#phase 1.1

[allegoriesandepithets]

Large Pixel Size A- Flags

[PT: Large Pixel Size A- Flags]

Asexual ~ Aromantic

Aplatonic ~ Aqueerplatonic

Analterous ~ Asensual ~ Anaesthetic

All flags are 3000x2000 pixels.

@tertiary-attraction-archive @radiomogai @liom-archive @imoga-pride

[mingtinys]

what dating seventeen feels like

pairing : seventeen x gn!reader

headcanons , fluff , misc

warnings : none

word count : 1.1 k

requested ? no

a/n: just a small collection of the things i love in life that i associate with seventeen

choi seungcheol

falling asleep on the couch and waking up in bed. chocolate-covered strawberries. the kind of love found in romcoms. expensive dinner dates and champagne.

cologne that lingers on your clothes and bed sheets. tight, bone-crushing, hugs. his hand almost always under the hem of your shirt, skin to skin (it grounds him). him letting you win when you play wrestle. cute aggression victim.

having a rock to hold on to amidst a raging current.

yoon jeonghan

diving under a crashing wave to find calm, gentle, water. rollercoasters with big drops. feathers. lavender fields. leaving the theater and realizing night has fallen.

always saying the same thing at the same time (it scares seokmin). naps on the couch. sending each other pictures of weird-looking animals with the caption "you" or "us." partners in crime. braiding his hair.

having not only a boyfriend but a best friend in jeonghan.

joshua hong

warm blankets, fresh from the dryer. pancakes and orange juice in the morning. raw honey. the scent of freshly baked bread. scented candles and wax melts.

lives up to the gentleman title. opens doors, bides by the sidewalk rule, lends you his jacket, etc. acts! of! service!! fighting over who pays the bill (he's actually ambushed your waiter to pay before you can even see the check). domestic, mundane, slice-of-life type of love.

a honeymoon phase that never ends.

wen junhui

walking down empty streets without a care in the world. morning cartoons. clingy cats. ice cream for dinner. frozen pizza with red wine. airport liminal space hours.

taking pictures of sunsets to send to each other. doodling on his hand. staying up until 3am accidentally. back hugs galore. resting his chin atop your head. him getting as close as possible when showing him something on your phone (i'm talking cheek smooshed up against yours). sleepy jun asking for kisses every morning.

living life in the moment because you know the future can wait for you two.

kwon soonyoung

energetic snow days. sledding, snowball fights, building snowmen. energy drinks and all-nighters. watermelon sugar. summer bonfires. the ambiance of muffled music through club bathrooms.

zoo dates. always wins you the biggest prizes at carnivals. his favorite place to nap is your lap. sweaty post-dance practice hugs. he gets pouty if you start a tv show without him. baking brownies at 3am. talks about you non-stop to anyone who will (or won't) listen.

excitement that isn't momentary or overwhelming. excitement that makes life meaningful.

jeon wonwoo

tulips blooming in the spring. waxing gibbous moons. amethyst. resting after a long, busy day. the scent of old, yellowed books. rhythmic clicking of a keyboard. warm, smooth, riverbank stones.

re-adjusting his glasses for him after every kiss. let's you design his character's outfits in video games. tells you about the book he's reading like it's gossip. he's always taking candid photos of you. quiet mornings. elderly couples who see you two are reminded of how they fell in love.

defining love not by how much it's said, but by how it's felt.

lee jihoon

thunderstorms that lull you to sleep. shiny, red guitars coming to life with smooth melodies. the crackle of a fire. rosemary. empty highways at night. lightning that strikes twice.

morning coffee dates at home. napping on his studio sofa while he works. quality! time! absolutely spoils you every chance he gets. pretends to act all cool when you catch him staring. writing songs for you. his hand routinely finds your knee when he's anxious. he prefers intimate and private acts of affection to the alternative.

cherishing all the little things that make your relationship important.

lee seokmin

wishing on dandelions. blue skies. morning dew on grass. golden hour. that burning sensation you get in your lungs when laughing too hard. iced lattes.

always asking permission to kiss you. so, so attentive. falling asleep on facetime. pillow forts. lots, and lots, and lots of nose kisses. him never wanting to leave you in the morning. "five more minutes" type of guy. his favorite feeling in the world is making you laugh.

finally knowing what it means to love someone so much you'd give the world for them.

kim mingyu

sleeping by a window with the sun warming your skin. hearing your favorite song on the radio. silky white sheets. first date jitters. first love. receiving a bouquet of roses.

admires you so, so, much. talks about you 24/7, much to his members' annoyance. (jk, they love you, they just like to tease him about it). literally a sponge the way he starts picking up your habits and slang. he's physically incapable of rejecting your puppy-dog eyes. likes to lay sprawled out on top of you. he'll often seek you out if he needs a little extra support.

the feeling that comes with knowing you've found "the one."

xu minghao

the autumn leaves changing. winter constellations. a solar eclipse. the quiet of a house before everyone wakes. those cozy granny-square blankets. white wine. laughing at scary movies.

wine and painting nights. him always making two cups of tea. art museum dates. swaying together to music in the kitchen. him secretly being a sucker for your doting. has your mannerisms memorized and prides himself on it. somehow always knows what to say when you're feeling down.

growing, learning, and experiencing life alongside each other.

boo seungkwan

warm, summer air. mystery flavored lollipops that somehow taste like every flavor all at once. rosy red cheeks.

teasing each other and inside jokes. nicknames like loser, stupid-head, idiot etc. (affectionate). hours long gossip sessions. kisses that taste of coffee and tangerine chapstick. stars in his eyes whenever you're doing literally anything. having his undivided attention.

resident happy pill and mood-maker seungkwan knowing he can let his mask fall around you without judgement.

hansol vernon chwe

watching city lights blur past in the passenger seat of a car at night. cereal at 1am. falling asleep while watching tv. poorly handmade, yet meaningful gifts. assorted candies. buying road trip snacks.

communicating with a single look. ice cream dates in the middle of winter. speaking purely in movie and tiktok references. late-night conversations that take a weird turn. (you've once debated if aliens would like pineapple on pizza). pretending not to notice how shy he gets when initiating physical affection.

loving the strange, bad, and hidden parts of each other as much as the good.

lee chan

the comforting buzz and motion of a subway at night. toothy smiles. watching reruns of your favorite childhood show. surprise parties. the first snow of the new year. concert lights.

driving at 2am, singing at the top of your lungs. random dance parties in the living room. getting noise complaints and giggling about it. pillow fights and board games, competitive, yet both trying to let the other win cause it'll make them happy. asking him to open jars. him getting exceptionally giddy to open said jars. (you're completely capable, but know he likes to feel needed).

making each other's inner child feel safe.

[cal-kestis]

HOW TO: Do A Crystallize Gif Transition

Hi! I was asked to explain how I did the transition effect in this gifset, so here's a quick tutorial! Disclaimer: This tutorial assumes you have an intermediate understanding of gif-making in Photoshop using Video Timeline and requires the use of keyframes.

PHASE 1: THE GIFS

1.1 – Determine how many frames you need. Since you need at least 2 scenes for a transition, consider limiting the amount of frames you'll use per scene. For a transition between 2 scenes that's 540x540px, I would recommend no more than 30 frames per scene (for a final gif that's 60 frames). Even that may be pushing it depending on your coloring. Just be sure to consider the dimensions and colors of your gifs in relation to the amount of frames to keep your final gif under Tumblr's 10MB limit.

1.2 – Import frames, crop, resize, convert to smart object for Video Timeline, color, blend, etc. Do this as you normally would! If you need a tutorial for the basics, here's my tutorial. :) Please note, the methods in this tutorial only work with gifs that are converted into smart objects in the Video Timeline workspace.

Tip A: I recommend using scenes where there's a lot of one color (or scenes where you can manipulate it to look like that). The crystallize filter on a gif creates A LOT of movement that can feel a bit chaotic. Having your gif be primarily one color reduces the eye strain a bit imo.

Tip B: I like how this effect looks with blended scenes because it allows me to use different "crystal" sizes (more on this in Step 2.2). Check out the USERGIF Resource Directory for plenty of blending tutorials!

1.3 – Move all your gifs into one document, group into folders, and arrange. Once everything's in one doc, keep everything organized in a group folder! I have just two scenes, so that's Folder 1 & 2. Within those folders are the gifs I blended, which I labeled by gif color. Then, simply drag Folder 2 so it continues right after Folder 1. (Make sure none of your adjustment layers from Folder 2 accidentally affect Folder 1! You can do this by clipping your adjustment layers to match the length of the gif as I did, or using clipping masks.)

