#short answer: there is no point

[gwynndolin]

Every new week on the Satisfactory subreddit brings us a new post asking about what the point of the automated miner recipe is

[nidbaesenpai]

Dare you say this love could just save you

[syluses]

big girls dont cry QNA

i know you guys have lots of curiosities about this fic lolll so i’ll try to answer some of the questions i received (∗ᵕ̴᷄◡ᵕ̴᷅∗) 💕 if u still have some, just shoot me an ask!! :] also im really bad at explaining so i apologize 🤦🏻‍♀️ i have the plot nailed in my head but its tricky to articulate it in a clear, linear way for yall considering all the little nuances i added lol. i’ll try my best tho hehe :,)

Okay so there’s a whole ‘nother plot that exists in the background of this fic- which was super fun for me to write, but im sure from a reader standpoint it’s also kinda thrilling to try to connect the dots i left lol. thats why theres so many interpretations for this story (which i love!! i loved reading all yall’s theories)! 💕 BUT. that being said, the ‘canon’ goes like this:

SPOILERS BELOW read it first then come back! ( ⸍ɞ̴̶̷ ·̫ ɞ̴̶̷⸌ )

was caleb really dead?

No. Caleb staged his own death and then, similar to the main story homecoming wings, didnt tell mc :,) for his own reasons, for a time, he decides he’ll let her go on believing he’s truly gone…

why did he stage his death?

I dropped little crumbs of it in the fic, but it’s hinted that mc, on top of all her grief, feels a bit bitter over the whole shebang and also blames herself for it. hmm… why would that be? 🤔 well because their final moments together (or so she THOUGHT) were emotionally charged and volatile.

the foundation of their sibling relationship was growing weaker and weaker before the explosion. arguments are forming out of nowhere- things are becoming more tense and mc, for the life of her, can’t understand why her gege is always pulling her into a heated debate about safety, danger, blahblahblah, this that and the third, every time they interact. He’s being wildly unreasonable, which she knows, and protective- a trait that has snowballed as they entered their adulthood- but what she doesn’t know is the why behind it. she tells herself she just has a super protective older brother who views her as a little baby in need of his guidance- which isn’t entirely wrong… but she doesn’t see the full picture. His true feelings. All this tension eventually climbs to its peak. Caleb just gets worse and worse. He needs to do something before the world collapses on them both.

Now, in this au, he works at EVER, a somewhat shady but lucrative company- which dabbles in robotics amongst other things. I imagine they have abundant resources and wealth- and what with his promotions, it’s safe to say caleb is making a LOT. So, the delusional guy he is, he buys a big fancy suite with the idea in mind of two eventually living in it ;) but mc doesn’t want to- she has her own life in linkon!! She wants to spread her wings and separate from the nest anyway. Partly to start her own life; partly to prove to her gege that she can take care of herself. The argument that unfolds over this is the last they have before the big tragic explosion 😭 caleb, putting on a show with his beaten puppy eyes, leaves and then that’s the last time she sees him.

Caleb meticulously plans his ‘death’ out (with some help from his wingman ofc) and then eventually the robot is introduced to mc. It serves as a trojan horse. He’ll finally conquer her heart with it and win full autonomy over her. THIS IS HIS MAIN GOAL WITH THE ROBOT. WHY HE EVEN DOES ANY OF THIS TO BEGIN WITH.

Caleb gets to spy on mc with it and also slowly reshape her to accept his feelings; his ‘death’ has left her in a fragile state of mourning and he knows, after she warms up a bit to not-Caleb, he can more or less get away with anything- bc she will claw for whatever’s left of her family member. He can make her finally reciprocate and understand him— whether that be his feelings or fear or love. He tried to be patient, to be good, but obviously he had to travel a new route. He’s thinking of her 24/7. He’s obsessive, longing, protective, you name it- and all of this just worsens the more she denies him. When push comes to shove… well, caleb will do whatever it takes to win her :] He knows it’s unconventional and he’d be lying if he said it didn’t hurt him too- monitoring his endearingly stubborn, but sweet meimei and the shattered pieces he left of her through his android’s eyes— but it’s all temporary, and he truly believes it’s for the better.

did gideon know?

