#makeno answers

[ask-them-bois]

Microwaved fries are amazing the longer they’re cooked

Dud3r!!!! Th4t'2 wh44444t I'v3 633n 24yin5!!!!

I'm About to hit somebody.

[adoptakoc]

can i pls get some recs for a fc that could play a refined, ladylike oc with a snarky streak? she's the main vocalist of an elegant but powerful concept group and a '99/'00 liner! oh, and she's also the unofficial visual if that's any help bdhjdj

yes bb i feel like i always recommend the same fcs for something like this BUT . it’s fine we move <3

choi yoonah / bella || ‘99 || korean || elris

jeon jimin / miso || ‘00 || korean || dreamnote

lee naeun || ‘99 || korean || april

kim hyunjin || ‘00 || korean || loona

kim yerim / yeri || ‘99 || korean || red velvet

kim jihyeon / youi || ‘00 || korean || dreamnote

han eunji / mia || ‘00 || korean || everglow

lim dayoung || ‘99 || korean || wjsn

[ask-the-jester-buds]

👐 Risi, is there anyone you wish to have in your quads? What are your thoughts on your current quadmates?

I’m nOt crUshIng On AnyOnE If thAt’s whAt yOU ArE AskIng. 

I hAvE, hOwEvEr, cAUght mysElf wOndErIng hOw It wOUld bE tO hAvE sOmE Of m frIEnds As qUAds, lIkE mAkEnO, tErUqA Or zUlUEt. I Am nOt IntEstEd rOmAntIcAlly In thEm, wE All hAvE OUr rEspEctIvE qUAds And ArE mOrE thAn hAppy lIkE thIs, bUt yOU knOw... imAgEnIng OthEr tImElInEs Is fUn.

As fOr my qUAds, I wOUldn’t chAngE thE OnEs I hAvE. 

gIgI hAs bEEn fOr mE EvEr sIncE thE fIrE IncIdEnt, wE fOUnd EAchOthEr whEn wE nEEdEd It thE mOst And thErE Is nO-OnE In thIs wOrld thAt cAn bE whAt gIgI Is tO mE. hE Is thE pAlE lOvE Of my lIfE. my prEcIOUs dIAmOnd <> prActIcAlly pErfEct In EvEry wAy. 

dyOnIs Is my spAdE, I hAvEn’t hEArd mUch frOm hIm, thEn AgAIn hE’s AlwAys bEEn A quIEt gUy. I hAtE hIm, wE ArE dEstInEd rIvAls by bIrth! thEn AgAIn, OUr rElAtIOnshIp Is nOt As blAck As thE “cOmmOn” blAck spAdE Is.  hE Is ImpOrtAnt tO mE, I EnjOy tO spEnd tImE wIth hIm And drInk jUst As mUch As I EnjOy tO qUArrEl wIth hIm Or plAy prAnks On hIm.  I wAnt tO prOtEct hIm frOm hImsElf tOO. 

And, I wOnt lIE, I fInd mysElf mIssIng cAllOw At tImEs. hE wAs my fIrst rEd AftEr All. hOwEvEr, wE bOth wAntEd dIffErEnt thIngs And It jUst dIdn’t wOrked OUt. bUt I stIll hOld hIm dEAr In my hEArt, I hAvE nO Ill fEElIngs tOwArds hIm And I sUrE hOpE hE dOESn’t EIthEr. 

I Am nOt rEAdy fOr AnOthEr rEd, nOt UntIl I Am rEAdy tO lEt gO Of thE pAst And my fEAr Of EntErIng AnOthEr qUAd thAt mIght End tOO qUIckly. 

I dO wAnt tO fEEl thAt AgAIn yOU knOw? I’m jUst nOt rEAdy.

And gIgI sAys thErE Is nO rUsh sO, I’m gOOd wIth wAItIng fOr thE rIght tImE.

 Send 👐+ any question you wish to ask my muse. They will have no choice but to answer truthfully.

