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mcmansionhell · 9 days ago

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on neuschwanstein castle (part 1)

This is an essay in two parts.

Neuschwanstein Concept Drawing by the stage designer (!!) Christian Jank (1869).

There exist in architecture clear precedents to the McMansion that have nothing to do with suburban real estate. This is because “McMansionry” (let’s say) has many transferable properties. Among them can be included: 1) a diabolical amount of wealth that must be communicated architecturally in the most frivolous way possible, 2) a penchant for historical LARPing primarily informed by media (e.g. the American “Tuscan kitchen”) and 3) the execution of historical styles using contemporary building materials resulting in an aesthetic affect that can be described as uncanny or cheap-looking. By these metrics, we can absolutely call Neuschwanstein Castle, built by the architect Eduard Riedel for King Ludwig II of Bavaria, a McMansion.

Constructed from 1869 through 1886 – the year of Ludwig’s alleged suicide after having been ousted and declared insane – the castle cost the coffers of the Bavarian state and Ludwig himself no fewer than 6.2 million German gold marks. (That's an estimated 47 million euros today.) The castle's story is rife with well-known scandal. I'm sure any passing Swan Enthusiast is already familiar with Ludwig’s financial capriciousness, his called-off marriage and repressed homosexuality, his parasocial obsession with Richard Wagner, his complete and total inability to run his country, and his alleged "madness," as they used to call it. All of these combine to make Neuschwanstein inescapable from the man who commissioned it -- and the artist who inspired it. Say what you like about Ludwig and his building projects, but he is definitely remembered because of them, which is what most monarchs want. Be careful what you wish for.

Neuschwanstein gatehouse.

How should one describe Neuschwanstein architecturally? You’d need an additional blog. Its interiors alone (the subject of the next essay) range from Neo-Baroque to Neo-Byzantine to Neo-Gothic. There are many terms that can loosely define the palace's overall style: eclecticism, medieval revivalism, historicism, chateauesque, sclerotic monarchycore, etc. However, the the most specific would be what was called "castle Romanticism" (Burgenromantik). The Germans are nothing if not literal. Whatever word you want to use, Neuschwanstein is such a Sistine Chapel of pure sentimentality and sugary kitsch that theme park architecture – most famously, Disney's Cinderella’s castle itself – owes many of its medieval iterations to the palace's towering silhouette.

There is some truth to the term Burgenromantik. Neuschwanstein's exterior is a completely fabricated 19th century storybook fantasy of the Middle Ages whose precedents lie more truthfully in art for the stage. As a castle without fortification and a palace with no space for governance, Neuschwanstein's own program is indecisive about what it should be, which makes it a pretty good reflection of Ludwig II himself. To me, however, it is the last gasp of a monarchy whose power will be totally extinguished by that same industrial modernity responsible for the materials and techniques of Neuschwanstein's own, ironic construction.

In order to understand Neuschwanstein, however, we must go into two subjects that are equally a great time for me: 19th century medievalism - the subject of this essay - and the opera Lohengrin by Richard Wagner, the subject of the next. (1)

Part I: Medievalisms Progressive and Reactionary

The Middle Ages were inescapable in 19th century Europe. Design, music, visual art, theater, literature, and yes, architecture were all besotted with the stuff of knights and castles, old sagas, and courtly literature. From arch-conservative nationalism to pro-labor socialism, medievalism's popularity spanned the entire political spectrum. This is because it owes its existence to a number of developments that affected the whole of society.

In Ludwig’s time, the world was changing in profound, almost inconceivable ways. The first and second industrial revolutions with their socioeconomic upheavals and new technologies of transport, manufacturing, and mass communication, all completely unmade and remade how people lived and worked. This was as true of the average person as it was of the princes and nobles who were beginning to be undermined by something called “the petit bourgeoisie.”

Sustenance farming dwindled and wage labor eclipsed all other forms of working. Millions of people no longer able to make a living on piecemeal and agricultural work flocked to the cities and into the great Molochs of factories, mills, stockyards, and mines. Families and other kinship bonds were eroded or severed by the acceleration of capitalist production, large wars, and new means of transportation, especially the railroad. People became not only alienated from each other and from their labor in the classical Marxist sense but also from the results of that labor, too. No longer were chairs made by craftsmen or clothes by the single tailor -- unless you could afford the bespoke. Everything from shirtwaists to wrought iron lamps was increasingly mass produced - under wretched conditions, too. Things – including buildings – that were once built to last a lifetime became cheap, disposable, and subject to the whimsy of fashion, sold via this new thing called “the catalog.”