Yes, Gideon knew all along. He’s Caleb’s best buddy after all. To be matter of fact- Gideon didn’t just know, he quite literally ‘herded’ mc into the lion’s den in a way. Mc knew vaguely of their work at EVER, but not too much; so Gideon was the one who shined that light on their robotics and really introduced her to the concept of not-Caleb. Now, i wouldnt say Gideon is exactly comfortable with his involvement, but he actually really does care for mc and thinks she needs that help- as dubious as the means are. Anyway, it’s almost impossible to shut out all of his buddy’s demands: the brunet is nothing if not insistent on getting what he wants. In his own whacky way, Gideon thinks what he did- playing into Caleb’s plan- was for the better as well. I mean, Mc clearly wasnt doing good before not-Caleb came along,… but with the few visits he managed before the android got a little too stingy and sent him off, Gideon actually managed to catch a smile or two from her! So clearly he did the right thing 👀 not to mention… the real caleb seems very pleased with the progress, too. besides- the whole robot situation is temporary anyway :] She’ll be reuniting with the beloved gege she misses so much sooner rather than later.

how accurate was not-caleb?

His programming is like 100% accurate. Mc, for a mix of both naiveity and delusion, thinks not-Caleb is flawed when he starts to show signs of amorous/romantic feelings for her. Really, though, after she tells him to stay the night with her (innocently; and after years of having not shared the same childhood twin bed), it triggers a part of his ‘brain’ that undoes all real caleb’s self restraint thus far :] If the same exact situation happened with the real caleb, his reaction would’ve more or less been the same. Homeboy can only keep his feelings in check for so long

who programmed not-caleb?

Real Caleb

how is mc pregnant?

Because the robot’s creator wanted to add his own special touch to his work if you know what i mean :) yeah he’s a freak like that. Dont think he WOULDNT install in his robot the ability to indirectly knock his ‘meimei’ up. I will say though, that while caleb wants to get mc pregnant, its not fully bc he wants to start a family- at least not right away- but because he wants to emotionally and legally trap her with him. Besides monitoring her/wearing down her walls while she thought he was ‘dead’, this was actually one of caleb’s biggest goals with sending not-caleb into her home.

is not-caleb self-aware?

Yes

what’s real caleb been doing all this time?

Basically climbing the ranks of EVER from his lil perch somewhere in skyhaven. all the while, of course, spying on mc like a hawk. Biding his time & waiting for the right moment when she’s at her weakest, most codependent state to replace his carbon copy :)

was caleb controlling his robot?

No. But he essentially created its whole program. And there are cameras inside its eyes in which he watches mc from :) and cant help but snap pics with sometimes: she’s just so pretty— and endlessly sexy when he finally, in a vicarious way, gets to lie her back and make love to her <3

what is real caleb’s motive/ultimate goal?

1. to control/protect/‘tame’ mc through the robot; get her to see things from his point of view (which means realizing she belongs with him- where it’s safe and he can protect & love her)

2. to knock her up (hence the. ahem. reproductive abilities of the robot) so that he can trap her with a baby on top of all the other emotional strings he’s hogtied her with.

does gideon want mc too?

the question is not would gideon smash her. the question is would caleb LET him…. 👀

also, below i just attached a screenie from some of the notes i took. theyre ofc a little disjointed but i think it might clarify things too :] im so bad at answering questions esp for a plot this spiraling but i really tried my best guys my brain is tired forgive me :,)

[lazylittledragon]

i think thats supposed to be about sex things but Not One Of Those, this is the fourth, fifth? couple youve given a lil baby and i think you maybe love lil babys

i too, give the Characters lil babys, because i love them

as well as the myriad of Situations it puts the blorbos in

fourth or fifth publicly/in recent memory, i've been doing it for Years in art i haven't posted akfdhdjhd

i do just really love putting them in Situations you're right

[dresshistorynerd]

this might be the silliest question you’ll be asked. As someone who enjoys period dramas and studied history (though not fashion) so notices inaccuracies like fasteners and availability of dyes etc, I nonetheless can dive into the world presented.

