horses Diomedes and Odysseus steal are Thracian so we do speak on different breeds but yes on average I believe especially to the area of Mediterannean we find generally smaller horses. I mean even now horses of Mediterannean tend to be shorter in struture)

Anyways who knows maybe the horses would still be tall for Odysseus hahaha we know he is barely of average height so it is possible hahaha 😆 but yes Odysseus seems more familiar with animals like sheep and goats, he knows how to cultivate plants and treat trees and such and we know that Laërtes tended to trees himself but yes on horses he seems to have barely basic knowledge (which could also be enforced by the myth that has him ask someone else to build the Trojan horse for him)

Actually they seem to work pretty well with the context and you are not wrong at all. I only hypothesized that Odysseus would be on a horse but didn't mention that as that it is co clusive evidence. Your idea seems equally if not more powerful than that.

Actually no! I thank you for your thoughts! Your reblogs are always valuable!

Did Odysseus have horses or not? (An Iliad and Odyssey Analysis)

This little thing came from a post made by @wolfythewitch and my response in regards to some Cephallenian horses that can still be found to Kephallonia to this day: see here So here is a more extensive analysis on the question of horses and Ithaca or the kingdom of the Cephallenians in general

So as we know from antiquity, horses are known to be a sign of nobility, proof of status and of course a valuable animal for work such as farming or war. Horses play a very important role in the homeric poems with of course the most infamous example of all the Trojan Horse that was the symbol of Troy and became its destruction. Many heroes have had the pseudonym "tamer of horses" including Diomedes and Hector.

It seems also that horses are linked most to some of the richest and most powerful kingdoms are shown to have beautiful or good horses. For example except for Troy that as also linked to god Poseidon and thus to the sumbol of Horse, we also see Argos be famous for the horses (and king Diomedes earning his name from it) or even Sparta (Menelaus providing horses to Telemachus which are praised) and Pylos when Nestor also provides Telemachus and Peisistratus with horses.

But what about Ithaca?

As mentioned above and as others mentioned before me, it seems that Ithaca, the tiny rugged place Odysseus speaks about does not seem to have terrains that are capable of hosting horses like wide plains or wide and smooth roads where horses can trot freely or graze. The existence of animals for work as well seems to be touched in post-homeric sources such as Hyginus Fabulae where we see the infamous story of Odysseus pretending madness. He ties to his plow a donkey and a cow instead. Both of the animals are more frequent for plowing fields or carrying loads especially donkeys and mules that are still famous in Greece and greek islands and they are known for being capable of marching across the wild terrains and uphill paths.

Ironically, or not so much, Ithaca seems to have a lack of horses according to Telemachus himself for when Menelaus offers him parting gifts, including horses, Telemachus replies to him thus:

However the horses I shall not take with me to Ithaca but I shall leave them to you, with your permission (lit: to your glory): for you are a king of wide fields, rich in clove and galingale and plenty of wheat that is dicocum and white. However in Ithaca there are neither wide roads nor grassy meadows; place that is fit for goats to walk and graze on rather than horses. For no island that leans in the salt (here: sea) is fit for riding and grazing horses: Ithaca least of all.

(Translation by me)

So here Telemachus seems to imply that not only most of silands have unfriendly terrain for horses but also that Ithaca is "least of all". Now there are a couple of things here that are toned out:

Ithaca is described as a ragged place by Odysseus as well when he speaks on his homeland to the Phaeaces and even nowadays it is indeed true that Ithaca has more mountain plains than wide fields given how small the island is as well and in general Greece is over 80% mountains anyways.

Homer makes Telemachus speak on how Ithaca is the "least of all" suitable for horses. Probably that is a small hyperbole. For starters maybe one could speak on "least of all" in the islands of the Ionian sea instead, which Telemachus probably is familiar with because islands in the Aegean sea are much dryer and uphill than the islands on the Ionian sea so it is probably a hyperbole used by Homer to show how unsuitable Ithaca is for riding horses or comparing them to islands of the Ionian sea instead (because see for example an image of Folegandros which has even less greenery for horses to feed on:

However the image that Ithaca is probably boarderline hostile for horses and riding is also linked to the fact on how Ithaca is often perceived as a land rich in certain products such as olives or fruit trees (due to the mild climate) but a generally poorer island and kingdom compared to others like Mycenae, Argos or Sparta. When Telemachus visits Sparta is is mesmerized by her beauty and richness.

Even if we do have examples in Ithaca that show that Ithaca is not a weak or penniless kingdom (Penelope sits on a chair with ivory which is an exotic material very hard to find or Odysseus leaves for war wearing a crimson woolen mantle that is decorated with a golden brooch. Both gold and the color crimson were extremely valuable. For example crimson pigmentation is found only at the shells that come from the east so it would require good economy to obtain) Ithaca is by general idea a poorer and less powerful kingdom than the rest (Odysseus is one of the kings that brings the least amount of ships with him at the number of 12 and around 603 men in total including himself)

The absense of horses or the hint that Ithaca does not breed horses at all, according to some readings of the passage, is also linked to the lack of powerful status for the kingdom. The kingdom itself is not one of the great powerful kingdoms of Greece like his peers from Mycenae or Argos and the fact that a status symbol like Horses is absent is rather interesting way to show that. In fact Ithaca seems to gain fame by its people rather than its political power.

(See how Odysseus calls the island κουροτρόφο aka "nurturer of men". Odysseus implies that the importance of his kingdom is not to the status symbols but to its people and their braveness)

But can we really talk on complete absence of horses in Odysseus's life?