[askinthegoband]

There was a knock on Likmai's door. When he opened it, he found Makeno standing there, dressed in a suit and tie, holding a bundle of red and purple roses and a gift box. The seadweller was blushing madly and he grinned nervously, holding out the roses. "HAppy QuAdrAnt DAy, LikmAi. Do you wAnt to go to dinner with me?" (@ask-them-bois)

Likmai was on the phone with someone as he answered his door, and looked at the roses surprised for a moment before his smile reached ear to ear“Of course, I would love to darling!” 

He hung up the phone and kissed makeno’s cheek as he took the flowers “Let me put these on water and go get ready, alright? Make yourself comfortable love!” ((FUCK TYPING QUIRKS

@ask-them-bois

[rdagade]

Global Brake Pad Market: Scope, Revenue, Size, Trend, Share, Forecast up to 2027

Brake Pad Market Overview:

Impact of key players in domestic and localized markets, increased sales pockets, changes in market law, strategic market boom analysis, market size, market growth by category, niche and utility advantages, product approvals, new products Launches, regions and many squares measure everything that happened during this Global Brake Pad Market place report was investigated.

Request For Free Sample: https://www.maximizemarketresearch.com/request-sample/96833

Market Scope:

According to the forecast, the global Packaged Food market is rise at a stable rate between 2021 and 2027. The market is expected to grow considerably between 2021 and 2027 as a consequence of business participants` efforts.  The development method is examined, moreover as value structures and development goals and objectives. Import/export consumption, offer and demand, cost, price, share, sales volume, revenue, and gross margins square measure all lined during this global Packaged Food marketing research. within the world Packaged Food market, this study appearance at every producer's producing sites, capacity, production, exfactory value, market value, sales revenue, and market share. The us, Canada, Mexico, Germany, France, UK, Russia, Italy, China, Japan, Korea, India, geographic area, Australia, and Brazil square measure among the countries concerned.

Segmentation:

Global Brake Pad Market

Report CoverageDetails

Base Year:2020Forecast Period:2021-2027

Historical Data:2016 to 2020Market Size in 2020:US $ 8.5 Bn.

Forecast Period 2021 to 2027 CAGR:3.5%Market Size in 2027:US $ 10.81 Bn.

Segments Covered:by Material• Ceramic • Semi metallic • Low metallic non- asbestos organic • Non- asbestos organic

by Vehicle Type• Commercial . Light commercial . Heavy commercial • Passenger cars . Sedan . Hatchback . Utility vehicle • Two wheelers

by Brake Pad Position• Front • Front& rear

by Distribution Channel• OEM • Aftermarket

Key Players:

• ZF Friedrichshafen AG • Continental Automotive • Ford Motor Co. • ICER Brakes SA • Wilwood Engineering • Robert Bosch GmbH • Bendix • Makeno • MAT Holding, Inc. • Power Stop LLC • Ferodo • ACDelco • EBC Brakes • ASIMCO • Tenneco • MACAS Automotive • Brembo S.P.A. • AVS Brake linings Pvt. Ltd.

Get more Report Details: https://www.maximizemarketresearch.com/market-report/global-brake-pad-market/96833/

Regional Analysis:

The global Packaged Food market is divided into five regions: Europe, North America, Asia-Pacific, the Middle East and Africa, and Latin America. The Global Brake Pad Market report offers a detailed analysis of the market's major geographies, as well as notable segments and sub-segments. In terms of market size, share, and volume, the study examines the current state of regional development. This global Packaged Food market report contains figures, geographies, and revenue, as well as an in-depth look at the business chain structure, opportunities, and industry news.

COVID-19 Impact Analysis on Brake Pad Market:

The COVID19 pandemic can cause global market turmoil in three ways: directly impact production and demand, disrupt supply networks and markets, and bankrupt companies and financial institutions. The purpose of this study is to learn more about the current situation, the recession, and the impact of COVID 19 on the global Packaged Food market. The MMR regularly assesses the impact of the COVID 19 pandemic on different sectors and industries in all areas. The same information can be found in the Maximize Market Research (MMR) survey. It can be used to find out how COVID 19 has affected the decline and growth of the industry. In addition, the MMR report helps identify gaps in market supply and demand.