(Ignore that lone Hue/Saturation layer lol. I decided last-minute that I wanted my gif to lean more pink than red.)

PHASE 2: THE FILTERS

2.1 – Duplicate each scene. We're going to use opacity keyframe animations on these duplicated scenes that allow it to go from "normal" to "effect" and vice versa. The filters will only be applied to the duplicates. In the screenshot below, all of my duplicates are highlighted:

2.2 – Apply the Crystallize Filter. Above your sharpening settings, apply this filter by going to Filter → Pixelate → Crystallize. On the pink gifs, I made the crystals bigger (cell size: 45), and on the black and white gifs, I did a cell size of 25.

The different sizes help break up the uniformity of the crystals imo, creating more of a mosaic-like look, which is what I wanted to match my gifset concept.

2.3 – Apply the Oil Paint Filter (Optional). Filter > Stylize > Oil Paint. Here are my settings (they're the same for both crystal cell sizes):

Brush – Stylization: 0.1, Cleanliness: 8.6, Scale: 0.1, Bristle Detail: 0.3 Lighting – Angle: -60, Shine: 0.7

This filter helps soften the cells a bit while adding some texture (left: no oil paint; right: with oil paint):

2.4 – Repeat steps 2.2 & 2.3 on all duplicated scenes.

PHASE 3: THE KEYFRAMES

3.1 – Add opacity keyframes. The very start and end of each scene needs an opacity keyframe set to 100% opacity. Move 0.09 seconds from each of those points, and place another opacity keyframe, this time set to 0% opacity. We're basically making the crystals fade in and out. Please reference the screenshot below for keyframe placement:

If you need more info on opacity keyframes, check out Phase 2 from this fade transition tutorial I did on usergif.

3.2 – Repeat step 3.1 on all duplicated scenes. All the keyframes in Folder 1 should line up exactly and all the keyframes in Folder 2 should line up exactly!

PHASE 4: THE DUPLICATES

4.1 – Convert back to Frame Animation. If you're not sure how to do this, I've written out the steps here. I rec the action linked in my general gif tutorial which I shared earlier!

4.2 – Delete duplicate frames. Whenever you use keyframe animations, you'll get duplicate frames. That's just how it works, unfortunately. If you follow my steps exactly (specifically the 0.09-second spacing, which follows my tried-and-true 0.03-second rule), you'll have a total of 12 duplicate frames exactly — 3 duplicates per keyframe section. Just manually delete them! You can spot the duplicates by eye, but with this spacing, it's usually the 2nd, 5th, and 8th frame for each transition section. The selected frames below were my duplicates:

If you want to learn more about why there are duplicates and the math behind it all, I explained it in more detail in this ask.

4.3 – Export and you're done!

I hope this tutorial helps! Let me know if you have any questions :)

[usergif]

HOW TO: Make Animated Neon Text

Hi! No one asked for this tutorial, but this is one of my favorite typography effects as of late — so I thought I'd share how I do it. You can see this effect in the first gif of this *NSYNC Celebrity set and the last gif of this Anthony Bridgerton set. Disclaimer: This tutorial assumes you have a basic understanding of gif-making in Photoshop. It's also exclusively in Timeline and uses keyframes for the fading effect seen on the blue text.

PHASE 1: PREP YOUR BASE GIF

1.1 – Choose a dark scene. This effect looks best contrasted against a dark background. You can definitely do it with a bright background, but just like a neon sign irl, you only turn it on in the dark/at night — so keep that in mind! 

1.2 – Determine the length of your clip. Depending on how much you want your text to flash or fade in, you'll want to make sure you have a scene long enough to also allow the text not to flash — reducing the strain it takes to actually read the text. For reference, my gif is 48 frames.

1.3 – Crop, color, etc. as you would. New to gif-making? Check out my basic tutorial here!

PHASE 2: FORMAT YOUR TEXT

Before we animate anything, get your text and any vectors laid out and formatted exactly as you want them!

2.1 – Finding neon sign fonts. It's easy as going to dafont.com and typing "neon" into the search bar!

2.2 – Fonts I used. Neon Glow by weknow | Neon by Fenotype | Neon Bines by Eknoji Studio

And to not leave my fellow font hoarders hanging, the font for "tutorial by usergif" is Karla (it's a Google font) 🥰

2.3 – Group your text layers. (Conditional) If you plan on having multiple text layers like I did and you want them to appear connected (like how the last letters of "NEON" and "sign" intersect with the wand icon), I suggest putting the layers into groups according to color (the shortcut to group layers is Command+G). If you don't group your text and just apply the outer glow settings to each individual layer, you'll end up with something like this:

—where you can see the glow overlap with the line, instead of the smooth connection you see in my final example gif. I'm using 2 colors for my text, so I made a group for red and a group for blue.

2.4 – Apply Outer Glow. Right-click your text layer (or your group if you have several layers) and select "Blending Options" to open the Layer Style menu. Check "Outer Glow" and feel free to play around with the settings until you like the way your text looks!

Your outer glow color should be darker and more vibrant than the color of the text itself. The text should be within the same color family but much brighter and, sometimes, almost white (see Step 2.2 again for my text colors).

Here are the settings for the Red Glow (the glow color is #FF3966) and Blue Glow (#00F0FF):

These aren't always my exact settings but they're pretty close to my standard. I always set the blend mode to Hard Light and usually have the opacity at 100%.

For every gif I use this effect on, I like to play around with Spread and Size. Spread will make the glow look denser and "expand the boundaries" (source: Adobe) and Size will diffuse the glow and blow it out so it covers a larger area (Adobe says it "Specifies the radius and size of blur").

2.5 – Duplicate your text layer/groups and remove glow. We're only going to be animating the glow on our text, and since doing this affects its opacity/visibility, we want to preserve the base text by creating a duplicate.

I just hit the Command+J shortcut to duplicate my groups and delete the Outer Glow effects, making sure that the "No Glow" version is above the "Glow" version:

I also put all these groups into one group called "Text" for organization and so I could apply a drop shadow to all the elements for better visibility.

PHASE 3: CREATE THE FLASHING EFFECT

This is for the effect you see on the RED text in my gif!

3.1 – The 0.03-Second Rule If you've read any of my animation tutorials before, you're probably already familiar with this rule. In my experience (and for reasons I can't explain), Video Timeline pauses every 0.03 seconds (try clicking the forward button a few times, you'll probably find a "duplicate" or paused frame). So, keep all your layers a duration of 0.03-second increments (e.g. 0.06 or 0.09 seconds can also work) and align them on the Timeline at 0.03-second intervals. If you don't follow this rule, you'll get duplicate frames when you export, resulting in a choppy final gif.

3.2 – Trim and arrange your text layers. Only on the layers/groups WITH the Outer Glow effect, trim them into several segments of varying lengths where the glow will be "on" (visible) and leaving spaces where the glow should be "off."

Typically, I'll have a mixture of 0.06 and 0.03-second text. That's when the glow will be visible. Between each "flash" of visibility, I've got a 0.03-second blank space, baby *pen clicks* and I'll write your name:

The layers shown above are arranged with a few flashes and two long segments of no flashing. This is the order and duration of each segment shown above (purple = visible segments):

0.06 blank, 0.06 visible, 0.03 blank, 0.03 visible, 0.03 blank, 0.03 visible, 0.03 blank, 0.24 visible (the long bit where "FLASHING" doesn't flash at all), 0.03 blank, 0.03 visible, 0.03 blank, 0.12 visible

(I only did this for the text that says "FLASHING" to give it a glitching effect. The other red text keeps the glow visible starting at the first long segment.)

PHASE 4: CREATE THE FADE-IN EFFECT

This is for the effect you see on the BLUE text in my gif!

4.1 – Animate using the Opacity Keyframe. Again, we're only touching the layers/groups WITH the glow effect. If you only have one layer of text, you'll find the Opacity Keyframe by clicking the film reel icon:

If you're working with groups like me, you'll find it in the Timeline panel under the group when it's expanded:

As you can see, I already added my keyframes (lil diamond babies). And luckily, it's super easy to do!

4.2 – Add the ending Keyframe first. We're starting at the end because our layers/groups are already at 100% opacity. Drag the playhead (the blue arrow attached to the red vertical line) to a spot where you want the glow to be 100% opaque — this is where the glow will be fully "on" or visible. [Again, follow the 0.03-Second Rule. You will get duplicate frames regardless when using keyframes (this will be explained in the note in Phase 5), but abiding to the rule will mitigate the amount of dupes you get.]

