#industrial mold remover

[moldremovalstore]

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[drdemonprince]

It’s true that America has one of the lowest voter turnout rates in the industrialized world, with only 62% of eligible adults turning up to the polls on a good year, and about 50% on a typical one. But if we really dive into the social science data, we can see that non-voters aren’t a bunch of nihilistic commie layabouts who’d prefer to die in a bridge collapse or of an untreated listeria infection than vote for someone who isn’t Vladimir Lenin. No, if we really study it carefully, we can see that the American electoral system has a series of unique features that easily account for why we find voting more cumbersome, confusing, and unrewarding than almost any other voters in the world.

Let’s take a look at the many reasons why Americans don’t vote:

1. We Have the Most Frequent Elections of Any Country

Most other democratic countries only hold major elections once every four or five years, with the occasional local election in between. This is in sharp contrast with the U.S., where we have some smattering of primaries, regional elections, state elections, ballot measures, midterm elections, and national elections basically every single year, often multiple times per year. We have elections more frequently than any other nation in the world — but just as swallowing mountains of vitamin C tablets doesn’t guarantee better health, voting more and harder hasn’t given us more democracy.

2. We Don’t Make Election Day a Holiday

The United States also does far less than most other democracies to facilitate its voters getting to the polls. In 22 countries, voting is legally mandated, and turnout is consequently very high; most countries instead make election day a national holiday, or hold elections on weekends. The United States, in contrast, typically holds elections on weekdays, during work hours, with minimal legal protections for employees whose only option to vote is on the clock.

3. We Make Registration as Hard as Possible

From Denmark, to Sweden, to Iceland, Belgium, and Iraq, all eligible voters in most democracies are automatically registered to vote upon reaching legal adulthood. Voting is typically regarded as a rite of passage one takes part in alongside their classmates and neighbors, made part of the natural flow of the country’s bureaucratic processes.

In the United States, in contrast, voter registration is a process that the individual must seek out — or more recently, be goaded into by their doctor. Here voting is not a communal event, it’s a personal choice, and failing to make the correct choice at the correct time can be penalized. In most other countries, there are no restrictions on when a voter can register, but in much of the United States, registering too early can mean you get stricken from the voter rolls by the time the election rolls around, and registering too late means you’re barred from voting at all.

4. We Make Voters Re-Register Far Too Often

In countries like Canada, Germany, and the Netherlands, voter registration updates automatically when a person moves. In the United State, any time a person changes addresses they must go out of their way to register to vote all over again. This policy disadvantages poorer and younger voters, who move frequently because of job and schooling changes, or landlords who have decided to farm black mold colonies in their kitchens.

Even if a voter does not change their address, in the United States it’s quite common for their registrations to be removed anyway— due to name changes, marriages, data breaches, or simply because the voter rolls from the previous election year have been purged to “prevent fraud” (read: eliminate Black, brown, poor, and left-leaning members from the electorate).

5. We Limit Access to Polling Places & Mail-in Ballots

In many countries, voters can show up to any number of polling places on election day, and showing identification is not always necessary. Here in the United States, the ability to vote is typically restricted to a single polling place. Voter ID laws have been used since before the Jim Crow era to make political participation more difficult for Black, brown, and impoverished voters, as well as for those for whom English is not their first language. Early and absentee voting options are also pretty firmly restricted. About a quarter of democracies worldwide rely on mail-in ballots to make voting more accessible for everyone; here, a mail-in ballot must be requested in advance.

All of these structural barriers help explain why just over 50% of non-voters in the United States are people of color, and a majority of non-voters have been repeatedly found to be impoverished and otherwise marginalized. But these populations don’t only feel excluded from the political process on a practical level: they also report feeling completely unrepresented by the available political options.

6. We Have the Longest, Most Expensive Campaign Seasons

Americans have some of the longest campaign seasons in the world, with Presidential elections lasting about 565 days on average. For reference, the UK’s campaign season is 139 days, Mexico’s is 147, and Canada’s is just 50. We also do not have publicly funded campaigns: our politicians rely upon donors almost entirely.

Because our elections are so frequent and our campaigns are so long and expensive, many American elected officials are in a nearly constant state of fundraising and campaigning. When you take into account the time devoted to organizing rallies, meeting with donors, courting lobbyists, knocking on doors, recording advertisements, and traveling the campaign trail, most federally elected politicians spend more time trying to win their seat than actually doing their jobs.

Imagine how much work you’d get done if you had to interview for your job every day. And now imagine that the person actually paying your wage didn’t want you to do that job at all:

7. Our Elected Officials Do Very Little

Elected officials who spend the majority of their hours campaigning and courting donors don’t have much time to get work done. Nor do they have much incentive to — in practice, their role is to represent the large corporations, weapons manufacturers, Silicon Valley start-ups, and investors who pay their bills, and serve as a stopgap when the public’s demands run afoul of those groups’ interests.

Perhaps that is why, as campaign seasons have gotten longer and more expensive and income inequality has grown more stark, our elected officials have become lean-out quiet quitters of historic proportions. The 118th Congress has so far been the least productive session on record, with only 82 laws having been passed in last two years out of the over 11,000 brought to the floor.

The Biden Administration has moved at a similarly glacial pace; aside from leaping for the phone when Israel calls requesting checking account transfers every two or three weeks, the executive-in-chief has done little but fumble at student loan relief and abortion protections, and bandied about banning TikTok.

The average age of American elected officials has been on a steady rise for some time now, with the obvious senility of figures like Biden, Mitch McConnell, and the late Diane Feinstein serving as the most obvious markers of the government’s stagnancy. Carting around a confused, ailing elderly person’s body around the halls of power like a decommissioned animatronic requires a depth of indifference to human suffering that few of us outside Washington can fathom. But more than that, it reflects a desperation for both parties to cling to what sources of influence and wealth they have. These aged figures are/were reliable simps for Blackstone, General Dynamics, Disney, and AIPAC, and their loyalty is worth far more than their cognitive capacity, or legislative productivity. Their job, in a very real sense, is to not do their job, and a beating-heart cadaver can do that just fine.

You can read the rest of the list for free (or have it narrated to you on the Substack app) at drdevonprice.substack.com!

[sitepathos]

Imagine the angst if Bruce does end up finding a cure for the Megamycete, but when he injects reader, he starts to calcify immediately bc the megamycete replaced most of his cells already. Reader laughing maniacally as he crumbles bc he won

First of all, I hope everyone had a great holiday season, whether you celebrate Christmas, Hanukkah, Kwanzaa, etc. Also, Happy New Year to those already in 2025 and to the rest of us still in 2024, hope you’ve found a fun way to ring in the upcoming year!

Second, I’ve had A LOT of people asking me this question (for real, most of my asks are about the Reader dying after the Megamycete is removed) and I just want to say… sips sweet tea.

Sorry, everyone, that is MAJOR spoiler territory and I’m not ready to reveal that information. You’ll just have to wait until climax of the series to find out whether you lose the Megamycete and what happens if you do, or if you prevail over the Bats.

But, for this individual’s ask, let’s just say the Bats do manage to kill the Megamycete, resulting in your death due to it making up much of your body at this point. You slowly but surely turn an alarming shade of white before crumbing into dust, choosing to spend your last few moments of life to mock them, laugh at them, and that “you’ll see them in hell.”

Bruce would be totally destroyed that he’s the reason for his son’s death. Once again, a member of his family is dead, but unlike Joe Chill and Joker, he was the killer, the smoking gun/detonator in his hand. He completely withdraws into his work, both as Bruce Wayne and Batman; doing anything he can think of to keep from being reminded that the last words his son said to him was that he’d see him in hell (he’ll gladly spend the rest of eternity being tortured if it means being near you). He had your calcified remains gathered into a capsule and buried in the Wayne Family Cemetery (despite Alfred’s best efforts to convince him to bury you next to your mother).

Dick is heartbroken, both at his baby brother being dead and that death was preferable over you being with them, your family. While Bruce withdraws, Dick becomes more present, dropping in on his siblings practically every day, asking how their day was, what they’re currently doing, do they want to hang out, etc. He also visits your grave everyday, telling you about his day, what’s going on with the family, and how he regrets not being a better big brother to you and he wishes he could change the past.

Jason separates himself from the family (except Alfred, of course), pissed at them for mistreating you for years, but mostly pissed at himself for doing the same thing. Looking back, he can see that he was so engulfed in his anger, pain, hatred, and sadness and so convinced that he’s the only one in the family that’s suffering that he couldn’t see that you were just like him; if he had gotten his shit together, he would’ve seen that you clearly didn’t belong in this family of batshit crazy vigilantes and you weren’t getting the proper support you needed. If he had, he would’ve snatched you and raised you himself. But he didn’t do that, and he’ll never get the chance to spend anytime with you.

Tim does the same thing as Bruce, drowning himself in his work, both as Tim Drake and Red Robin, but he goes a step further in his spiral into madness that even Bruce couldn’t bring himself to do: obsess over your remains. After your funeral, he dug up the capsule containing the calcified dust that was once you (he has a very concerning obsession with your remains) and brought it to a safe house he had prepared just for this purpose, using all the scientific equipment within it to analyze your remains down to the atomic level, confident that even in this form, you’re still alive (after all, this is a sentient pile of mold we’re taking about, so logic and reason have long since been thrown out the window). When he’s not obsessing over your remains, he’s obsessing over your game studio, having used Drake Industries to acquire it and personally oversees everything it does, telling everyone that he’s doing it to honor you.