Key Questions answered in the Brake Pad Market Report are:

Which product segment grabbed the largest share in the Packaged Food market?

How is the competitive scenario of the Packaged Food market?

Which are the key factors aiding the Packaged Food market growth?

Which region holds the maximum share in the Packaged Food market?

What will be the CAGR of the Packaged Food market during the forecast period?

Which application segment emerged as the leading segment in the Packaged Food market?

Which are the prominent players in the Packaged Food market?

What key trends are likely to emerge in the Packaged Food market in the coming years?

What will be the Packaged Food market size by 2027?

Which company held the largest share in the Packaged Food market?

About Us:Maximize Market Research provides B2B and B2C research on 12000 high growth emerging opportunities technologies as well as threats to the companies across the Healthcare, Pharmaceuticals, Electronics Communications, Internet of Things, Food and Beverages, Aerospace and Defence and other manufacturing sectors.

Contact Us:MAXIMIZE MARKET RESEARCH PVT. LTD.3rd Floor, Navale IT Park Phase 2,Pune Bangalore Highway,Narhe, Pune, Maharashtra 411041, India.Phone No.: +91 20 6630 3320

[grimoiresontape]

Death's Talking Head

[The following is the transcript for the talk I gave at The Hidden Valley, a 48-hour multimedia festival I participated in last year. It was designed for performance artists and performance art enthusiasts, meditating on art, creativity, and ritual through the lens of planetary magical approaches to necromancy.]

My objective tonight is not to “sell” necromancy to you, like some sort of travelling door-to-door grimoiric encyclopaedia salesman. (such a reference to an outdated economic model of labour might be thought of as archaic; I prefer to think of it as resurrected). So perhaps the first thing to say about this necromancy is that it is not a pyramid scheme. Despite the Egyptian precedents.

Rather, I hope to show you ways in which the processes and symbolic materia you engage with already hold an unliving weight: to shine a blacklight on one’s familiar tools and techniques for the invisible blood-splatter and seedy fingerprints to spell out their own necromantic significances.

Make no mistake. Performers and artists are ritualists of this epoch. Indeed, as dancers of the anthropocene, you are already soaking in the pre-tremouring deluges of the next extinction level event. As Peter Grey has often noted, our corpse meditation is now global in scope. Death is not an abstract, but we also do not have to take it lying down.

To open our way most easily, let us begin with the gentler (or more insidious) end of artistically-inclined imaginative play. Let us imagine the following operation – taken from a seventeenth-century manuscript of occult experiments – is simply a metaphor for the creative process:

To Make Oneself Invisible.

Collect seven black beans. Start the rite on the day of Mercury, before Sunrise. Then take the head of a dead man, and put one of the black beans in his mouth, two in his nostrils, two in his eyes and two in his ears. Then make upon his head the character of Morail. When you have done this, bury the head, with the face upwards, and for nine days, before sunrise, water it each morning with excellent brandy. On the eighth day you will find the spirit mentioned, who will say to you: What wilt thou? You will reply: I am watering my plant. Then the Spirit will say: Give me the bottle, I desire to water it myself. In answer, refuse him this, even though he will ask you again. Then he will reach out with his hand and will display to you that same figure which you have drawn upon the head. Now you can be sure that it is the right spirit, the spirit of the head. There is a danger that another one might want to trick you which would have evil consequences and in that case your operation would not succeed. Then you may give him the bottle, and he will water the head and leave. On the next day, which is the ninth, when you return you will find that the beans are germinating. Take them and put them in your mouth, and look at yourself in a mirror. If you can see nothing it is well. Test the others in the same way, either in your own mouth, or in that of a child. Those which do not confer invisibility are to be reburied with the head.

