#so. its actual place on the list varies.

[silvery-bluish]

Thanks for the tag @ladyshivs​!

If you’re up for it, absolutely No Pressure, I’m going to tag @euelios​, @witchfall​, @rosaindomitus​ and @honor-among-thieves​! Tiermaker here.

[phagodyke]

I was on the wikipedia page for phobias just for fun but just discovered theres an actual word for a fear of being touched.. 🥹

[mesetacadre]

Anyone can criticize capitalism. Fascists despise how it makes race and/or the nation submit to economic matters, or how sometimes has to give concessions to workers. Right-libertarian types dislike how intertwined the state is with economic relations, even if they don't hold that same antipathy towards the military/law enforcement. Neo-liberals are an opposition to the aspects of capitalist economies not directly related to productivity. Social-democrats look to soften and apply bandages to the social ills inherent to such a mode of production. At least some anarchists advocate for a complete destruction of the state to leave the petit-bourgeois organizations of production. Capitalism, as the dominant mode of production for the majority of the world, conditions all ideologies to pass through it, to be defined as a function of what it demands of capitalism. All ideologies criticize some aspect of capitalism, none are truly, completely, pro-current-state-of-things: the superficial characteristics of capitalism in a single place, unequal development, the contradictions and growth-recession cycle, along and around which ideological lines are drawn are ever changing, meaning that a truly static status-quo, and therefore a completely content ideology which never criticizes some of the endless list of problems inherent to capitalism, doesn't and can't exist.

So it is not enough to simply be against capitalism, and to act in that opposition. What's crucial and what sets all of these ideologies apart is their program, what they wish to accomplish and maintain. If you don't have those goals, defined by affirmatives instead of negatives, you're not insignificantly likely to functionally align yourself with reactionary tendencies. Anti-capitalism by itself is not a step, it's raising your foot, and deciding a defined program is actually putting your foot down, taking the first step and setting a direction. What sets marxism apart is that its opposition to capitalism is not only total and aimed at its foundations (this by itself is not unique!), its program of change is also total and aimed at completely replacing the infrastructure of the capitalist mode of production, it identifies why it must be overcome using non-capitalistic frameworks, and from that builds a specific, total, and materialist program for what should come after. Non-revolutionary and non-marxist currents seek a set of reforms and transformations, of varying intensity and depth. Revolutionary and non-marxist currents construct programs that are entelechies*, such as returns to pre-capitalist modes of production, unable to actually exist and sustain itself, but nevertheless seeking as similarly a profound destruction and rebuilding as marxism.

*entelechy in English only refers to an aristotelian concept, but in Spanish it can also refer to a castle-in-the-sky concept, something that falls apart from its own weight and impossibility. I'm using it with that meaning

[thosewickedlovelies]

A guide to writing fics set in museums / with a museum worker character

Hey hi hello it’s your local museum worker here, offering you some insight and tips to writing museum-related fics! This is primarily organized as a list of different jobs you could have in a museum and what their duties entail. This post might also be useful to you if you’re considering working in museums and want to know What Goes On In There. Let’s go!

For simplicity/fic-writing purposes, I would divide museums into 2 very rough groups: large national or city museums that Have Money (think the Smithsonian or British Museums, or the Chicago Field Museum or the Royal Armouries Museum in Leeds); and smaller local museums. These could be local industry and culture/history-of-our town museums, historic houses, or  really niche subject museums run by One Person With A Passion.

Big national museums have a fuckton of staff and money (museums can never have enough money. But these places are very well-off compared to somewhere small that might always be hustling and writing grant applications). If you work here you’re likely to have a specific role in a particular department, and you probably won’t do much outside this role (ex., if you work in collections management, you probably won’t also design exhibits)

The smaller the museum, the more varied your workload will be/the more likely you are to be doing a little bit of everything. You’re probably organizing collections storage, manning the front desk, and desperately running fundraising efforts, all at once. 

To this end, smaller museums are more likely to be closed one or two days a week- you’ll be there, probably cleaning displays or managing storage, but visitors won’t be.

A lot of (most?) universities also have museums, so a college town setting is also doable. But the same big vs small museum disparity is still possible! At Penn State University, for example, the Palmer Art Museum is its own (recently redone iirc) building in the center of campus with a lovely plaza out front, while the Matson Museum of Anthropology is uhhhhh a couple classrooms in the Anthropology Department (which they’re currently rebuilding tbf, so we’ll see what they’ve done with it in 2025).

Types of Jobs

Curator

The one museum job that everyone can name. Nominally the person in charge. Probably laments that their job is way more admin than fun hands-on stuff now.

Actually this is the role I have the least knowledge of, but I think that’s partially because this job might vary the most from place to place? Structural organization can vary a lot between institutions, but I think the higher up you get in any field, the more your job tends to consist of meetings/overseeing, designating, and ~liaising~

A list of things a curator might do:

Planning or approving events and fundraisers, schmoozing with donors and members at said events, approving or designing a schedule of exhibits, publish outreach/advertising or research materials, oversee hiring, approve new object acquisitions (or de-acquisitions), generally make sure that the museum is working within the scope of its mission and if necessary, change or refine their mission

The curator might not necessarily control a museum’s funds; in this case they’ll liaise with the people who do, likely a Board of Executives or Board of Trustees. Once they get the money from these people, though, they could potentially redistribute it as they see fit.

 If you work in a fuckoff museum like the BM, you could also be the curator of a specific department, arranged by overarching subject, geographic area, time period, or even object type (eg Curator of Archaeobotany, Curator of Korean Collections, curator of coins from the medieval period). These categories can be more or less specific depending on what kind of holdings your museum has. I think these types of curators would still be able to do interesting things, as they aren’t the ones who Oversee The Whole Place.

You can also be an assistant or associate curator, like being an assistant manager.

Education/Engagement

These are the people who design fun extra activities (esp for kids) in the galleries or relevant events/workshops/lectures the public can attend. They might be called Engagement/Education Officer or Events Manager or anything similar

Again, the bigger the museum you work at, the more specific your role is likely to be. You might focus on web content/outreach and social media, manage the ‘friends/members of the museum’ program, or engage with shareholders, etc

Or you might do things like develop content and events to engage adult audiences. Workshops or lectures connected to new exhibits, after-hours visits. These people are also probably the ones with an eye on accessibility- you’ve probably seen advertisements for museums’ early or late hours for older visitors, or ‘quiet hours’ for people who might be overstimulated by normal museum hubbub, or tactile workshops designed for visually impaired folks.

I think most places would try to have someone specific for kids activities at the very least. They’ll be designing little activities or dress-up stations for the galleries, kiddie mascots or scavenger hunt trail kind of things, as well as, potentially, activities for any digital elements in the museum. They probably also coordinate school visits and act as a tour guide for classes, and will lead the kids in specific workshops or lessons in classrooms attached to the museum.

As a note on technology- some people would probably say that integrating digital elements into exhibits is the ~next big thing~, that museums have to get with the times in this regard, but opinions vary. Big science and technology museums are the most likely to have the most digital and techy elements in their exhibits, so if this is your setting, your character could also be a generic “tech person”. I would go so far as to say the smaller/more local the museum, the less technology you’re likely to have, but smaller museums are able to get grants, some of them potentially for specifically this type of thing, so it’s totally possibly that they have a few tablets with integrated activities, or some other Digital/Screen Thing.

Engagement Officers are probably the most likely people to be drafted for out-of-hours events, so that’s a potentially fun thing for your character to do. Some museums, particularly bigger ones, have event spaces attached that anybody can rent out, for weddings, galas, markets, etc, so they might also take care of these bookings as well.

Exhibit Design

This role has a lot of nebulous terms: exhibit coordinator, design constructor, exhibit programmer- but these are the people who design the exhibits. They’ll come up with a theme or narrative, a design scheme, choose the objects, write the text. They’ll probably come up with some marketing material as well, that matches the design scheme, or they’ll liaise with the marketing people who will.

These people might not be as familiar with the collections as the collections management folk (below), depending on how strictly divided your roles are, so they’ll likely consult with the collections people on choosing objects for a particular exhibit or theme (they say that good exhibit design builds an exhibit from the objects up, but I digress).

These people will also direct and participate in the install and deinstall (the actual terms) of exhibits- putting the objects on the right plinths/stands and arranging everything just so in the cases. Genuinely there’s a lot of psychology behind exhibit design- colors, lighting, the way you might design an exhibit to be navigated vs the path people will actually take through the gallery, people’s sight lines and where their eyes go first, how the display of any given object affects people’s perception of the importance of that object. Fascinating stuff, many books on the subject. 

There are also a lot of accessibility concerns to be considered here- how bright is the gallery, how large is your display text, at what height is the central eyeline of your cases?

Museums often loan objects to and from each other’s collections, so if you’re building an exhibit and you’d really like to include X type of object but your museum doesn’t have any, you can borrow some from another museum (this isn’t necessarily a guarantee- museums are allowed to say no to these requests, but I think manners would dictate that they should have a good reason)

Museums sometimes tour whole exhibitions as well- the objects, the text placards, maybe even the stands for super special or fragile items- and exhibit coordinator people are the ones who would handle those arrangements.