Then, click the clock icon by "Opacity" to place a keyframe:

4.3 – Add the starting Keyframe. Go backward from the ending Keyframe you just placed (I went back 0.12 seconds — but you can play around with the duration of the fade, just keep it a multiple of 0.03):

And drop another keyframe, this time by clicking the diamond icon by "Opacity":

4.4 – Reduce the opacity on the starting Keyframe. Keeping that keyframe you just placed selected, go to the layers panel and reduce your layer's/group's opacity to 0%:

Now, this Outer Glow will slowly fade from 0% to 100% opacity.

And just for a visual aid, here's where my fade-in keyframes are in relation to my flashing segments:

To refresh your mind, the 0% Opacity Keyframe starts when "FLASHING" is visible for 0.24 seconds (the first long segment of visibility).

With these keyframes, you'll get a smooth fade-in à la ✨light switch with a dimmer✨

PHASE 5: EXPORT

Yay, we're finished! Convert from Timeline back to Frames and export your gif!

NOTE: If you only did the flashing effect and followed my 0.03-Second Rule, you shouldn't have any duplicate gifs. BUT if you included the fade-in effect using keyframes, you WILL have duplicate frames. 'Tis the nature of keyframes. 🤷‍♀️ I had 4 extra frames where the fade-in starts, which I deleted. So, as always, I recommend checking your frames when you convert from Video Timeline back to Frame Animation — and manually delete any duplicate frames.

Sorry this tutorial is so long 🙈 I over-explain so you're not just mechanically copying steps, but understanding the WHY behind each step! Thanks for bearing with me

If you have specific questions about this tutorial, feel free to send a message to usergif and I'll try my best to help! :)

More USERGIF tutorials • More resources by Nik • USERGIF Resource Directory

[mathmodder]

Get Wild & Ocean Life Test Phase Version 1.1

Hello, nature lovers and marine life enthusiasts! This is a new testing version of GetWildMOD & OceanLifeMOD, and this time, I bring some major updates.

What's New?

In this version, I've implemented a much-awaited and thrilling package! Now, not only the beetle spawner spawns wildlife BUUUUUT butterfly spawners will bring wildlife to life around you with a new addon!!!

How to Test This Version:

If you're eager to test out this exciting feature, here are some important guidelines:

Remove Previous Versions: As this is a new release, it's crucial to delete all files from the previous testing version to ensure the proper functioning of this update.

Replace Enhanced Butterflies Mod: If you have my Enhanced Butterflies mod installed, please replace the files "Butterflies Merge 1 (Math Mod)" , "Butterflies Merge 2 (Math Mod)" and "Glowy Butterfly (Math Mod)"   with this tree addon files: "Butterflies Merge 1 (GetWildMod Addon Math Mod)", "Butterflies Merge 2 (GetWildMod Addon Math Mod)" and "Glowy Butterfly (GetWildMod Addon Math Mod)" This addon not only retains Enhanced Butterflies but also adds the thrilling addition of wild animals around you! Install the "Falling Leaves 1 (Math Mod)", "Falling Leaves 2 (Math Mod)", "Fog Merge (Math Mod)" and "Wind (Math Mod)" if you do not have yet from the Enhanced Butterflies mod or other mods that i made that have these same files!

Important Note: Please be aware that this is a testing release. If you encounter any issues or have feedback to share, I would greatly appreciate your contribution to improving this experience for everyone. Chat with me on Tumblr!

This is just the beginning of an exciting journey to bring life to our virtual worlds. I'm eagerly looking forward to hearing about your experiences and seeing how this addition transforms your adventures!

Download the new testing version of GetWildMOD & OceanLifeMOD in my Patreon! Math Modder | The Sims 3 Mods and MO-MO-MORE! | Patreon

[lezzzstargirl]

ZZZ Version 1.1 "Undercover R&B" Special Program Highlights

Redemption Code: UNDERCOVERRNB

Phase 1 Signal Search: Qingyi (S Rank)

Phase 2 Signal Search: Jane Doe (S Rank) & Seth Lowell (A Rank)

[tzifron]

CAIRO/JERUSALEM/LONDON, March 18 (Reuters) - Extreme food shortages in parts of the Gaza Strip have already exceeded famine levels, and mass death is now imminent without an immediate ceasefire and surge of food to areas cut off by fighting, the global hunger monitor said on Monday.

The Integrated Food-Security Phase Classification (IPC), whose assessments are relied on by U.N. agencies, said 70% of people in parts of northern Gaza were suffering the most severe level of food shortage, more than triple the 20% threshold to be considered famine.

The IPC said it did not have enough data on death rates, but estimated residents would be dying at famine scale imminently, defined as two people out of every 10,000 dying daily from starvation or from malnutrition and disease.

Gaza's health ministry has said 27 children and three adults have died so far from malnutrition.

"The actions needed to prevent famine require an immediate political decision for a ceasefire together with a significant and immediate increase in humanitarian and commercial access to the entire population of Gaza," it said.

In all, 1.1 million Gazans, around half the population, were experiencing "catastrophic" shortages of food, with around 300,000 in the areas now facing the prospect of famine-scale death rates.

The prospect of a manmade famine in Gaza has brought the strongest criticism of Israel from Western allies since it launched its war against Hamas militants following their deadly attack on Israeli territory on Oct. 7.

"In Gaza we are no longer on the brink of famine. We are in a state of famine... Starvation is used as a weapon of war. Israel is provoking famine," EU foreign policy chief Josep Borrell said at a Brussels conference on aid for Gaza.

https://www.reuters.com/world/middle-east/gaza-suffers-famine-level-shortages-mass-death-imminent-un-backed-monitor-says-2024-03-18/

[lulu2992]

While I’m at it, in 2015, I also made a video compiling the different endings of BioShock 2, and I’ve decided to finally upload it!

So there are 8 endings in total. I call them:

1.1 – A

2.1 – A

1.2 – B.1

1.2 – B.2

2.2 – B.1

2.2 – B.2

1.2 – C

2.2 – C

I also made two visual representations, a table and a diagram, of how to get them:

The text version of this and what Eleanor says in each ending is under the cut :)

Part 1

1.1: Eleanor forgives and saves Sofia Lamb.

Condition: Delta rescues all the Little Sisters; Delta spares at least one person among Grace Holloway, Stanley Poole, and Gilbert Alexander.

"And then, Father, the Rapture dream was over. You taught me that evil is just a word. Under the skin, it’s simple pain. For you, mercy was victory. You sacrificed, you endured, and when given the chance, you forgave. Always. Mother believed this world was irredeemable, but she was wrong, Father. We are Utopia, you and I, and in forgiving, we left the door open for her."

1.2: Eleanor hates but saves Sofia Lamb.

Condition: Delta harvests at least one Little Sister; Delta spares Grace Holloway, Stanley Poole, and Gilbert Alexander.

"And then, Father, the Rapture dream was over. You taught me that right and wrong are tidal forces, ever-shifting. To survive in Rapture, Father, you took what you needed from the innocent. But, when the guilty posed no further threat, you simply walked away. I wanted Mother dead. But, broken as she was, how could she hurt me? Now, she will grow old and die, knowing that I rejected her."

2.1: Eleanor loves but drowns Sofia Lamb.

Condition: Delta rescues all the Little Sisters; Delta kills Grace Holloway, Stanley Poole, and Gilbert Alexander.

"You taught me that justice is a contract: once broken, it can never be mended. You sacrificed so much to preserve the innocent. But, to the guilty, you offered no mercy. I loved my mother, and I never wanted to hurt her. But with what she did to us, she gave up the right to exist. My hands were shaking when I did it… But you were there to steady them."

2.2: Eleanor hates and drowns Sofia Lamb.

Condition: Delta harvests at least one Little Sister; Delta kills at least one person among Grace Holloway, Stanley Poole, and Gilbert Alexander.

"And then, Father, the Rapture dream was over. You taught me that innocence is chrysalis, a phase designed to end. Only when we are free from it do we know ourselves. You showed me that my survival, my joy, are all that matter. I indulge, nothing else exists."

Part 2

A: Eleanor is at peace and hopeful. Delta dies but willingly lives on in Eleanor.

Condition: Delta rescues all the Little Sisters.

"The Rapture dream is over. But in waking, I am reborn. This world isn’t ready for me, yet here I am. It would be so easy to misjudge them. You are my conscience, Father, and I need you to guide me. You will always be with me now, Father: your memories, your drives… And when I need you, you’ll be there on my shoulder, whispering. If Utopia is not a place, but a people, then we must choose carefully, for the world is about to change. And in our story, Rapture was just the beginning."