Stephanie tries to cheer everyone up, but if even Dick is depressed, there’s nothing she can do. She feels extremely guilty about how she basically threw you away like a child does an old toy after her first week in Wayne Manor. Since Bruce has basically taken over your old room, like he’ll find you there if he goes there enough times, she takes up the burden of taking care of your house (a task she was able to take right from under the noses of Bruce, Tim, and Damian), going through all your possessions every time she’s over there, reading your books, playing the games on your computer, and even sitting in your bed. As she does, she learns a little more about you, making her grief for you even stronger and wishes she could’ve hung out with you.

Cassandra has only known true regret and grief a few times in her life, but her treatment of you and your death are definitely the worse instances of regret and grief she’s ever experience (and probably ever will experience). She accompanies Steph every time she goes to your house, helping clean it, keep your knick-knacks organized, and pointing out anything you may have hidden. As she gazes upon your various collectibles and posters in your game room, she wishes she could’ve gotten to know you more; when she first met you, she deemed you insignificant due to your lack of combat training and low threat level, but she now knows that you were not only a person, but her brother. She only wishes she would’ve learned that lesson before you were taken from them.

Damian is like his father, withdrawing into himself, but he also comes out every now and then to lash out at anyone unfortunate enough to be near him when his anger reaches its boiling point (Jason gives as good as he gets while Dick takes it all in stride). You were his brother and you were suppose to be by his side! When he realized his error, he had made plans for you to be by his side for all the important moments of his life, like when he inevitably inherited the Cowl of Batman, or when he took over Wayne Enterprises, or when he finally triumphed over Drake! But, not only are you dead, but you used your last few moments of death to curse and taunt him. He becomes a time bomb that goes off unexpectedly on a nearly daily basis.

Alfred is absolutely heartbroken over the end of your feud with the family. He knew that you wouldn’t go back willingly after helping the others relate the error of their ways, and when he learned of you being the host of the Megamycete, he already foresaw the fight you’d put up (so much like your father, he thought), but he never thought that you’d take it so far as to result in your death; had he known that you’d die he would’ve found another way of making you return to the manor. But now, you’re gone reduced to a pile of dust. He tried to convince Bruce that you should be buried in your hometown next to your mother (he’d want that more than anything, Master Bruce, he pleaded), but you ended up being buried in the place you hated more than anywhere else close to the people you hated more than anyone else; as much as he hated to admit it, he liked that you were buried in the Wayne Family Cemetery since he can visit your grave everyday, keep it clean from leaves, dirt, and dust and beg for your forgiveness for not doing more while you were alive.

[wolfsclothing6]

MorphoSkin Industries

"Slip Into a New You"

About Us

MorphoSkin Industries is the world’s leading provider of high-quality, hyper-realistic male body suits designed for full-body transformation. Our proprietary BioFlex™ SkinTech replicates human texture, warmth, and even biometric feedback to create the most immersive transformation experience possible. Whether you’re looking to embody a new persona, explore a different life, or simply indulge in your deepest fantasies, MorphoSkin has the perfect fit for you.

Our Product Line

Standard Series – Affordable and flexible suits for casual use.

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Immersion X – Advanced models featuring heartbeat synchronization, voice modulation, and scent adaptation.

Legacy Line – Limited edition historical figures for those who want to become the past.

"Great product 5 stars"

(DM me if you want to write your review/ storys of using MorphoSkin and leave your reviews below) ;)

Terms & Conditions

By purchasing and using a MorphoSkin suit, you agree to the following:

1. You must be 18 years or older to order.

2. Suits are for personal recreational use only—any attempts at fraudulent impersonation are strictly prohibited.

3. Do not expose the suit to extreme heat or open flames (unless you want to melt into your new identity).

4. Once fully merged with a suit, removal may require our patented Reversal Agent™. We are not responsible for permanent transformations.

5. Under no circumstances should you wear a MorphoSkin suit for longer than 72 hours continuously—extended use may cause... unexpected side effects.

Warning: Things You Should NEVER Do While Wearing a MorphoSkin Suit

-Don’t Sleep in It for Too Long

-Do Not Let Someone Else Wear Your Suit

-Don’t Ignore the Itch

[pxnsneverland]

Heartbreak Hotel | austin!elvis x oc (part 4)

(gif source: austinbutlermischief)

plot summary: Angel Casteel is a small town girl who lucked into working as a costume designer at a film studio. Unfortunately, her confidence in herself wavers as she is assigned to work with Elvis on his latest motion picture. Overcome by his star power at first, she slowly starts to realize there is a man behind the fame, a man she understands. But as they grow closer, the world grows more turbulent, especially Elvis's world. Will this Angel be able to save Elvis from himself and the people around him? Or will getting mixed up in his word prove to be her downfall as well?

Part 1 | Part 2 | Part 3

pairings: austin!elvis x oc

word count: 2198

warnings/notes: N/A

Chapter 4: Behind the Music

After a few days, it seemed strange not going to see Elvis on set every morning. Angel found myself with an unusually large amount of free time. This newfound freedom, however, gave Angel the opportunity to dive back into her own passions which had been somewhat sidelined during the intense filming schedule. She spent hours in her small studio, her fingers dancing over textiles and sketches as she conjured up new designs. Between meetings and recordings for a Christmas album he didn’t even want to continue doing, Elvis sought refuge in Angel's studio. The space was serene and flooded with natural light, the walls draped with fabrics of all textures and colors. It was worlds away from the glittering harshness of the showbiz industry that continually tried to mold Elvis into something he was not. As Angel worked, Elvis would often sit quietly in a corner, strumming his guitar lightly, sometimes humming along to whatever tune floated into his mind.

One afternoon, as Elvis watched her sketching a new pattern, he broke the silence with an unexpected suggestion. “Angel, baby,” he started tentatively, “Once all the contracts are up and everything is resolved here, the Colonel is talkin’ about goin’ back to performin’. Movin’ to Las Vegas.”

Angel paused her sketching, her pencil hovering mid-air as she processed his words. The thought of Las Vegas—a city of bright lights and endless nights—seemed so far removed from the quiet intimacy of their current moments. She looked up at him, trying to read his expression. "Las Vegas, huh?" she said softly, laying down her pencil.

“Yeah, Las Vegas. It’s a good place to start up my music again, getting away from LA and leave ‘movie star Elvis’ behind.” He sounded like he was trying to convince himself it was a good move as well as her. “I want you to come with me.”

Angel felt her heart skip a beat at the invitation, the gravity of his words sinking in. She had only been in LA a short while herself, chasing something more than her old country town. She had thought getting a job at the production studio had been that ‘something more’. Until Elvis came into her life. Now, with Elvis’s proposal hanging in the air between them, a new chapter seemed to be beckoning. She hesitated for a moment, the threads of her previous life tugging at her heartstrings. “That’s a…big step, Elvis.”

Elvis watched her carefully, his eyes searching hers for any hint of what she might be thinking. “I know it’s big, darlin’. But I ain’t just talkin’ about Vegas. I’m talkin’ about us. You and me, takin’ on the world together. I can’t imagine bein’ anywhere without you.”

His words wrapped around her like a warm blanket. Angel took a deep breath. She set her pencil down fully and moved towards him, her hands reaching out to grasp his. “You really mean that?”

“Every word,” he affirmed earnestly, capturing her hands in his own and holding them tight.

Angel looked around the studio, at the creations that represented her dreams and aspirations. Could she really leave all this behind? Yet, looking back at Elvis, she realized that he *was* her dream now, inextricably woven into the fabric of her future. She smiled, the decision suddenly clear in her mind. "Alright, Elvis.”

Elvis exhaled a sigh of relief, his face breaking into a wide grin. “You won’t regret it, Angel. I promise you that.” He pulled her into his arms.

*************************************

Half of Angel’s apartment was already packed in preparation for her upcoming move to Las Vegas even if some of Elvis' description of it seemed much too excessive for her. The boxes piled high in the small living room, each labeled with meticulous care: 'Kitchen stuff', 'Sketchbooks', 'Fabric'. Angel moved among them, her heart a mixture of excitement and apprehension. As she folded another of her delicate designs into a box marked 'Studio', she paused, holding the fabric against her cheek. The texture was familiar, comforting. In that moment, the doorbell rang, pulling her from her reverie. She set the fabric down gently and walked over to open the door. Standing there, with a lopsided grin was Elvis. His eyes sparkled with that familiar mischievous glint as he saw the chaos of her half-packed apartment.

“What are you doing here?” Angel asked returning his grin.

“I was hopin’ to pull you away from all this packing.” He kissed her briefly on the lips. “I want you to come somewhere with me today.”

“Where?”

“It’s a surprise.” He motioned behind him and there was a car waiting with a driver.

Angel hesitated, glancing back at the mountain of boxes that still needed her attention. But the allure of an unexpected adventure with Elvis was too tempting to resist. With a playful sigh, she grabbed her purse and followed him out the door.

