#vertical patterned wall covering

[inspiredlivingspaces]

IG chairishco - Georgetown DC

[inky-duchess]

Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

[tumble-witch]

TW light suggestion of body horror. No descriptions though!

Creatomachia

Bunnix shows up in Marinette's bedroom when it's already dark outside.

Marinette knows what the older heroine is about to ask the second she hears the burrow open. When Bunnix greets her, Marinette is hyperventilating. Instead of exchanging pleasantries, she asks:

- Is it... him again?

Bunnix has a grim expression on her face, yet shakes her head. Marinette exhales. She has another question.

- Is it something I did?

- No. I'm sorry I'm asking this from you again. I'm sorry there will be no answers yet.

- It's okay. I am ready.

At first Ladybug thinks she is on another planet. Another dimension, even. There are cloud fractals in the sky. There is a street light growing out of another one, growing out of another one, growing out of another one... Trees are huge and have so many leaves they are almost a solid green mass. Some buildings are so tall they go way past the clouds in a curvy line. It reminds her of the Jack and the Beanstalk fairytale her mom used to read her before bed.

The roads branch out like blood vessels, getting smaller with each separation, ending in dead ends near the buildings or growing vertically on top of the walls.

The whole city almost looks like it could move at any second. It almost looks alive.

As Ladybug progresses through the streets (if she can even call them that), she finally realizes where the people are.

At least, what's left of them.

Infinite growth apparently works on humans, too. She never thought she'd be so thankful to see somebody not move.

The silence makes her ears ring. Everything is quiet, except for some mechanical sounds the structures make, not really meant to support their own weight in this new form.

Then, she hears laughter.

A girl with hair so long she's not sure where it ends is frantically pacing around the roof, her body movements jittery and odd. As the camera of the heroine's yo-yo focuses on the akuma, helping seek out where the cursed butterfly is hiding, Ladybug realizes the dress this girl is wearing is not grey.

It's is covered in trillions of colourful tiny dots of different shapes and sizes. They seem jittery too, as if trying to move, but some force is making them stay together. This feels like standing up after lying down for too long. Looking at the pattern for too long makes her head hurt

Ladybug continues hiding. She takes her time looking for clues. At this point she's not really sure if the girl is actually laughing or this is a weird hysterical cry. Sometimes the akuma starts muttering under her nose, too quiet to make out most of the words. Ladybug is pretty sure she heard the girl say "I can fix this" a few times though. She shifts to hear the words better.

The akuma turns around

This is the hardest she's ever fought. Chat Blanc feels like child's play now.

While the villain almost looks out of breath, long hair going everywhere, Ladybug is still barely able to keep up.

The air is too dense with oxygen.

The girl has a yo-yo as a weapon, in a cruel twist of irony. And she's damn good with it. Yet, she clearly hesitates in using the thing, saving it as a last resort to escape.

Ladybug tries to reason with the akumatized victim.

- Wait! Please, let me help you!

- You don't understand, - the girl looks around frantically, - I have to fix this! I need to fix this!

Villain's grey yo-yo starts to glow white and she throws it at a fire hydrant, making it grow another one on top.

The akuma was inside the earring. Ladybug was hit by the yo-yo. She doesn't have the time to think as she casts Miraculous cure, just before her brain registered the pain fully.

She'll remember the way it looked when she closes her eyes though.

The streets go back to normal. Her body is normal. Ladybug turns around and meets the eyes of

herself

Marinette sits on the ground, horrified. But before Ladybug can talk to her Bunnix appears and she has to go.

Bunnix doesn't say anything as they walk through the burrow, but she's pretty sure the older heroine is holding her shoulder softer than ever before.

They didn't change anything. They didn't fix anything after they came back, no scoldings, no erasing her name from anywhere, nothing. Marinette is growing more paranoid at every turn, expecting to get akumatized. Her conflict avoidance is at all times high. She's withdrawing from her friends.

Nobody is near when Hawkmoth himself shows up in the middle of the night and she has to transform. He senses her distress immediately.

This is just too easy.

The butterfly lands in her earring just as she started to call for a last effort Lucky Charm.

"Creatomachia, this is Hawkmoth. You are overwhelmed with every problem creating a million smaller ones. Things seem to stack on top of each other and just never end. I'll give you the power to fix everything. In return, you will give me your and Chat Noir's miraculous."

For a split second, everything is white.

[k-hippie]

MAY : SIMS 3 & SIMS 4 : WHAT'S COMING UP :)

Let's begin with the Sims 4 ... April has been a bit disappointing I suppose, even we worked hard on numerous projects.

First, a flash and silent update for the Vertical Impasto Artworks. A little something in the interior frame of the painting that wasn't good enough : correction has been made and you can download again :)

Almost of our time has been about the k-707 Nature Mod ;) There are great satisfactions but also big frustrations ... We probably lost more braincells that it was needed. BUT … we have 95% of those damn trees covered.