B: Eleanor is in doubt...

Condition: Delta rescues at least one and harvests at least one Little Sister.

"You made a monster of me, Father, but I wondered why you saved the others. You left me in doubt. Didn’t you want me to be like you? I knew I could save you, but if you felt regret, if you wanted me to choose for myself, I would have to let you go. To let you die."

Delta chooses to sacrifice himself and not live on in Eleanor. Eleanor is alone and unsure about her future. "The Rapture dream is over. And in waking, I am alone. Mother, I left behind, and you chose to die rather than to have me follow you. But you gave me the greatest gift of all, something I have never had: my freedom. There is no name for what I am, but the world is about to change. I thought we would seize it together. Yet, as I sat there with you, I wondered if even I could be redeemed. Your sacrifice gave me hope. But, Father, wherever you are… I miss you."

Delta chooses to save himself and live on in Eleanor. Eleanor is evil. "You may not have wanted me, Father, but you defined me. You chose to survive, no matter the cost, and I will not let your instincts go to waste. The Rapture dream is over. And in waking, I am reborn. You’ll always be with me, Father: your memories, your drives... When I need you, you’ll be there, whispering from my shoulder. There is no name for what I am, but the world is about to change, and with your help, they’ll never see me coming."

C: Eleanor is a monster. Delta dies but unwillingly lives on in Eleanor.

Condition: Delta harvests all the Little Sisters.

"The Rapture dream is over, and in waking, I am reborn. You may not have wanted me, Father, but you defined me. You chose to survive, no matter the cost, and I will not let your instincts go to waste. You’ll always be with me, Father: your memories, your drives... When I need you, you’ll be there, whispering from my shoulder. There is no name for what I am, but the world is about to change, and with your help, they’ll never see me coming."

[notunexpected]

1.1 million Palestinians are experiencing catastrophic shortages of food. Extreme food shortages in parts of the Gaza Strip have already exceeded famine levels, and mass death is now imminent.

"In Gaza we are no longer on the brink of famine. We are in a state of famine [..] Starvation is used as a weapon of war. Israel is provoking famine" - EU Foreign Policy Chief Josep Borrell

Virtually all households are already skipping meals every day and adults are reducing their meals so that children can eat. Conditions will continue deteriorate without aid. Israel must to allow the entry and delivery of water, food, medical supplies and other humanitarian aid into and within Gaza. As the occupying force, it is their responsibility under international law to allow for the passage of supplies including food.

Sources: Integrated Food Security Phase Classification Report & WHO Press Release

[good-old-gossip]

UN experts say Israel carrying out ‘targeted starvation campaign’ in Gaza

The report says famine has spread throughout the enclave after nine months of war.

“Israel’s intentional and targeted starvation campaign against the Palestinian people is a form of genocidal violence and has resulted in famine across all of Gaza,” 10 independent UN experts said in a statement on Tuesday.

Gaza health authorities have said at least 33 children have died of malnutrition, mostly in northern Gaza, which had until recently faced the brunt of the Israeli military campaign launched in October.

In recent months, the war has also spread to southern Gaza, reducing aid flows into the enclave amid restrictions by Israel, which has accused UN agencies of failing to distribute supplies efficiently.

“With the death of these children from starvation despite medical treatment in central Gaza, there is no doubt that famine has spread from northern Gaza into central and southern Gaza,” the experts said.

At a hospital in Khan Younis, Ghaneyma Joma told the news agency Reuters (article linked) on Monday that she feared her son would die of starvation.

“It’s distressing to see my child … lying there dying from malnutrition because I cannot provide him with anything due to the war, the closing of crossings and the contaminated water,” she said.

Determining whether a famine exists rests with a UN-backed global monitor called the Integrated Food Security Phase Classification (IPC), which makes an assessment based on a set of technical criteria.

Last month, the IPC said Gaza remained at high risk of famine as the war continues and aid access is restricted.

More than 495,000 people across Gaza – more than a fifth of the population – are facing the most severe, or “catastrophic”, level of food insecurity, it said, down from a forecast of 1.1 million in the previous update in March. This level means people are experiencing an extreme lack of food and starvation.

[allegoriesandepithets]

Large Pixel Size A-spec Flags

[PT: Large Pixel Size A-spec Flags]

Asexual Spectrum/Ace-spec ~ Aromantic Spectrum/Aro-spec

Aplatonic Spectrum/Apl-spec ~ Aqueerplatonic Spectrum/Aqp-spec

Analterous Spectrum/Analt-spec ~ Asensual Spectrum/Asen-spec ~ Anaesthetic Spectrum/Anae-spec

All flags are 3000x2000 pixels.

@tertiary-attraction-archive @radiomogai @liom-archive @imoga-pride

[spikes-got-anger-issues]

Here are more of my notes and personal thoughts on the Commando App because I find it very intriguing and I am insane

(Note: In 2x09 and 3x18 there's a slight font error and the period between "2.1" in the "APP v2.1 BETA" in the corner missing. It doesn't appear until 4x10 when the numbers are spaced out and slightly resized)

So, we see throughout the show in the bottom right corner on the Commando App's engagement screen that Chase's Commando App is the 2.1 Beta version. Kate on the other hand has the 3.1 Beta version of it

Something worth noting is that Chase is the original owner of the Commando App, and up until Kate was introduced, he was the only one to have it and after 4x10 he is back to being the only one to have it

So, why does Chase have the 2.1 Beta version and not the 2.0 Beta version? Even more so, why isn't he even the Beta 0.1-1.9 version of the Commando App if he's the first person to have it installed on his chip?

And on top of that, if what we see of the Commando App in the show is the Beta version, then what was the Alpha version and when did it exist?

The Alpha version had to have come before the Beta version, that's the whole point of the Beta version existing since it's the second phase of an app after Alpha

Hypothetically, the Alpha version was what was originally on Chase's chip before it was implanted into him, or right after it was implanted into him

What I mean by that is when Douglas made their chips he obviously had the Commando App in mind to give to Chase because of his main bionic ability not being an offensive or defensive power and with Chase being physically smaller, but since this was new and experimental technology he had to make the Alpha version first to put onto the chip

I could imagine four potential (and completely hypothetical) things out of this idea:

The Alpha version only existed before the chip was inserted into Chase. Douglas created the app and programmed it into the chip and then did some tests and fixed some bugs on the app before turning it over into the Beta phase and then inserting the chip into Chase

The Alpha version existed on the chip as it was inserted into Chase, and then since the chip was essentially "live" and activated inside of Chase Douglas then observed possible faults and glitches in the program where he fixed it and then progressed it into the Beta phase, left at the 2.1 version, where he probably would have continued to update it further before Chase was taken by Donald

Once Donald took the bionic sibs, he had been updating the Commando App as he was still navigating their bionics and their apps. I don't see this as very likely though considering if he says the Commando App is glitchy then he would have done something to the app to try to get rid of the bugs in the programming

The Alpha version was supposed to go on Adam or Bree's chip, or even all three siblings, but Douglas ultimately decided to give it to Chase considering his size and main bionic ability. This is where the Alpha version turned into the Beta version as it was given to Chase

Circling back to Chase's Commando App being the 2.1 Beta version, the number could also simply mean that Douglas just started off numbering the Beta version at 2.1 since Chase is the original. Why not at least 2.0? Who knows! He also could have just skipped over the Alpha version and started off naming it right at the Beta 2.1 version

We see that Kate's Commando App is 3.1, not 2.2 or even 3.0. Considering the Beta numbering of Kate's Commando App compared to Chase's leads me to believe that there was a 1.1 Beta version at some point or even that the 1.1 could have been the Alpha version

Whether or not the Beta version 1.1 existed is just something to think about, and if it did then I think it's safe to assume that is was on Chase's chip at some point before potentially being upgraded to the 2.1 version

I think if we got to see Bree's Commando App activation screen in 4x10 then it could have potentially given us more information on the numbering system for the app. Bree's Commando App was temporary though, so I wonder if her Beta version would have been 3.2 or if it would have been 4.1 or even just 3.1 like Kate's

Ultimately just comparing the numbering of Chase's and Kate's apps means that the Commando App doesn't seemingly take "baby steps" in being upgraded, like having a Beta 2.1.1 version and whatnot. Maybe even the numbering is based off of the activation trigger for each Commando App. Spike activates when Chase is nervous, scared, or angry (a reminder that he's a form of Chase's fight-or-flight instinct but without the flight) and Spikette activates when Kate sees someone (or even just Chase for some reason?) getting hurt and becomes a rampaging momma bear

We could also throw away most of these ideas for Kate's Commando App and the relation to Chase's considering Krane gave her the app so he could have numbered it 3.1 instead of 2.2 but this is getting ridiculously hypothetical so I'm going to just dive away from this thought

Basically what I'm trying to get at is that Kate's 3.1 version most likely isn't an upgraded version of the Commando App, it's just numbered 3.1 because it's just another version of the app installed into a different person

Lastly, it's a great detail that the Commando App is programmed as a Beta app considering the nature of the app itself. Not only that, but it is quite literally new and experimental technology as it's an app on a chip inserted into bionic human beings!