Completing a project can feel like trying to germinate beans from a dead man’s head, can it not? Or like having to make elaborate checks to ensure the spirit of the work is the one you intended to summon, right? The stages of this operation, its timing, its materials, its protocols, its objective; from each component, we may draw analogous actions, decisions, deployments and engagements for our own creative endeavours.

Yet I believe we can go deeper. And so I intend to take us through the planetary spheres for a sevenfold understanding of how necromancy can inform and empower our creations, our rituals, our great work and our great play. For this reason, I wish to light seven candles to illuminate our way and flicker out our shadows. Beginning at the furthest edge of heavy leaden Saturnine considerations, the gravity of the grave will accelerate our descent. Thus we crawl serpentine down the Tree back to Earth.

Saturn Saturn forces us immediately to face the sorrow and restriction of Death itself. Aeschylus reminds us that ‘Of all the gods only death does not desire gifts’. And thus we come forth empty-handed.

We deal here with the isolation of art, and the no-thing that precedes thing in the ocean of mind and forms. We mouth underwater through the dark sea of awareness, lapping at the weltamschmerz-bearing bodhi tree of samsara’s suffering. The Nigredo stage. The creative void of spontaneity, at once fecund and desolate: the bright and barren mother alike, Saturn’s sickle cuts offspring from both. To speak analytically: analysis meaning, of course, to take apart. We are undone, unformed. Returned to clay at the beds and banks of the river trade-routing all the cities of the dead.

Saturn demands private ritual in the desolate and lonely places. It speaks in dead languages of forgotten history. Saturn, in the classical world of the seven planets lurks at the furthest reaches of our old imagined orbits – this is conveyed in the words of Jean Cocteau: ‘since the day of my birth, my death began its walk. It is walking toward me, without hurrying.’ This is the cold stalk of our eventual final companion.

In this ice-aged push of manifestation, the birthpained passing from the dissolution of desolation into the four corners of the world, we must come in from the cold. For as Miguel de Unamuno distinguishes, we die ‘of cold, not of darkness.’

And in that Darkness, the Mysteries of melancholia, the black cloak of time that heals and steals, the thief that doctors. Nothing new under a black sun. Hail the larceny of all things.

In Saturn’s brackish phlegmatism, there is also a glimmering reflection of a fearful sky overhead. The Dark Arts surely are the work of the Devil, and what blacker art than nigromancia… While a wider discussion of the diabolic is perhaps too big a topic for this talk – too many planchetes to slide across the talking-board tonight – I do think this denigrating sense of the evil in the Devil is worth facing and asking a question. Which Devil? And to which divine order are they adversary? I would argue the Devil who laughs behind you at the crossroads of your poor decisions is at the core of the necromancy of resurrected choices. Equally, if we are called heretics for challenging the God who feeds the rich while poor folk starve, perhaps we might simply say so mote it be. And from dust, to dust.

For in Saturn we may know the silence of the dust on the tomb, settled on the memento mori, covering those lost texts still buried. Conversely, to shake the dust is to animate a cell of skin. To watch dust move, to see it swirl from the imbued motive of breath, is to choreograph dead skin dancing – a part of something human and no-longer-human, becoming something new. The dermis of the flesh – an impressively large organ – is both container and connector, even after we slough it off; serpentine, once more.

Jupiter And so we cross an abyss, and come to the joys and the abundances of Jupiter. In the Jupiterian pomp and polity of the polis we have the establishmentarian use of History, as justifying tradition, hierarchy, and the naturalised order of things. Jupiterian necromancy looks in part like what is done at war memorials; it is public ceremony.

The dead of Jupiter are not simply a lonely end, a stalking promise. They are the wealth of the living, the past providers, the fore-mothers and fore-fathers. They are the bounty of the wealth of Pluto, and their cupped horns are cornicopious. This horniness is a sanguine secret of Jove, as perhaps most crudely depicted in the seedy adulteries of Zeus. Pearly lightning of paternity thrusting into future.