For the whole of the hour-long car trip, Angel pleaded with Elvis to reveal their destination. With a devilish grin on his face, he continued encouraging her to be patient. As the car continued driving up the mountain, past trees, plants, and the odd cactus, she eventually gave up asking. The road curved and twisted through the landscape, each turn revealing breathtaking vistas that Angel had only ever seen in photographs. The sun was just beginning to dip below the horizon, casting an orange glow over everything. The car finally slowed to a stop behind the Hollywood sign. Elvis got out first then opened the door for Angel extending his hand to assist her out the vehicle. She strolled to the 'O' and stared out the center onto the metropolis. It was stunning in appearance, enormous in size, and all encompassing.

Elvis stood beside her, his presence a comforting constant. He wrapped an arm around her waist, pulling her close as they both took in the expansive view. “I wanted to show you this,” he said softly, his voice tinged with emotion.

Angel turned to look at him, her eyes reflecting the last rays of the setting sun. “It’s beautiful, Elvis. But why here?”

He smiled. “I used to come here a lot when I first moved to Los Angeles. Things seem so simple and quiet up here.” He sat down in the crook of the 'O' and leaned back. He took her hand. “I’ve arranged a meetin’. Jerry told me about these guys he had met goin’ out one night. They’re called Binder and Bones. He kept sayin’ ‘You gotta meet these guys, E.P.! They’re the ones who put James Brown and the Rolling Stones on stage. You gotta meet ‘em’. When we were talkin’ in the trailer about me gettin’ back to myself and all…I thought it wouldn’t hurt to give ‘em a call.”

Angel sat beside him, her heart beating with a mixture of excitement and nervousness. The idea of Elvis reconnecting with his musical roots and stepping back onto the stage was thrilling, yet the uncertainty of it all weighed heavily on her. "Binder and Bones, huh?" she mused aloud, trying to sound more confident than she felt.

Elvis squeezed her hand gently, his gaze fixed on the sprawling city below. "Yeah, they're supposed to be real innovators in the music scene.”

Angel raised an eyebrow. “The Colonel doesn’t know about this, does he?”

A pack of cigarettes appeared from Elvis's pocket. With his lips, he drew one out and lit it. He exhaled the cigarette smoke. “No, he doesn’t. And I’d like to keep it that way for now. He’s got his own ideas about what my comeback should look like, but I need to do this my way.”

Angel nodded. “Well, I don’t have any objections. You know how I feel about that man.”

Elvis chuckled softly, the smoke curling up into the air between them. "I know, darlin'. That's why I'm doing this with you by my side. You understand me more than anybody else."

“Who knows what’s better for Elvis Presley than Elvis Presley, right?”

Elvis grinned, that familiar twinkle lighting up his eyes. “My angel…with you, I think I can finally get things right.” He drew her in and brushed their lips together.

They separated when they heard footsteps approaching. Jerry approached then along with two guys: Binder and Bones. It was clear that all three of them meant business. Angel withdrew her hand from Elvis's. His chest rose and fell as he looked out at the cityscape again.

The guys came to a complete halt. “Mr. Binder, Mr. Howe, this is Mr. Elvis Presley and Ms. Angel Casteel.”

Angel gave a friendly nod to each of them. Elvis pretended for a second that he didn't notice their presence. He looked immersed in what he was seeing. Then he spoke, “When I first came to Hollywood, I would come up here and sit for hours. Right over there…” From where he was seated, the Griffith Observatory was readily visible across the distance. “...that’s where they shot Rebel Without A Cause. Man, I used to dream of bein’ a great actor like Jimmy Dean. The sign was beautiful then.” He stopped to examine the rusty metal that was only visible from this vantage point. “And now…Feels as though lots of things are like that these days. Broke down, beat up. Rotten.”

Elvis removed his sunglasses and proceeded. “I really like what you guys did, putting James Brown and the Stones together.”

Binder responded right away. “We’re, uh…big fans of yours, too. It’s just that, Mr. Presley, we don’t usually—”

“Oh, Elvis.”

“Elvis, uh…” Binder continued, “Christmas specials aren’t really our thing.”

That made Elvis grin knowingly. “I know.” His grin, however, was short-lived and rapidly faded. “Tell me honestly, where do you boys think my career’s at right now?” 

Both Binder and Bones gazed at one other, their silence revealing their reluctance to speak. Bones answered, “Well, it’s…”

“It’s in the toilet, Elvis,” Binder said. He gave Angel a sidelong look. “Sorry for the terminology, ma’am.”

Angel gave a small smile, showing that she took no offense. She appreciated the honesty; it was something Elvis desperately needed if he was going to make a real comeback.

“My girl may look like a lady, but she’s tough.” Elvis laughed and gave Angel a knowing grin before returning to the conversation. “Oh Lord. I knew you were the right guys for this job. You know, back when I was starting out, some people wanted to put me in jail or even kill me, ‘cause of the way I was movin’.” He dismounted from his perch and began to stroll. He stopped when he reached a beam holding up one of the letters and rested against it. “So they cut my hair, put me in a uniform and they sent me away.” Once again, Elvis's mind was wandering off into the past. “That killed my mother. And ever since then…I’ve been lost.”

Angel approached Elvis and placed a protective arm over his forearm. “Elvis…”

He lowered his head and smiled at her. “I’m alright, darlin’.” Elvis turned to see Binder and Bones, who were still listening intently.  “When you’re lost, people take advantage. It wasn’t until an angel came into my life...that I realized how truly lost I was. I need you fellas to help me get back to who I really am.” His tone was pleading rather than assertive.

“And who are you, Elvis?” Binder inquired, peering upward through his oversized sunglasses.

“Well, he sure as hell ain’t someone who sings Christmas songs by a fireplace in a wool sweater,” Angel commented with her hands on her hips. Both Binder and Bones laughed nervously to themselves, then quickly resumed their serious businesslike demeanor.

“And what does the Colonel think?” Bones asked.

“I don’t give a damn what the Colonel thinks,” Elvis answered back.

That appeared to arouse both producers's attention as they exchanged happy glances. They agreed to film Elvis's special and confirmed it with a handshake.

“We’ll start drawing up plans,” Binder said, “Set designs and everything and we’ll run them by you. I promise you’re not going to regret this.”

“No matter if it works out or not, I don’t regret anythin’,' ' Elvis declared.

Jerry waved farewell as he led Binder and Bones back to their vehicle at the top of the hill. When everyone else was gone, Angel grabbed Elvis and threw her arms around his neck. He buried his face in her shoulder stroking calming circles all over her back. They held each other for what seemed like an eternity. Elvis took a step back to look her directly in the eye, but his hands remained planted firmly on her waist. “This is gonna be big, baby doll. I can feel it. Bigger than anythin’ anyone has ever done before.” He pulled strands of hair out of her face. “But no matter what happens, I ain’t gonna let nothin’ happen to you, understand?”

Angel chuckled a little. “What’s gonna happen to me?”

Elvis drew her in for a close kiss on the forehead and then lingered there. He took a long breath in. “Nothin’.”

Stay tuned for part 5!! Click HERE to view!

[starlightvld]

Bait & Switch, pt. 3

<< Part 1 // Part 2 // Part 3 // Part 4 >>

Based on "I wasn't in that tunnel."

Call of Duty, implied soapghost // CW: angst, hurt no comfort (yet), suicidal ideation, violent thoughts of self harm, MWIII spoilers

---

Everything is wrong — the dead bodies surrounding him, the strange hiss in his ear, the hateful expression on Ghost's face as he describes all the things Soap doesn't remember. 

All the ways he's hurt the people he loves the most.

No wonder Ghost is treating him like he's the enemy. It's because he is.

He sits back on his heels and stares at the blue sky he thought he'd never see again. The smell of death and human waste wafts through the broken-out glass of his helmet and sends him back to his hole in the ground where he would sit in a gut-churning mixture of mold, blood, and his own shit for the days and sometimes weeks between the ice cold spray-downs just before Makarov paid him a visit.

He's dizzy. Exhausted. Horrified.

And the inescapable hiss from his helmet makes him want to stab out his ear drums. The violence of the visceral thought sends a shiver down his spine.

Years.

Ghost said he's been trying to kill the 141 for years — months upon months of being nothing more than a mindless machine, a puppet for Makarov to pull the strings and make him dance. The implications of the broken out glass and the hissing are clear. Can he even trust himself not to turn again if he takes too big of a whiff of whatever is pumping out of his helmet?

He holds his breath. The longer he doesn't breathe, the more the world goes hazy. Vicious pain slices through his temples, and his lungs convulse, sucking in huge gulps of air. His vision blackens at the edges, the compulsion for violence rising higher—

Wind buffets his face, and the blackness clears away.

He supposes that answers that question.

He tries again to remove the helmet, but it seems to be sealed to his tactical vest — a vest that doesn't have any straps to loosen that he can see. Panic bubbles in his chest, and he struggles harder, desperate to remove the thing that tethers him to Makarov. The thing that made him kill for him.

"Stop," Ghost orders, the harsh tone grating like shards of glass over Soap's skin.

He stops, though the panic still simmers in his chest and tries to leak through his mouth as a whine. He can't bring himself to look at Ghost. Can't stomach that hateful look in his eyes.