It's referred to as a glitchy app and it even appears glitchy, which is what a Beta version is of an app/program. The Beta version is meant as like a semi-testing version of the app, a step up from the Alpha version, and has more work to be done before the app/program gets more finalized. It's going to have bugs, it's going to be glitchy, it's going to have plenty of issues but it's also operational and better than the Alpha version. So having the Commando App listed as "Beta" is a perfect and neat detail!

I actually don't think that there's anything wrong with the Commando App at all, or at least not Spike. I think contrary to what the characters say about it, it's not glitchy, at least not Spike. Sure there's maybe just one or two parts I could see as a "glitch" but I also could see it as normal operation. The bionic disruptor enhancing his bionic aggression instead of deactivating the Commando App is super interesting

It certainly doesn't help that Spike's behavior and personality is inconsistent so it's hard to judge this, or the fact that he only appears four times in the entirety of the show. On the other hand I think Spikette is different though and that she might have a few glitches, especially if we consider Krane gave it to her so it might be unstable but honestly who knows. This "glitch" talk is something for me to discuss at another time though.....

This is what we see out of the Commando App. The owner of the program cannot control the engagement or disengagement of the app, nor can they control themselves when the app is engaged. It's also described as a dangerous app due to this, especially since the owner loses control and their rampaging alter ego takes over.

And maybe this was how the Commando App was always meant to be, a defense mechanism that shuts out its owner in order to protect them, or at least that's Spike's purpose and not Spikette's. This would make sense since it's essentially their fight-or-flight system and meant to protect the owner of the app, they're not meant to be the ones in control of their own fight-or-flight system. They're supposed to take their enemy off guard by seemingly fighting a weaker appearing opponent that suddenly turns into a highly aggressive brute that will tear them apart

Or like Chase was wanting to find out in 4x10, maybe the Commando App could become controllable. Could this have been a potential future software update further into the Beta version or even into a more finalized version of the app? Was it obtainable at the versions Chase and Kate had? Was the Commando App meant to be controllable in the first place? Who knows!

So really all of this is just hypothetical. Was there an Alpha version of the Commando App? I think we can assume so, and further more it either existed before it was inserted into Chase or right when it was inserted into Chase before being upgraded. Maybe there wasn't an Alpha version and it started off as the 2.1 Beta version in Chase, but I still believe there was a 1.1 version somewhere, whether it was an Alpha or Beta. Maybe the Commando App was never meant to be finalized and was always meant to stay as a Beta version

Maybe the Alpha version of the Commando App were the friends we made along the way

No matter what, it's a great concept that I wish was utilized more in the show. I also wish we were given more general information about it. It had more potential, especially Spike (*cough cough* S4 Spike was disappointing though *cough cough*) to be developed further. I wish we heard more about Chase's thoughts on having the Commando App and practically being deemed weak at birth to have this monstrous alter ego inserted into him that he didn't ask for

Ultimately, I just think it's neat!

[cal-kestis]

HOW TO: Make an iPhone Layout + Downloadable Template

Hi! I've gotten a few messages asking for a tutorial on my iPhone gifsets — but instead of only doing a tutorial (that would probably be triple the length this one already is), I decided to turn my layout into a template with all the bits and bobs! In the "tutorial" under the cut, I'll share everything you'll need, a free template download, and quickly go over how to use this template. :)

Disclaimer: This template uses Video Timeline and this tutorial assumes you have a basic to intermediate understanding of Photoshop.

PHASE 1: THE ASSETS

1.1 – Download fonts. These are the fonts used for all assets I've included in my template: – SF Pro or SF Pro Display (Regular, Medium, Bold): Either version works, they look nearly identical. You can download directly from https://developer.apple.com/fonts/ or easily find it via Google – Bebas Neue: Free on Google Fonts, Adobe Fonts, and dafont – Times New Roman (Bold): Should be a default font in Photoshop

Make sure to download and install any of the fonts you don't already have before opening my template. That way, once you open the template file, all the settings (font size, weight, spacing, color, opacity, etc.) are as intended.

1.2 – Download my template. Before you use my template, all I ask is that you don't claim or redistribute it as your own and that you give me proper credit in the caption of your post. Making these iPhone gifsets takes me a longgg time and turning this layout into a template took several hours too.

DOWNLOAD TEMPLATE VIA KO-FI ← This template is completely free to download (just enter $0), but if you feel inclined to tip me, I appreciate you! 💖

BTW this template also includes some of my frequently used icons!

NOTE: If, for some reason, you open the template and see the pop-up shown below, click "NO" — otherwise, the fonts will be all messed up:

And if you see this triangle with an exclamation point by a text layer, don't double-click it — it'll mess up the font as well:

PHASE 2: THE GIFS

I'm just going to briefly go over gif sizes and my recommendations. Also, keep in mind when grabbing your scenes, you'll want all of these gifs to be the same amount of frames.

2.1 – Background Gif: 540 x 540 px. I recommend this size so you have a good amount of visibility for the gif behind the iPhone wallpaper. I also recommend making this black and white (or in my case, black and white with a slight blue tint — idk I just like the way it looks) so the wallpaper coloring can stand out.

2.2 – Wallpaper Gif: 230 (w) x 500 (h) px. Keep in mind the very narrow dimensions of the wallpaper! And also keep in mind that you'll have a bunch of apps and widgets covering the image. I try to use wide shots (or layer my clips into looking like wide shots). Also, keep in mind your color scheme for your set and your character's aesthetic! I tend to focus on one or two colors for the wallpaper.

I usually position the wallpaper to the side with 20px bumpers, so there's lots of space to see the background:

2.3 – Large Photo Widget Gif: 201 (w) x 96 (h) px.

2.4 – Small Photo Widget Gif: 94 x 94 px.

PHASE 3: THE TEMPLATE – "IPHONE" FOLDER

In this section, I'll try to quickly walk you through how to use this template and some bits that may require extra instructions. I'll be going through each folder from top to bottom.

3.1 – Status Bar. Time, Service, and WiFi are pretty self-explanatory. In the Battery folder, you can use the shape tool to adjust the shape layers labeled "Fill (Adjustable Shape!)" to customize the battery level.

3.2 – Message Notification. Again, these are pretty self-explanatory. I've already masked the circle for the contact photo, so you can simply import any photo and use the transform tool to shrink it down. The circle is 24x24 px. If you don't want to use a photo, there's another folder called Default Initials.

If your message text can't fit the text box, the message should end with ellipses which is how iOS caps off long texts.

3.3 – Blurred Banner (IMPORTANT) This folder is easy to miss because there's only one placeholder layer in there. On iPhones, the area behind a banner notification and the dock get blurred (including the wallpaper and any apps).

What to do: Make a duplicate of the apps in Row 1 and/or widgets that intersect the message banner, convert them all into one smart object, apply a Gaussian Blur filter (Radius: 3.0 pixels) on the smart object, and move the smart object into this masked folder!

(There's another masked folder in the Wallpaper folder for the dock which I'll go over in that section.)

3.4 – Apps Turn off the yellow guide if you don't need it to keep things aligned and turn off layers you don't need by clicking the eye icon. Replace the "App" placeholder text with your app name, change the color or gradient of the square to compliment your color scheme, and add your custom app icon overlay!

If you can't find an app icon you need from the ones I provided, flaticon.com is a great resource. Also, if you can only find the filled version of an icon, check out this tutorial for how to make any text or shape into an outline.

Also, each app folder has 4 notification bubble options (1-4 digits). Again, you can toggle these on and off as you need!

3.5 – Big Widgets I like using these when my wallpaper has A LOT of negative space to fill. I included the Photos and Books widgets in my template, but there are lots of widgets available on iPhones. You can check some of the other ones I've done here, or if you have an iPhone, simply try adding some widgets to your phone!

There are also widgets bigger than these, but they would take up half of the phone screen which is why I don't use them for these edits.