We are stuck on some trees ( 5, maybe 6 ) and we search and search and search again some informations related on vertex paint which matter a lot since both colorimetry and rustle are enclosed in it. But we are still unable to extract the maxis information into the leaves and so, modify the trees from the deep in a way that is still ok for the game ...

Release a tree or a plant of 30k polygons only for the glitch and the fame is not at all our style. What is beautiful is not always suitable ;) and sometimes, what it seems to be beautiful in a picture is not not at all inside our favorite games :D

But let's talk about the Sims 3 now :) and more pleasant news ! At first, the big news : a NEW S3 WORLD is coming :) soon soon soon !

Shetland Harbour ... An island turned to the sea but filled with sheep. A good place to have whatever life you want for your lovely ( or not ) Sims ;) Shetland Harbour is a fishing town of course but not only. There's a true downtown and lot of places. And sheeps. A medium/large world, the first island we create since Lost Cove.

And for the first time, it won't be based on an EA known world ;)

But we'll talk much more about it in the coming weeks ;)

Then, will come quite quickly 3 Worlds UPDATES with significant changes inside, and various fixes that were long overdue :) Also, all community lots and some residential will be released too.

Oaksoak Hollow - Eureka Valley - Lost Cove

All 3 will come with their ANTS, CC, and Lots in separate folders ...

In addition, we are AT LAST working on some Sims 3 stuff and conversions, mainly build stuff and artworks ( for now ) :) 88 Patterns will be released quite soon, as soon as updates will be made on our website ( tech-hippie.com/sims3-lounge/ ) by my co-team partner :)

The Dark Terracotta roof and the Wood Skandi walls ( in both .sims3pack and .package ) will be released with Shetland Harbour.

That's it, that's all and that's a lot of work :D Happy May everyone !

xoxo

\o/ blackgryffin

...

[samuel-seaburys-askblog]

no lube, no protection, all night, all day, from the kitchen floor to the toilet seat, from the bathroom sink to the shower, from the front porch to the balcony, vertically, horizontally, quadratic, exponential, logarithmic, while I gasp for air, scream, and see the light, missionary, cowgirl, reverse cowgirl, doggy, backwards, sideways, upside down, on the floor, in the bed, on the couch, on a chair, being carrier, against the wall, outside, in a train, on a plane, in the car, on a motorcycle, on the back of a truck, on a trampoline, in a bounce, in the pool, in the garden, bent over, in the basement, against the window, having the most toe curling, back arching, leg shaking, dick throbbing, fist clenching, era ringing, mouth drooling, ass clenching, nose sniffing, eye watering, eye rolling, hip thrusting, earthquaking, sheet gripping, knuckles cracking, jaw dropping, hair pulling, teeth jitterbug, mind blogging, soul snatching, overstimulating, vile, sloppy, moan introducing heart wrenching, spine tingling, back breaking, atrocious, gushy, creamy, beastly, lip biting, gravity defying, nail biting, sweaty, feet kicking, mind blowing, body shivering, orgasmic, bone breaking, world ending, black hole creating, universe destroying, devious, scrumptious, amazing, delightful, delectable,

unbelievable, body numbing, bark worthy, can't walk, head nodding, soul evaporating, vulcano erupting, sweat rolling, voice cracking, trembling sheets soaked, hair drenched, flabbergasting, lip locking, skin peeling, eye widening, pussy popping, nail scratching, back cuts, spectacular, brain cell devolving, hair ripping, show stopping. magnificent, unique, extraordinary, splendid phenomenal, mouth foaming, heavenly, awakening.

And

Eight days a week. on the kitchen counter, on the couch, on the bed, on the bathroom counter, in the bathtub, on the living room table, on the dining table, on the doorstep, against the wall, in the closet, on his lap, on his face, in a locker, on your desk, on the floor, mattress, carpet, on the stairs, anywhere possible. No stopping, don't stop when i pass out. Continue. Continue as i gasp for air, grab the headboard, grip your hair, scratch your back, roll my eyesback, salivate, back is broken, cant walk, cant talk, legs are numb, core is swollen and dehydrated, until im absolutely devoured into a sloppy mess. Don't stop until my organs are rearranged, until my insides know the attack pattern, until i beg for mercy, until i scream your name louder than a microphone, thighs drippy, until l'm in a wheelchair, until my core is ripped apart, until i grip the sheets so hard i drive holes through them, until i need to be rushed to the hospital, until l'm broken into machsolistic slut covered from head to toe in your seed. Until you come on my face so much that my face is so mosturized I won't need skincare anymore, until he's sucked out dry, until I'm shaking so hard lt'd be considered as a siezure. Milk me raw with toys, thrust until the vibrator's battery runs out. Don't stop. No protection, impregante me with your heirs, until I rip. Make me crawl away for mercy. Those thrusts will bring tears to my eyes, but my face will never be as wet compared to down there. I'd willingly give him the most eye rolling, hip thrusting, toe curling, squriming, jaw dropping, sheet clenching, hair pulling, sloppy, creamy, head nodding, trembling, sweaty, lip licking, groaning, eye widening, back arching, addictive, shoving, wet head. I'd do it whether he asked or not. Feel my stomach to see how far you're in me, grip my breasts and suckle on them, watch me touch myself while groaning your name in the bathroom at night. Shove that dick down till my throat memorizes every vein.