Potentially good opportunities for angst stories here- wow things come to life at your museum, you fall in love with a statue but oh no it’s only at your museum for three months

Collections Care

People who work in Collections Management have the most direct contact with the museum objects themselves. You probably work here if you prefer objects to people. When a museum gets new material, these are the people involved. They might not always initiate acquisitions, and the final approval is probably down to the relevant curator, but 98% of the time they’d be consulted (I hope).

A mind-boggling statistic is that most museums only have like 10% of their collections on display at any given time. Yeah. Forreal lol. But collections folk will know where the other 90% is and what’s in it (particularly the longer they’ve been there). 

There’s usually a head Collections Manager. Other workers might be a Collection Assistant/Associate, Collections Officer (we like calling people Officers for some reason), Registrar, or some variant of these depending on the specific flavor of your duties. 

Main job duties can be divided amongst documentation and database work, organization and storage of objects, and lite conservation. Just how much/how technical the conservation work depends on your own training, but also on the size/funding of your museum. The more money, the more likely your museum is to have its own lab with people specifically trained as conservators. More on them later. 

Here’s what happens when a museum gets new stuff!:

Ideally, it goes to a ‘quarantine zone’ first. This is a separate space or room where the objects can relax for a few weeks to a few months (ultimate best practice is actually a year, but, you know. that’s a long time) to ensure that they’re not harboring anything icky (bugs, mold, etc) that will infect the rest of the collections. It’s ideally super-sealed and climate-controlled, but the primary feature should be that it’s away from the main collections store.

Collections folk do the paperwork. They’ll give each individual object a unique number (following their preexisting system that will allow it to be identified distinct from all the other objects in the collection). They’ll create a ‘collections record’ for the object- documentation containing any and all information about the object. This includes the accession paperwork (everything that says ‘we legally own this now’); provenance info (all previous owners and everywhere else the object has been in its life); measurements and description (in painful detail); and conservation history and concerns (ie ‘there’s a crack in the side so pick up with care’, ‘this was repaired in the 70s so that glue is gonna fall apart any day now’).

(I'll say as a fic writer that this would be an great time to wax poetic over a beautiful statue or painting; you can’t write “This golden crown deserved to be worn by a great king, or maybe by that broody Roman general in the painting in Gallery B” in the collections paperwork, but you can think it.)

For fiction’s sake, your collections records could be either paper or digital, but in an ideal world a museum would have both setups, for security’s sake. So you’d fill out some long forms and/or input all the information to the digital collections management system (‘the CMS’, or referred to by your specific software’s name, as there are many out there). The CMS is not a static archive, but rather a living register that’s updated every time an object is interacted with. The object records also include where an object is at any given time (‘normally in Case E in the Fancypants Gallery, currently in Conservation Lab A for repairs’).

Once the objects are done in quarantine, they’ll go to storage. If they’re being displayed immediately, they’ll probably go to some interim storage space/shelf with other objects for the same exhibit and in that case only get a temporary setting. Every object will get labeled with their object number (directly on them, with a special pen that’s safe for this. Or if it’s really tiny, like a coin or jewelry, then their own tiny box will get the label). Small or fragile items, or items grouped together, will go in their own boxes (made of acid- and lignin-free cardboard or polyethylene plastic, like Rubbermaid totes; lined with polyethylene foam and then acid-free tissue paper). Stable ceramic vessels might sit directly on lined shelving, particularly if they’re very large or heavy, like many stone objects.

Listen, every type of object has a particular way(s) of storing that’s best for them, you’re gonna have to look that up yourself or consult someone if you need that level of detail

Ideally, before being stored away, objects are also photographed. This could be part of the Collection Officer’s duty, and/or your museum could have a photographer on staff. (say it with me:) This is more likely if your museum is really huge and/or has a backlog of unphotographed collections and has hired someone specifically, even if temporarily, to improve its collections documentation.

I would say a collections person, or anyone with a museum studies degree, should have some minimum amount of conservation knowledge that includes basic storage standards for different object materials, how to spot potential preservation problems (like if your bronze axe head is actively oxidizing or if that green spot looks the same as it always has since starting and pausing decaying), and maybe how to give objects a basic clean or deal with certain types of problems. But the nitty-gritty science is more the realm of Conservators, someone with a degree that ends in -Sci or who’s done some other certification course.

The general collections store should always be dark, slightly too cool for prolonged human comfort, and labeled to high heaven. Objects will most likely be grouped by material- ceramics/pottery, metals, precious metals and stones (jewelry or beads), stone, glass, wood, bone/ivory/other organic material like feathers or teeth or anything that can be decorative, textiles, paintings. A museum often has some paper material/documents, usually part of or related to a group of objects they acquired, but generally paper and photographic material is the realm of archives and archivists. Yet again, the bigger/more well-funded the museum, the more likely it to have a separate archive department, so your character could also work as an archivist in a museum.

Another thing the collections care folk probably do is ship objects. Remember how I said that  museums loan objects and exhibitions to each other? The stuff’s gotta travel somehow! If things are being shipped internationally, they’ll go in big wooden crates, with specifically dimensioned partitions inside. Then it will be lined with our favorite foam and tissue paper, cut so the objects sit snugly inside. I haven’t personally worked anywhere with a possibility of local shipments, so I can’t say where the threshold might be as to when a museum would just pay an employee to drive the objects over vs ship them with a shipping company. But the preparations would be similar, minus the big wooden crate but with extra-careful packing (and paperwork and insurance etc)

Conservation

Conservators are the people who work in labs with fancy equipment. Not every museum will have a formal conservator or a lab of any kind; sometimes the collections care person fills this role, or if something urgently needs care beyond the abilities of the museum’s equipment, they might send it away to a lab elsewhere, the same way you can send your old VHS home videos to a professional archive to be digitized.

If an object is actively deteriorating in a way that could harm itself or other objects (as opposed to like, at risk of fading bc the lighting is wrong, which is a straightforward fix related to the environment), that’s when a conservator would intervene.

Some methods/machinery by which you can analyze objects:

Ultraviolet (UV) and infrared (IR) light - Different materials absorb and react to light differently, which you can use to identify them. Useful for seeing things like the different layers of paintings

Stereo-microscopy (microscopes, of varying strengths)

At magnifications of x5-x100 you can see things like tool marks from an object’s manufacture, traces from wear, deposits, and coatings

At x50-x500, with a thin sliver of a sample, you can see (and hopefully identify) fibers, layers, particles, metallographic structures 

You can get information from objects without taking samples, but samples are usually worth the information. 

energy dispersive x-ray fluorescence spectrometry (EDXRF) - EDXRF allows you to identify the elemental composition of the surface layer of an object. So it might tell you what a tool is made of, and also the composition of the objects it was used on, if they left traces

scanning electron microscopy (SEM) - an SEM uses a focused beam of electrons to produce a magnified, high-resolution image of the surface of an object

X-radiography, both film and digital - X-rayy are beneficial for objects that might be covered by dirt or corrosion and can show you details of an object’s construction or hidden structural weaknesses

I’m not a conservator, so if you want more hard science-based info, ask one of them lol

Listen to me. If you take nothing else away from this post, let it be this:

 Once an object is in a museum, it is never seeing natural daylight again. Sunlight is the ultimate enemy of every object’s lifespan. If you need to see an object in the sun or moon light for ~magical spell reasons~, you will straight up be stealing that object to smuggle it outside.

Okay. That being said, you do hear (and could probably google) stories about museum employees stealing things from their museums on purpose to prove a point about security or insurance to their higher-ups, so like. Depending on your type of museum, it might not be impossible to steal from lmao. (Don’t tell anyone I said that.)

Possibly the most useful advice for you to keep in mind when writing your conservator or collections care characters would be that touching objects hurts them. It might not hurt them now, it might not even hurt them in ten years, but every time you handle an object, there’s a risk that you’ll damage it. Not on purpose, obviously, but to err is human. The simplest, most effective advice my conservation professor ever gave us was “don’t handle an object if you don’t have to.” That means don’t move an object without a plan and a place to put it, first examination should always be visual, not tactile, etc. Unfortunately, that means that your character cannot walk around lovingly handling and caressing their favorite objects (unless this is a Night at the Museum situation where the objects are caressing them back, ykwim)

Museum Technician

These people probably have a lot of different names, but basically, technicians are the background muscle of the museum. They do the technical construction of bigger pieces of exhibition material, up to and including the exhibition cases themselves. 

So they wouldn’t deal with the small mount that the object rests on, but they might build the big plinth that the mount sits on. They’ll help move things around the building, particularly big heavy things, hang big framed works, assist with exhibit installs, and generally do most things which might involve power tools/equipment or heavy lifting

I worked in a big museum that hired a third party company to supply their technicians; I interviewed at another place that hired their own. If you’re a small museum, you might just have a freelance person that comes in once or twice a week to help move things.

Other

Other miscellaneous roles one could have in a museum: researcher (for exhibits and/or collections), gift shop or cafe worker, security guard, room attendant, translator, archaeologist, consultant

Honestly, TL;DR? Just have your character be a consultant of some kind. “Oh no, I don’t work here, I’m Y’s friend. They called me in to provide some expertise on X subject that they’re doing an exhibit on.” This could work for literally any subject- history/archaeology/anthropology, art, transportation, science and technology, anything you might find pictures of in an archive, idk. This could get you into an office or meeting room of some kind in the ‘employee only’ space of the museum, or potentially all the way into the collections store if you’re giving them information they were missing about some objects. Otherwise you’d probably (hopefully) need a key or some other kind of security clearance to get into the collections store.