I notice the wearing of outerwear the most. In a program set in Regency England, in outdoor scenes, a) you rarely see more than a Spencer jacket or a cape, and b) in a group scene the coverage varies wildly from lady to lady. As if I was out walking with friend wearing a tank top while I had on a turtleneck and fleece vest.

I get costumes tell a lot about the characters but wouldn’t a person look daft and either cold or hot and out of place?

This is not silly! This is actually a very good question! Regency media is often very much confused and inconsistent about what was appropriate in the given situation to wear, but to be fair, it was actually very confusing.

I have seen a lot of people, and I have repeated this before as well, perpetuate the idea that Regency Era had the same concept of casual and formal wear - split to morning, day and evening wear, where the earlier in the day it was the more the dress covered. However, the Regency concept of casual/formal wear followed much closer to the previous era of 18th century. Instead of morning, day and evening wear they had undress, half dress and full dress, which had a bit to do with how much was covered but not much. They were much less formalized than the equivalent concepts of the socially rigid Victorian Era. Which also makes it much more confusing. Undress was usually worn at home or during morning walks and it had long sleeves. Usually it was a pelisse or dressing gown, or could be a simple round gown. Though most garments were not inherently undress, half dress of full dress, since it was much more relevant simple or flashy the garment in question was. A simple redingote could also be undress for cold morning walks. Hair was often covered in undress as well, usually with a cap, but this wasn't necessary for young unmarried ladies. Full dress was basically ball gown - so the most formal dress, short sleeves etc. - and there fore easiest to grasp. Though sometimes other occasions besides balls were as formal and then full dress would be used as well, but not all evening occasions were as formal as balls. Half dress is basically everything else and easily the most confusing and unclear category. Half dress could have short sleeves or long sleeves, used outdoors or indoors, used for less formal evening occasions and promenade walks and visiting casually a close friend and picnic and so on. Basically half dress was anything more formal than the casual home wear and less formal than the fancy ball gown. It was a collection of several different types of gowns really, but the reason they were in the same category was that there was no hard rules on how they should be worn.

At some point I'll make a post on the Regency casual/formal wear etiquette where I go deeper into this.

What specifically sort of half dress someone wore had more to do with age, marital status and weather than the specific occasion (though that could still matter as well), since most garments could be styled in multiple different usages especially by combining them with different garments. Married women and older women were expected to use more covering clothing, while younger women and girls could use less coverage even on a more casual occasion. So for example on a summer outing an older married woman might wear a long sleeved round gown or a light pelisse, while their unmarried daughter might wear a short sleeved gown. But these were not hard rules either. It was sort of closer to how etiquette works today, much more vibe based than rule based. Here's couple of examples from art depicting different scenes, where women are wearing quite different sort of half dresses.

The first one here is from 1815-1820. I'm not sure what the setting is for this harp playing, since the women seem to be wearing outdoor clothing (all are wearing bonnets and one of them is wearing a redingote), maybe they are playing outside? Anyway, the two ladies have short sleeved gowns, one of them has open neckline, the other a chemisette covering her neckline, while the third has a covering redingote.

First image here is a painting named "A young person hesitating to play the piano in front of her family" from 1805. Here's a casual gathering among family on a terrace, perhaps after the dinner (the sun seems to be setting), where the young lady is dressed in short sleeved gown, while presumably her mother and grandmother are dressed on gowns with longer sleeves and covered hair. The second image here is painting of three teenagers preparing to play music on a casual musical evening from c. 1810. The girls are roughly the same age, yet one of them is wearing long sleeves and covered neckline, while the other is not, demonstrating how there was no exact rules with half dress.

The first image below is an illustration "In a cafe" from 1810. The ladies are out, two of them are wearing short sleeved and decollete revealing dresses, while their third (likely married) friend is wearing long sleeves and covered hair and decollete. The second image is an illustration from 1814, and depicts a casual gathering where young people are playing party games. Again there's a mix of long and short sleeves.

So it would not be inherently inaccurate to have Regency women in a group wear garments of varying sleeve length, but Regency media very rarely does it in a way that follows the nuances of the Regency social norms, because it very much depended on the situation. For example no lady would wear long sleeves in a ball. I don't remember every scene but what I do remember of the 2020 Emma they do the whole etiquette really well. And of course Pride and Prejudice 1995 nails it. Still after trying to figure out the nuances of Regency etiquette myself and still quite not getting all of them, I'm much more understanding of movies and tv shows for fucking it up. It really is very hard to pin down. Not that it prevents me from getting annoyed by very obvious mistakes.