And to speak of fallacies and ardour, it is also the priestcraft of academia, the cast shadow of the ivory tower, issuing forth condensate from crushed bone. And regardless of its utility, books are the frozen words of the dead: to quote another dead author, ‘She was opposed to books on strict moral grounds, since she had heard that many of them were written by dead people and therefore it stood to reason reading them would be as bad as necromancy.’ Do you mix your own ink?

Yet to afford our generous dead both public and private adoration, is to water our roots that nourish us with their fruits. Acknowledging the giants we build our perspectives upon is practice of a fundamental gratitude, whose overflowing compassion cannot be contained in the myopia of hereditary or patriotism. Jupiter’s overarching and benevolent sky challenges and elevates us to serve something larger than oneself. As Albert Pike declared, ‘what we have done for ourselves alone dies with us; what we have done for others and the world remains and is immortal.’

Mars ‘Pale Death beats equally at the poor man's gate and at the palaces of kings.’ I can think of no better introduction to the necromancy of Mars – of Death as killer, as ultimate sovereign and war-chief, who takes no prisoners, and spares no soul.

More than war with others, Mars speaks in the hoarse commands of a deeper bloodlust: the hunger of the grave, the will to both self-annihilate and to fight against that eventuality in the battle of each and every breath.

But the wars of Martial necromancy are fought across the deserts of the real. Martial arts and crafts certainly bark of your actual death, your actual finitude, your actually really-real mortality. The actuality of one’s finitude can be realised in the use of corpse materia as components for our charm-bags and hands of glory: the actual mumia in the mummy brown pigment, the knife-pointed love-letter in the actual blood of doves, the accusatory finger borrowed from the catacomb actually broached. To be actor and activist.

As the planet of passion, there are pertinent Martial mysteries cut open in considering the two camps into which pre-modern emotions were barricaded. The twofold typology of early modern passion theory split emotions in twain. The concupiscible passions – such as love – were the desiring impulses, but the irascible passions – such as anger – were the destroying impulses clearing the way for the concupiscible. Eros and thanatos entwined as writhing snakes, dancing atop the grave.  

Mars also rules over the internal conflict between the experiences your praxis stirs and the encultured perspectives of materialism that deny those invisible underlying realities. It sharpens the blades of phenomenology – band-saw and scalpel alike –upon our bloodied knuckles. For it is a bloody and violent affair to reject a hollow shell of a disenchanted world, but this armament (which is the unshakeable conviction of one’s own life-beyond-physical death) becomes a weapon, an armour, and the war-drum beating forth a skeleton army in our mind war with capitalist over-culture. The bait-and-switch tactics of consumerism – the cycle of fearmongering and distraction – must be examined in the empty teleology of existential nihilism. Fear of death as the ultimate weakness rendering us exploitable to the up-sell.

This is an inoculation against the fear of death through the deathly medicine of peeking beyond the vale of tears to an afterlife beyond. Gordon White refers to this process of initiation as ‘becoming invincible’.

Equally, Elisabeth Kubler-Ross cautions: ‘It is not the end of the physical body that should worry us. Rather, our concern must be to live while we're alive - to release our inner selves from the spiritual death that comes with living behind a facade designed to conform to external definitions of who and what we are.’ And, as Stephen Leacock quipped, ‘I detest life-insurance agents: they always argue that I shall some day die, which is not so.’ Mars burns false permanence with flames exactly the colour of a conflagration of currency.

Sol And so we come to the death and rebirth Mysteries of the Sun, continually sinking into the west to burn beneath us before crowning from the east once again to take pride of place and renew the cycle. This descent into the underworld is a deep, deep wellspring from which to draw creative illumination. And does not the light blind as darkness entombs? Thus is it said, ‘Death most resembles a prophet who is without honor in his own land or a poet who is a stranger among his people.’

Beyond the manners by which various schools of mysticism regard the huge nuclear solar circle in the sky, the Sun’s miraculous gold – that incorruptible panacea – neatly paves the path to discuss the necromancy of alchemy. One particular alchemical operation lends itself remarkably well to a discussion of such themes: the production of spagyrics. Like all alchemical terminology, the exact process the term connotes is subject to some semantic variegation across differing theories and practices, but the core elements of the production of spagyric medicine are simple enough to relate. 