Whew, that was a ride, huh? I hope this guide was useful to someone! I’m always open to answering questions if you think I forgot something or if anyone wants more details <3

[unteriors]

Since you're Australian, why are so many of the posts from the US? Did you start with Australia and then move onto other countries once you'd felt like you exhausted it? Or is the US particularly interesting for your purposes?

A big part of the reason is the enormous difference in scale. Australia has about 25 million people, versus 300 or so million in the US. Each of the 50 states has at least one or two major cities, most have many more than that. In addition to the volume of real estate imagery produced by this market, there are a few things about the US in this context which draw me in from an Australian perspective. One is how real estate listings weirdly embody how much more visually apparent the harmful economic forces of the past 50 years are in American society than they are here or elsewhere. Australia's welfare state was developed roughly during the same time as in the US, and has similarly been cut back since the 1970s. But it was always much weaker in the US than in Australia or Western Europe, and correspondingly the effects of its deterioration - along with other economic trends - have been much more visible than they are here. The way this is played out in terms of localised funding for public services means that many American cities have pockets (of varying sizes) where poverty and other forms of systemic oppression are concentrated and left open to the elements. The sort of stuff Jacob Holdt documented in his photos in the 70s, or that you see in a lot crime films and thrillers with location shooting. Gentrification and other forces since then have pushed these pockets into other areas and made some places seem less grim, but from what I've heard it seems like it would be hard for the average person in the US to ignore that these large, systemic problems exist. Conversely, in Australia, this kind of intense poverty has been pushed into the margins of society during the same time period - to remote communities (where people suffer from chronic diseases that have been eradicated in most other wealthy countries), country towns with shrinking economies, or to the fringes of larger cities (where people sleep in their cars in parking lots, or multiple families form sharehouses to afford $400-500+ pw rents). Though as things have gotten worse, particularly since COVID, it's getting harder to ignore. But still there's a substantial part of the population here who have grown up in ignorance of any of the larger, percolating structural problems in Australian society, and who proactively retain that ignorance into adulthood.

I think you can see these different perspectives play in out in real estate listings. In most American states, even in most of the towns I've looked at, you can see a broad spectrum of living conditions (and commercial interpretations of ideal living conditions) - from burnt out trailers, to overpriced renovated shitty older houses with cheap grey vinyl flooring and white walls, to clearly lived-in time capsules to McMansions to actual mansions. Some photographs are clearly shot by owners, others by real estate agents with a great variety of care and attention to detail (from elaborate staging to crime scenes). Rightly or wrongly, I feel like I get a broader, more honest (or at least more direct) feel for the housing crisis. It's a more honest horror film.

Australian listings, I think in part due to concentrations in corporate power in the real estate industry (similar to other monopolies that have formed in our economy), tend to more heavily adhere to the visual language of advertising and are more heavily regulated by agencies. The problems still exist, the housing market here is among the worst in the world and little effort is being made to address the underlying structural issues, but you can see the lack of will to acknowledge these issues in the level of gloss that's applied. You can look at a listing of an older house in Western Australia, for instance, and know for a fact that it's riddled with asbestos and probably has several other structural issues, but most likely enough time and effort will have been spent on staging and lighting and maybe surface-level renovations that it will seem otherwise fine. Lots of turds that have been polished successfully enough that you need insider knowledge to properly identify them as dogshit. Incidentally, I spent part of my childhood in a house built in the 1960s that had asbestos in the walls and ceiling.

I'm still interested in images from Australian listings (and other sources) though, I just look for other things that are interesting. Anything that runs contrary to the artificially positive, limited world view that advertising promotes. Even if its a poorly-lit time capsule that is directly aesthetically opposite to the ideal of house-beauty at the moment, or an obviously run-down house that has had every realtor photography trick in the playbook thrown at it until it becomes deeply uncanny. And it's always interesting to see what other people find interesting; I genuinely think the housing crisis underwrites every other political issue we have to contend with, its tendrils extend in many different directions, and I think this also means imagery like this can reach people in a diversity of ways. Aesthetically, nostalgically, inspiring fear and self-loathing and horror. All good sources of inspiration for creativity.

[candycandy00]

The Doll House - A Sukuna x Reader Fanfic Part 1

Covered in scars and left totally numb by your abusive previous owner, you’re considered an “unsellable doll”. That is, until the Doll House takes you in and Sukuna becomes your trainer.

Part One | Part Two | Part Three | Part Four

Read Geto’s Part Here!

Read Toji’s Part Here!

Read Nanami’s Part Here!

Read Gojo’s Part Here!

Read Choso’s Part Here!

Note: Please remember that these stories don’t take place at the same time, or even one after the other! Consider each one its own timeline. So if you see Geto and Toji with other dolls, don’t be alarmed lol. I had to do it this way because if I don’t, by the time I get to the last trainer, there won’t be any other trainers left to interact with!

On the outskirts of town, there stands a particular shop called the “Doll House”. Inside its walls you can find a “doll” to match any taste you might have. All your desires will be fulfilled, no matter how depraved. Satisfaction is guaranteed! The dolls are exceptionally high quality, thanks to the skillful trainers who work with them twenty-four hours a day, molding them into perfect toys for your enjoyment.

Each trainer has a specialty that they focus on, and they all take great pride in their work. Their methods differ greatly, their approaches vary, but they all follow one rule: never get attached to a doll. After the training is complete, they hand the dolls over to their new owners, and never see them again. However, just once over the course of their careers, trainers are allowed to pick a doll they’ve personally trained and keep her as their own.

AU! Each trainer will get their own story! This is Sukuna’s. If you’d like to be tagged in future parts, let me know! You must be an adult to be tagged! Any feedback whatsoever is adored! I’m not keeping the same tag list as before, since this part deals with darker themes. I will resume the tag list after Sukuna’s part is finished! So if you want to be tagged in this one, please specify!

Note: Consider these parts AU’s within an AU. So you might see Geto with a different doll from the reader in his part, but just consider this an alternate timeline lol.

Smut. 18+. Fem Reader. BDSM. Erotic Torture. Needles. Reader is covered in scars. Everything that happens between Sukuna and Reader is consensual but there is mention of abuse by a previous owner. Divider by @benkeibear!

“That’s all you’ll give me for her?”

“I think this is a generous offer, all things considered.”

You’re sitting in a plush leather chair in the office of the owner of the Doll House while your father argues with her about pricing. It’s been going on for thirty minutes now, your father growing more agitated while the owner remains calm and firm. 

“Sir,” the owner begins, leaning forward slightly over her desk, “there are two major issues with your daughter. For one, she has a previous owner. Most of our clients consider that a deal breaker.”

“She was just with that guy a little over a year!” your father retorts, his face slightly red. 

“I’m aware of that. But that leads us to the other issue.”  The owner pauses and glances at you. “Your daughter’s scars are quite prominent. They’re very hard to ignore.”

There’s a hint of an apology in her eyes. It’s unnecessary. You know better than anyone that you’re disfigured. Scars of various types and sizes cover over half your body, including a sizable portion of your face. 

Your father is sweating. “I‘ve heard some clients have weird  tastes, that they actually want… people like her.”

The owner leans back in her chair. “It is true that we sometimes get unusual requests. But it doesn’t happen often. She would have to be given highly specialized training, to emphasize that unique aspect.”

Your father’s face lights up. “Then do that!”

The owner looks from him to you, then says, “I need to speak to her privately before finalizing the purchase.”

“What? Why?” your father asks. 

“It’s a routine part of the interview, I assure you,” the owner replies smoothly. 

Your father hesitates, but then stands up from his seat. He gives you a stern look, a warning look, and then he’s out the door. 

The owner’s face seems to soften slightly. “How do you feel about this?” 

You shrug. “I don’t feel anything. I haven’t in a long time.”

The owner looks at a laptop sitting open on her desk. “Let’s go over a few things in your file first. It says here you were sold on the direct market on your eighteenth birthday. Is that correct?”

“Yes.”

“You were with your previous owner for sixteen months before being removed, during which time he breached the contract by doing permanent harm. Hence the scars.”

“Yes,” you answer again. 

“And I see that your father sued your previous owner, collecting quite the hefty sum for your suffering.”

You nod. 

The owner closes the laptop and looks at you again. “And I’m guessing your father already blew through that money, despite only two years passing. So he’s selling you again. How many other doll shops has he taken you to so far?”

“Three.”

“Any offers?”

“None,” you say, eyes lowering toward the floor. 

The owner sighs. “If I don’t take you, he’s going to sell you on the direct market again, isn’t he?”

“He already tried,” you tell her, “but he said the offers were too low. If no shop will take me, he’ll probably go back and take a low offer.”

The owner grimaces. “He’s a real sick fuck, your father.”

“I know.”

“Do you want me to take you on?”

You think for a moment, then say, “It doesn’t matter. I can’t feel anything anyway.”

“When you say that,” the owner says, “do you mean physically or emotionally?”

“Both. I’ve been numb for nearly three years now.”

The owner picks up a silk fan from her desk and lightly taps her chin with it as she regards you. After a few moments, she says, “Alright. I’ll take you. I’ll make a slightly higher offer to your father, one he would be foolish to refuse. And in light of your unique circumstances, I’m going to add two extra clauses to your contract. The first is that you will have the option to change trainers if the one I assign to you is too much for you.”

You nod. “And the second?”