3.6 – Small Widgets The only thing I'll say about these — because they're pretty straight forward — is there are a lot more weather themes than I included in my template. Also, if you set your character's phone to evening, the weather widget will show a dark background (sometimes with stars), so keep that in mind.

Speaking of, I've included Light Modes and Dark Modes for, I think, every applicable widget.

3.7 – Page Dots These barely perceptible dots indicate that your character has more pages of apps than shown in your gifset (so if an anon tries to come at you, you can just say "it's on the next page of apps" /j /lh)

3.8 – Dock Again, the dock has notification bubble options and I've included the default app designs, custom filled designs, and custom outlined designs for iMessage, Phone, Email, and Safari (there's also a FaceTime alternative if that's how your character rolls). These are usually the apps people keep in their Dock, but this is fully customizable too. So, if your character is, like, super obsessed with Candy Crush or something and needs it in thumb's reach — you can put it in the dock.

3.9 – Wallpaper This whole folder is masked already to a 230x500 px rounded rectangle.

Inside, you'll find another "Blurred Portion" folder for the area behind the message banner notification and the dock.

What to do: Duplicate your gif layer and place it in this folder, remove any sharpening filters, and apply a Gaussian Blur filter (Radius: 3.0 px). Be sure to add any coloring/adjustment layers ABOVE this folder and your original sharpened gif layer.

PHASE 4: EXPORT

We made it!

I hope this template makes it super easy for you to recreate this layout! If you decide to try it out, feel free to tag me with #usernik.

If you notice anything wonky about the template, kindly let me know so I can fix it! And if you have any questions about how to use this template, please don't hesitate to send me a message! I just ask that you try to be specific in your question so I'm able to answer you the best I can!

[usergif]

HOW TO: Cross-Fade Multiple Gifs

Hi! In this tutorial, I'm going to go over how I typically do a fade transition that works with Video Timeline. Disclaimer: This tutorial assumes you have a basic understanding of gif-making in Photoshop and requires the use of keyframes.

Before I start, if you're wondering "why don't you just use the cross fade tool on the Timeline?" — this thing:

It doesn't work for me 🤷🏻‍♀️ Something happens when converting from Video Timeline back to Frame Animation (the converting everything into a smart object step) that completely negates the cross fade whenever I use it. I'm not sure why, but this is why I do fade transitions the way I'm about to explain.

PHASE 1: THE GIFS

1.1 – Determine how many frames you need. There are 3 things to remember here: 1) Ideally, each gif section should have the same amount of frames, so the transitions feel evenly spaced. 2) The gif's dimensions and total number of frames affect file size. Your final exported gif needs to be under 10MB (Tumblr's limit), so you should consider the total number of frames in relation to the size of your gif. My example gif is 540x540px and 60 frames total; final file size = 7.8MB. 3) Add 4 extra frames to each section to account for the cross-faded portion. (The reason I chose 4 specifically is because Video Timeline works in 0.03-second intervals. The typical duration of my fade transitions is 0.06 seconds — which, when converted back to frames, is 4 frames.) I knew 60 total frames would be a safe bet for a gif this size. Since I had 3 gif sections, each would be 20 frames. I added 4 additional frames, making each one 24 frames (before removing duplicates in the exporting process, which will be explained in Phase 3). You can make your transitions longer than 0.06, but I recommend keeping it to intervals of 0.03 due to the way Timeline works. Every 0.03 seconds = 2 frames, so use this when deciding how many extra frames you'll need.

1.2 – Import frames, crop, and resize. Do this as you normally would! If you need a tutorial for the basics, here's my tutorial. :)

1.3 – Move all gifs onto one document/canvas. Right-click the gif layer and select "Duplicate Layer:"

Then choose the appropriate document from the dropdown list:

Do this for each gif section so you can work on one document for the rest of the process.

1.4 – Put each gif into its own group. Select each layer and use the shortcut Command+G or right-click and select "Group from Layers." In Phase 2, we'll be putting the opacity keyframes on the groups instead of the individual layers.

1.5 – Arrange each gif's group on the Timeline. At the end of Gif 1, move backwards 6 times. Move the starting point of Gif 2 to this spot. At the end of Gif 2, move back 6 times and make this Gif 3's starting point. Here's how my gifs look arranged on the Timeline, animated so you can see the 6-space distance:

We'll be adding keyframes to these overlapping sections in Phase 2.

1.6 – Set up the last transition. At the very beginning of the Timeline, hit the forward button 6 times and click the scissors to divide the clip. Move the starting point of your gif to the newly trimmed beginning as shown below:

Then, move the original beginning chunk of Gif 1 — that tiny 0.06-second clip — to the end of the timeline above the rest of your layers, aligning its end with the end of Gif 3. Put it in a group like you did in Step 1.4:

Note: This screenshot shows my final workspace with the coloring layers in groups and the keyframes already placed.

1.7 – Color your gifs. Do this however you want, just keep all your adjustment layers and any other effects within their respective groups:

Duplicate the adjustment layers from Gif 1 and move them into the folder Gif 1 - Beginning (where your tiny 0.06-second clip is). Be sure the adjustment layers line up with the rest of the group so those adjustments don't affect your other gifs! You may want to trim the adjustment layers to match the duration of the clip or just move them so they start at the same spot as that clip.

PHASE 2: THE KEYFRAMES

2.1 – Place a 100% and 0% keyframe at the beginning of each gif's group. Drag the playhead (red vertical line) to the end of Gif 1. Expand the Gif 2 group to reveal the opacity keyframes on the left side of the Timeline panel, then place a keyframe by clicking the icon that looks like a stopwatch. This opacity keyframe is at 100% by default; leave it like that. Drag the playhead to the beginning of Gif 2 and drop another keyframe. While that new keyframe is highlighted yellow, go to the layers panel, make sure Gif 2's group is selected, and reduce the opacity to 0%.

Repeat these steps for each gif's beginning, including the tiny chunk we moved to the end! Here's a gif to show the process:

(Btw, if you click this gif, it should expand to full size so you can get a better look! I made it 1080px.)

PHASE 3: THE DUPLICATES

3.1 – Convert back to Frame Animation. If you're not sure how to do this, I've written out the steps here. But I recommend using an action in your general gif-making process to make this step a lot faster. The one I use is linked in my tutorial which I linked earlier!

3.2 – Delete duplicate frames. Remember, at the beginning I set out to make my final gif 60 frames total. With the keyframe animations, I now have 66 frames:

Palpatine's number 👎 Anyway, that means I have 6 duplicate frames. This is what the gif looks like without removing these duplicates:

Watch closely during the transitions; there's a tiny lag. It doesn't look smooth to me. It's the clones!! Here's why we have these duplicates:

For every 0.03-second long keyframe animation, you'll get 1 duplicate frame. Unfortunately, that's just how Video Timeline works with any kind of animated keyframe. Since our fade transition is 0.06 seconds, we have to get rid of 2 duplicate frames per transition section (2 x 3 transitions sections = 6 total duplicates. Ew, math!).

There's not really a way to avoid this step that I know of, but it's not a big deal in the long run. You just have to look at each transition section, eyeball the duplicate frames yourself, and delete them. It's usually the first frame where the fade starts and then two frames after that. I already deleted the duplicates from the first two transition sections, so here's how it's done for the last transition:

Side note: I set up keyboard shortcuts so I can quickly move forward and backward by one frame and delete frames. You can do this by going to Edit > Keyboard Shortcuts and editing these:

And now I have 60 frames like I originally said I would!

If you want the transition sections to be quicker, you can even decrease the frame delay for the 3 transition frames only — 0.03 or 0.04 might be up to your speed 🥁 but I don't usually do this since I'm fine with the way it looks already.

3.3 – Export. That's it!

I hope this tutorial is helpful. As always, if you have a specific question about this tutorial, feel free to send us an ask!

[mycringefactory]

I uploaded a patch to fix a bug in Undertale Yellow (version 1.1 only) that occurs when playing the game in MacOS using Wineskin. (Wineskin instructions here)

To apply the patch:

Download the patch

Download Multipatch

Use Multipatch to apply the patch on the data.win file in the Undertale Yellow directory.

Details of fix under cut (contains spoilers):

The bug causes the game to crash during the second phase of the genocide final boss, the error being "Pixel shader not compatible with this device." The fix is a workaround that prevents it from enabling the effect during the fight. I believe all it does is add that black stuff in the background during the Zenith fight (shown below, right is mac, left is not mac).