William Morris' painting Le Belle Iseult (1868).

Unsurprisingly, this new way of living and working caused not a little discontent. This was the climate in which Karl Marx wrote Capital and Charles Dickens wrote A Christmas Carol. More specific to our interests, however, is a different dissenter and one of the most interesting practitioners of medievalism, the English polymath William Morris.

A lover of Arthurian legend and an admirer of the architect and design reformer John Ruskin, Morris was first trained in the office of architect G. E. Street, himself a die-hard Gothic Revivalist. From the very beginning, the Middle Ages can be found everywhere in Morris' work, from the rough-hewn qualities of the furniture he helped design to the floral elements and compositions of the art nouveau textiles and graphics he's most famous for -- which, it should be said, are reminiscent of 15th century English tapestries. In addition to his design endeavors, Morris was also a gifted writer and poet. His was a profound love for medieval literature, especially Norse sagas from Iceland. Some of these he even translated including the Volsunga Saga -- also a preoccupation of Wagner's. Few among us earn the title of polymath, but Morris' claim to it is undeniable. Aside from music, there really wasn't any area of creative life he didn't touch.

However, Morris' predilection for the medieval was not just a personal and aesthetic fascination. It was also an expression of his political rejection of the capitalist mode of production. As one of the founders of the English Arts & Crafts Movement, Morris called for a rejection of piecemeal machine labor, a return to handicraft, and overall to things made well and made with dignity. While this was and remains a largely middle class argument, one that usually leads down the road of ethical consumption, Morris was right that capitalism's failing of design and architecture did not just lie with the depreciated quality of goods, but the depreciated quality of life. His was the utopian call to respect both the object and the laborer who produced it. To quote from his 1888 essay called "The Revival of Architecture," Morris dreamed of a society that "will produce to live and not live to produce, as we do." Indeed, in our current era of AI Slop, there remains much to like about the Factory Slop-era call to take back time from the foreman's clock and once more make labor an act of enjoyable and unalienated creativity. Only now it's about things like writing an essay.

I bother to describe Morris at length here for a number of reasons. The first is to reiterate that medievalism's popularity was largely a response to socioeconomic changes. Additionally, since traditionalism - in Ludwig's time and in ours - still gets weaponized by right-wing losers, it's worth pointing out that not all practitioners of medievalism were politically reactionary in nature. However – and I will return to this later – medievalism, reactionary or not, remains inescapably nostalgic. Morris is no exception. While a total rejection of mass produced goods may seem quixotic to us now, when Morris was working, the era before mass industrialization remained at the fringes of living memory. Hence the nostalgia is perhaps to be expected. Unfortunately for him and for us, the only way out of capitalism is through it.

To return again to the big picture: whether one liked it or not, the old feudal world was done. Only its necrotic leftovers, namely a hereditary nobility whose power would run out of road in WWI, remained. For Ludwig purposes, it was a fraught political time in Bavaria as well. Bavaria, weird duck that it was, remained relatively autonomous within the new German Reich. Despite the title of king, Ludwig, much to his chagrin - hence the pathetic Middle Ages fantasizing - did not rule absolutely. His was a constitutional monarchy, and an embattled one at that. During the building of Neuschwanstein, the king found himself wedged between the Franco-Prussian War and the political coup masterminded by Otto von Bismarck that would put Europe on the fast track to a global conflict many saw as the atavistic culmination of all that already violent modernity. No wonder he wanted to hide with his Schwans up in the hills of Schwangau.

The very notion of a unified German Reich (or an independent Kingdom of Bavaria) was itself indicative of another development. Regardless if one was liberal or conservative, a king, an artist or a shoe peddler, the 19th century was plagued by the rise of modern nationalism. Bolstered by new ideas in "medical" “science,” this was also a racialized nationalism. A lot of emotional, political, and artistic investment was put into the idea that there existed a fundamentally German volk, a German soil, a German soul. This, however, was a universalizing statement in need of a citation, with lots of political power on the line. Hence, in order to add historical credence to these new conceptions of one’s heritage, people turned to the old sources.