||WARNING..|| (Okay this is a bit much...--mod)

[zombiecicada]

Running program and loading document.

Security bypassed.

Upload complete!

Document of specimen designated ‘Subject #42’

Case Number: 19.15.21.12

Date: REDACTED

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1: Subject #42’s Eyes

Subject #42 has large forward facing eyes, its pupils can easily expand and shrink to account for glare or near total darkness. The sclera of the eyes are vibrant yellow. This was later concluded to be due to having high levels of some bilirubin adjacent chemicals within the body.

Originally, it was assumed Subject #42 was suffering from liver failure, but further examination and blood tests revealed such was far from the truth. Whereas that much bilirubin in a red blood celled organism would be a sign of toxicity, because Subject #42 does not have red iron based blood, these high levels of bilirubin do not strip away or break down the blood cells. Instead of causing toxicity, it’s a natural antioxidant.

Subject #42’s eyes appear to have entered a near constant state of myosis, even in low lighting.

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2: Subject #42’s wings

Subject #42 has broad webbed wings that suggest an adaptation for long periods of non stop flight over vast distances.

Such an hypothesis was confirmed reviewing the observation notes of Subject #42 traveling vast distances prior to its capture. Subject #42’s wings were bound with cold iron cuffs shortly after its capture. While Subject #42 later outsmarted the attempts to restrict its ability to fly by simply using its abilities to levitate, the cuffs serve as a successful means to stop it from phasing through the walls of its containment unit.

The second finger of Subject #42’s wings are covered in small, aged scars along the whole length of the limb. The patterns and depth of the scars are consistent with wounds received from scraping against rocks and deflecting debris with the limbs. Subject #42 will swing its talons around like weapons with remarkable precision.

———————————————————————

3: Subject #42’s teeth and mouth

Armed with impressively developed canine teeth and a pointed, papillae covered tongue, Subject #42’s diet is primarily that of a hypercarnivore.

This has lead Doctor Cruce to hypothesize that Subject #42 might have been following the armed forces to feed on the bodies of the casualties produced by the conflict. Subject #42 does share some characteristics of scavengers, such as strong jaws and sharp teeth, but the metabolic cost of traveling such far distances, alongside its abilities, claws and the sword it was found wielding suggests that Subject #42 would likely or primarily have hunted opposed to scavenged. And yet, there was no reports of Subject #42 hunting anything prior to its capture.

The blue colouration comes from the subject’s blue blood, being copper based instead of iron based and highly oxygen efficient. An endurance test concluded Subject #42 can go almost four hours without breathing, suggesting Subject #42 comes from a low oxygen environment where it pays to be able to make the most of the little oxygen available. However, it seems to be perfectly fine in environments of standard 21% oxygen levels.

———————————————————————

4: Subject #42’s paws and forelimbs

Everything about Subject #42’s paws and forelimbs suggests it is a highly efficient climber. It has tough palms, strong claws for grip, an abundance of collagen within its body, and well developed tendons and ligaments.

A test concluded that with ease it can swiftly scale up vertical walls, alongside being highly oxygen efficient, it does not tire easily, leading Doctor Cruce to suggest Subject #42 might’ve evolved in a rocky, mountainous environment.

———————————————————————

5: Subject #42’s standard vision

A vision test conducted on Subject #42 determined it has remarkably clear long distance vision, able to spot small movements and small details from over several hundred feet of distance.

It can see a wide range of colours and in various levels of lighting.

Interestingly enough, it is badly nearsighted, seeming to have put all its points towards seeing very far instead of close up.

When Subject #42’s powers are activated, its eyes go fully lavender in colour and light up in a bioluminescent display.

—————————————————————————————————————

6: Subject #42’s ‘soul vision’

Finally approaching Subject #42’s bizarrely dare say otherworldly powers, hooking up various scanners and devices to Subject #42 to scan its brain Doctor Cruce discovered Subject #42 has an ‘alternate vision’ that she’s come to dub ‘soul vision’. When activated, Subject #42’s retinas stop perceiving light entirely, instead seeing a vast spectrum of the electromagnetic wave length that shows up to Subject #42 in various ‘colours’ and shapes.