“All dolls sold through the Doll House are allowed to come back within one week of being purchased by a client, if they provide sufficient reasoning. In your case, I’m extending that to two weeks, and you don’t have to provide a reason. I’ll take you back, no questions asked, if you feel like your owner isn’t right for you. However, I would advise you not to abuse this privilege.”

“I understand.”

“Alright then. Let’s get your father back in here and finalize the sale.”

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

Sukuna grins when he sees the message on his phone: “I have a new doll for you to train.”

He’s at home, in his swanky, upscale apartment in the city. Though he enjoys his alone time, he very much enjoys his work at the Doll House as well. Unlike the other trainers, Sukuna doesn’t keep a near constant flow of new dolls. He understands why of course. His training produces a very specific sort of doll that only a specific sort of client wants. But he trains enough dolls to keep himself well paid, and the work is incredibly satisfying. 

The standard training time is six weeks, which is exactly the right amount of time for Sukuna to thoroughly enjoy each doll without getting too bored with them before they’re handed over to their owners. He can’t imagine why anyone would want to keep the same doll for ten whole years. He knows he’s not alone in this thought, which is why doll rental services have been growing in popularity lately. 

He packs a few things into a small duffel bag. He keeps plenty of clothes and personal items in his room at the Doll House, so he only has to pack lightly for the six week stay. He’s in a good mood as he turns off the lights and locks the door. 

When  he arrives at the Doll House, he finds a rather interesting young woman sitting in the welcome room. Interesting because half her pretty face is covered in scars, as well as what’s visible of her left arm. Just how far do they extend? He’s looking forward to finding out. 

She glances up at him, but gives no reaction. Strange. Most new dolls look terrified, or at least nervous, when they see him for the first time. It’s probably the tattoos that frighten them. Sukuna is well aware that they make him look like a Yakuza member, or some criminal from a past era. But he so enjoys the way people instinctively shrink back away from them. 

The owner meets him in the welcome room and ushers him into her office. All trainers are briefed on their new dolls, except in unusual circumstances. But the owner looks troubled today, meaning this doll has a story. But he supposes the scars made that obvious already. 

Sitting in a chair across the desk from the owner, Sukuna places one elbow on the cushioned arm and props his face up with his hand. “So? What’s the deal with little Miss gloomy out there?”

The owner is tapping keys on her laptop, then he hears his phone chime from his pocket. “I’ve sent you her file. You really need to read over it. She has a complicated history.”

“Give me the short version,” he says, making a mental note to at least skim the file later. 

“Previous owner who abused and tortured her, shitty father who’s sold her twice now, and… she can’t feel anything.”

That last part captures Sukuna’s attention. “What does that mean?”

“She’s completely numb, both physically and emotionally. I’ve read over her medical reports, and they’ve concluded that there’s no significant nerve damage. The scar tissue dulls her senses in those areas somewhat, but they don’t leave her totally numb like this. And she can’t feel anything in the unscarred areas either.”

“Meaning it’s psychological,” Sukuna says. 

The owner nods. “It’s clearly a defense mechanism. Her body and mind simply shut off all sensation in order to cope. And that’s going to be her biggest issue as a doll. There are plenty of buyers who would find the scars exotic, but a doll who doesn’t react to anything? No one wants that. And if we don’t eventually find a buyer for her, she’s going to get passed around from one scumbag to another on the direct market for the rest of her life.”

Sukuna had little interest in the doll’s sob story, but he was intrigued by the fact that she couldn’t feel anything. “So you want me to fix her? Make her feel again?”

“Yes. I figured if anyone could, it would be you. But be careful. She’s already been shattered. I don’t need you grinding up the pieces.”

Sukuna stands up and heads for the door. “Don’t worry. I’ll reforge her,” he says with a smile, “in a way that pleases me.”

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

The man covered in strange black tattoos introduces himself as your trainer. He’s handsome, well-built, and dressed like a man far too rich to be working here. A few years ago, you might have been attracted to him. Your heart might have fluttered at the thought of him touching you. But now? Now you feel nothing as he tells you to follow him to his room. 

He opens the door and walks in first, turning on the lights as he goes. You follow behind him and look around. The room looks like someone converted a fancy hotel room into a dungeon. 

The deep red carpets and expensive looking furniture contrast with the various… devices around the room. There’s an X shaped table, harnesses and chains hanging from the ceiling, and a wall of leashes, whips, rods, and other such items along the left side of the room. 

Ah, so he’s this type. 

You’re not surprised. Actually, it makes sense. Give the girl who can’t feel pain to the trainer who tortures his dolls. 

The man, who said his name is Sukuna, is watching your face, looking for a reaction. He won’t find one. But instead of seeming disappointed, he’s grinning. 

“My specialty is probably obvious,” he says, to which you nod. Then he goes over to the wall of tools and toys, taking something small and shiny from it. When he returns, there’s a silver, claw-like item on his right index finger. Without a word of warning, he approaches you and quickly swipes the claw over your exposed right forearm. 

You look down, curious, to see a thin red line appear on your skin, small drops of blood beading along it before sliding down. You watch the blood with no expression for a moment before looking back up at Sukuna. 

His grin is wider than before. “You really didn’t feel that,” he says, not a question but a statement. He’s standing in front of you, staring at you, when he says, “Let me ask you something, and think hard about your answer. It’s going to determine how the training proceeds.”

You nod. 

“Do you prefer being this way to how you were before?”

You blink as the question settles into your mind. You’ve never really thought about it before, but do you prefer being numb? It’s helped you block out the hurt you felt upon being sold off by your father, being abused by your owner, but it also blocks out any joy. 

“I… I don’t know.”

He’s looming over you, looking down with an expression you can’t quite place. Is it desire? Pity? Disgust? Or have you lost the ability to distinguish them? 

“Do you want to feel again?” he asks, something about his deep tone telling you to answer honestly. The sheer intensity of his presence is overwhelming you. 

You can still remember when you felt things. You can remember a poor but happy childhood when your mother was still alive. Even after, when things got worse, there were still moments of happiness. Watching movies with a friend, eating cheap snacks from the convenience store down the street. A kiss from the boy you had a crush on in high school. You miss these feelings. And once you realize that, your answer is clear. 

“Yes, I want to feel again.”

“Even if what you feel is pain?” he asks. 

An emotion you haven’t felt in years bubbles to the surface, startling you so much that your voice cracks slightly as you reply, “Yes! I’d love to feel pain again. I’d love to feel anything!”

A smile spreads across his features, and his hands move to your shirt. “I’ll make you feel again,” he says as he pulls your shirt over your head and tosses it aside. “But it will only work if you want it.”

“I… I want it,” you say, realizing with some measure of shock that you’re already feeling emotions you thought long dead. 

He removes the rest of your clothes, leaving them strewn about the floor. Then he stands back to look at you. Completely bare before him, you don’t feel embarrassed. Shame is yet another emotion you can’t seem to feel anymore. But there is a strange prickling sensation on your skin as his eyes rake over you, taking in the scars that form a map of your suffering. 

“It’s like a work of art,” he says, his gaze lingering on the left side of your torso. The words make you feel something else, but you’re not sure what that is. Your own emotions have become unfamiliar to you. 

He leads you over to the X shaped table and lifts you onto it, then spreads you out on it like a meal. He slowly attaches the leather cuffs on each end to your ankles and wrists, still watching your face for any sign of fear. 

There is none. You’re starting to feel things for the first time in three years, but fear isn’t one of them. If he can bring back the girl you once were, one who could laugh and smile and feel, then you’ll accept anything he wants to do to you. 

Once you’re secured to the table, he stands back and unbuttons his shirt. When he slips it off his shoulders, you get a full view of the intricate tattoos on his body. They’re beautiful, the way they move and twist with his body’s motion. 

He steps back to the table and runs one large hand over your arm, trailing it down toward your chest, where he squeezes your scarred breast. You can’t feel it, so you don’t know if he’s squeezing hard or not, but when his fingers lightly slide over your nipple, a tingling sensation blossoms there. What was that? 

Did he notice that you felt something? You don’t think you visibly reacted in any way, but he’s smiling as if he knows. His fingers suddenly pinch your nipple, and you feel pressure, but little else. He maintains eye contact as he leans down and runs his tongue over that same nipple, then wraps his lips around it. You feel it again, that pleasant tingling. It reminds you of something, but you can’t remember what. 

His hand moves to your other breast, where his fingers grope and pinch. You feel this a little more, and your breathing quickens slightly. That’s when he stops abruptly and goes over to the wall again. This time he returns with a rolled up velvet pouch, which he unrolls to reveal a group of very long, very thin, shiny silver needles. 

He pulls one out and holds it up for you to see. “Let’s see how numb you really are,” he says. Then he grips your scarred nipple between his finger and thumb with one hand while using the other to bring the needle closer. He looks up at your face, perhaps still searching for a trace of fear. Finding none, he pushes the needle in, sliding it sideways through your flesh. 

Your breath hitches as a new sensation hits you. This… this is pain! You haven’t felt it in so long, you’d almost forgotten it. When he grips the other nipple, the one with no scar tissue to dull your senses, you almost flinch. He grins up at you, as if he’s reading your mind. He leans down and licks the nipple slowly, awakening it to sensation, before plunging the needle in. 