Within the hallowed halls of Europe's universities, newly minted historians and philologists scoured medieval texts for traces of a people united by a common geography and ethnicity as well as the foundations for a historically continuous state. We now know that this is a problematic and incorrect way of looking at the medieval world, a world that was so very different from our own. A great deal of subsequent medieval scholarship still devotes itself to correcting for these errors. But back then, such scholarly ethics were not to be found and people did what they liked with the sources. A lot of assumptions were made in order to make whatever point one wanted, often about one's superiority over another. Hell, anyone who's been on Trad Guy Deus Vult Twitter knows that a lot of assumptions are still made, and for the same purposes.(2)

Meanwhile, outside of the academy, mass print media meant more people were exposed to medieval content than ever before. Translations of chivalric romances such as Wolfgang von Eschenbach’s Parzival and sagas like the Poetic Edda inspired a century’s worth of artists to incorporate these characters and themes into their work. This work was often but of course not always nationalistic in character. Such adaptations for political purposes could get very granular in nature. We all like to point to the greats like William Morris or Richard Wagner (who was really a master of a larger syncretism.) But there were many lesser attempts made by weaker artists that today have an unfortunate bootlicking je nais se quoi to them.

I love a minor tangent related to my interests, so here's one: a good example of this nationalist granularity comes from Franz Grillparzer’s 1823 pro-Hapsburg play König Ottokars Glück und Ende, which took for its source a deep cut 14th century manuscript called the Styrian Rhyming Chronicle, written by Ottokar Aus Der Gaul. The play concerns the political intrigue around King Ottokar II of Bohemia and his subsequent 1278 defeat at the hands of Grillparzer’s very swagged out Rudolf of Habsburg. Present are some truly fascinating but extremely obscure characters from 13th Holy Roman Empire lore including a long-time personal obsession of mine, the Styrian ministerial and three-time traitor of the Great Interregnum, Frederick V of Pettau. But I’m getting off-topic here. Let's get back to the castle.

The Throne Room at Neuschwanstein

For architecture, perhaps the most important development in spreading medievalism was this new institution called the "big public museum." Through a professionalizing field of archaeology and the sickness that was colonialist expansion, bits and bobs of buildings were stolen from places like North Africa, Egypt, the Middle East, and Byzantium, all of which had an enormous impact on latter 19th century architecture. (They were also picked up by early 20th century American architects from H. H. Richardson to Louis Sullivan.) These orientalized fragments were further disseminated through new books, monographs, and later photography.

Meanwhile, developments in fabrication (standardized building materials), construction (namely iron, then steel) and mass production sped things up and reduced costs considerably. Soon, castles and churches in the image of those that once took decades if not a century to build were erected on countless hillsides or in little town squares across the continent. These changes in the material production of architecture are key for understanding "why Neuschwanstein castle looks so weird."

Part of what gives medieval architecture its character is the sheer embodiment of labor embedded in all those heavy stones, stones that were chiseled, hauled, and set by hand. The Gothic cathedral was a precarious endeavor whose appearance of lightness was not earned easily, which is why, when writing about their sublimity, Edmund Burke invoked not only the play of light and shadow, but the sheer slowness and human toil involved.

This is, of course, not true of our present estate. Neuschwanstein not only eschews the role of a castle as a “fortress to be used in war” (an inherently stereotomic program) but was erected using contemporary materials and techniques that are simply not imbued with the same age or gravitas. Built via a typical brick construction but clad in more impressive sandstone, it's all far too clean. Neuschwanstein's proportions seem not only chaotic - towers and windows are strewn about seemingly on a whim - they are also totally irreconcilable with the castle's alleged typology, in part because we know what a genuine medieval castle looks like.

Ludwig's palace was a technological marvel of the industrial revolution. Not only did Neuschwanstein have indoor plumbing and central heat, it also used the largest glass windows then in manufacture. It's not even an Iron Age building. The throne room, seen earlier in this post, required the use of structural steel. None of this is to say that 19th century construction labor was easy. It wasn't and many people still died, including 30 at Neuschwanstein. It was, however, simply different in character than medieval labor. For all the waxing poetic about handiwork, I’m sure medieval stonemasons would have loved the use of a steam crane.