Creating a spagyric requires three stages: 1) the separation of a material’s Sulphur from its Salt into a Mercury; 2) the purification of the inert Salt, usually by calcination (which is the application of extreme heat); and 3) the cohobation or recombination of this now-purified Salt with its Sulphurous Mercury. This process is applied to various natural materia in order to render a reborn, purified and ennobled form of the materia. To pick an especially solar instance, consider a rosemary spagyric. First, the raw plant material – the Salt of its physical body and the Suphur of its essential oils and “life-force” is macerated in the Mercury of a pure spirit alcohol, which draws the Sulphur out of it. The rosemary is killed: forced to give up its ghost. Secondly, the remaining mulchy plant matter, the corpse of it, is calcined to ash, over and over again, until the final secret nutrients and virtues of the rosemary, held in the fundamental plant fibres, are finally stripped naked and made bio-available by the cleansing heat. These purified Salts, the plant’s perfected body, is recombined with its Spirit and Soul. The form is reunited with perfected matter. Nature is redeemed by a spiritual fire. Spagyrics render their medicine as a reborn saviour; crucified at the crux of transformation and risen to redeem us. The manners by which this process was applied by Christian alchemists to both practical medicaments and soteriological theology should be clear.

Beyond such Christological devotion however, this process – of breaking down, refining components, and recombining to produce something more than the sum of the parts – is of course the core practice in devising, designing, composing, editing, and re-editing. The spagyric process offers opportunities for experimentation, mutation and meta-modelling: for the process is meant, like all alchemy, to mirror internal processes occurring in the heart and soul of the alchemist. Ora et labora meet in a concrescent co-mingling of operator and operation, indeed, of product and process. Every alchemical operation should provide us with a blueprint of a meta-process that can be universally applied to any operation. The object is to refine our modelling as well as what is modelled. Nature is always revealing itself. The harlot. No nerve ending turns us down.

Venus This revelation, the apocalypstick on the collar, is of course conveyed in the sentiments of B. R. Hayden: ‘Love and death are the two great hinges on which all human sympathies turn.’

Venusian necromancy moans, climaxes and shudders in an embodied knowledge of little deaths, oceanic feeling and polymorphous perversity. Moreunder, it is the blood pouring forth, the unghost of the neverborn: the fecundity of possibility. Anyone with even a passing understanding of agricultural folklore will note strong connections between fertility and the dead. Once more, the wellspring is Love. A necromancy of our ancestors is not simply Jupiterian pomp: this time it is indeed personal. To court the dead is to know the love that made us and carried us through hardship and across endings.

Venus graciously hosts the loss of isolated self provided by this central vision: this striptease in which progressive layers of separation and mediation are removed. What is left is a grand final reveal, the prestige of Nature as the Mother of All: which might be conceived of as a four-dimensional literal and loving four-dimensional family tree. Its roots are the earliest living forms upon the planet, its branches our families, and we the reaching buds and blossoms. Consider yourself from a vantage outside time: smeared like psychedelic trails or blurry sports photography on overexposed film. Your centipede self, snapshoted at each moment, connected, stretching back behind you in space and time, back out the door, back all to the way to your mother, and she back to hers, and so on and so forth. The Tree of Blood, cilia limbs wafting through a menstruum of tides across time.

To say more of Venus is arguably folly. Sometimes you have to shut up and let a Woman work wonders.

Mercury ‘Always read something that will make you look good if you die in the middle of it.’ P. J. O'Rourke.

Mercury counsels us of the importance of memory, of the value of structures, of the transformational crossroads of communication. Cicero reminds us ‘the life of the dead is placed in the memory of the living.’ Mercury is thus library and librarian, the books and the filing system. A Mercurial necromancy might well draw its instantiations of pedagogy from the sciences of putrefaction and decay. The teeming necrophagous organisms whose footprints in lividity are traced by body farms and under microscopes. The spectral cat of curiosity is an especially mercurial familiar. Both scholarship and death require rigour. Because, as David Gerrold said, ‘Life is hard. Then you die. Then they throw dirt in your face. Then the worms eat you. Be grateful it happens in that order.’