Soap thought he'd never break. Thought he'd die before ever betraying his dearest friends and family.

Apparently, he was wrong.

What is left for him now if those he loves can't trust him? If he can't trust himself?

The memory of Ghost's scarred hands trailing over his bare chest jerks him from his spiraling thoughts, and he bites back a groan of frustration at his own coping methods, especially when the subject of his thoughts is sitting right in front of him, hating him.

During the time he remembers with Makarov, Soap used the phantom sensation of Ghost's hands on his skin as a distraction from the pain and torture Makarov put him through, telling himself he could one day feel those hands again if he just held on for another day. Back then, he believed without a doubt that Ghost would love him no matter what Makarov did to him.

Now Ghost won't even let him get close enough to touch.

He wishes he'd stopped fighting when Makarov first showed him that video, when the first wave of realization and despair rolled over him that no one was coming. Maybe he could've willed himself to die and saved the 141 at lot of pain and possible death—

Dread hits him like a sledgehammer straight to his chest.

"Price and Gaz... they're alive, right?" Soap croaks through a parched throat. "I didn't... I didn't hurt them, did I?"

"Hurt, yes. Kill, no... though not for lack of tryin'," Ghost growls.

It's the barest kind of relief, like a hot breeze on an even hotter day. 

As if he can bend nature to reflect his thoughts, the wind blows the fetid smell of some kind of industrial waste their direction. Soap grimaces at trading one foul smell for another. The chopper blades cutting through air grow louder, like an axe on a swinging pendulum, coming closer to cutting off his access to Ghost with every swing.

He's not stupid. Once he gets on that helo, he'll be indefinitely detained and probably never see Ghost again. He'll be lucky if Price and Gaz come to see him at all. The thought burns his throat like bile.

"I'm sorry," he whispers to the sky. "I don't remember. Please... please don't hate me."

Emotion builds in his chest like a bomb waiting to blow. All he wants is to be held. To feel a bit of the kindness and human connection he's been missing for so long. But he doesn't know who he is anymore. He feels like Soap, though clearly he hasn't been Soap for a very long time.

"If Makarov could make a man look and act like you once, he could do it again," Ghost rasps. "How do you expect me to... to..."

Ghost trails off, and Soap dares to glance up. He finds Ghost's eyes have mellowed into hesitant distrust, which is an improvement from blind hatred, but after imagining a warm welcome for so long, it's still a slap in the face.

He doesn't blame Ghost, though. He hates himself, too.

And he's right. It kills Soap to admit it, but he's right. It's possible that whatever Makarov did to the man he sent back from Siberia with the 141 has been done to him, too. It's possible that everything he's ever known or thought about himself is a fabrication built on Makarov's lies.

The rhythmic thrum of the helo gets louder. Bubbling panic turns into a cold stone in his gut. 

Even if he is the original Soap, he let himself get caught — wasn't good enough or strong enough to either avoid capture or escape later on. He's a failure in every sense of the word.

"Ye should probably just kill me now," Soap says, though he barely recognizes the strangely detached monotone falling from his lips. "I don't remember anything, and I'm only a danger to ye."

"I'm not... I'm not gonna kill you." Ghost's gaze sharpens. "Not unless you make me."

"Nae," he says in the same monotone. "Wouldnae do tha' to ye. At least... this version of me wouldn't."

He doesn't have a gun. If the amount of bodies surrounding them is any indication, he likely ran out of ammo and threw the gun aside in his pursuit of Ghost. The knife he dropped earlier, though... 

The blade glints in his peripheral vision, a siren song of potential relief. 

Ghost is hurt. He probably wouldn't be able to stop Soap before he could reach for it and stab himself in the eye...

Ghost might still try to stop him, though, and could hurt himself in the process. Soap can't risk that.

Or maybe he just can't stomach the idea of dying knowing Ghost did nothing to prevent it.

The helo glides over the closest warehouse, sending dust and debris flying. Ghost waves to catch the pilot's attention, and it descends, hovering as close to them as it can get and less than a foot from the ground. Soap reaches over to help Ghost up—

Ghost smacks him away again. Soap can barely hear him over the sound of the helo, but it's clear as a bell in his mind all the same. That growl. That hateful tone of voice.

His chest cracks open. The knife gleams in the sunlight.

"Let's go!" Ghost yells over the noise as he reaches the aircraft and grasping medic hands pull him inside.

And even now, after everything, Soap is helpless against following Ghost's orders. He pulls himself into the helo, leaving his last hope for a swift death glinting on the pavement. A medic slams the door shut with a finality that makes him shudder.

The medical staff are already stripping Ghost's gear to get at the wound. Soap moves toward the back of the helo to get out of the way, the sense of detachment growing stronger and the stone in his gut heavier as the helo rises into the air.

He's traded one prison for another, one torture chamber for another. He's seen too much during his time in the military to hope that the government won't treat him just like Makarov did — strap him to a chair until they're satisfied they've bled him dry.

And he's seen too much hate in Ghost's eyes to hope that his one-time lover will save him.

Not that he deserves to be saved...

The medical officer in charge comes at Ghost with a syringe likely full of a local anesthetic, but Ghost catches his arm and points at Soap. "I can wait. Sedate him first," he orders.

Shock clear in his expression, the officer looks between the two of them and opens his mouth, no doubt to protest. Soap beats him to it.

"Do it. Please."

The idea of sedation is a welcome one. His despair is too potent to take much more of the distrust bleeding from Ghost's mask-shadowed eyes. 

The medical officer shakes his head but does as he's ordered, setting side the syringe for Ghost to prepare a different one while his subordinates clean and stitch up Ghost's injury. A raised bag of blood hangs on the ceiling, already draining into Ghost's body to replace what he's lost. It must have been a lot for him to need a transfusion so immediately. Soap bites his lip, a thread of worry weaving through the numbness.

Was he the one that shot Ghost in the first place? It kills him that he doesn't even know.

The officer pulls off as much of Soap's outer gear as he can — the tac vest is a mystery to him, too, apparently — and eventually cuts off the arm of Soap's shirt to get at his bare skin.

The prick of a needle and the cold slide of drugs into his system sends him spiraling.

He remembers the sensation. A crack opens in his mind, and memories slip through — a thousand jabs to the neck followed by the paralyzing cold intruding in his blood stream.

And as much as he dreads that distrustful look in Ghost's eyes, for the length of time it takes the sedative to take effect, he keeps his gaze fixed on Ghost... if only to remind himself of where he is and who he's with.

Ghost is here.

Not Makarov, but Ghost.

Perhaps it's the drugs. Perhaps it's his own mind playing tricks on him. But as he slips under, he swears he sees a flash of longing replace the distrust in Ghost's eyes.

He clings to it as oblivion sweeps him away.

<< Part 1 // Part 2 // Part 3 // Part 4 >>

[valorascult]

𝐓𝐡𝐞 𝐃𝐚𝐫𝐤 𝐒𝐢𝐝𝐞 𝐨𝐟 𝐒𝐞𝐥𝐟 𝐈𝐦𝐩𝐫𝐨𝐯𝐞𝐦𝐞𝐧𝐭 / 𝐒𝐞𝐥𝐟 𝐂𝐚𝐫𝐞 (𝐭𝐡𝐫𝐞𝐚𝐝)

**disclaimer**

I am not against self improvement. Wanting to be the best version of yourself is your birthright. There are a lot of helpful books, ‘gurus’, articles, practices, etc; that are beneficial & have valuable information to share.

That being said, lets move forward.

Many start their ‘self improvement journey’ when they are at their lowest because that’s when you are most aware that something is ‘wrong’ - making you more vulnerable / susceptible to deception & addiction.

It usually starts by reading a book, watching a yt video, etc;. You watch / read one and then continue to consume more, because ‘maybe the next one will finally get me to where i need to be’ - not understanding that this is just another form of entertainment and procrastination.

There is satisfaction after immediately reading a self help book. You have a quick rush of ‘I’ve accomplished something’ (dopamine) - giving you the illusion of progress until you get stuck inside a cycle and realize, nothing has changed.

Sitting behind a screen is not the self improvement you think it is. Is there good knowledge shared? Yes, of course, but the real self improvement starts by actually DOING. Living life will give you more answers than binging content.

Action Faking - ‘the practice of confusing being 'busy' with making actual progress towards an intended goal and often involves a lot of over-analysing and planning, but very little meaningful action.’

Listening to someone talk about their own lives & share their own improvement stories is not going to help YOU. Gurus try to fit everyone into a mold when self improvement is not a ‘one size fits all’ & when something doesn’t work for someone after its worked for others, they usually see themselves as a ‘failure’ so they move onto the next thing that doesn’t fit them & this becomes a pattern, soon they start to build levels of guilt and shame.

Before consuming anything, you should know the specific problem you want to solve, if not, you are coming into something without a strong foundation, soon, you will start to believe there are 500 other things wrong. Don’t get sucked into a black hole.

Also, understand that many other these therapists, psychologists, content creators, etc; all thrive off of people who are at their lowest. It’s important to know when someone really wants to help vs when someone keeps wanting you to come back. The industry is worth billions.

Many have been accustomed to pacifying the silence. Always picking up the phone, turning the tv on, listening to music when there is downtime, instead of tapping into our bodies - their thoughts and feeling have now become distorted & influenced by ‘the noise’.