While it took a bit of trial and error, it was discovered that people who have what’s been commonly dubbed a ‘soul’ will show up to this alternate vision as a figure with white eyes. Anything without a soul, be it people or objects, will be entirely invisible to Subject #42 during this time. It seems to be able to toggle back and forth between these two modes of vision at will.

Currently, it is unknown if the ‘colours’ that show up have different meanings. Subject #42 continues to show no ability and or interest in answering any questions that are asked of it.

————————————————���————————————————————

7: Further manifestations of Subject #42’s ‘soul magic’

Subject #42 is highly proficient in the use of its magic. It appears capable of instantly and immediately telling if something with a soul approaches it, even through walls and when its vision is restricted, suggesting the soul vision might be able to see through solid objects and see a remarkable distance away.

Alternatively, it may just be a sense that Subject #42 has passively.

When focused, this soul magic can form highly energetic lasers (resulting in biweekly maintenance required to Subject #42’s containment unit), an energy field around itself, and various other high energy attacks.

Subject #42 has a large quantity of energy within it, which it appears to get by steadily absorbing the lifeforce of everything around it.

Subject #42 has a large quantity of energy within it, which it appears to get by steadily absorbing the lifeforce of everything around it.

While it initially caused concern and almost led to the immediate order to terminate Subject #42, Doctor Cruce confirmed at the time that Subject #42 does not appear capable of doing this to such an extent that it would cause death or noticeable symptoms, quote ‘it's not taking from you anymore than the rate of you already naturally dying’. This statement was later retracted when, during a test, Subject #42 killed a test subject by simply touching it, examination to the body shows no wounds or signs of bodily trauma. It appears that Subject #42 instantly killed the fellow subject by removing its life force.

Doctor Cruce now believes that Subject #42 can indeed at any time rapidly and fatally absorb the life force of another being, but must come in contact with it first. For safety precautions, and yet another complaint from maintenance, Subject #42 was later moved to be held in stasis.

Up until that point Subject #42 had simply been very aloof and standoffish, during its final moments before being put in stasis it seemed to enter a state of hysteria, repeatedly calling out for something or someone.

—————————————————————————————————————

There are still many unanswered questions regarding Subject #42, such as the unnatural origins of its abilities and its origins in general.

Doctor Cruce’s conclusion is that it would benefit Nightmare Enterprises to make demonbeasts using Subject #42’s DNA.

However, she stressed a high deal of caution and time to conduct further research before proceeding with any attempts to make new monsters.

Subject #42’s highly unpredictable nature and abilities could lead to the creation of a monster far worse than it that could be impossible to contain that could become an unimaginable threat to the company, especially if it escaped and got into the wrong hands.

(END OF LOG)

[khronysus]

Spiralling Hallway

Item #: SCP-11120

Object Class: Thaumiel(1) Keter

Special Containment Procedures: All methods of communication are to be monitored for any reports of SCP-11120 and related entities. Posts online related to SCP-11120 are to be taken down immediately. Reports to ███ ██████ ██████ describing interactions with SCP-11120 or related entities are to be sent immediately to Site-14 for filing.

If SCP-11120-01 manifests in a Foundation site or area, one (1) class D is to be sent to explore it as soon as possible. The class D will be given the most updated map of SCP-11120 and one (1) handheld ██████ brand magnetic tape recorder.

All instances of SCP-11120-01 outside of Foundation sites are to be monitored for victims, but otherwise left alone and ignored. Survivors of SCP-11120 are to be monitored closely and ██████████.

Description: SCP-11120 is a dimension consisting solely of a recursive hallway. The area is illuminated by electric sconces spread at 10ft (3m) intervals. The walls are covered in a colour-shifting wallpaper with a swirling pattern that seems to create fractals. Its flooring consists of faded carpeting with a thick rug that runs down the middle. The walls, carpet, and rug also change colours. It is impossible to tell what any of their original colours were as all reports vary upon arrival and throughout expeditions. Despite this, it is impossible to record when or how their colours change, as subjects are unable to focus on or notice them changing. Attempts to bring visual recording devices into SCP-11120 have been unsuccessful.

On the walls between every sconce is a framed object. Each frame measures approximately 2ft x 4ft (61cm x 122cm). The object within these frames is one of the following: (1) an illusory oil painting of the wall opposite it, giving a mirror-like effect; (2) a photograph with the same effect; (3) a real mirror, which reflects anything situated before it in the hall and the wall opposite. It is impossible to remove the frames from the walls. Attempts to break the mirrors only result in the surface fracturing.