It's true that architectural eclecticism (the use of many styles at once) has a knack for undermining the presumed authenticity or fidelity of each style employed. But this somewhat misunderstands the crime. The thing about Neuschwanstein is that its goal was not to be historically authentic at all. Its target realm was that of fantasy. Not only that, a fantasy informed primarily by a contemporary media source. In this, it could be said to be more architecturally successful.

The fantasy of medievalism is very different than the truth of the Middle Ages. As I hinted at before, more than anything else, medievalism was an inherently nostalgic movement, and not only because it was a bedrock of so much children's literature. People loved it because it promised a bygone past that never existed. The visual and written languages of feudalism, despite it being a terrible socioeconomic system, came into vogue in part because it wasn't capitalism. We must remember that the 19th century saw industrial capitalism at its newest and rawest. Unregulated, it destroyed every natural resource in sight and subjected people, including children, to horrific labor conditions. It still does, and will probably get worse, but the difference is, we're somewhat used to it by now. The shock's worn off.

All that upheaval I talked about earlier made people long for a simplicity they felt was missing. This took many different forms. The rapid advances of secular society and the incursion of science into belief made many crave a greater religiosity. At a time when the effects of wage labor on the family had made womanhood a contested territory, many appeals were made to a divine and innocent feminine a la Lady Guinevere. Urbanization made many wish for a quieter world with less hustle and bustle and better air. These sentiments are not without their reasons. Technological and socioeconomic changes still make us feel alienated and destabilized, hence why there are so many medieval revivals even in our own time. (Chappell Roan of Arc anyone?) Hell, our own rich people aren't so different from Ludwig either. Mark Zuckerburg owns a Hawaiian island and basically controls the fates of the people who live there lord-in-the-castle-style.

Given all this, it's not surprising that of the products of the Middle Ages, perhaps chivalric romance was and remains the most popular. While never a real depiction of medieval life (no, all those knights were not dying on the behalf of pretty ladies), such stories of good men and women and their grand adventures still capture the imaginations of children and adults alike. (You will find no greater fan of Parzival than yours truly.) It's also no wonder the nature of the romance, with its paternalistic patriarchy, its Christianity, its sentimentality around courtly love, and most of all its depiction of the ruling class as noble and benevolent – appealed to someone like Ludwig, both as a quirked-up individual and a member of his class.

It follows, then, that any artist capable of synthesizing all these elements, fears, and desires into an aesthetically transcendent package would've had a great effect on such a man. One did, of course. His name was Richard Wagner.

In our next essay, we will witness one of the most astonishing cases of kitsch imitating art. But before there could be Neuschwanstein Castle, there had to be this pretty little opera called Lohengrin.

---

(1) If you want to get a head start on the Wagner stuff, I've been writing about the Ring cycle lately on my Substack: https://www.late-review.com/p/essays-on-wagners-ring-part-1-believing

(2) My favorite insane nationalist claim comes from the 1960s, when the Slovene-American historian Joseph Felicijan claimed that the US's democracy was based off the 13th century ritual of enthronement practiced by the Dukes of Carinthia because Thomas Jefferson owned a copy of Jean Bodin's Les six livres de la Republique (1576) in which the rite was mentioned. For more information, see Peter Štih's book The Middle Ages Between the Alps and the Northern Adriatic (p. 56 for the curious.)

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#architecture #design #mcmansion #mcmansions #bad architecture #neuschwanstein #wagner #essay #medievalism #19th century

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dlxxv-vetted-donations · 4 months ago

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Noureddine doesn't get donations for days after that his gfm closed and he relied on Paypal.

My other promotions

Note: I do not often make posts for campaigns I am not focusing on, and I won't be updating this often

Updated: Nov 27

Member(s): @noor509 (current), @noorabd1992 (deleted), @noorabd-1992

Verification: @/90-ghost on Wayback Machine (old campaign), knows vetted Palestinian @/mohiy-gaza2

Payment methods: Paypal for Noor (proof of legitimacy)

Summary: Noureddine's family relied on their gfm campaign to fulfill basic living needs, but all donations from Nov 4-15 (some on Nov 3) were not received and the campaign closed on Nov 15. If you believe you're eligible for a refund and didn't get one, please contact gfm. Noor now receives funds through a Paypal account (linked above).

Campaign details, updates:

Nov 26: Noor gets only 1-2 donations to his Paypal daily. I'm adopting this campaign starting Nov 28-29 for an unknown amount of time. It will be difficult to track progress as it's not observable on Paypal and Noor cannot be online to update me constantly, but I will try.