Fake positivity instead of facing reality is an issue within itself. These ‘positive’ messages / posts about encouragement and ‘never giving up’ convinces you that it’s ‘wrong’ to changes paths / passions in life & you then see yourself as a failure instead of a soul, growing.

With all of that being said, remove yourself from artificial motivation & start doing. I have nothing against self improvement, but I do have an issue with the addictive side of it that seems to only profit a select few.

xoxo,

valora

[physalian]

11 Underexplored settings of post-apocalyptic worlds

Inspired once again by my recent binge of abandoned explorations.

The greatest hits of the sprawling city scapes and farmland that feature in everything from post-alien invasions to zombie takeovers to just worlds gone by in a not-so-distant future tend to be:

Generic office buildings

Churches

Schools

Water parks

Suburbs

Famous monuments

Cruise ships

It’s come to my attention though just how many architectural abnormalities there are, in their own current post-apocalyptic states, that would absolutely befuddle archaeologists centuries from now trying to figure out their purposes.

So whether you want to go hard into “this new world has completely forgotten what came before it” or your very own and unique road trip through desolation, here’s some suggestions for cool and/or practical settings!

1. Disney/Iconic Theme Parks

2000 years from now after X disaster strikes, survivors completely removed from historical context stumble upon…. Disney World. They presume Mickey really was a giant mutant mouse, or a mouse-shaped deity worshiped by the local populace (and I mean… are they wrong?). People who might have never left the local area without planes and feasible transport, or knowledge that land across the ocean even exists, might be astounded by the buildings of Epcot’s World Showcase, or any of Disney’s themed resorts.

Water parks are done to death, but not enough emphasis is put onto how bizarre these places would look without context, even to a younger generation that has no idea what it used to be.

Orlando has a hotel with its own rainforest in a massive atrium, with ponds and boats and boardwalks inside. But, you know, I guess strolling through Chicago or New York City is cooler. It may be unfilmable, but it’s not unwritable.

2. The foundations of unfinished construction projects

The remains of an office building that never was, a veritable modern Stonehenge with how little would survive an apocalypse. Inexplicable areas of land with massive pits for unbuilt parking garages, or sprawling swimming pools and lazy rivers.

Or massive, skeletal towers that would have been the monument to a much larger estate that just lost funding. Buildings still surrounded by scaffolding, only half-complete with their windows.

3. Survivor’s encampment landmarked by a monument/hotel/theme park that was never built

In one of those abandoned videos, a company in China was trying to build a discount Disneyland and all that remains is an unfinished Cinderella Castle with steel shells of the gables… behind a modern shopping mall.

Any structure that would have been deeply out of place either in the country it’s built in, or the newer buildings that surround it, immediately looks more creative than just ‘generic strip mall’ or ‘generic high school’. And it’s also realistic, as projects like this fall through constantly, as a unique piece of your worldbuilding. Or, it did have its run as whatever the strange building was part of, and through bankruptcy and selling the land around it, it ends up being the only structure that remains.

4. Hotels that are made up as if the staff vanished instantaneously

Or, many, many Covid victims. Having your characters scrounge for resources through a hotel with beds still made, coffee cups on the breakfast tables, serving spoons and plates ready to go by the buffet. Halloween, Christmas, or Valentine’s decorations still on display.

The schedules for the final week of business still hanging in the offices, unopened mail, packages for guests still in the mail room, pallets of new soaps and supplies still in the delivery bay from the distribution center, linens still in the industrial dryers. I worked in a hotel scheduled for eventual demolition and the disrepair the interior fell into because, what’s the point of managing mold and bed bugs when it’s all getting gutted anyway, makes it super creepy knowing guests are completely clueless on the other side.

Places that have been completely ransacked and destroyed are creepy, sure, but places that are almost frozen in time despite the decay around them are both eerie, and rather dark. Cruise ships/confined spaces like ships tend to be used more for horror, but these, too, as if they’re frozen in time.

5. Cargo ships/shipping yards

An easy-ish one to film in. Looters breaking open shipping containers, or building entire communities and homes out of those containers either on land, or on the barges and ships. A community that can weigh anchor and move once resources and scavenging dries up, or another violent group moves in on the land.

Or, in the case of a viral apocalypse, a community relatively spared from the violence out on the open ocean.

6. IKEA/Furniture Warehouses and DC’s

Warehouses especially have few entries and fewer windows to secure, but as their contents (except the showroom floor) are in mint condition at the time of the world ending and probably stored in plastic and crates, they’d be relatively spared from the elements as a good base camp.

Furniture is also too heavy to loot in a panic and absconding with a brand new mattress probably wouldn’t be at the top of people’s minds as doomsday approaches.

Your little community each having their own lavish living spaces with whatever eclectic furniture they either liked or could now get their hands on for free would just be cool to read about.

7. Penthouse suites

Climbing those stairs would suck and depending on the build quality, the safety of the structure over time would degrade, but maybe your community has manual cranks for the elevators. There might be one way down, but there’s also only one way up, and you can see invaders and catastrophe coming for miles.

These places tend to be dripping in luxury your characters might otherwise have never experienced and they could either make a base there, or have a grand old time trashing the place up because the rich are dead and gone.

8. Historical forts

They lasted this long, why not a few centuries more? The fort that comes to mind is the Castillo de San Marcos in St. Augustine, Florida, right on the beach with a built-in defense wall and a huge courtyard for your community of plucky survivors.

Castles, too, though they’d likely be prime real estate for all manner of interested parties. Aging, famous forts are just never in these types of stories, unless it’s a picture of where the military used to be, now overrun or destroyed.

9. Ski resorts

Similar to the made-up hotels and theme parks, this one comes with presumably multiple buildings, potential use of the slopes and ski transports, isolation via elevation and remoteness from major cities, and the threat of bitter winters and blizzards.

Never been to one myself in winter, but remote locations for a post-apocalypse story tends to just be shorthand for “generic farm or small town,” which isn’t super immersive.

10. Luxury malls

Seen in The Last of US, it gives you a microcosm of so many different environments all slapped together and there’s no limit on what kinds of stores you could include, or all the kiosks, all the mini attractions like trampolines, kiddie parks, massage tables, and even VR flight simulators.

Maybe it has a theater tacked onto it, or a double-story book store, one of those rental spaces dedicated to fancy cars or candy stores. Great for the main setting or even just passing through, especially as they’re already a dying breed you can go ham with. ‘Luxury’ and designer items collecting dust right across from the discount store with everything for under &14.99 could strike a powerful message about social constructs.

11. Science museums

Sure you can make some poignant message about priceless artwork being left to rot, or. When I was a kid, I went to a science center with natural disaster simulators like house fires and tornadoes and a whole-ass IMAX theater where I saw Night at the Museum, the only movie I’ve ever seen in a proper IMAX dome.

There was a whole kids section with a ropes course, area for exploring the human body, a NASA-sponsored mock up space module, mock up grocery store, and little exhibits here and there about optical illusions and the physics behind laying on a bed of nails and how it doesn’t kill you. It’s just something unique and fun that your characters can interact with and gives them plenty to play off and give little anecdotes to make them feel more human.

—

Point is, your post-apocalypse doesn’t have to be limited to the usual suspects. We’ve all seen the strip malls and Walmarts and suburban homes and farms. There is no special effects budget or filming restraint in a book and I’d love to read more stories set in unique and descriptive places, or just fresh takes on your standard survival camp that isn’t just “build a wall around a section of neighborhood”.

It’s the apocalypse. All real estate becomes free real estate.

[cerastes]

With the exception of Arknights what are your thoughts on gacha games?

I don't feel like I need to exclude Arknights from the statement, I can criticize things even if I like them.

In general, I don't like that their widely accepted and even defended business model is "Capitalize on FOMO, exploit gambling addictions, create dependent users". I also think that the use of the "game as a service" model, and one that needs to keep pumping content forever and can't risk to alienate the player, severely limits what can be done with the medium in terms of creativity, because you can't kill off playable characters nilly willy (I actually think Epic Seven was cooking with this, Epic Seven will kill off playable characters and remove them from the plot if it feels like it, or at least used to back when I played, don't know nowadays), relationships and dynamics with characters tend to be limited because otherwise your audience can feel like you are cucking them, and I wish I was kidding but just look at the absolute dumpster fire of a drama going on as we speak (22nd of January, 2024) in Girls' Frontline 2 over in China over one of the characters having interactions with a male NPC, and you can't ever bring a true sense of finality to any given arc because everything ends up having to be foreshadowing, set-up, build-up and so on and on and on. In many cases, you also have a mold cast of Must Have tropes in your playable cast: The Maid, The Idol, The One That Worships The Ground You Walk On, The Underage And Underclothed One, The Underage (But We Treat This One As A Precious Child!) One, Foxgirl, The Cold And Highly Analytical One (But Actually, Loves You), Chuuni, etc, so it feels like in every game I kinda already know at least a third of the cast minimum already and I'm kind of primed to not really want to know them, even though there's subversions I end up liking sometimes (Fenny from Snowbreak is an example of an Idol-type I ended up loving despite not liking Idol-types).