SCP-11120 can only be accessed through instances of SCP-11120-01, a wooden door that is painted dark yellow with a black handle. Its dimensions, material, and style can vary, often blending in with its environment. SCP-11120-01 can appear on any flat surface, both vertical and horizontal. It can also manifest as a freestanding door at any elevation. The handle of the door will always be to the viewer’s right and open inwards. This includes free standing doors that can be viewed from both sides. Viewers on the opposite side of the door do not see any indication of someone opening the door on the other side and maintain the ability to open the door as well. Participants entering on opposite sides of the door will appear in separate places. It is unknown whether both people are in the same version of SCP-11120 or not.

Addendum ██/██/2012: Following Incident #14-011████ reports from ███ ██████ ██████ have described a humanoid entity resembling Dr. █████ inside SCP-11120. This entity has been tentatively marked SCP-11120-02. Further research to come.

(1) See Proposal [REDACTED] by Dr. Shelley. Denied. A pu eoe qdci gzvsidn cmqjzss txv. - O5-11

[estera-shirin]

Goblet, Iran ca. early 4th century BCE

Via the Met: "This goblet comes from a site near Kashan called Tepe Sialk. Excavations conducted at the site in 1933, 1934, and 1937 uncovered large amounts of prehistoric pottery which have provided important evidence for the early chronology of the central Iranian plateau. Like much of the pottery from Iran in the Chalcolithic Period (ca. 5500-3000 B.C.), this piece is very skillfully made, with thin walls and a crisply formed, symmetrical profile. It was likely created or finished using a tournette, the precursor to the potter’s wheel, which is a flat disc balanced on a central pivot that can be spun with one hand while the other hand is used to smooth and shape a pot in the center of the wheel. The designs painted in dark brown against the buff-colored ceramic work in harmony with the shape of the goblet. Large, widely spaced dotted lines fan out vertically across the foot, below a horizontal band. Another thick band encircles the widest point of the vessel, above which rows of comb-like horizontal lines or wavy vertical lines rise to cover the outside surface, topped by three narrower bands above which a row of bent-legged waterbirds proceeds in single file to the right, filling the space of the slightly flaring lip. The combination of stylized animals, especially birds and ibexes, with geometric patterns is typical of the fine pottery from this period at Tepe Sialk. This vessel was probably used for drinking, and the elaborate decoration brings into question whether it was intended to serve as utilitarian tableware, or for use on special occasions including rituals."

[stampsthemeow]

CRP AU STUFF

their rooms :3

Characters included; Jeff the killer, Twilight (OC), Ticci toby, EJ, Ben, Sally, Brian, Tim, Missing (OC), Alex, Jay, Dale (OC), Halo (OC), Zach (OC), Nina

Jeff the killer; Upstairs, MESSY, dawg does not clean up. who needs laundry baskets when you got the floor !! Bed upper left corner (he only got a bedframe so he could shove shit under his bed), dresser besides it (covered in pill bottles and monsters), desk in bottom left corner. Lights almost always off, shitty band posters on his walls (most have tears on them) Window covered up with blackout curtains. Door is painted pink (prank done by Ben and Toby that never got painted over), Walls are painted black

he and twilight have a connecting bathroom (door on right wall for jeff, left wall for twil)

Twilight; upstairs, little messy, no where near as bad as jeffs room, its mostly just old drawings on the ground. Bed also upper left corner, has closet on left wall, large desk in upper right corner, main light almost always off, but unlike jeff she got lamps and window (on back wall). Most of the glass that used to be in the window is broke. thin flowy curtains. Beige walls (she never painted over them) multiple shelves with little trinkets and items. Floor is covered in paint/hair dye

Toby; downstairs in the proxy area (they got their own little zone so they dont gotta deal with the others + so they can get to slender's office faster) Messy, but in a its just cool decor way, brown walls, Bed is upper right corner (under his bed is used for storage), Has a big closet on the left side of his room, main light isnt used much but he has alot of lamps/smaller lights, fan always on, window on back wall with a cool patterned curtain he found, he has tons of posters and has stolen road signs just to add to his walls, a few plants (somehow alive), He has a box full of CDs and vinyls he's been meaning to display (some are on shelves but alot are still in boxes cause he is lazy) multiple small tables/ shelves to store cool shit he finds.

EJ; Downstairs, clean, dark blue painted walls, bed in upper left corner (why do all these fuckers have bed left wall), has wardrobe against right wall, no window, lights always off (broken), Has LED lights, though when on they are set to blue and only blue. One of the few people to have a tv in their room (attached to front wall), has bookshelf in room (how he read if no eyes and dark ???), has a shelf full of rocks & crystals (gifted to him by toby)

Ben; Basement, dirty, stupid child, no bed, couch, against back wall, Tv on front wall ontop of his dresser, Zelda posers (that have been drawn over to make link into Ben) all over his walls, a bunch of different consoles + their games sit ontop of his dresser aswell, main light on alot, but when off LED lights on. idk what else to say about him.