Luna

To ‘Die, v.: To stop sinning suddenly.’ Elbert Hubbard

Philosophically, the Moon rules mood, dream, all tides, all passions, lends its very name to all lunacy. But if I have to tell you how the moonlight silvers I may have already lost you. In that wordless phenomenology however, we once again drown the Cartesian dualism that has convinced many intellectuals, some to this day, that we can think without our bodies. The Moon guides us through this tenebrous falsity to the other side of the mirror. We are not captive minds piloting meat-sacks: we are a coherence of the whirlpool of an integrated mind-body-soul, the flame dancing at the twisted wick of inertias and consciousness. We are the knife in the dark, the blood on the door, the bones bobbing upon the river, the chalk lines traced.

We are the witchcraft.

Katharine Hepburn said ‘Death will be a great relief. No more interviews.’ And so, coming to finality of memorable endings – another alchemical necromancy – of shortening authorial interjections and longer passages underground, as the words become less mine and more othered, I wish to leave you with two quotes – the latter familiar, the former probably stranger – on the art of necromancy and the necromancy of art.

In William Blout’s 1661 dictionary, he offered a definition of a necromancer that provides us with several rich veins of creative sorcerous manners and methodologies to explore:

“Necromancer (necromantes) he that practises that wicked Art, a Master of the Black Art, one that seeks to the dead; or consults with Satan in the shape of a dead man. The Hebrews describe him thus; he made himself hungry, and then lodged among the Graves, that the dead might come to him in a dream, and make known to him that which he asked, &c. Others there were that clad themselves with cloathes for that purpose, and spoke certain words, burned Incense, and slept by themselves, that such a dead person might come and talk with them in a dream.”

The other is from a modern children’s book, but I hope you will agree, no less pertinent.

‘Let us leave this place where the smoke blows black and the dark street winds and bends. Past the pits where the asphalt flowers grow we shall walk with a walk that is measured and slow and watch where the chalk-white arrows go to the place where the sidewalk ends. Yes we'll walk with a walk that is measured and slow, and we'll go where the chalk-white arrows go, for the children, they mark, and the children, they know, the place where the sidewalk ends’

[ask-them-bois]

Makeno, what do you do when the weather is cold?

I suffer. I cAn't stAnd hAVing fleece or wool or Anything fuzzy neAr my gills, but I cAn't go out into the snow shirtless, cAn I? I put hot gel pAds oVer my gills And throw A jAcket on when I go out. It sucks.

[ask-them-bois]

😤 makeno

Send “😤 + name” to hear of a very stupid thing my muse has done in the past

....... I dAted FAyroe.

[ask-them-bois]

5, 6 and 7 for Makeno

5. Dream respiteblock?

The one I hAVe now, I guess? It's dope As hell And I look forwArd to getting into it eVery night.

6. What’s your favorite thing in your current hive?

The meAlblock. I spent... More money thAn I cAre to Admit on it.

7. What’s your least favorite thing in your current hive?

ProbAbly the mAssiVe Amounts of explosiVes Corden hAs squirreled AwAy in his block.

[ask-them-bois]

Your oc Makeno is fine

"Makeno is fine" Makeno sold his morail to One Direction

[ask-them-bois]

♑makeno

Makeno fears being forgotten. He fears that when he will be forced to leave Alternia, no one will remember him. And when he dies, his name will die, too. That is why he strives to make a mark, by his restaurant, his music, his charity work- he doesn't ever want to be alone again.

[ask-them-bois]

I give makeno a biiiiig smooch -Love Ferris (askinthegoband)

BAbe thAt's reAlly gAy. <3

@askinthegoband

[ask-them-bois]

Makeno, what're some classic, tried and true methods of helping Corden when he's stressed? Do you have any special routines or tricks to calming him down?