[just-here-with-my-thoughts]

Welcome To The Outpost: Part 2.1 - Last Chance

Fandom: The Bad Batch Characters: CT-9904 Crosshair, Clone Commander Mayday, Clone Trooper Hexx, Clone Trooper Veetch, Lieutenant Nolan, Assorted Imperial Troopers Word Count: ~3045 Read Here on AO3

Synopsis: The Imperial relief ship finally arrives, marking the end of the squad’s long posting on Barton IV. Mayday is surprised to see a CT-99 listed on the crew roster.

Read Part 1.1 - Frozen Read Part 1.2 - Rise From The Ashes Read Part 1.3 - Lost Battle Read Part 1.4 - No Way Out Read Part 1.5 - Rock And A Hard Place

“COMMANDER!”

Veetch’s yell was enough to summon Mayday at a run. He weaved through the stacks of crates to where his squad member was bent over the computer console, tapping excitedly.

Veetch turned with a wild-eyed grin. “Transport is incoming.”

The young clone stepped aside, letting Mayday see the screen for himself. Disbelieving, Mayday scrolled through the transmission, reading and re-reading until he was sure it wasn't a joke.

“Go get Hexx,” he ordered, voice shaky with something between excitement and dread. “This is it, lad. We’re getting out of here.”

Veetch was off like a shot, the lethargy of their long posting dissipated as ready as snow in the sun. Before long the three clones were clustered round the screen, avidly reviewing the transmission.

It’s concise – what Mayday has come to expect from the Empire.

[Cargo retrieval ship scheduled to arrive 1600 Galactic Standard. Ensure all stored goods are ready for transport.]

What it doesn’t say is the bit that Mayday reads between the lines. That he and his boys are finally leaving Barton IV and all its bad memories behind them.

Hexx was reviewing the ship’s manifest with a frown.

“Says they’re bringing a contingent to secure the depot whilst the cargo is transferred,” he said with a dour tone, “but there’s no clone troopers listed here.”

Veetch leaned in to peer over his shoulder. “There’s one,” he pointed. “CT-9904.”

“The only one,” Hexx muttered.

“A CT-99?” said Mayday mildly, eyebrows raising towards his hairline. “I didn’t realise there were any left in service.”

Veetch glanced at him in confusion. “What’s different about a CT-99?” he asked.

“Defective clones,” supplied Hexx. “But still combat-worthy.”

“He must be one of the last ones,” said Mayday. “Well, a brother’s a brother. I’ll see if I can pin him down when they get here, find out what his view of this new Empire is.”

Hexx snorted. “If he’ll talk to you,” he said. “I’ve heard the 99’s are notoriously difficult to work with. Only interested in others like them.”

“You’ll keep those thoughts to yourself,” said Mayday flatly, his commander’s tone brooking no argument. “If the rumours are true, and the Empire are phasing out clone troopers, those of us that are left need to stick together.”

“What do we need to do to get ready for the ship’s arrival?” asked Veetch, the plaintive note of hope in his voice almost painful to hear.

Mayday straightened with a humourless smile that didn’t reach his eyes.

“Better get out there and sweep the snow from the landing zone. First impressions count, boys. Let’s make sure this place is looking spick and span before the transport arrives.”

The wry sarcasm in his voice made the other two grin.

“You don’t mean that, Commander,” said Veetch, pulling on his helmet and tightening the fabric coverings.

Mayday huffed a laugh. “Sure I do. If the ship skids on ice when it lands and crashes into the depot, none of us are getting out of here.” He clapped a hand to Hexx’s shoulder, then copied Veetch in gathering his helmet.

“Come on. We’ll do this together.���

*

Mayday’s expectations hadn’t been low enough.

The narrow-faced Lieutenant who disembarked the transport had immediately started making demands which betrayed that he hadn’t bothered to read the briefing about the Barton IV depot.

“Your orders were to protect this facility and its cargo, yet this outpost is grossly unguarded. Where are the rest of your men?”

“Dead,” answered Mayday shortly. The man would have known that, if he’d read the brief. He glanced at his two remaining troopers, nodding in their direction. “Hexx, Veetch and I,” he said slowly, keeping his voice low and calm, “we’re all that’s left.”

To his mind, it was impossible to miss the sombre line of empty, damaged clone helmets lined up on the crates behind them. The lieutenant’s pale blue eyes slid past them, glazing past the evidence of their loss to settle in a scowl directed at Mayday once more.

“Your failings will be dealt with later,” he said haughtily. “For now, I am in charge until the cargo is transported.”

Mayday bristled at the man’s tone, bit back the reaction. Instead he settled for a sardonic smile, glancing at Hexx and Veetch with a barely-concealed eye roll. “I feel safer already,” he drawled, confident that his two troopers shared his thoughts. He couldn’t wait for this so-called Lieutenant to discover the realities of the outpost.

Sarcasm was the wrong approach. The small man’s pinched face narrowed further, mouth puckering in evident anger. “Look here, clone, you will speak to me with respect.”

The change was immediate. Hexx and Veetch, leaned back against the crates, straightened. Mayday dropped a hand to his side from his crossed arms, a flick of his fingers telling them to stand down.

“In my experience,” he said, drawing himself deliberately to his full height, “respect is something to be earned.”

Fourteen months of hardship had only weathered confidence into Mayday’s tone.

But he wasn’t prepared for what the Lieutenant threw at him next.

“Yet the Empire assigned you to this desolate rock, where you let the majority of your squad get killed.”

Mayday stiffened, a dark glower spreading to his face. He knew his own failings; knew the decisions he had made during the Clone Wars and since that had sent good soldiers to their deaths. The guilt of ordering patrols during the blizzard six months into the Barton IV posting haunted him.

Everything had gone wrong after that; but the rest of it could have been avoided. The rest of his squad died because the Empire ignored his requests for support time and again.

“Tell me, Lieutenant,” he said when he had control of his voice once more, “how many missions have you commanded?”

The smaller man’s shoulders rose towards his ears with a defensive, embarrassed glower.

“That’s what I thought,” said Mayday softly.

Inside his chest his heart raced, adrenaline demanding his aching body take action. Instead he dragged his gaze away from the lieutenant, trying to make it seem like the man was beneath his attention.

“Boys, why don’t you help the new boss get situated?” he said, an order rather than a suggestion.

Wordlessly, Hexx and Veetch slipped past him. Hexx turned briefly, a questioning hand sign thrown his commander, but Mayday signalled for him to leave. He cast a pointed glance towards the dark armoured figure who had shadowed the lieutenant silently throughout the confrontation, rifle stowed at his back but seemingly tense and ready to fight.

Hexx merely nodded and turned to follow Veetch, less than gently escorting the Imperial lieutenant away from the sheltered space behind the stacked storage crates.

Once they had the space to themselves Mayday turned his attention to the silent sniper, assessing. The man was taller than Mayday or any of the brothers he had ever served with, yet he wore clone armour, albeit a dark-painted variant. It was enough to confirm this must be the defective clone from the ship’s crew manifest.

Mayday straightened, wondering how best to begin his overtures towards the newcomer. He’d never met a CT-99 before, which would have given him pause enough, and that was without knowing how deeply the man’s loyalty to the new Empire ran.

He decided that was the first thing he wanted to know. Forcing himself to relax back against the crates again, he stared into the impassive green visor and asked, “You, uh, know the lieutenant well?”

For a heartbeat he wondered if it was the right question. Then the sniper spoke, voice laden with acid.

“For about two hours,” he said, the derision in his tone clear.

Mayday huffed a relieved laugh. “Two hours too long, I bet,” he said, having decided he’d had enough of the man after only two minutes.

The only reply was a noncommittal ‘hmm’. Deciding this was better than meeting a severe response that berated him for disparaging the Imperial officer, he pressed on.

“So, what did you do to get stuck with this mission?”

“Just lucky, I guess.”

The bite of sarcasm drew a genuine if bitter laugh from Mayday.

Lifting the portable heater, Mayday shuffled it forwards a few steps and dropped it in front of the other clone. The glow of the device did nothing to dispel the shadows that seemed to cling to the black-painted armour and shroud the sniper in darkness.

The 99 barely looked at him. Or perhaps sharp eyes were following him from inside the helmet – there was no way to tell. The man didn’t move; hadn’t moved, even to relax a little when the lieutenant departed.

“The name’s Mayday,” he offered after a pause.

The silence that followed was so long that Mayday was sure the other must be ignoring him, wishing for the conversation to end.

Then, so softly it was almost lost; “Crosshair.”

The commander raised his eyebrows, then let them fall back into a frown. The clone had been so slow to give his name, said it so uncertainly, that Mayday found himself wondering if it was the first time he had spoken it aloud since The Order reduced them to mere numbers in the eyes of the Empire.