Sally; downstairs, Pink vertical stripped walls, clean-ish, Bed in upper right corner, big low table in the middle of her room (for tea partys), Window on back wall + pink patterned curtains. dresser on the end of her bed, small (whats meant to be a bookcase) used to store her tea party supplies (and a few books) Kitchen play set in the lower left of her room, Big dollhouse pressed against window, alot of stuffed animals and drawings/drawing supplies scattered in the room. Big light almost always on.

Brian/Tim/Missing (they share a room);, Downstairs in proxy area, clean, beige walls, big bed in lower right corner w/ bedside table on the left, closet is on the right wall, one of those long L shaped desks on the left wall, Missing's stupid stuff is all just stored upper left corner (hes okay with all it just being there so they dont do anything about it), window with black curtains on the back wall ,not much going on in their room tbh,

them and Jay/Alex have a connecting bathroom (door on left wall for Brim+Missing, Door on right wall for Alex and Jay)

Alex/Jay (they share a room cause there was only the one room remaining in the proxy area)(the only reason why there is a room left is cause Tim and Brian used to have diff rooms); Downstairs in the proxy area, clean-ish, beige walls, Two beds on opposite sides of the room, dressers on ends of the beds, Jays half of the room is messier, (he too busy eeping to clean), Alex surprising keeps his half clean. Theyve been meaning to buy shit to actually decorate their room but theres only 1 car, and Tim is like the only one with a vaild drivers license (everyone else is legally dead or just doesnt have one). Jay and Alex are still very iffy with eachother but L to them gotta share a room. Jay likes it dark so alex just has lamps, Window is covered with thick curtains (but not blackout)

Dale/Halo/zach ; Downstairs in the proxy area (they are not proxys, why the fuck are they here) Clean-ish, Gray walls, bed in middle of front wall, window with seating area thingy :3 (zach likes sleeping on the seating thingy), Bathroom connected on right wall, Closet on right wall, mutiple boxes full stuff related to dales special interests, desk at upper left corner

NON MANSION CRPS;

Nina; Lives in an small apartment like right outside of Slenderwoods, lives on 5th floor, messy, stuff all over, bathroom has so many bows just chilling there (+ covered in hair dye), shitty gray carpet, without her landlords permission he painted her walls purple, some fandom + band posters on her walls, has stolen some of the slender pages to hang on her walls. Bed on the middle of left wall, with her dresser on the head of the bed + a beanbag chair at the end of her bed, stickers & plushies everywhere.

Corrupt- Corrupt dimension, she just kinda sleeps wherever tf she wants so i havent made a specific bedroom for her

Jane/Mary, they live in a big, old, house, very cool gothic house, idk about their bedroom tho they just live in a coolass house

Clockwork/liu/anyone else i didnt mention- I dont fucking know i havent planned it out yet (clockwork lives in the same apartment complex as Nina, Liu lives far away from the mansion, everything else idk)

[russicnroses]

RUSSIAN ROSE | VOLUME ONE | PART 1

CHAPTER ONE: Even now, there is a place I want to return to.

PAGES: 7 - 30

TRANSLATION TOOL: Chatgpt

CONTENT / WARNINGS: long post, blood, death mention.

There was a man.

The man was the heir to a financial conglomerate that owned vast assets.

He ran businesses and banks around the world, influencing history with his financial power.

The man's curiosity led him to the study of rare animals and plants. Using the financial resources of the conglomerate and an extensive information network, he procured rare specimens from around the world.

One of these obsessions reached a particular point.

It was the birth of a completely new life.

The man's name was Joel.

Joel spent many years, and sometimes even broke prohibitions, to fulfill his dream.

And then.

*****

Saya let out a small sigh.

From the window of the swaying carriage, the rows of buildings in Petrograd could be seen. In the city, said to have been built by inviting architects from Italy and Peter the Great’s era, yellow and pink glamorous walls stood side by side. Originally, it was marshland, but just the streets built to reclaim the land were adorned with magnificent waterways running vertically, the entire area comprising nineteen large and small islands.

If it cleared up, the sky would be blue, and the shadows of the buildings overlapping would be beautiful. The floating clouds, called "Marose", heralded the visit of severe cold.

Saya's hair, which encircled her neck finely, was unusually short for a girl of this era. Thanks to the round-shaped head and the slender frame, she stood out a bit even when she stayed quiet. Naturally, being outside, she had to take care of her appearance.

The dress that wrapped the body of the vampire was made of deep crimson velvet, which looked like black hair. It was designed with the utmost limit of refinement, adorned with narrow black braid embroidery. The sleeves were slightly puffed at the shoulders, with the cuffs widening again, covered in lace and fur. The skirt was embroidered with a pattern of roses and plants, using silk thread. The dress, which seemed almost too tight for the night, embraced her body with minimal exposure.