Nov 15: Noor's gfm campaign was closed on Nov 15. He and his campaign manager spoke of the situation here, which links to a Paypal that he now relies on.

The old fundraiser link no longer works. The last transfer was sometime on Nov 3, and to my knowledge all donations from Nov 4-15 (some from Nov 3) didn't make it to Noor and were automatically refunded. If you believe you were eligible for a refund and didn't get one, please contact gofundme.

Campaign details:

Noureddine's previous account was completely deleted along with all reblogs including vetting, resulting in the campaign stagnating.

He relies on donations as he has no income with which to care for his wife and 2 children, one of whom is a newborn.

The family moved from the hospital to their tent immediately after their second child was born in March.

They were relocated 7 times.

The tent is already inadequate shelter as there are harmful insects.

I've seen many Gazans worry about winter making tent living conditions unbearable.

Food, clean water, and medicine are scarce. The family live under constant and extreme psychological stress.

#palestine #support #contacted me

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autistic-shaiapouf · 11 months ago

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Anyways aside from everything I just said, I am marveling at the restorative power going for a walk has bestowed upon me

#got home and immediately made a transfer for my car payment + emailed store support for my new blood order #sat down and began sorting through the business stuff; genuinely i feel. pretty okay #it's barely noon and ive done a lot! still gotta reach out to potential roommate but I'm making some nice progress #and feel more capable so that's pretty nice actually #shai speaks

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peachsukii · 12 days ago

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— I’ll be home for Christmas

it's the annual friend circle christmas party, hosted at kirishima and mina's apartment. the only downside? your boyfriend, bakugo, is stationed overseas for hero work, so this year, you'll be celebrating through a screen. at least, that's what you're expecting.

✮ content. pro hero!bakugo + pro hero!reader. christmas magic and fluff. :) a special present for my elf @lady-lauren as part of the @pixelcafe-network secret santa exchange. ♡ ♡ ♡

✮ word count: 1.1k.

Christmas Eve, the night of a traditional Christmas dinner with all of your closest friends. A pot luck buffet, secret Santa exchange, and plenty of laughs through the night as you all reminisce over your lives. There’s just one thing that’s missing this year — Bakugo. Well, missing in person.

It was an opportunity of a lifetime, one he couldn’t turn down, no matter how much he argued against it. An esteemed agency in California was accepting applications for international transfers as part of the new “Heroes Around the World” program. It wasn’t that he wasn’t thankful, or even uninterested, but Bakugo’s biggest fear was being alone. Being away from you, especially in another country. After many nights spent hyping him up to take the chance, he accepted the offer. Before you two knew it, he was jetting off to the USA for three months.

And, unfortunately, three months turned to six.

Bakugo’s not coming home until March. The US commission was so impressed by his skillset (because why wouldn’t they be?) and wanted him to train an entire new wave of sidekicks by crafting a program to mimic Japan’s Hero protocols. You couldn’t bring yourself to be selfish and have him come home, no matter how much you missed him. So, you two made it work — 17 hour time difference be damned. Early morning voice notes, late night video calls, quick texts and even little homemade letters from time to time. Bakugo became fond of your hand written letters, especially when the paper would faintly smell of your perfume or have traces of lipstick kiss marks.

When you show up to Kirishima and Mina’s home, they welcome you with open arms, chirping how they’re happy you came and how much they’ve missed you.

Everyone starts arriving over the next hour, greeting you with warmth and love like always. It’s not long until their apartment is jam packed with all of your closest friends, shuffling around the kitchen with delicious food and drinks. Everyone shoves a present under the tree in the living room for later, truly adding a layer of joy to the atmosphere. Your heart aches softly as the night progresses, missing Bakugo’s hand on your thigh under the table or around your shoulders as you chat and laugh with everyone. The plan is to have Bakugo video call Kirishima’s phone during the secret Santa exchange, that way he’d still be included when everyone swapped presents. It’ll be 2AM for him, but he insisted it’s fine.

There’s a little pang in your chest when you look under the luminescent tree in the living room and see the one with his handwriting for Jiro. ‘To: Ears — Love: Kats’ with a skull drawn next to it. It’s endearing to see his love for your friends extend across the sea so effortlessly. Midoriya takes a seat next to you on the couch before everyone else meanders into the living room for the secret Santa exchange. His eyes gleam when they meet yours, a smile tugging on his lips and accentuating the freckles on his cheeks. “How are you doing?”