This time you gasp, your arms reflexively tugging on the restraints. You felt that! Not as keenly as a normal woman would, but far more than you’ve felt anything else in years. It hurt. It still hurts as his hand squeezes your breast, his tongue running over the needle imbedded in your skin. But you welcome the pain. It’s far more preferable to no feeling whatsoever. 

Then he steps back again, and walks around the table to the bottom, where he moves in between your widely spread legs. His hand moves to your pussy, kneading it gently for a moment before his fingers slip inside your folds, finding you clit. 

You draw in a sharp breath as he strokes it, feeling the pleasure so strongly that it’s almost as if you were never numb. Your previous owner had ignored your clit, having no interest in giving you pleasure, so these sensations were entirely new to you. 

When Sukuna uses his fingers to spread you open and leans forward to lick your quivering clit, your body nearly jerks off the table. He rises up and looks at you. “Not so numb down here, are you?”

You can only gasp out shallow breaths.  

His thumb begins stroking you again as he speaks. “I don’t care who your previous owner was.” He reaches over and pulls one more needle from the pouch, his tongue running over you again, making your nerves come alive. “I don’t care if you’ve had a thousand different owners before me.” His thumb and finger pinch your clit, holding it in position. Your heart races as you wait, now holding your breath. “Because now,” he says, gliding his tongue across the glimmering needle in his hand, “you belong to me.”

He pushes the needle into your clit from the bottom and out the top, so slowly that you feel every single bit of it. Your body bucks from the table, your arms and legs jerk against the cuffs, and a loud scream erupts from your mouth as you feel excruciating pain for the first time in three years. 

It’s wonderful. 

Tears spring to your eyes, and you cum on the spot, weeping and shuddering. You were certain you would never experience an orgasm again for the rest of your life, but here you were, riding out the insane pleasure while Sukuna’s tongue prodded your clit, licking over the needle stuck there. 

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

Sukuna watches his doll as she sleeps peacefully in his bed. She passed out not long after the “training session” was over, just as he was unfastening the cuffs on her wrists. He carried her to his bed and laid her there, and now he’s looking over her scarred form once more before covering her. 

He’s surprised by the progress they’d already made, but he can’t get too comfortable. 

Because he noticed it. When he pulled the needles out of her, which should have hurt, she didn’t even flinch. He’d squeezed one nipple afterwards, before beginning to uncuff her, just to test it. This should have made her scream, given how sore she should be, but she had no reaction at all. 

Meaning she’s numb again. The awakening of her senses was only temporary, and wore off after she came down from the high of her orgasm. 

Sukuna smiles. He certainly enjoys a challenge, and it’s clear to him that his job is far from over. 

Tag List:

@akaotv 

[matan4il]

For the Nonnie who asked me to share some of the response to the performative "all eyes on Rafah" campaign, I hope it's okay if I add to the two images you sent me, and turn to the people sharing that AI generated image...

If all eyes are on Rafah, are you seeing Hamas' abuse, torture and even killing of its own Gazan civilians?

("Resistance is justified when people are occupied!" Cool cool, but what kind of a "resistance" attacks its own people?)

If all eyes are on Rafah, where were your eyes on Oct 7?

If all eyes are on Rafah, 'coz Gazan kids being burned alive (by Hamas, even though Israel got falsely blamed for it) is so unacceptable, then where were your eyes when our kids were burned alive by Hamas? In the pic: 2 years old Omer Siman Tov, who was deliberately burned alive by Hamas terrorists together with his entire family, his parents and two older sisters, in their own home.

If all eyes are on Rafah, do you see Kfir Bibas, kidnapped at the age of 9 months together with both his parents and his 4 years old brother Ariel? Kfir is the youngest hostage in the world ever (second youngest ever was Charles Augustus Lindbergh Jr., who was kidnapped at 20 months old in 1932).

If all eyes are on Rafah, are you seeing our other molested hostages?

If all eyes are on Rafah, are you seeing Hamas' rocket launchers which continuously operate and target our civilians from there? (note the dates vary from Dec 7, 2023 to May 26, 2024)

If all eyes are on Rafah, where the IDF did strike and kill two senior Hamas leaders, Yassin Rabia and Khaled Najjar, near (but not at) a shelter tent camp, are you seeing that Hamas deliberately chooses to risk its own civilians by having its leaders carry out consultation meetings so close to regular people?

If all eyes are on Rafah, why did you see the rescue of two of our elderly hostages (and the killing of the terrorists who tried to prevent the success of this operation) as a massacre? And why did you claim this was Israel invading Rafah back on Feb 12 already, when the actual ground operation in that city only started in May?

If all eyes are on Rafah because you care about the Palestinians so much, where were your eyes when Palestinians were endangered and killed by fellow Arabs?

If all eyes are on Rafah, where almost a million people have been evacuated by May 20 already, then whose eyes are on Sudan, Congo, Yemen, Syria, Iran, Ukraine among other places, where the murders of hundreds of thousands in each (and altogether, millions) is being carried on unchallenged? Where are the campaigns for the people whose slaughter you can't weaponize against the Jewish state?

If you shared that graphic, but didn't do anything about any of the other things listed in this post, you don't actually care. You just want to seem as if you do.

(for all of my updates and ask replies regarding Israel, click here)

[paingoes]

What are some of your favorite whump series on here? I devoured your story and am looking for more!

*bites you*

um

lux’s series by @friendlylocalwhumper was one of the first whump stories i ever read so shout out to that.

i think the second whump or really hurt/comfort fic i remember enjoying a lot was @foundfamilywhump ‘s stuff on ao3. particularly the adventure zone fics they have a special place in my heart

ive reread kane & jim by @whumpsday more times than i can count its my go-to comfort read. vampire whump!

literally anything by @deluxewhump but esp anything w zee and cam <3. emphasis on this one i love bee’s prose sm.

@just-horrible-things for more pet whump/BBU !!! im still reading through a girl called spider now but it’s probably my favorite as far as lady whump goes ❤️‍🩹

@whump-queen for intimate whumpers and hurt/no comfort 😈 akia has such a beautiful mind (weve been scheming)

@forwhump is my favorite for living weapon whump and is actually the only other living weapon whump ive really enjoyed tbqh. i guess im more in it for wren tho haha 🐥 this one is so underrated too i think it deserves way more attention. highly highly recommend.

and @doumidas-whumps if u want whump art >:)

a lot of these are more like blog/vibe recommendations than they are specific stories…sorry if this is too general lol. if anyone else wants to add on w other suggestions feel free

also!!! these vary in levity and age appropriateness!! i just listed them off the dome but yeah be mindful of content warnings and so on cause a lot of these are darker than what i typically write

i just realized i didnt say thank you at the top. thanks for devouring destroyer. if you could eat destroyer i know it would taste really metallic and salty so i hope youre still feeling okay after 🦈

[brothermanwill]

Wyvara will eat communally. These names are translated directly from Wyvaran. If you go to a wyvara restaurant, you wouldn't order food for yourself, you order it for the table, then you pick and choose what you want. The same happens in homes where families prepare large servings of food that is set at the table. Holding passers come in varying sizes and are the main serving vessel for reasturaunts and homes. They are shapes that way to enable wyvara to use reachers to pick them up and move them on the table.

Reachers are also used to grab food and place them on their take take plates. It is considered very bad manners to directly take and then eat with the reacher. It is seen as gluttonous and selfish as it gives others less of a chance to ask for some of the food before you take it. Proper manners dictate that you load your take plate with a little of what you want, then go back for more once you are done with what you have taken. Taking food from someone's take plate is EXTREMELY rude. You might as well be shoving your middle finger in their face for all intents and purposes. You then will use the holder to actually take the food from your take plate, if necessary, use the breaker to chop/smash/cut the food on the eat plate before actually eating.

If its not easily grabbable with the reacher, it will be served alongside several empty holding passers that will be used as bowls for use alongside the take plate and the eat plate. Human foods that would be served with several empty holding passers include, but are not limited to: Rice, pasta, fries/chips, sauces/dips, small nuts or cereal.

Most big food things that aren't in discreet units will be pre cut before being served. If you don't say when you order it, it will be cut to an arbitrary default of the restaurant(usually listed in their menu). So things like cakes, casseroles, bread, large cuts of meat are cut. Similar to how pizza places cut up stuff for us.

[gallifreyinstituteforlearning]

What happens to a TARDIS when its bonded time lord passes away?

What happens to a TARDIS when its bonded Time Lord passes away?

The bond between a TARDIS and its Time Lord is very co-dependant - one literally can't function without the other. When that connection gets suddenly severed by the death of a Time Lord, the TARDIS can react in various ways, depending on the strength of their relationship.

🖤 Mourning and Grief

When their Time Lord dies, many TARDISes actually go through a mourning period. In some cases, this grief is so intense that the TARDIS can't keep going - there are stories of TARDISes ending their existence by hurling themselves into the Time Vortex or flying into a sun, unable to bear the loss of their pilot. There are rumours of something of an 'elephant's graveyard' for TARDISes at the end of time, filled with the shells of TARDISes who have ended themselves in this way.

💔 Loneliness vs. Indifference

However, not all TARDISes respond to the death of their pilot with mourning. Some, due to the nature of their bond or their individual personalities, may seek out a new pilot relatively quickly. This could be driven by a sense of aimlessness, an instinctual need for companionship, or even indifference, depending on how their previous pilot treated them. Because although I say that it's co-dependent, the Time Lord is always holding the reins, and some Time Lords just don't treat their TARDISes with the same respect and love the Doctor does.