On the other hand, even with these negatives in mind, having a game that periodically updates and adds content, and that you can discreetly play pretty much everywhere on the go due to smartphones being their main 'console', games that foster community and something to talk about with your friends that also play and that will always have something new every couple of weeks, as well as inspire fanart, fanworks, analysis, and commentary, and that tend to be more risque and interesting with their designs is honestly good to have. I personally enjoy the community aspect of gacha games, I consider it one of the two most important aspects for me, because I know I can come here, for example, and see people talking about the story, the characters, the music, the gameplay, and more, every day, and the other important thing to me is how discreet they are, since I can just play a few maps or stages in my phone real fast midst a social situation at work, and then hop back in with a renewed social battery or when a topic I like comes up.

I fully get when people showcase their disdain for gacha, yeah, but if we really want to be nitpicky, the majority of the game industry is kind of a cesspool of toxicity, which is not to say "stop bashing gacha" and instead say "bash the whole thing if you're going to be bashing it anyway" (and we should! Game devs and other personnel in the industry have been crying for better conditions for years now!). Either way, if someone decides to sit at the gambling den, it becomes their responsibility. I want there to be more safeguards for people with actual addictions and to protect them, but with this in mind, if anyone still decides to sit at the den, it's assumed they are going to take responsibility for their actions and financial decisions.

So all in all, yeah, predatory games that suffer in quality due to their own trappings, but also good sources of community, inspiration, and effective at being discreet games you can play anywhere and that get periodic updates (this isn't necessarily exclusive to gacha but it is an aspect of them that bears mentioning, which I point out since no doubt people will want to point out there's good non-gacha smartphone game options out there)

[ann-atar]

RoP Ask Game! ♡: 10, 16, 21

Thanks to @fukutomichi for the ask!

Choose three characters. What jobs would they have if they lived in our time? Sauron. Online scammer with age old connections to international espionage and a former “It Boy” in the cybercrime community, Sauron is deep into a bunch of ongoing but poorly designed crypto scams, and is trying to run several AI bot farms concurrently, but because he is easily fooled by AI himself, his AI-generated content is not difficult to spot so he’s had little real success with it. To the point that a recent investor (Ar-Pharazôn, naturally) flew all the way from Numenor to Mordor just so he could point at some of Sauron’s AI generated profiles and shriek “Is that convincing!? No!” over and over again until Sauron was forced to throw him into the live volcano. Adar. Union organizer for a teachers’ association (in a US state where teachers are allowed to form unions). He was everybody’s favorite high school social studies teacher and football coach until an illness forced him to take early retirement. Some time after he recovered it was discovered that the building he worked in for 20 years had a serious black mold problem, so he went back to work to advocate for his colleagues, some of whom came down with the same illness, and is fighting the state to ensure that not only is the mold removed, but that the air quality is tested regularly and any health-related expenses incurred as a result of the town’s mold disaster are covered in full. The battle is still ongoing. Celebrimbor. As a nanobiotechnology scientist, Celebrimbor was focused on developing surgical nanobots that could be deployed in emergency situations to act as autonomous on-site surgeons for first responders like firefighters and EMTs when moving an injured person before surgery would have resulted in more harm or even in death. It was meant to be his legacy. He left that behind after a mole from Gorthaur Industries stole some of his proprietary technology, corrupted and repurposed it into a weapon that was meant to temporarily immobilize protestors, but caused almost instant death due to extreme vascular damage after it was used against a peaceful protest that included a few thousand innocent people, many of whom were under 18. He had a breakdown when he learned the extent of the harm Gorthaur caused, but later rallied to fight back and help bring Gorthaur to justice. He eventually returned to the industry, but as a consultant, and travels throughout Arda to lecture on the ethics of nanotech.

Name three characters that have dog energy and three that have cat energy. Hmm. Three dog-energy characters: the Stranger/Gandalf, both Durins, Isildur! Three cat-energy characters: Galadriel, Celebrimbor, and Elrond! The elves seem to have cat energy by default for some reason.

Based on the various dinner scenes we have seen so far, to whose table would you most like to be invited as a guest? I would be a guest at Disa and Durin’s, no question. There's just something about that place! I love everything about their home and I think the food and hospitality would be on another level.

[beardedmrbean]

Bad Dragon is suing SinSaint over copyright infringement of their dildo designs. What I want to know is, can you copyright the shape of a dog's dick? Because if you can, you shouldn't be able to.

I did knot need to hear about this one.

one more pun

TSG is gonna be one of the more reputable sources for this one

MARCH 25--A manufacturer of “fantasy-themed sex toys” has accused an upstart Brooklyn, New York firm of knocking off its distinctive designs, according to a federal lawsuit alleging that the defendant has infringed on copyrights for dildos such as “Spritz the Seadragon” and “Tyson the Water Buffalo.”

In a March 20 complaint filed in U.S. District Court in Arizona, Bad Dragon Enterprises contended that its “sculptural” products have been illegally copied by SinSaint, which is headquartered in a Coney Island warehouse and advertises that all its “Ethically Manufactured” toys are “made in Brooklyn, USA.”

Bad Dragon, which noted that it has had “significant commercial success” in the adult toy field, alleged that SinSaint has been selling the duplicative dildos through its website and other trade channels, including the recent AVN Adult Entertainment Expo in Las Vegas (where the new firm’s exhibitor booth was next to that of the all-nude Palomino strip club).

The lawsuit identifies 13 separate dildos that Bad Dragon claims have been copied (and renamed) by SinSaint, which was incorporated in New York last year. The colorful silicone toys feature scales, tentacles, suction cups, and other design elements meant to mimic the genitalia of dragons, sea creatures, and other fantastical characters.

Some of the Bad Dragon products that SinSaint is accused of swiping are “Kelvin the Ice Dragon,” “Stan the T. Rex,” and “Vergil the Drippy Dragon.” SinSaint has not been accused of pirating other Bad Dragon offerings like “Jason the Demogorgon” or “Cuttlefish of Cthulhu.”

According to the lawsuit, SinSaint’s counsel last month stated that the company had begun removing “some of the allegedly infringing listings for product redesign.�� This response, Bad Dragon contended, was “unacceptable,” adding that it “continues to be harmed by Defendant’s ongoing, unlawful conduct.”

The Bad Dragon complaint seeks an order enjoining SinSaint from continuing any further alleged

copyright infringement and seeks “disgorgement of all of Defendant’s profits” related to the artificial penises. The company may also seek statutory damages of up to $150,000 for each of the dildos in question.

For more than a decade, Bad Dragon has sought trademark and copyright protection for various product lines. While often successful, the firm’s application to trademark its “Cum Tube” was abandoned after a government attorney rejected the ejaculating dildo because the “applied-for mark consists of or includes immoral or scandalous matter.” The application included a very NSFW image, which can be found on the U. S. Patent and Trademark Office website.

According to an August 2023 trademark application, SinSaint’s owner is Oleg Semenenko, 50, a resident of Brooklyn’s gated Seagate community. Semenenko lives less than a mile from SinSaint’s warehouse, which shares an address with GlobMarble, an industrial molds business for which Semenenko is listed as “manager” in a separate trademark application filed this month.

In a brief interview today, Semenenko was asked how a dildo firm grew out of his original business. “We work with rubber,” he replied. Semenenko dismissed Bad Dragon’s claim that its products were unique and original: “How can octopus hand can be your idea?” (4 pages) ____________________________________________

Hope the judge that did the recent trump case gets this one, even though I know that's basically impossible, just the thought of making him listen to hours of testimony about how these rubber fantasy dildos are protected by copyright or trademark law, or something like that is funny to me.

It's not a revenge thing wanting it, just a keep him humble thing. I know you think you're hot shit now, so here listen to these arguments for a bit.

Totally different note, I'm wondering how long until the discourse starts up, or if it has already started up, where using horse dildos is either bestiality or a gateway to bestiality because what with the way people treat cartoons of fictional people I can't imagine it's far off or not already here.

Look to japan for the tentacle ones.........

[lullabyalikpoptarot]

Jay Park Perspective Reading

Disclaimer: No facts here, just my interpretation of the cards and messages I get here.

Now to the final member of Enha, last but not least. I do feel his energy has a lot to share, but I also feel he is particular in what he wants to share and doesn't dig too deep. But also, his energy has been hard to articulate lately, but let's see if it is hard for this one. The song he gave me was Porcelain by Jojo. The song is about healing and self-growth, so I wonder why that came to me is he is on his own healing journey and working through some things in his life. So, let's see what the cards have to say. I am not sure what to make of his energy or what he will give me, so I am interested in what I will get here and what direction he will take me.

Okay, for this deck his energy was messy and complicated trying to pick which cards for him. Well, the first card I got is not my favorite to get, which is the temple of my body card, which I usually associate with sexual favors, or being vulnerable. I don't really feel like this is what this is, more so he doesn't really like to show vulnerability to me or be exposed too much, it could be his literal body, or just his vulnerabilities that he may feel he has.

There could be a sense that he likes to escape or just be in his own world. There is something about being saved here, does he have someone he thinks that can save him, or does he want to save someone? Not sure with this one. Now, with this Bride in a cage reversed card, he doesn't like to be held back, molded, or put in a box at all. It rather frustrates and angers him to be put that way. He can get pretty angry and frustrated when being stifled. I don't think he is the type to hold back on his thoughts and feelings. His energy is making me really hot and sweaty, what is going on here?