[boasamishipper]

ngl as a jew the way i see people talk about gal gadot makes my skin crawl

[xxplastic-cubexx]

erik will genuinely jump at any chance he can to steal charles' last name and be so catty about it i know this for a fact WHAT is his deal

[Magneto (2011)]

[sapphicfromthehip]

a look into the historical fashion of sfth characters

[—> angelina roland edition | see below the cut !!

first: what’s the time period and setting that the character is in?

the off season takes place in the late 1800s (more specifically 1895!) in england. we also know that angelina also lived in america for a decent amount of time. (or i assume it was a good chunk of time at least, long enough for her style to be influenced by it for the purpose of this analysis.)

general overview of the fashion for the period:

in both british and american fashion around 1895, the bustle was falling out of style, giving way to skirts with a more bell-shaped silhouette that skimmed the hips and flared toward the hem. at the same time, sleeves were growing more dramatically puffed, leading to the distinctive "leg-of-mutton" sleeve trend.

late 1800s british fashion:

british women’s fashion in 1895 was all about dramatic silhouettes and romantic details. bustles were officially out, and skirts started skimming the hips and flaring out at the hem in a smooth, bell-like shape. the waist was still tightly corseted, keeping that hourglass figure in style, but the overall structure was softening compared to earlier decades.

the real star of the year? sleeves. specifically, the iconic leg-of-mutton sleeve. they were huge—puffed up at the shoulder and narrowing at the wrist—creating a bold contrast that made waists look even smaller. bodices were fitted and often high-necked, though evening looks sometimes dipped lower.

fabrics were rich and textured: think velvet, silk, wool, and taffeta, often layered or trimmed with lace, embroidery, or ribbon. outerwear like capes and short jackets were popular, especially with fur or braid details.

hats grew wider to balance the sleeves, usually decorated with flowers, feathers, or bows. hair was worn up, softly waved or puffed to match the romantic, oversized look of the time. gloves were a daily essential, and parasols still made an appearance when the sun did.

late 1800s american fashion:

american women’s fashion in 1895 followed a lot of the same trends as britain, but with a bit more practicality woven in. the bustle was officially done, and skirts took on that smooth, bell-shaped silhouette—fitted at the waist and hips, flaring gently at the bottom. corsets were still a must, keeping the waist cinched and structured, but the overall shape was starting to ease up.

leg-of-mutton sleeves were everywhere. they hit their peak size around this time—huge at the shoulder, narrow at the wrist—and were a staple in both day and evening wear. they gave that bold, almost theatrical touch while still fitting into the modesty of the era.

day dresses were typically high-necked and long-sleeved, often with layered bodices or decorative panels. fabrics leaned heavy and durable—wool, cotton blends, and silk—especially for middle- and working-class women who needed practicality as well as style. wealthier women wore more delicate materials like velvet and taffeta, often trimmed with lace or ribbon.

outerwear included tailored jackets, capes, and mantles, many with bold collars or cuffs to match those big sleeves. hats were getting larger too—picture hats, bonnets, and toques all decorated with feathers, artificial flowers, and sometimes even birds (victorians were intense about hat decor).

hair was worn up and often softly waved or curled at the front, with pins and combs for decoration. gloves were a daily accessory, and parasols stuck around, though they were a bit more common in southern states where sun exposure was more intense.

so in 1895 america, fashion meant flared skirts, sky-high sleeves, cinched waists, and a mix of function and flair. victorian drama, but with a touch of that american practicality.

differences between american and british fashion:

british fashion was all about elegance and polish. upper-class women leaned hard into the drama—fabrics like velvet and silk, bodices with detailed embroidery or lace, and silhouettes that followed parisian trends to a tee. everything was a little more formal, a little more elaborate. even outerwear felt fancy, with lots of tailored capes and fur trims.