“Crosshair,” Mayday repeated, and he gave weight to the name, added conviction. Desperately hoped that this small act of connection would bind the CT-99 to him in something approaching brotherhood.

He summoned a dry smile, and gestured around him with a flourish. “Well, Crosshair… welcome to The Outpost.”

*

“Why aren’t they loading the kriffing cargo already?” snarled Veetch in disappointment.

Hexx shared his younger companion’s frustration. The three remaining squad members from Barton IV were more than ready to leave, but the newly-arrived Lieutenant Nolan had other ideas. The Imperial Troopers who were with him with were filing from the ship and making their way into the depot. It seemed clear that a quick turnaround was less important than meticulously checking each crate for signs of tampering – as if the clones had any motive or desire to do such a thing.

They were stood in the shadow of the damaged storage building, fairly certain that it would keep them out of the way of the industry now overtaking the base, but they were hailed anyway.

“Hie, clones,” called a voice, neither friendly nor welcoming. Hexx glanced at Veetch and gave a weary shrug before stepping out from the sheltering wall, setting his body against the driving wind as they crossed to the Imperial Trooper.

“Yes?” he asked, scraping the thin reserves of his patience for some measure of politeness.

“Show my men where they’re bunking whilst we’re here.”

Hexx barely contained his derisive snort. “What?”

“The barracks area. Show my men the way through that maze of damned crates you created in the main building.”

“They’re not your barracks,” said Veetch uncertainly, hovering beside Hexx’s shoulder.

The Imperial Trooper stepped closer, looming into Veetch’s personal space. “Seeing as most of your squad is dead, I’m guessing there’s plenty of spare bunks. Go and show the others where to stow their kit.”

Veetch surged forwards in anger, but Hexx caught his arm before he could do anything.

“Yes sir,” he bit, making his voice as much like Mayday’s derisive drawl as he could manage. His commander had set the tone for this encounter in the words exchanged with Nolan; Hexx would follow suit.

He hauled the younger clone away with him, tightening his grip when he felt Veetch fight against him.

“What are you doing?” hissed Veetch, a shaky, outraged whisper. “You’re not doing what he said? After that?”

Hexx shook him hard, fingers pressing bruises between the seams of his upper arm armour.

“Listen here,” he spat, leaning in close to the younger trooper even though his voice would be perfectly clear on the com. “This might be our last chance off this forsaken rock. I’m not going to spoil it by losing my temper with these prissy Imperials. So suck it up, Veetch, and we can finally get out this kriffing hell-hole.”

“But the others… Dene and Recon and Helix and Axis-”

“-Are gone.” Hexx’s voice was flat. “But we’re still here.” He sighed, loosening his grip on Veetch’s arm, transferring his hand to his shoulder instead to grip with supportive pressure. “If you were older you’d have learned this during the war. There’s always another mission. Another posting. Some of your brothers get left behind. But they’d want you to go on, so you fight another day, you keep living for them. You hear me?”

Veetch wasn’t listening. His focus was over Hexx’s shoulder, gaze fixed on something distant. Then his hand flew to his com.

“Commander! Raiders spotted inside the perimeter.”

Instantly Hexx’s hands went to his blaster, spinning to follow Veetch’s gaze, dropping into a battle-ready stance.

“Over there,” Veetch told him, gesturing, and Hexx nodded.

“I see. Come on, kid. Let’s not let the Commander down now we’ve got an audience.”

The two clones sprinted for the perimeter breach, weaving between Imperial Troopers who stood around, slower to react. Veetch’s blaster fire lit up the hard-standing, arcing towards the raiders who broke from cover as they realised they had been made.

“I’ve got the west,” came Mayday’s voice over the com. “The sniper’s taking the east tower.”

They closed on the raiders, the cluster of enemy combatants quickly splitting up to try and escape. One of them crouched to the ground, steadying their rifle before taking a shot.

Veetch stumbled, veering out the way to take cover behind one of the base’s low barricades. The shelter was a brief respite, chance to catch his breath and look to Hexx for their next move.

Only Hexx was no longer at his side.

He was sprawled on the ground, throat torn out by blaster-fire.

The world narrowed. Inside his helmet, Veetch struggled to draw breath. By rote he raised his hand, activating his com.

“Hexx is down.” He was surprised at how calm his own voice sounded. His throat constricted around a thick lump of sorrow, but somehow it hadn’t stayed his words.

His fingers trembled beside the com button, feeling like he should say something else, not knowing what.

Confused shouts and blaster fire sounded as the Imperial Troops joined the combat. Veetch poked his head up from behind cover, quickly surveying the battlefield. The Imperials weren’t used to fighting in the dark and low visibility of Barton IV snowstorms. He was.

“Thee raiders heading towards the shuttle at zero-one-five,” he reported, and then he was on the move again. Two of the raiders peeled off in one direction but he was closer to the third – he stuck on them as they skirted round the lowered ramp to the far side of the shuttle.

He slowed to a jog as he neared the shuttle. The raider hadn’t noticed him; Veetch found himself softening his footfalls in the hope of ambushing his target.

An explosion. The light craft was consumed in intense nexus of fire which blossomed outwards with the strength of an inferno.

Veetch felt the wave of heat hit him first. Then lethal shrapnel pinwheeled from the wreckage to pierce his body, and he didn’t feel anything at all.

*

Crosshair left the chaos of the base and its burning debris field behind him and followed the spattered path of blood behind the buildings, the dark red stains stark against the snow even in the early twilight of the bad weather.

He blinked and squinted inside his helmet, trying to banish the bright dots dancing in front of his sensitive eyes. Even through the heat sensor, the after-image of the exploding shuttle had been seared into his retinas.

Normally, if there was an explosion on the battlefield, he knew the cause. Wrecker would give him a heads-up.

The attack on the outpost had been an ambush, and he'd had no time to avert his gaze from the sun-bright nova which engulfed the destroyed craft.

Now he slithered down a snow-slope, traitorous memory supplying unwanted thoughts of the last time he had fought on terrain like this. His head had hurt then, too, an intense pinpoint pressure at his temple. He had wondered if it was a migraine, the kind Hunter was prone to.

There was nothing there now but pitted scar tissue, shiny and stretched from the ion burn. At least this time the headache was due to the bright light, nothing more.

His descent brought him to a lip of ice and he dropped lithely into the channel below, landing on his feet. Blessed, cool darkness enveloped him, soothing to his overstrained eyes, but still the blinking afterglows remained and prevented his low-light vision from kicking in.

Crosshair drew the torch from his belt and flashed the beam ahead. The crevasse opened into a tunnel which bored into the mountain-side, winding round a corner and out of sight.

"A snow skiff took off down the western ridge," called a voice from behind him. He turned and looked up to see the reg commander following his route down the snow-slope, crouching at the top of the drop. “The rest must’ve fled on foot into the mountain pass.”

"Wrong," was all Crosshair said, casting his torch back towards the tunnel.

The commander dropped next to him and followed his gaze to a slick of red on the rocky floor.

"So that's how snuck past our defences," he breathed, his voice grim.

"We should go after them," said Crosshair, starting down the tunnel.

"Hang on," said Mayday quickly. He caught Crosshair’s arm, stalling his advance. "You'll freeze to death if you head out there. You think it's cold now? You've got no idea how it gets after true nightfall.” He didn’t fight Crosshair as the sniper shook himself free, instead folding his arms across his chest. “Besides, I've got brothers to bury."

The hitch in his voice was worse than sorrow. It was resignation.

Crosshair hesitated. He’d watched the clone trooper run alongside the shuttle, and barely given a thought to whether he had survived.

“Fine,” he said, his voice a thin, displeased whisper. He shifted his stance, resting the rifle on his shoulder. “But Nolan isn’t going to like this.”

Read Part 2.2 - Broken

Officially on Part 2 - now canon-compliant instead of pre-canon!

RIP Hexx and Veetch :(

Here's a reminder of the Angstpril prompts that @kybercrystals94, @the-little-moment and I are sharing; mine are the ones in red! :)

Here's @the-little-moment's stories:- Day 1 - Homesick Day 4 - Longing Day 7 - Bad Dreams Day 10 - Phantom Pain Day 13 - Learning The Truth Day 16 - Emotionally Distant

And @kybercrystals94's stories:- Day 3 - Broken Hearted Day 6 - This Isn't Going To Work Day 9 - Trust Issues Day 12 - A Little Too Late Day 15 - Confrontation