Cephallonia's Semi-wild Horses:

As I mentioned to the post I reblogged under @wolfythewitch post we do seem to have a breed of horses to the area. The horses are being left to roam about according to an ancient custom because Cephallonia has no much space to keep them so the farmers do tame them but leave them roam free to the plains and now they are part of the national park of Aenus mountain:

These horses have been adapted to ride perfectly well to the rough rocky terrains of the mountain. Now of course the breed was probably imported from the mainland (most likely from Pindos mountains). Cephallonia has also been suggested as the location of the homeric Ithaca (and the giver of name of his kingdom) due to the fact that it deprives from homeric description that Cephallonia was "the most far western island" or, as I would probably be willing to believe, that maybe the land of modern Ithaca and Cephallonia were connected by land at that time (take that hypothesis with a grain of salt but I think it is highly possible) other locations suggested were even Lefkas for they discovered Mycenaean remains there

It is of course unclear when these horses enter the terrain. Itis possible that the horses arrive way after the bronze age that Odysseus ellegedly lived or even after Homer's time even, if Homer doesn't mention them or mentions that horses are not possible to grow in Ithaca.

It could also be, though, that homer completely dispatches horses from Ithaca to that degree again to point out the difference of status between Ithaca and Sparta. And, another totally wild guess, is also interesting how the animal symbol of Poseidon is absent from the island of Ithaca to the poem that speaks about the hubris of Odysseus against Poseidon and the god's wrath against him! Food for thought! XD

No horses in Ithaca doesn't necessarily mean Cephallinians had no horses at all:

Another thing that people often forget is that Odysseus was not king of Ithaca only. The kingdom of Cephallenians was a kingdom that spread over several islands AND part of the mainland where modern day Aitoloakarnania is:

The kingdom is not limited to the island of Ithaca only. Acarnania is also a wide area. Horses can possibly be bred there and also be providing the islands if needed. It is interesting because Odysseus is not only in posession of a chariot in the Iliad but he also seems perfectly capable of riding horses. In the Iliad for example both he and Diomedes steal the Thracian Horses in rhapsody 10:

So she spoke and he (Diomedes) recognized the goddess's voice and swiftly jumped on the horses: Odysseus smote them with his bow and they trotted towards the fast ships of the Achaeans

(Translation by me)

Interestingly Homer uses the 3rd singular of the verb: ἐπεβήσετο (he rode) but then proceeds using the 3rd plural ἐπέτοντο (they flew/rode away). So what could it be? Could it be perhaps that Odysseus jumped on the horse behind Diomedes and smote it with his bow to start trotting away? In that case we could speak indeed on the fact that clearly Diomedes was a better rider than Odysseus given that he is more familiar with horses. However if both of them ride away that means that Odysseus is not completely oblivious of horses he just doesn't seem to be so capable with them indeed. In fact the first is rather confirmed at the passage that follows soon after:

Then Odysseus beloved to Zeus restrained the quick horses, while the son of Tydeus jumped on the ground, placing the bloody spoils to the hands of Odysseus and once more he rode the horses; hitting them with a whip and nothing stopped them from flying to the hollow ships, as they so much wished to be.

(Translation by me)

So in this scene Diomedes seems to be the protagonist, being more knowledgable on horses (he is the one who rides first and trots) while Odysseus plays a more auxiliary role (steeds and holds the horses or holds the spoils in hand) but he doesnt seem completely oblivious to the exietence or treatment of horses. He both knows how to restrain and steer them but he is also in posession of a chariot with which he fights in the Iliad and covers the retreat of Diomedes and later that same chariot comes to pick him up from the battle (see rhapsody 11).

Conclusions:

So Homer seems to be sticking to the notion that horses are not widedly used in Ithaca or the rest of the kingdom due to its rough terrain. Not only does Telemachus speak of it but we also see the image in Iliad where Odysseus is clearly not as capable rider as Diomedes given how while they trot away. Of course needs to be noted how the horses are often depicted unbriddled and without a saddle in the artwork so it is also interesting to think that Odysseus wouldn't be able to ride without equipment while Diomedes who is more familiar with horses he has no problem.

Odysseus seems to stick more to chariots than horse riding which also indicates that he is not familiar with horse riding to that extent or that he is not particularly confident in it, however he seems capable of doing it.

The existence of the horse breed in Cephallonia as well as the fact that the kingdom also involves the mainland could indicate that horses were not unknown to the Cephallenians just not widedly used. Odysseus speaks many times on horses and their beauty and strength so he is familiar with them and he can judge (bet he also learnt a bunch from his fellow kings like Diomedes and the idea of Diomedes showing Odysseus even more stuff about horses sounds a cute image doesn't it!?) but from the incidents such as the one from the Iliad, suggest that he is not confident rider.

His knowledge seems less extensive compared to his knowledge on other stuff such as sheep and goats (he praises the flock of Polyphemus for example, elemet that I also used to my retelling/one-shot fic "Escape from Cyclops Island: Hubris") or stars and navigation so indeed even if he does have knowledge on riding or chariots he is not very confident in it.

So I tend to be somewhere in the middle; I don't believe that the Cephallinians had no horses at all or that they had no idea on horses (Telemachus himself has some knowledge after all since he mentions immediately to Menelaus that his gift would be unsuitable for his land) it is just that if they can host horses it is just some very sturdy and adaptable ones like the ones used at mountain passages and even those were not widedly used. They would probably have more mules or donkeys for transportation like it happens to mountain terrains and use more cattle as farming animals. The use of horses must have been very scarce to the point of providing them general knowledge but not as widedly used as in other places

But what do you guys think? Let me know!