american fashion? still dramatic (those leg-of-mutton sleeves were everywhere), but way more practical. daywear often used sturdier fabrics like cotton-wool blends or plain wool, especially for middle- and working-class women. yes, rich american women wore silk too, but the average person needed clothes they could actually move in. plus, regional differences mattered—fashion in new york wasn’t the same as in texas or montana.

so while both had the same silhouettes—cinched waists, flared skirts, big sleeves—british fashion was more about looking luxurious, and american fashion was more about making it work.

now, on to what i think we’re all here for, what i think angelina would wear:

angelina’s clothing would most likely reflect how both places influenced her personal style. while her father’s status means she’s expected to dress in the traditional, formal upper-class style of late 1800s england, angelina’s more rebellious nature means she doesn’t fully conform.

she wears the classic 1895 silhouette—bell-shaped skirts, corseted waist, and leg-of-mutton sleeves—but her outfits are more practical and less ornate than typical upper-class fashion. sleeves are often rolled up for comfort and movement, and she incorporates pockets, a detail more common in american clothing.

her hair is most likely worn up but in a simpler, looser style than the tightly curled, polished look favored by british aristocracy. hats and outerwear are more modest and functional rather than heavily decorated.

overall, i think that she would blend these cultures together to express her individuality—combining british elegance with american practicality in a way that allows her to have the freedom she needs to do things. (like i don’t know, taking her injured lover to france or something? who knows?)

[mohntilyet]

Wait is the middle picture from those three sketches that one scene from the wigmaker job?

yes! it's this specific passage where lucanis is just seething with rage and trying to keep a lid on it, and illario's a stablising, comforting presence. BROTHERS!!!!! <3 though i chose to draw his hand on his shoulder rather than his arm i guess. artistic liberty!

[f1tf]

“[…] I need to try and make up positions and go forward. It’s not an easy track to overtake on, but it’s what it is.”

LANDO NORRIS - POST QUALI (IMOLA GP 2025)

[morganmnemonic]

Things that it would be in character for toriel and asgore to name their second child:

Togore

Asriel II

Ralsei

Things that it would NOT be in character for toriel and asgore to name their second child:

Kris

Which is interesting because it implies that kris was named by someone else. Did they come with that name, a single lone gift from the family they were born into? is Kris a name they chose for themself when they transitioned? Did the holidays roast the shit out of Asgore and Toriel for naming their first kid asriel, so when the second came around, the dreemurrs went to them for advice, and carol said "I always though Krismas had a nice ring to it."? Is krismas actually for real their legal government name?? Who named kris?

[sabo-torao]

HI FOOLLL

Dropping an ask just to see your perspective, but I want to know what’s your take on Sabo’s thing with devotion. Like with Ace or the cause and stuff. Asking just to see if this concept is also interesting to you as it is to me ^^

HELLO DEAR MOOT!! first of all, i apologize if this took so long, a lot of life stuff happened preventing me from focusing on The Blorbo, but i’m here now!

i do find sabo’s relationship with devotion quite undeniable and interesting, in fact it’s one of the many things that make his character so appealing to me.

when it comes to ace, and luffy by extension, his devotion translates very well into unconditional love. to use sabo’s own words, theirs is a bond that will never break, no matter what happens. death couldn’t even tear them apart. in this particular case, some may say their brotherhood grew even stronger.

devotion to ace is devotion to his real family, it’s putting luffy above everything else, even the cause, because there’s nothing more important to him than his brothers (and thus respecting the vow he had made with ace in the process); it’s infinite affection and love. nothing will shake this.

just as unshakable is his devotion to the cause, but this time we are talking about something more akin to fiery passion than absolute love, a devotion that feels more religious than anything else.

devotion in itself comes with the implied need of selflessness; one cannot be devoted if they’re not willing to put everything on the line for that ardor. sabo would die for his little brother, sabo would die for the cause, sabo did almost die for it, and we see him put himself in danger times and times again for them (and he will keep doing it).

for as selfish as he appears to be, always acting on a whim, always doing what he wants to do, refusing to listen and actually tend to his duties- sabo is fundamentally selfless. he barely ever does things for himself, putting his individual desire of freedom aside in order to fight for the freedom of all. he understands that he can’t be free if everyone else isn’t.

that’s something that becomes even more obvious when compared to mr. selfishness himself, monkey d. luffy. everything luffy does is for himself and he is very upfront about it. he is a pirate, not a hero. very important distinction!