🏫 So ...

Ultimately, a TARDIS's response to the death of its Time Lord varies greatly depending on the depth of their relationship and the personality of the TARDIS.

Related:

🤔|🛸🧬The Life Cycle of a TARDIS: How TARDISes are born, grow, and die.

💬|🛸🧬Do we have any info on TARDIS biology?: Overview of TARDIS biological aspects.

💬|🛸👽Could a Time Lord and a TARDIS be in a relationship?: Potential relationships twixt Time Lord and TARDIS and the intimacy of the symbiotic connection.

Hope that helped! 😃

Any purple text is educated guesswork or theoretical. More content ... →📫Got a question? | 📚Complete list of Q+A and factoids →😆Jokes |��Biology |🗨️Language |🕰️Throwbacks |🤓Facts →🫀Gallifreyan Anatomy and Physiology Guide (pending) →⚕️Gallifreyan Emergency Medicine Guides →📝Source list (WIP) →📜Masterpost If you're finding your happy place in this part of the internet, feel free to buy a coffee to help keep our exhausted human conscious. She works full-time in medicine and is so very tired😴

[chronicbeans]

Human Illustrator Wally x Reader (part 4)

Howdy's Place! Howdy's Place! Howdy's Place!

TW: Mentions of Varying Mental Illnesses and Medication, Hallucinations

🐻 You hum, looking at the question list you made up as you sit in the cafe area of Howdy's Place. It kind of reminds you of how the bookstore nearby has a cafe, too. You look around, waiting for Me. Darling. You made it here early, much like the last time you went somewhere to meet him. You don't want to make a poor second impression. After all, the first one you made with your staring? Must've been awful.

🐻 To your surprise, Howdy casually strolls up to you. He usually never leaves his cash register, so it is a surprise to see him not only leave his post, but single out YOU. Does he know you are here to see Mr. Darling?

🐻"Morning, (Y/N)!" You giggle, pointing to the clock "It is afternoon, Howdy. But, I appreciate the thought. Afternoon, Howdy. Do you need something?" Howdy chuckles, placing his hands on his hips "This is my store, and I say it isn't afternoon until it hits 12 on the dot. It's only 11:30. Anyways, I gotta talk to you about something."

🐻 He sits across from you, looking out the window as he asks "You work with a lot of kids, yeah? How many of them have what can be considered mental illnesses. I am not asking for me, or for any specific names. I just want to know for a friend. They are thinking of bringing their kid there, but couldn't find anything on the websites or flyers." You tilt your head, thinking, before saying "A lot of them, actually. A few have what could be considered childhood depression, for a variety of reasons. A lot of them have some sort of anxiety, these days. Is there anything in particular they want to know about?"

🐻Howdy looks back to you, then down at the table, as if thinking on how to word his question. Then, he speaks again, in a very quiet voice "Well... I already know that you have cared for children on the autism spectrum. It's just that... Umm... My friend's kid has hallucinations, too. They don't know why, yet. They want to know if they would be in a safe, nonjudgmental place at the daycare."

🐻 Oh... OH. You got it, now. You smile, shrugging "Well, we have had kids with hallucinations, before. It was caused by a head injury, so if your friend's kid went through that, I also have direct experience with their case. Do they have any medications?" Howdy shakes his head. "Nope. They took some for a bit, but they said that they didn't like the side effects. They tried a few more, only to decide to try talk therapy on its own for a bit. They have been doing better, now, but it still gets to them from time to time. They are good at hiding when it does." You nod again, thinking for a bit. "There have been some cases where children went without medication because the ones they tried didn't work and the remaining options were restricted to a higher age. Your friend's kid should be fine."

🐻 Howdy nods, looking outside the window again. He gets up as he sees a specific car pull into the parking lot. You grab his sleeve to get his attention. "Let your friend know that, even if there are a few problems along the way, I will be by their kid's side to help them through. I believe that every child should be given a chance to succeed." Howdy smiles, nodding. "Thanks. I'll let them know. They are just outside." With that, he quickly leaves.

🐻 You sit back, looking at the clock. It is about... 11:55? You have never been the best at reading analog clocks, even though you know how. You look back to your list of questions, trying to think of which one you should ask, first. Time and date sounds the most important, yes, but it would be a relatively quick thing to figure out compared to activities. So it could be asked at the end. Then there's the question if-

🐻"Hello." You look up, seeing Mr. Darling. He looks a bit tired, but his grin is still there. He also seems to be wearing a... Disguise of some sort? He's let his blue hair down from its normal style, allowing it to fall down into a waterfall of slightly curly, coarse strands. He is also wearing a dark sweater, with a hood over his head. You grin, waving "Hello! You look nice, today?"

🐻 "Yeah..." His face turns a slight pink as he says that, before he sits down. "You don't look so bad, yourself... Um... What should we talk about, first?" You look down at your papers, before looking at the bottom of the list. That should be relatively quick, right? "Well... Before the main stuff, I was just wondering how you knew my name, yesterday? I don't remember telling you it." He chuckles, letting out a very odd, but charming sounding laugh. He grins lazily as he says "I asked Frank, the library owner. He is a good friend of mine! He saw you running out, so he walked over to me and asked if I had anything to do with it. That's when I asked. Sorry if it scared you."

🐻 Giggling, you shake your head "Not at all. You could never scare me. You seem too nice to do anything bad." He taps his fingers against the table. "Really...?" You nod slowly, before picking another question to ask.

🐻 After that conversation with Howdy, you find yourself noticing the odd little things about Mr. Darling that make you go "hmmm". His odd way of looking at you for long periods, before suddenly looking to the side or making a strange expression for a moment is one thing. Then, when he takes out a few items to show you ideas for activities, he stares at a sketchbook for a few moments, as if something is wrong with it, before placing it with the other items. You had noticed these before, at the book signing, but didn't think anything of it.

🐻"Ah, this one is easy. I live a few hours away from here. About two, I think." Your eyes widen. You ask, just to be sure "Like... You live a few hours away from here permanently? Or is it a summer home, or...?" He lets out that laugh, again. "Permanently. I don't need to live somewhere fancy or anything. This small town is great for atmosphere and I'd rather just live with my best friend and help him get his comedy club off the ground." You write it down, saying "Wow! That, alongside the other stuff, makes you pretty available at all times! This is great!"

🐻 You smile, getting to the last question "So... I was wondering, what really made you interested in illustration and art? This one is just something I put in for fun." He looks around, growing quiet. "Well... um... I just always liked it. I got a lot of inspiration from things people said and the um... scenery around me. You know?" You place your papers down and your chin in the palm of your hand, leaning against the table as you look at him.

🐻 "Look... if you aren't going to be honest with that, it is fine. You don't have to tell me. You don't seem like the type of person to lie, though. Are you okay? You have been acting a bit off." He waves his hands, quickly saying "No- I mean... I just... I have been thinking about what you said earlier. To Howdy, you know? It was so sweet, I-" His eyes then widen, before he places a hand over his mouth.

🐻 You get it now... "You're Howdy's friend that has that kid, aren't you?" You ask, pointing at him. He shakes his head, sighing, before pointing to himself. "Nope! Guess I just can't hide it. No use in doing so, either. It is probably pretty obvious. I am that kid. Like... I hallucinate." You sit up straight, as you notice him tense up.

🐻"Well, why didn't you say so? Actually, I probably know why, considering Howdy's questions... Scratch that." You clear your throat, starting again "I hope nothing I said gave off the impression I would judge you for it. Were you up all night worrying about it? Is that why you are so tired looking?" He lets out a tiny "ugh", before saying "Yeah... Is it that obvious? I tried to cover it up with makeup." You nod, smiling as you point over to the cafe's ordering station.

🐻"Let's go get something to drink. You said the milk tea was good, right? We can try it out while we talk about how this all might affect your visit. Don't worry, I am sure it will be fine. We'll do our best to accommodate you!"

[exhausted-archivist]

Heights Based off Official Model Scales, Dev Words, or Lore specified

Updated: 05/2024

I find it delightful and fits into the feral and desperate need I have for Thedas to be experiencing mega fauna and flora. Important note, the only height that is canon is Bull's as it is mentioned in the lore books World of Thedas vol. 2. The rest are based off scaled models and dev words; the latter up to personal preference on how canon that is.

I've also updated these since the last post as wonderful people reached out and gave me their numbers as well as updating Dorian's height to what his character model height is based on Gaider's tweet.

Going from shortest to tallest we have this:

Varric - 5' - 5'3 / 152.4-160.02cm [Source]

Morrigan - 5'8 / 172.72cm (Sans heels) [Source]*

Alistair - 6' / 182.88cm [Source]

Dorian - 6' / 183cm *

Solas - 6' / 182.88.cm [Source]

The Iron Bull - 8' / 243.84cm*

Elaboration (Below the Cut)

Varric:

Varric's statute details included below. I used the range because when I previously posted about heights there were disagreements on his height. But it also led to several people giving me their measurements on the statue! Which thank you so much for sharing! Measurements can vary wildly, so the more data is always better.

Additionally, the 153cm / 5' height is echoed by his in-game model, so I think that is a definite minimum for his height.