Oh, yeAh I'Ve got a few tricks. Depends on why he's riled up, though.

If he's upset About his gAmes, we turn off the Video gAmes And put on A super hero moVie. Those distrAct him And get him thinking About winning, not losing.

If he's dysphoric, we turn off the lights, I put on some music, And we hAVe A feelings jAm session About literAlly Anything else.

If he's hAving flAshbAcks or pAnic AttAcks... I let him hit me. ThAt sounds bAd, but I rAther he hit me thAt hit himself. A few gut punches lAter, And he runs out of steAm. Then I scoop him up in A full body hug And he turns into putty in my Arms. Then we sit down, I rub his bAck As we tAlk, And he ends up fAlling Asleep on me.

[ask-them-bois]

Ayaan C L O W N for Makeno!!!

C omfort - How would they help their s/o when they feel down/have a panic attack etc.?

Oh, thAt's eAsy. If he's upset, I scoop Ferris up, throw him on the bed, coVer him in blAnkets, put on his fAVorite moVie, And smother him with Affection. If he's pAnicking, I sit with him, hold him, pet his hAir, get him A drink- thAt kind of stuff.

L ove Confession - How would they confess to their s/o?

Uh. Well, when I confessed to Ferris, it wAs A spur of the moment thing. We'd met up A few times for one-day stAnds, And I just blurted it out After A... meeting. I... Admit thAt I might hAVe cried, too. It wAs A "red At first sight" sort of thing And I finAlly couldn't hold it in Anymore.

O n Cloud Nine - What are they like when they are in love? Is it obvious for others? How do they express their feelings?

It's probAbly obVious, yeAh. I weAr my ring eVerywhere, I brAg About him All this time, And I hAVe like, All his bAnd merch.

W ild Card - A random Fluff Headcanon.

Makeno is the biggest cuddler. He's the kind of cuddler who puts up a fuss, too. If his quad tries to get up, even for the bathroom or something, he whined and hangs on and begs for them to come back. If they manage to get out of his grip, he pouts until they come back.

N icknames - What do they call their s/o?

Huh, I guess i'Ve neVer reAlly giVen Ferris A nicknAme. I cAll him your typicAl stuff though; "bAby", "hun", stuff like thAt. "Ferris" And "LikmAi" Are kindA hArd to mAke nicknAmes out of.

[ask-them-bois]

I'd probably date Makeno in a dating sim, if he weren't taken

I meAn... I’Ve still got a spAde open...

[ask-them-bois]

Makeno, do you have any doubts about being Corden's moirail? Do you ever wonder if you could be better?

.... Fuck.

Of course I hAVe fucking doubts. I work 84 hours A week to Afford his medicAtion, therApy, our hiVe, food, And eVerything else, but thAt's still twelve hours A dAy thAt I'm not there for him. WhAt if his luck runs out And he finAlly fucking hurts himself? WhAt if the drones cAtch him? He's technicAlly A wAnted criminAl. We liVe in A big city so we blend in A little, And I'Ve got my stAtus As A highblood protecting him somewhAt, but he's so reckless!

I know I cAn do better! I'm teAring myself ApArt At the fucking seAms trying to be better! But I'Ve got two jobs, chArity work, A husbAnd, And now this bullshit with Musrio And OliVer, And god knows whAt else on my plAte!

Also, hey, the dumb kid is still trying to turn himself into A fucking robot! I cAn only sAbotAge his project for so long before he cAtches on! I don't know how else to stop him- eVery time I try to tAlk to him About it he shuts down And gets All cAgey. He shuts himself in his respiteblock And won't tAlk for me for nights on end.

I just- fuck, I loVe him so much. He's my best fucking friend, I'd tAke Another bullet for the idiot, he's- he's my little bAll of loud sunshine, it kills me thAt I might not be Able to protect him foreVer. ... OkAy thAt sounds reAlly gAy, but I fucking meAn it.