sabo isn’t… exactly like that. everyday he chooses to swallow down his emotions in order to preserve the cause and reach its goal. as chief of staff of the revolutionary army, he understands his responsibilities, and never lets his personal feelings hinder them, luffy being the only exception.

which brings me to what i deem the most fascinating part of it all: the way these two forms of devotion kind of intertwine and contradict each other.

protecting luffy is above the cause for sabo. there is, to him, something worth more of his revolutionary status, and it’s the well-being of his little brother. sabo’s devotion to luffy is the most selfish trait his character possesses, which is laughable since it’s still incredibly fucking unselfish, but it is the same type of paradox that makes up luffy’s whole character, so it works.

his devotion to the cause burns bright, it’s dangerous and powerful, but the unconditional love he has for his family is scorching hot and ready to explode. i think the flames he inherited from the devil fruit of his dead brother, which he was able to track down thanks to the revs’ help, represent this pretty damn well.

[metanarrates]

i'm curious now, why was the absolute throne such an impactful moment for you? (also this is tls12lessthan3 just from my main blog)

lots of things! let me try to dig deep into the brain of 2022 nic and figure out what was happening there.

so I'd gotten into orv because it had been recommended as a good piece of metafiction. (i fucking love metafiction as you may know.) because of that, I could see from moment one the way the constellations acted as audience, the way kim dokja himself played with audience insert concepts, and how the star stream itself was a metafictional literalization of The Story as a force of control against the characters. all of that stuff was super intriguing and interesting to me, and i was enjoying the hell out of kim dokja as a character. love a bastard trickster hero.

the destruction of absolute throne is a buildup of a lot of momentum in the story. kdj as a character has been asserting a (often paper thin, but sometimes genuine in interesting ways) selfishness as his reason for doing stuff and his method of moving through the world. we've seen him get out of impossible binds before, of course, but he also often plays to the logic of a scenario even as he takes a third option. gaming the system. he's choosing a somewhat kinder path through the apocalypse, but there's still an adherence to creating a good story by the standards of the star stream by weaving through loopholes

because of that, it felt like SUCH a fantastic character moment when he broke the absolute throne. aside from being hype as hell (IT IS IN FACT HYPE AS HELL) it felt beautifully unexpected to me as an option I hadn't even begun to consider, especially considering his past pattern of behavior as rationalizing his companions as basically pawns. i thought it would make sense for sure for him to continue to be a king. instead he draws the ire of every constellation, risks his life, and makes the scenarios 10x harder, just because he knows he can't win by these methods.

thematically and metanarratively... it just felt like a moment where the book just looked at me and told me what it was. of course, this isn't everything it is, but the novel says "okay, this is a story about a world with no kings. this is a story where we will break the story." and that's just so awesome.

i would say that it's not even about the moment being particularly deep or great (though it is a great moment.) ultimately, it was a moment where i knew i just had to see what came next, and that I knew the novel would continue delivering great moments from there on out. id been enjoying the novel pretty well, but from then on i was totally hooked. i finished the novel in under two weeks from there because i just could not stand to put it down :)

[everyryuujisuguro]

[asthedeathoflight]

Actually the fact that pyrrha and wake were hooking up on the mithraeum is an underrated part of that whole situation. Like that's AFTER they killed her. Is that confirmation that Pyrrha didn't kill Wake, or is Wake just that kind of freaky? Did they ever talk about it? At the point Harrow walks in on them its described that Pyrrha is just holding Cytherea's corpse in her arms - this could be because Wake is playing dead, but this is pretty early into Wake being in Cytherea's body and the next time we see her she seems to have just gotten the hang of walking so its possible she actually couldn't really sit up properly at this point and Pyrrha had to hold her, which makes me insane for how gentle it is for how fucked up that situation is. Do you think Pyrrha ever apologized.

[invinciblevalentine]

atp i would snort reeve tuesti fic like cocaine.

if anyone knows any fics that put reeve through the blender like “Son” by She_sees_in_the_dark or “Through Another’s Eyes” by CorsairOriginal—

i need to see that man under enough pressure to make a diamond crack. For my health.