Morrigan:

Morrigan's statue details and the help of a friend who has her statue, gave us the numbers for Morrigan's height with and without heels. These numbers are also echoed in her in-game model of 173.81cm / 5'8 sans heels and 178.44cm / 5'10 with heels. (Please excuse the lack of a face on her. For some reason my blender says it is an invalid file and I can't figure out how to fix it.)

Alistair:

The Sideshow listing and the manufacturer Three Zero listing give two numbers 12.5" and 12", with the latter being the one repeated the most.

I will note that there are some issues with the provided numbers as 12" is 30.62cm and the listing states he is 32cm which is 12.5". But considering previous conversation on the matter and that cm in scaling of these items seem a bit more unreliable in the actual size of the product (they are approximates after all) I chose to stick with the provided measurements in inches due to it matching up with his in-game model height of 183.5cm / 6' (technically its 6' and 1/16 of an inch but rounding down here).

If you want to choose to stick with the cm measurements, on 1:6 scale, 32 cm would be 190.5cm / 6'3 for Alistair.

Dorian:

When asked about Dorian's height, David Gaider specified that: "He is as tall as the character artists made him." [Source]

Originally, I had put Dorian's height at a range due to the fact he is the ideal proportions at 8 heads tall which by modern industry standard means he's 6'2, but by earlier standards means he's 6'. But now that I have access to the character models used in-game and blender, we know for certain his height is supposed to be 6' / 183cm.

Solas:

So the listing images gave off a very incorrect estimate of height, but kind of to be expected when they photoshop soda cans in. Thanks to the many people who sent me numbers, here and on other places. Solas from front foot to head is 18" / 46.5cm of his 20" / 51cm statue.

This height of 6' is also echoed by an old tweet from Trick Weekes saying Solas was 6'-ish ft.

The Iron Bull:

In World of Thedas vol. 2 p. 255 they have the description that he is 8' tall.

Everyone in the Chargers is someone who can look at an eight-foot horned giant and say, 'Yes, I trust that man with my life.'

If you're wondering if that includes the horns? Up to you, it's not specified. If you want to do sans horns, according to the scaling of his statue, they math out to adding roughly 5". Which would make him 7'5 (226.06cm).

It took a lot of math on my part, measuring his calf, thigh, and then up from there. But he does measure to 8' / 243.84cm when you scale the number of 62cm / 24".

Additional Notes:

For transparency, as noted in this post on in-game character model heights for Inquisition, Solas is noted to be 5'10 / 179cm and Iron Bull is 6'9 / 204cm. These are at odds with the dev word and lore notes, so they aren't used for comparison here. As there are likely game reasons/limitations they do not have wholly unique character models in terms of height. (Such as doorways, animation differences, armor, ect.)

[verpineshatterrifle]

okay so your post abt alpha-17 and the other alpha arcs got me thinking (and im sorry for using you as sw google but in my mind you're Alpha Legends Lore mutual) who ARE the oldest clones? I feel like everything got... really confusing with a bunch of super secret REAL first clones getting shuffled into the order. is boba the oldest? in my mind it goes 1 boba 2 nulls 3 alphas 4 the rest of the initial clones that obi-wan saw in aotc but I have no bloody clue 😭

I AM HONORED TO BE YOUR LEGENDS LORE GOOGLE MUTUAL

ok so. sources probably conflict bc this is star wars, of course they do. what i care about is repcomm so we're just gonna go with that as our primary source with wookieepedia as secondary sources

first we gotta get some dates. unfortunately star wars doesnt really give months for most dates but years is still a starting place. these dates are all pulled from wookieepedia, legends page when applicable/different

also we're using geonosis as our date reference point since the timeline is honestly so hard to work with

order 66 happens 19 bby

1st battle of geonosis, 22 bby, the clone wars are 3 years long

boba fett's birth date is listed as 32 bby, meaning he was 10 at geonosis. cody, rex, ordo, fi, spar, and sull are all also listed with a birth date of 32 bby, so we're down to a difference of months here. essentially they're all the same age though- boba himself, troopers, nulls, commandos, and alphas

I REPEAT. ALPHA IS NOT SIGNIFICANTLY OLDER THAN THE CORE OF THE GAR. PLEASE FOR THE LOVE OF GOD. HE ISNT THE ONLY ALPHA EITHER.

but who's actually oldest? and is wookieepedia entirely correct? this is the part where i open repcomm and ignore everything else. i don't even know if anything else contradicts because i'm not checking

chapter 1 of triple zero, kal has just arrived on kamino. it's eight years before geonosis, and 2 years into the cloning program

(ALSO ITS SO FUCKING GREAT THAT THIS IS KAL'S INTRODUCTORY LINE LMAOOO <3)

he does see a lot of clone babies in gestation vats, just like we see in attack of the clones as well as cadets of varying ages- the kaminoans continue producing troopers through the entire ten years of the cloning program, so yes, the 'first generation' (clones deployed at geonosis) ARE older than a lot of later clones. but we dont really have a lot of those later clones as named characters as far as i know

anyways

the nulls appear to kal to be 4 or 5 (also peep jango apparently being legitimately shocked by them)

chronologically the nulls are NEARLY two, which probably means like 1 year and 11 months or something

(pause for me to cry about this entire scene, 'kal was instantly proud of all of them,' 'how would you like to be called ordo, he was a mandalorian warrior,' kal teaching them to embrace their fear as a mechanism their body uses to help protect them, but this is gonna be long enough as it is)

and then we have jango showing up with boba. no real indication of if boba or the nulls are actually older, but it's implied that they're very very close in actual age, if not the same age. we also get mention of the commandos and the alphas.

now, this is now just down to what i think and what makes sense to me. the whole point of the nulls is that they were experimental units- the kaminoans wanted to see if tinkering with the genome would be worth it, and ultimately decided it wasn't. it would actually make sense to me if the nulls were at least a year or two older than the rest of the clones- the kaminoans need time to see if their experiment panned out, don't they? but the nulls are also 10 at geonosis

while the nulls have been flash-trained and put through some trial runs at this point, it's indicated that the alphas and commandos aren't quite ready for training yet. this could be because the alphas and commandos are just a bit too young yet, it could be that the kaminoans put the nulls through training at a younger age than they're doing for non-experimental units. not totally clear

this is another point that is important to me: multiple times the nulls pass for clone troopers. i keep seeing headcanons of them being noticeably taller/bigger than other clones and while it is true that they're canonically slightly heavier, i think the difference is probably like 10-20 pounds, most people cannot easily tell the difference. ordo puts on corr's armor and just notes that it's slightly tighter than he's used to. mereel infiltrated kamino in trooper armor unnoticed, even while directly speaking to a kaminoan

here is my opinion on it: -the nulls and boba are basically the same age -the alphas were created next, but a few months after. by this point the kaminoans had decided (possibly because of the nulls' high mortality rate in gestation) that the alphas would be fully unaltered aside from the accelerated aging. the nulls' behavior 'issues' proved to the kaminoans that this was the right call -the commandos were created at the same time or shortly after the alphas. we're talking within weeks if not days. they have minor genetic changes to work better as a team but that's about it. -the troopers then begin production, now that the kaminoans have lots of practice altering jango's genome. heavy alteration for better social cooperation and obedience. -we're talking a span on like 4 months for all of this

you could say that ordo's gray hairs support the nulls being maybe 4-6 months older than everybody else, but i really think he is just that stressy, and there's also book evidence for clones actually aging at variable rates depending on how much stress they're under

quick note for omega: i think her existence is just insane and she's only here because disney was making a children's show and needed a child character (and girl so they can get inclusivity points), but i could see her being made anywhere from at the same time as boba to up to 3 years later. her wookieepedia page doesn't say, because the bad batch never bothered to give us any concrete information on... anything.

WE ARENT EVEN TOUCHING ON EMERIE. WHAT THE FUCK

[chemblrish]

Subatomic particles from a chemist's point of view - part II: the proton

[part I: the electron]

Proton

In my subjective opinion, the runner-up in this informal ranking of subatomic particles that are important in chemistry. Protons may not form chemical bonds like electrons do, but they still play an important role in many chemical reactions, especially in organic chemistry. But their most meaningful task that places them right below the electron on my list is this: they quite literally define the elements.

Atomic number

Let’s put our Mendeleev hats on and have a look at the periodic table. Here, I’ll upload it for you so you don’t have to google it:

It doesn’t take a genius to realize the elements are compiled in an orderly fashion rather than a random one. What is the property that generates this order? You could say mass – that the elements are arranged by their increasing mass – but that’s not quite true.  Sure, most of the time it is true, but there’s a handful of oddballs that refuse to fit this scheme. Argon and potassium, for example: argon has a mass of 39,948 u (units) while potassium has a slightly lower mass of 39,098 u. The difference isn’t big, but nevertheless if we want to arrange our elements by mass, we have to place potassium underneath neon and argon underneath sodium.

Obviously, we can’t do that. The cool thing about the periodic table is that there are several trends encoded in it, one of them being that the elements of any given group are usually fairly similar to each other. Group 18, where argon normally resides, is reserved for noble gases that are extremely chill and not eager to react (they might’ve taught you in school that noble gases never ever react with anything ever; THAT’S A LIE! But it is true that their chemistry is scant and their reactions rare). Potassium could never fit in with them. Fucker explodes in water the same way sodium does – which is yet another proof it belongs in the same group! Also, COOL EXPLOSION HERE!