You nod and tilt your head with a soft smile of your own. “It’s nice to get out and be with friends. Being home for the holidays without Katsuki was starting to get to me.”

Midoriya’s eyes soften. “I know it’s hard. Only a few more months!” Before you get a chance to think too deeply about it, Kirishima claps his hands to get everyone to quiet down.

“Alright guys! Time to exchange presents.” He pulls out his phone and sets it on the dock by the TV, the little screen displaying a pending ‘Call’ screen. It’s not long before a familiar face appears, the room erupting in a hearty cheer.

“Bakugo!”

“Shut up, don’t all yap at once!” Bakugo grumbles with a grin on his handsome face. It seems his eyes find you in the room as you shoot him a little wave, his grin settling into a longing smile. “Kirishima, get things rollin’ before my ass falls asleep.”

The room chuckles as gifts are starting to be exchanged, anything from cute pairs of socks to video games to awkward stocking stuffers. No other presents are lining the tree skirt after a half hour of celebration, but you’re left empty handed. It’s awkward, to say the least.

“Are we missing one?” Kirishima questions with a frown. “There’s no way we left you out.”

Bakugo’s face sours on the phone screen, immediately upset that you’re excluded from the tradition. “What the hell? Someone better fess up. Don’t screw with my girl’s Christmas.” Suddenly, the video freezes and hangs up, leaving everyone silent as they turn towards you. How the hell could this happen?

“Why don’t you check the entryway?” Mina advises. “Maybe it was left there by mistake.”

You stand from the couch with defeat, sulking toward the door to double check. Who had you for secret Santa? Did they not know what to get for you, or were you truly forgotten? After a quick glance in the doorway, you come up short. Guess you won’t be getting a gift this year after all.

When you return to the living room, everyone seems to be staring at you with an apologetic look on their faces. Your head is hung low, aimlessly wandering back to the couch as you plop back down on to the plush fabric.

“No luck,” you whisper. “It’s okay, though. It’s not a big deal.”

The room is silent until someone speaks up.

“Look again.”

Wait. You know that voice.

It has you whipping your head up, looking around desperately to be sure you’re not hearing things. Like magic, Bakugo appears from behind the Christmas tree in the living room, his cheeky smirk illuminated by the bright string lights.

“Merry Christmas,” Midoriya whispers next to you, his eyes glossing over with emotion. “Sorry for tricking you!”

Before you know it, you’re launching off the couch and skipping over to Bakugo, throwing your arms around him excitedly. He picks you up, swinging around in soft circles, squeezing you tight enough to take your breath away. Once he sets you down, you pull back to look at him.

“Katsuki, how—”

Bakugo cuts you off with a kiss, cradling your face in his hands. After a moment, he releases you, all the love in your body flourishing at his touch.

“Commission gave me five days off. M’all yours,” he whispers, brushing a piece of hair out of your face. “Izuku pulled some strings to get those corporate assholes to approve it.”

You turn toward Izuku, mouthing a ‘thank you’ before burrowing your face into Bakugo’s chest. God, you’ve missed the way he smells, his warmth…everything about him.

“Okay you creeps, stop starin’ already,” Bakugo jests to the group. Everyone shouts with glee, the party continuing in full swing with the whole family together — at last.

This is a Christmas you’ll never forget.

Merry Christmas, Lauren!! I hope you enjoyed it. With much love from your secret Santa, Rei <3

@slayfics @maddietries @liluvtojineteyam

@Yoyolovesdaiki @catsoupki @purplescorpi0

@jays-adventure3 @simp-plague @napbatata

@www-marianette-org @obsessedpersona @kirishimaeijiromyman

@strwbrrykthv @hayatoseyepatch @awkwardchick87

@unriding @sylushi @darhinadadragon

#long distance is always hard but Bakugo is determined AF to make you happy as can be #no matter where he is in the world - he’ll always remind you of home #☆.rei writes #bakugo x reader #bakugou x reader #soft bakugou #bakugou fluff #my hero academia x reader #mha x reader #bnha x reader #bnha fluff