Okay, so I am going back to the song choice that he had, I see that song was chosen, because he like to remove that hard shell or idol image that he has. Like he may not like sticking to a certain image. I always intuitively felt and thought, why did he choose this industry? He doesn't seem to fit the mold of an idol, he's better off being an artist or musician, but I did hear the fame and money, so it is easier access to that, so that is why he chose it. Okay, moving on. I just feel I am getting the idol image can be very constraining for him. And he would prefer to be freely himself and speak on what he wants.

He seems to be confused as to what direction to go in. I am not sure he is the type to plan things out. There is sort of a mystery to him. I am hearing dark humor he may have as well. He is someone who understands the dark realities and harshness of the world. He may even see the world as dark and cruel. He seems to be all about action and seeking new opportunities for himself. I always see this one card as a seek and you shall find, so he seems to always be trying to find something.

He is someone who speaks on things and can say some harsh things. He is smart and an intellectual and that is how he goes about things. And he isn't one who is afraid to speak his mind at all. He tells it how it is. Now, he mostly uses his words and voice to help others and himself. He is determined to get justice and speak on his right, but this can cause problems for him, because speaking up is frowned upon in Korea.

With this Emerald card, as I mentioned above this is about healing and showing oneself unconditional love, so he may need to do some healing in this lifetime, maybe from a past life. It may seem he could be on the road to recovery and working on himself. He seems to have a lot of courage and strength. He has this creative energy, and this will and courage to face his fears. There is a strong determination and passion he does have. He is the type to keep moving forward to get his desired outcome. He is someone who does need to calm his emotions, maybe try meditation practices and connect with his guides to help him work through his emotions and whatever he needs to heal in this world.

Now, with the Saturn card and the Leo card coming out in reversed. He feels confined and restricted, not really able to shine the way he wants to, or to be his true self. I feel he has more to show about himself that he would like to share but can't. He is about home, comfort and security and family as well, so he may deal with this due to these facts. He likes the stability of it all. Going on his own wouldn't be practical or keep him safe, so on one end he feels confined, but the comfort that goes with it keeps him going. So, although he showed he had courage and strength. He may struggle to find it to step on his own. He just feels it isn't practical or realistic for him. He may not have as much confidence in himself as he thinks to go out on his own.

Let's end with my tarot cards. So, we start with the Temperance card. He is trying to stabilize himself and to find that inner peace within himself. He is trying to find that balance. So, this does give me he is trying to work on himself and pace himself. With this knight of Pentacles. He is slowly trying to move towards his goal. He is persistent and likes to stay consistent on his path. He is patient when it comes to his goal, but he is a very practical person and doesn't really like to take chances that much. He is patiently waiting for things to come. He can be a bit passive and doesn't really take the leap on things. I can see him being pretty pessimistic about things in life and what he can do. I feel he puts a limit on what he can do and tries to play it safe, which I get. I can be that way too. Humans like to feel safe and secure, so he isn't much of a risk taker at all. He goes where the money is and what brings him safety and comfort. Even though the idol life is crazy, it is still comfort to him, because it is what he knows. And he may depend on that industry to get him where he needs to go.

Okay, I am done. This one was probably the hardest for me to do. His energy seems to have blockers around it. I found it hard to concentrate. I was getting distracted a lot. So, it seems there could be blockers in place to keep from getting information from him. Not sure, don't care to ask why. This is as much as I can get from him. Now, going to the first part of the reading. He may just not like to divulge too much about himself, so that could be why I had trouble getting much from him. I get it. I thought if I should post this or not, but he didn't give me anything too wild here, because I don't think he wants to, so going to post this one, because I feel there is some things here people would like to know. Because I do like people to learn some insight about these idols.

[glowstickspinalfluid]

i have learned that super glue is just plastic that polymerizes when given access to enough spare electrons, so it simultaneously hydrogen-bonds to practically anything it touches, and then immediately solidifies into any crevices it made its way into while liquid. this is why it works so well as a glue, and why it doesn't work on everything. if something doesn't share electrons well or is too smooth, then it becomes ineffective and can be peeled off. as all easily acquired industrial chemicals do, it also has an easy way to dissolve it, being acetone, an equally easily acquired alcohol that's used as a nail polish remover.

my theory is that if i make a mold out of materials superglue doesn't stick to, mix superglue and nail polish remover in a cup and pour it into said mold, i can do something like those chocolatier guys do but like on a way smaller and more dangerous scale

another thing i'm going to try that is far more tested is trying to pseudo-resin stuff with superglue and baking powder. this is significantly less fun, but a necessary step to getting a better idea of how i can go about making things from super glue.

[techmomma]

Various things I have learned while working at this mitigation company:

different insurance providers are more or less willing to cover more things. some companies are real lenient and will give you a lot of leeway. some will absolutely not and will find every means possible to not pay. we tend to keep an unofficial list (at least among employees) of which ones we love to work with (aka which ones will approve and pay for the most and be easiest to deal with) and which ones we hate working with (they will usually reject the claim meaning NO mitigation work is done at all because you think most regular people can afford $20K mitigation out of pocket?). you can ask us which ones we like working with.

if the overhead sprinkler system is activated, then even if nothing burned, you will still need so much mitigation. modern sprinkler systems aren't just full of water, they have various fire-fighting chemicals in them that should not come into contact with people for extended periods. and definitely not food.

not every business is willing to pay for fire sprinkler mitigation. sometimes they just decide to paint over it! one of the local grocery stores decided to do that! remember what I said about exposing those chemicals to food?

mold can start growing from a water leak within like 48 hours. faster if it's a sewage leak. if you had a leak and you waited a week to call anyone, you need a mold inspection too.

we get screwed over by churches so, so much.

all houses must be tested for asbestos before any mitigation can begin. it used to be that we only really needed to test on houses built before about 1990, but as asbestos was used in building materials LONG after that, they've finally cracked down and now all houses needed to be tested. my coworkers aren't as happy about this as I am.

if the building was built before 1978 though then we have to test for asbestos AND lead! I think we should test them all for lead frankly but the law says 1978.

asbestos and lead usually have to be removed by special companies. we use subcontractors for that since we don't have the equipment ourselves.

subcontractors! your mitigation company usually can't do everything themselves, so they'll enlist the aid of another company. so for example, when we have to test for asbestos and lead, we use a subcontractor who has the equipment to analyze samples.

generally, if you can see damage, whatever is inside the wall is so, so much worse.

there is so so much mold in like every building

even with industrial cleaners and professional equipment, mold is so hard to actually get rid of permanently. if it's gotten into an organic material like wood or cloth, you can count that as pretty much permanently affected. they will almost always be unsalvageable.

this counts for say, the wood beams of your house. we can clean them down and spray mold killer and seal them, but it'll ever be a 100% guarantee, ESPECIALLY IF YOU LIVE IN A WETTER CLIMATE. LIKE, IDK, WASHINGTON.

houses on the water are so full of mold

if you have a sudden Emergency, please make sure you decide if you're going to use a mitigation before you actually call us. especially for emergencies where there's water like actively flooding your house. please, for the love of god, don't call us and say "we have an emergency and need help cleaning this up" and then call a short while later saying "well, actually, can we be put on hold, we're not sure if we'll go with mitigation yet...". our technicians are almost always working on a job, we don't have anyone just sitting around the office we can send at any time. and sometimes those jobs can be like an hour away from our office

that means the tech has to pack up their equipment on the site (meaning making sure the site is secured especially if it's going to rain), get back to the office (remember the hour drive from before), get the right equipment for your emergency, and head out there. if they've been pulled from their previous job site they had to drive an hour for, we're not going to fucking send them back.

meaning if you cancel, that's like half of our day wasted and now that other job is going to be behind, too, because they're minus an extra five hours that could have been spent doing the work for that job

please. please don't do your own mitigation work. oh my god.at the very least because sometimes insurance companies get super super picky about that and might reject your claim for it.

if you can see water damage on the other side of a wall, it means the water has gone through the drywall. the longer it's wet and uncared for--I'm talking like, 2 days or more--the more likely things will need to be removed and/or demolished. certainly after 2 days the insulation will almost certainly need to be removed and new insulation installed. this will cost money.

the older the building, the more likely anything in that building will fail at any given time. sure maybe the piping lasted 100 years but that's because it took 100 years to eat away the piping until it finally gave out on the 101st year

meaning the older the building, the more likely it becomes that you'll experience pipe bursts, leaks, electrical mishaps, sewage leaks, etc. etc.

when it comes to water mitigation, there's two kinds: cleanwater and blackwater. cleanwater is what comes out of your tap. blackwater is poopy sewage. blackwater is, without fail, a gazillion times more expensive because it will, as a requirement, involve some form of demolition. it should. that's a health hazard man. you don't know what (else) is in poopy sewage water.

if you can't have the water turned off to do any mitigation, then you HAVE to get a specialist before we can do any restoration. if the pipe is still leaking, then mitigation work will kind of be for nothing.