At first glance, she gave a weak impression, but perhaps because of the strength that could be seen in her eyes, that wasn't the case. Her thick, round eyebrows, always perfectly shaped, and her moist, lustrous lips stood out.

In the center of the city, a relief of the Romanov family's double-headed eagle and the Holy George was carved on the official buildings. Gazing at the passing pedestrians, a young man sitting beside her spoke in a gentle voice as she let out a sigh, perhaps tired or just trying to catch her breath.

He wore a silver vest with a matching shirt and tie under a finely tailored jacket. His long hair, tied with a dark ribbon, fell carelessly over his shoulders, obscuring his face. Despite the carelessness, his appearance was refined, with the matching grass and cuffs giving an elegant touch. His large eyes, seemingly filled with shadows, were striking.

His demeanor, calm and collected, was a defining feature. With a sharp contrast, his pale skin emphasized the coolness of the night. Although dressed in refined clothing, his attire did not seem flashy or over-the-top.

“Are you alright?” he asked softly, with a gentle smile.

“Yes, I’m fine,” She replied, turning her gaze outside the window to the large building that stood out in the distance.

The objects were solidly anchored in place. The green walls, decorated with intricate goldwork, and the pillars and window frames painted white drew her attention. At the base of each pillar and window frame were detailed reliefs that caught her eye.

As she gazed at them, Haji spoke from behind her. "It's the Winter Palace, known as the Hermitage."

"Hermitage..."

Hearing the name of the place where she grew up in a foreign land brought back a sense of nostalgia. She murmured the name softly to herself without voicing it out loud.

Noticing the distant sound of a bell, Haji’s face was suddenly close to hers.

“Huh? Morning?”

Saya couldn’t help but blink in surprise, realizing she was inside a carriage. The scenery she saw through the window outside was narrow and blurry as they passed through it.

“It seems that the bell is indicating a stop,” Haji told her with a slight smile.

“I’ve slept for a long time, haven’t I? It would’ve been nice if you had woken me up,” Saya said.

“All the luggage should have been delivered. There’s no need to worry about it,” Haji replied, reaching out to help her, but she refused.

“I’m sorry… I must have fallen asleep before I knew it,” she apologized.

“Have you been watching over me the whole time?” she asked with a strange look on her face.

“That’s my job, you know,” Haji said, smiling gently.

"...Haji"

Haji took Saya's hand, who was rubbing her drowsy eyes, and gently lowered her to the ground. Without saying anything, Haji extended his arm, and Saya, having noticed, quickly adjusted the hem of her feathered cape. She straightened herself and smiled softly.

"Shall we go?"

"...Yes."

She nodded deeply, as usual calm and composed.

It was at that moment.

Suddenly, a shadow appeared in front of her, and Saya gasped. Over Haji's shoulder, Saya saw a figure—a boy. The balcony window was left open. "From there? But, now..."

Saya wasn’t concerned at all. The boy's stare, hiding his surprise, didn’t seem to register Haji’s presence. Although his gaze lacked malice, it was rare for anyone to ignore Haji like that. It was like a wild beast that, once having targeted its prey, disregarded anything else.

In an instant, the boy's demeanor changed, and Saya noticed that curiosity colored his eyes.

He was about sixteen or seventeen. That large figure gave a slightly naughty impression. He was a bit taller than Saya and had a slightly narrow but clearly bright look. His short, red hair hung loose, with a mix of reddish hues like agate. His eyes were a blend of amber and gold. He wore a white shirt with a red cloth and leather epaulets on the shoulders, pinned at the left chest, making it look somewhat like a uniform.

Unknowingly, a smile appeared on his face. He was probably thinking, "We're going to be friends, right?"

Saya moved to stand between the boy and herself, and lightly touched Haji's arm. That alone made Haji suppress his presence and silently retreat.

Before she knew it, an elderly man in a butler’s uniform was standing there. The boy lost interest and headed towards the porch.

“You seem weak.”

"Huh?"

The boy unintentionally leaked his thoughts. It took a moment for Saya to realize he was referring to her. While keeping an eye on the boy, she turned her gaze towards the entrance porch.

“Saya has arrived.” The boy mentioned to the butler in passing and quickly went inside.

Saya, who was about to speak, was left standing in a daze.

Haji called her gently, and Saya looked up at him.

"I'm fine. Let's head inside."

Saya forced a smile, and Haji, as expected, didn't pry further. He immediately turned his previously concerned expression into a smile and said, "Given that he knows your name, this must be the designated place."

*****

Saya hugged her bag and walked with exaggerated wide strides. When she reached the front porch, the butler silently bowed deeply and opened the door. Inside, the semicircular entrance hall was laid with white marble, with patterns radiating in black stone.