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meowkid1000 · 1 year ago

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YEAAAAAAHHHH MY BANG DREAM ACCOUNT WASNT GONE FOREVER ‼️‼️‼️‼️

#I’m so happy abt this tbh #I’ve had this account since 2018-2019 #I was almost at level 100 apparently and last year I tried to transfer my account to my iPad from my phone #but bc I used shitty dorm wifi the download quit halfway through the transfer #so it tried to take me to a tutorial and told me that my old account was gone #so I sent a message through the app to support but they never got back to me #and today I finally decided yk what I’m ready for a new account #and it loaded 3k mb onto the app or smth #it was some crazy number so I let it download #and when it was done I opened the app… and I was at LEVEL 94 BABY!!! MY OLD ACCOUNT WAS BACK 😭#I was so happy it had all my song progress and most importantly it had my FAVORITE CARD OF WLL TIME #it’s an 4star ako nurse card from one of the Halloween gachas and I got really lucky to get her and I thought she was gone 😭#bandori #bang dream

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bortalis · 2 months ago

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My concepts for the development progress of an Iterators Puppet

-my ideas below

-Feasibility Study

[1]: First autonomous control module, any instruction to be given must be done manually through physical means (the keys), outputs were shown through the screen. A very primitive system, however, did its job proving the greater machine concept was achievable. While it does look like a lens above the monitor, this was a simple status gauge for benchmarking.

-Prototyping and Development

[2]: Now with the capability to wirelessly and audibly communicate to receive instructions and inputs. The system was no longer directly integrated into the facility, and resided on the first instance of an iterator's arm. This was considered a feat due to the complications with isolating the control module from the rest of the iterators components, while keeping processing power. A permanent connection/umbilical was needed to sustain life and function though.

To “talk” back, they were crafted with multidimensional projectors, the mobile arm allowing the angles and variance for this projection. Only later into development were advanced speakers installed for optimized understanding, however the extra computing power required to synthesize proper speech was found to strain the contained module, so this function had rare use in the end.

[3]: At this point there was a change in perspective in the project. What once were machines to simply compute and simulate, were now planned to be the home, caregiver, and providers. The further the project came to fruition the more religious importance was placed upon these “random gods”. From this stance not only did the puppets have to manage and control their facilities, they had to communicate with the people and priests. To represent benevolent beings who will bring their end and salvation. In this process iterators began to take a more humanoid shape, to better reflect their parents. Development was focused on compacting the puppet closer to the size of an ancient for this purpose. This stage was the first to incorporate a cloak/clothing into their design considerations, to further akin themselves in looks. The cloak would hide the iterators' engineered bodies and give a body to their silhouette.

[4]: As bioengineering and mechanics were rapidly progressing due to the void fluid revolution, this allowed plenty of margin for developing the outer design of the iterator puppets. This prototype was the first to incorporate limbs for the purpose of body language. This was another step in the drive to give a body to their random gods.

-Final Iterations

[5]: First generation iterators had the final redesign of puppet bodies. Far different from their first designs, they are fully humanoid. Their bodies are shaped to be organic and as full of life as they could at the time. Their center of sapience has fully settled within their body, as can be seen as their unconscious use of limbs without the direct intention for communication. This can also see how they manage their work, where many of the functions (which can be done with just an internal request) are operated through physical gestures of their limbs. Their puppet chambers also allow for full comprehensive projection, where many of their working monitors are displayed. It is seen how iterators prefer to utilize their traversal arm to transfer between the current working projection window.

These designs were hardy and nearly self-sufficient, only requiring minimal power from their umbilical to charge. (However was still limited in the terms of internal power production, for this first generation extensive batteries sufficed)

[6]: Later generation not only incorporated advanced bioengineering internally, but externally. While still a hardened shell, their body plates have been incorporated into the organics of the puppet, maintaining the protective requirements while barely leaving a trace of hinges or plates. This “soft” skin had drawbacks, such as reduced durability to the first generations, this was offset by the greatly enhanced repair speeds and capability this type of skin allowed.

Internal power generation was implemented into these late generation models. If the case arose, the Puppet could be disconnected from their umbilical and still be conscious from an undefined period of time. (However this would limit the operating capacity of the puppet when running self sufficiently) This greatly eased maintenance works, as the Puppet could still run the greater facility wirelessly while work was done on the chamber, arm or whatever as needed.

#rain world #rw iterator #looks to the moon #five pebbles #my art

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