if you're planning on filing any claims, do that FIRST before you call anybody. the insurance company will have a list of people to call and will tell you how to go about things so that your claim is solid. filing online is fine but it's usually a good idea to have an actual name and contact information for an adjuster (the person who'll be looking at the damage and seeing what needs to be done)

don't fret. sometimes even things I thought would be totally unsalvageable were salvageable! they have lots of tips and tricks, and the technicians and their managers are usually happy to talk about their trade with you

a lot of these technicians really do care, even if they're mostly in it for the work. so many of these guys would do this because this kind of work is pure enrichment for them, but they got families to take care of. it gets genuinely frustrating sometimes to know what work needs to be done and wanting to do so, but the insurance company won't pay out, so nothing can be done.

if your insurance company is giving you the reach-around and you think they're fucking you over, there's something called the insurance commissioner. they're who you can report insurance company fuckery to and the commissioner is usually pretty on top of it. I've seen customers be fucked over for months by their insurance company call the commissioner, and within a few hours the insurance company ~*~magically~*~ has a fire lit under their ass and just so so happy to help you out.

you get what you pay for. whether construction, mitigation, whatever. you pay for cheap mitigation work, you will get cheap results.

something you really don't want cheap results for: mitigation work

things landlords are absolutely fucking notorious for: wanting cheap mitigation work. don't listen to any stupid schpiel they give you about caring or whatever work they said they put in. sure they did pay $10k for restoration work--because it was a job worth about $20k, and they went with the rock-bottom contractor who put a half-assed half day's work in that will fall apart in a few years

fuck landlords and property managers. but you already knew that if you follow me.

Lastly, if you have time to spare and want to make a technician's day, ask them what their worst or most fun job was. they are so happy to tell you.

they have so. many. stories.

[hometoursandotherstuff]

I don't know what to think about this renovated 1890 Victorian in Dayton, Ohio. On one hand, I love what they did w/the decor, but on the other hand, it's no longer an historic Victorian. It has 4bds, 2.5ba, & has a sale pending for $950K.

This is the new entrance hall. So, you would have no idea, walking in here, that it's an 1890 Victorian.

The new sitting room. Okay, I do like the ceiling. It appears that the room layout was definitely reconfigured.

Here's another sitting room with an exposed brick wall painted white and a funky mural going up to the ceiling. Those look like new modern windows over by the window seat.

This house was gutted. Look at those 3 greenhouse windows. There's a new door to the patio, ultra modern walls, ceiling, and floor.

This, I hate. They put a hi-end stove in the middle of the floor w/o an exhaust hood.

Cool fridge is tightly fitted into the wall. There's no space for air to flow around it.

Eat-in kitchen places the table in front of the patio. Instead of standard cabinetry, there's a tile wall with one long "sideboard" style cabinet and a wooden countertop that looks more like living room furniture.

Outside the kitchen is a coffee bar setup.

Ultra modern guest powder room.

The TV room also has new windows.

The original architecture remained, but it was completely modernized. The original molding was replaced, too.

New walls, new molding, space reconfigured to make a sort of pantry and laundry room.

Gone are any traces of the original stairs. Note the Lucite bannister.

There's a family room up here.

Bedroom with a retro vibe.

Main bedroom. Clearly all fireplaces were removed from the home. In the bedroom, a retro style yellow model decorates a corner.

Sometimes, when you knock down walls, it appears that more, smaller ones emerge to create a maze-like effect.

Completely modernized shower room. Do you think that where the shower is, was where the original claw-foot tub once sat?

The old tub was replaced by this sunken one. It places the toilet and plant in a precarious position, especially if you're feeling a bit tipsy.

A smaller, 3rd bedroom or home office with a bold graphic.

Attractive checkerboard patio out by the pool.

The yard from above.

Looks like there's an industrial type business next door.

At night you can see the new clear glass windows.

[mgmrosales]

Ideology and Culturalism II: Pop Icons!

Rihanna’s music video for “Bitch Better Have My Money” reflects the inner workings of the culture industry through the ideology discussed within the workings of Adorno and Horkheimer. Firstly, to give a general overview of the music video and its role within the culture industry, Rihanna glorifies themes of wealth, power, and materialism–contributing to the ideas of commodification and dependency on economic value. The video begins with kidnapping the wife of a “wealthy” man, as the video progresses, we see Rihanna partaking in luxuries and borderline opulent activities while keeping the woman hostage. Money is at the very center of the music video, from driving a convertible (01:59-01:57), lounging on a yacht (02:48-03-27), to partaking in the usage of drugs and alcohol (03:58-04-26). Adorno and Horkheimer reveal the manipulations within the culture industry–the falsification of profitable “needs.” Adorno and Horkheimer argued that the culture industry manipulates individuals' desires and preferences, the music video profits off the societal desires for success through wealth indicators–reinforcing materialism under a capitalist framework.  

This is an industry that idealizes consumerablity to value and gauge the necessity of a product which disturbs the artistic process of creation. All forms of art, from podcast to music video, are subject to the interests of money. While this prioritization of money is explicitly promoted in the lyrics of BBHMM, the song fits the standard mold of creation. There is a repetitive nature within the lyrics, art is then removed from the artist–it becomes a commodified product, transformed and designed for profit. The industry is solely concerned with making profits–this is directly linked to pop culture and everything in between.

Rihanna, herself, is a pop culture icon that is subject to the means of a mass capitalist consumerist mindset displaced within the music industry. She reflects the timely trends of the time, we can see this through the musical style of the backing track and the stylized outfits from 8 years ago. Down to the makeup trends of a long and thick liner and the neutral but bold lip color, implementing the micro trends of 2015 to mold to what would reel in the masses. The standardized content to capture the interest of the masses to form to contribute to a homogeneous culture of values. 

During the process of encoding and decoding, the viewing audience may have varying interpretations of the music video based on their personal experience and background. Some may see the video as a form for women empowerment, the breakdown a male-dominate industry. Rihanna taking control and asserting herself as a force to be reckoned with. Or, others can see this as the glorification of violence as a means of retaining wealth and power. This ties into the commodified rebellion aspect of the culture industry. We as an audience interpret and decode Rihanna as a powerful figure, empowering women for the sake of feminism, but at the same time she is primarily making profit from our sentiment, rather than directly advocating for women. 

"Bitch I’m Madonna", coming out the same year as BBHMM, functions in a similar manner to Rihanna’s work. Both pop star icons, which directly support Adorno and Horkheimer’s beliefs on the culture industry, have been molded into marketable products for mass consumption by the culture industry. The name “Madonna” has become a brand itself, which is apparent in the name of the song! Her image is enhanced through her commercial appeal as a global and legendary celebrity. She also incorporates cameos from different house-hold name celebrities (02:00-02:28) like Beyonce, Kanye, Katy Perry, and Miley Cyrus–highlighting the interconnectedness of fame and strengthening the celebrity culture. Keeping it in the circle, literally, supports the capitalist notions of social status, a notion that Adorno and Horkheimer challenge in their work. 

Based on the way the music video was filmed, Madonna features an excess of wealth and luxury through a party-like concept, and is constantly surrounded by glamorous clothing and accessories. By barely having any cuts, almost a one shot, and Madonna as the focal point, the music video carefully crafts a branded image where success is measured by the individual’s own ability to make a name for themselves–promoting a culture of consumption. The flashy visuals, bright colors, and the strong and visually appealing choreography conforms to the ideas found within the culture industry and its expectations of a formulaic, mainstream media piece. 

Madonna received a lot of negative criticisms and feedback when premiering her music video back in 2015. The public reception consisted of a lot of people suggesting that Madonna was clawing to stay “relevant” at this time by displaying acts that are typically done by younger folk. Tying this to Stuart Hall’s findings of encoding and decoding, a viewer may receive a message of excessive narcissism within the world of Madonna. In correspondence to Hall’s ideas on oppositional reading, Madonna encodes the music video with her vibrancy and energy, showcasing empowerment for an older generation, but through decoding the message, one might suggest that the focus on materialism is detrimental to the career of the icon. The dynamic nature of decoding supports Stuart Hall's theory, emphasizing the active role of the audience in making meaning from media texts.

Both iconic women showcase their adaptation to cultural trends of the era in media; due to both celebrities being subject to the culture industry, the use of conformity is a characteristic of the mass production of cultural products–this is also applied to the standardized format commonly found in the music industry that can diminish the artistic integrity found in the careers of both Rihanna and Madonna. Through the use of iconography, an audience may decode both artists’ expressions in the context of social frameworks. 

Based on the conceptualization of the culture industry, are there aspects of pop culture that do not fall under the commodification of art? 

How does the interplay between the sound and visuals of both Madonna’s “Bitch I’m Madonna” and Rihanna’s “Bitch Better Have My Money” challenge or support each other? How may that influence the process of decoding the messages from the artist?

In what ways is Madonna and Rihanna presented as a marketable commodity in her music videos from now and before, and how does this reflect the commercialization of art discussed by Adorno and Horkheimer’s “The Culture Industry as Mass Deception?

Max Horkheimer and Theodor Adorno, “The Culture Industry: Enlightenment as Mass Deception,” in Dialectic of Enlightenment (California: Stanford University press, 2002)

Stuart Hall, “Encoding, Decoding,” in The Cultural Studies Reader (London: Routledge, 1993)