This isn’t the only such strange pair in the periodic table: cobalt and nickel are like that too, and so are tellurium and iodine. It isn’t much – but it’s enough that we have to look for some other physical property to define the order of the elements. For some time, chemists and physicists had to accept this discrepancy (not that they were happy about it; I imagine they’d wake up at night drenched in sweat, screaming, “GODFORSAKEN ARGON!”). The atomic number, this sort of ordinal number that put every element in its place, was actually random, as in, not based on any known physical property. Yeah, potassium has an atomic number of 19, but why?

ENTER HENRY MOSELEY!

Henry Moseley conducted a series of experiments in which he zapped various elements with X-rays (I’m so jealous), then analyzed the resulting emission spectra. It turned out that the atomic number is proportional to the square root of the emitted radiation, which in turn depends on the proton count in the nucleus. This is what defines any given element: the number of protons it has. This is THE definition, the one you learn very early in your chemistry journey. The number of neutrons may vary among the atoms of the same element (because isotopes) and atoms can gain or lose electrons by becoming ions, but that doesn’t turn them into different elements. Only the number of protons is always constant for one and the same chemical element.

Organic chemists love protons too

And for more than one reason at that – because hoo boy, does a proton stir some shit in ochem!

My ochem lab instructor pointed to the mechanism I’d written on my lab report once and asked, “What does the acid do in this reaction?”. Very plainly I said, “It’s a source of protons which act as a catalyst,” to which he gave me his standard shit-eating grin and said, “They all are.”

And he wasn’t wrong! If you analyze a bunch of organic reaction mechanisms then you’ll see they very often begin with a proton (so H+) attaching itself to the substrate (or a lone electron pair on the substrate to be precise, because Coulomb force, right?) and thus initiating a chain reaction of sorts that leads, frequently through many infuriating steps, to the product. Take a look at the synthesis of aspirin, for example:

[via wikipedia]

You don’t need to understand everything that happens here. What matters is this first step I circled: a proton attaches itself to one of the substrates and starts the whole reaction.

The second reason I have in mind for why organic chemists love protons is NMR: nuclear magnetic resonance. NMR is a method of instrumental analysis and it’s cool as all fucks actually (as long as you don’t have to analyze the spectra because what the heck are those spikes), but this post is about protons, not NMR, so here’s the gist: you put your organic sample in the NMR spectrometer. The spectrometer drenches your sample in a magnetic field (which is probably why small dogs with metallic collars aren’t advised in an NMR lab). The spins of the protons in your sample (yes, protons have spin too!) go wooo! and align themselves in a specific manner. The computer connected to the spectrometer spits out a spectrum that tells you what your sample looks like.

Properties of the proton

Charge: positive one elementary electric charge, the exact opposite of an electron (how convenient!): +1.602×10^(−19) C

Mass: 1.673 × 10^(-27) kg – which is roughly 1837 times the mass of an electron. I want you to say, "Whoa, that's a lot!" right now because shit, it really is! And that's a great thing, because it gives us cool stuff like the Born-Oppenheimer approximation.

Radius: 0.841 fm (femtometers), but make no mistake: just like electrons, protons abide by the wave-particle duality, because they hate us all. I just remembered when my quantum chem professor told us during a lecture that even buckminsterfullerenes exhibit wave-particle duality. These are molecules made up of 60 carbon atoms. Sixty carbon atoms!! I almost cried, but I was sitting in the front, so I had to compose myself.

[patricia-taxxon]

heya! i just rewatched your sc2020 video…again… and then found out you're on tumblr and, of course, immediately went to look if you've posted anything about sj aswell and found that post from *checks notes* 1.5 months ago - so, i guess what im here to ask is, would you mind elaborating on that?

im unfamiliar with marble blast (im so sorry i do not have the brainpower to watch your essay on that...yet) so the comparison you make is not particularly useful to me :v

also for context, i did contribute to sj, specifically playtesting and programming, so i do have Opinions™ (that im gonna keep to myself due to lack of anon ask (not a bad thing! i understand why you have it off)) and i wonder if those happen to bleed through to the player experience or if your gripes with it are something different entirely.

well, firstly, i have developed such a deep seated hatred of the celeste community that i haven't opened the game in months and i've considered just deleting my spring collab video multiple times, I'm not finishing any more of my maps because I don't want to make anything for these people. so i didn't actually finish SJ, I did everything up to & including the easy half of the grandmaster lobby though, and my take is that even with the few miracles I found within the map list, it would not have inspired a video essay on the level of the spring collab one if I'd played it first. it's just not as interesting, and not as rewarding to study. it represents a horrible misattribution of priorities that permeates the entire community.

in that video, i confidently say that spring collab is ALWAYS interesting, because modding culture is interesting even if it's interesting for being a little bad or revealing something about the author's proclivities. strawberry jam represents a near unanimous drive to remove authorship and make levels that are impartially agreeable, to make Celeste 2. it's only interesting when the mapper does something interesting on purpose, like Paint, Pointless Machines, Undergrowth, Summit Down-Side or Flipside Cliffside. a path of least resistance emerged in the time between SC2020 and Strawberry Jam, and experiencing it in this quantity made me forget what I liked about this game or this modding scene in the first place. the volume of creative gimmicks and varied aesthetics is huge, but each one starts to feel identical after being ground through this particular jank-averse process. I still have strong opinions about every map in SC2020, even the ones that might seem unremarkable, I can only barely begin to quantify the entire fucking C tier of my SJ tierlist. it's diverse on the surface but the substance is homogenous, especially intermediate through expert.

also in my SC2020 video, I talked about a certain tension that arrives once you get to the expert lobby, where the mappers had to create uncommercial levels of difficulty that rubbed against a similar apparent drive to make the player feel like they're actually doing the challenge & not just watching it. strawberry jam arrives at this conflict far earlier, the INTERMEDIATE maps and onwards are the ones that seem to pull between making interesting challenges while also having the player be an agent in those challenges. they want the intermediate levels to feel hard, look cool, and the solution is to just make them ridiculously constrained so the only way is the ~satisfying~ way. that's why I won't make a video about strawberry jam, because many segments in my spring collab video already serve as criticism for strawberry jam. it made the same mistakes again, but worse, and with far less of the things that made me love spring collab in spite of its flaws.

here's my tierlist, if there are any questions i'll try and qualify any of these takes with what i can remember from playing it. however, for reasons stated previously I won't be playing more so this is probably gonna be it.

[rickktish]

A list of mutable batfam headcanons that live inside my brain:

Steph deserves to be 6’ minimum, preferably 6’1” or 2”

Bruce is constantly trying to balance his need to be at the same eye level or above the people he’s intimidating vs his need to do his funky little gargoyle crouch. His favorite thing about the GCPD roof is that it has lots of surfaces he can crouch on and still meet or look down at Gordon’s eye level

Tim and Damian suffer from “too similar to get along” disease and must either become best friends or despise each other until the end of time

Babs prefers light, natural toned makeup. Steph prefers pops of color and decent amounts of jewelry when she can get away with it. Cass prefers jewelry and no makeup at all

Jason’s comfort meals are all variations on soup served with bread for dipping

Jason is of the opinion that Fitzwilliam Darcy is an ass at the beginning of the book and it’s a good thing he decided to change himself so he could take his place as Best Fictional Man Ever. Dick, who read the book in order to be able to connect with Jason better, is of the opinion that Fitzwilliam Darcy has done nothing wrong ever and only needed to work on his social skills, meaning that it’s his improved ability to communicate that makes him worthy of Elizabeth Bennet at the end. Neither of them wants to listen to Tim’s analysis of what this says about their relationships with Bruce

Duke has never engaged in non-Alfred approved chaos. This is not because Duke seeks Alfred’s approval, but rather because their senses of humor are in perfect alignment and Alfred is always pleased to discover that he approves of Duke’s particular instances of chaos even after the fact

Damian never had stuffed animals growing up, but after being corrupted by Dick’s influence he can no longer sleep without a minimum of one in his bed

Damian collects posters and articulable action figures. His favorite ones are the ones that can stand on their own, which he uses for posing practice in his drawings. His favorite figure is of one of the characters in Cheese Vikings who has a zuko-esque backstory and a secret propensity for gardening

Dick always buys the most beat up box of cereal at the grocery store because he feels bad for them

Cass loves not only ballet, but other works by classical composers as well. She will unironically listen to the local classical station, and can identify the Borodin String Quartet by the sound of their instruments alone

Tim and Bruce watch and read Gray Ghost media in all its various forms and discuss it together as a bonding activity

Alfred and Jason’s shared birthday is usually celebrated with them making each other cakes, meaning that everyone gets to enjoy not one but two cakes for the day

Jason specializes in cheesecake above all other cakes, though he did make Damian a black forest cake for his birthday once right after he’d finished playing Portal

Literally everyone is surprised when they learn that Damian plays video games. No one has ever once looked at him and thought “yeah, i bet that kid plays console games” and he’s actually really insecure about it, but he also refuses to wear any kind of merch outside the house. He owns dozens of gaming and anime T-shirts but refuses to be seen as anything but completely neutral outside his own territory

Most of the bats wear drug-detecting nail polish at all times, though the base and reactive colors vary by the bat in question

Bruce and Dick have both had therapists straightup quit on them and are therefore reluctant to go back to therapy ever again

Duke’s favorite book is Walden Pond

Alfred read Lord of the Rings aloud to Bruce when he was a kid