Matching the exterior, the interior was predominantly white, but the handrails of the stairs and the wainscoting on the walls were polished amber-colored oak, giving the impression of one of the residences owned by a noble.

"Uh..."

Alcoves on both sides of the staircase had fireplaces with red-hot coals, and on the landing where the staircase split to the left and right was a large vase filled with red roses, blooming abundantly despite the severe cold outside.

Urged by Haji, who gently touched her back, Saya snapped back to reality and followed the butler who was already walking ahead. They descended a staircase at the end of the hallway, leading to a room in the semi-basement of the mansion.

"Please wait here until everyone is gathered."

The butler bowed deeply once more and left without saying anything further.

"He doesn't ask unnecessary questions or say unnecessary things..."

"For now, let's sit and wait, Saya."

Saya was urged to sit at the far end of a long oak table set, from where she could see the entrance. Haji took her cape and stood behind her without sitting down.

There was a white marble fireplace in the center of the right wall of the room, with a fire already lit. The wainscoting was also white, and the wallpaper was crimson with a gold acanthus leaf pattern. The chair Saya sat on had a red fabric with gold-threaded floral patterns woven into it, and the edge of the backrest was painted gold.

At the edge of the ceiling, where the wall met, was a narrow, horizontal window fitted with an iron frame shaped like plant vines. On the other side of that window, Saya sensed a carriage stopping, and soon the sound of doors opening and closing and the presence of people approaching made her stand up involuntarily.

Eventually, the door opened. Four boys dressed in matching black uniforms appeared one after another. Each wore a red belt over their jackets, stand collars, and turned-back cuffs. Their loose pants, tucked into laced leather boots, were also entirely black.

Their epaulets were decorated with red fabric and gold braid, and the front of their black hats had the same St. George and double-headed eagle emblem that Saya had seen on the relief on the way here. It seemed to be the uniform of a military academy.

The shortest of the boys, who was about the same height as Saya, sat without hesitation on the opposite side of the long table. His straight, dark wine-red hair was cut evenly at his jawline, and beneath his glasses, his sharp eyes were a clear brown. Despite his younger appearance than Saya, his fingers, as they flipped through documents taken from a large, wax-sealed envelope, moved with practiced ease.

"Saya,"

Urged by Haji's voice in her ear, Saya, who had been standing frozen in admiration, finally came to her senses and sat down abruptly.

Two others had already sat at the upper end of the table, keeping a distance from Saya. Another boy, who Saya had met outside earlier, seemed unable to sit still and leaned against the fireplace instead of taking a seat.

The boy at the head of the table looked up from his documents and scolded him.

"Please sit down, Rozion. And please don't leave without saying anything, as usual."

The boy was probably trying his best to lead, but his stern tone, combined with his young face, made Saya find him more endearing. The frown beneath his glasses did not look threatening at all. It seemed to be a usual occurrence, as Rozion, the boy being addressed, didn't seem to mind and stretched with his hands behind his head.

"It's too slow waiting for the carriage every time. Running is faster. And I wanted to see Saya sooner."

Hearing her name, Saya raised her face involuntarily. Noticing her presence as if just remembering, the boy at the head of the table stood up and straightened his posture.

"Sorry for not greeting you earlier. We will be supporting your activities in Russia from now on. One of us is currently away on business, but there are five of us in total. My name is Valery."

"He's 'Rozion,'" he said.

"Kiril."

Before Valery could introduce him, Rozion spoke up lazily. The boy sitting to Saya's left spoke up as well, resting his chin on his hand and not even looking their way. Despite his indifferent attitude, Saya couldn't take her eyes off his profile. When he had entered the room and taken off his hat, his naturally wavy ice-blonde hair had fallen, making the semi-basement room feel instantly brighter.

His fine skin, with slightly red lips, reminded Saya of a carefully crafted bisque doll. Because of this, even though he seemed to be about the same height as Rozion when they first entered, he gave off a much more delicate impression. Despite his delicate appearance, his transparent amethyst eyes had a challenging light. Saya saw in them a sign of his determined nature.

Kiril briefly turned his eyes to the boy beside him and said, "This is Eduard."

Eduard did not introduce himself, but simply stood up and looked directly at Saya, giving a silent nod. Saya thought he was tall—taller than the other boys, and almost as tall as Haji. His black hair, which appeared blue in certain lighting, was neatly cropped short. His dark navy blue eyes had a depth of thoughtfulness.

Eduard's movements were efficient, with no wasted motion. Even through his clothes, it was clear that his lean body was well-trained and muscular.

Saya vaguely recalled the image of an Eastern swordsman she had read about in books. Unlike Rozion, who seemed to have an excess of energy, Eduard appeared to be in control, holding back a considerable inner strength.

When Eduard sat down, Valery turned back to Rozion.

"Rozion, please sit down."

"Yeah, yeah. You're really going all out because Maxim asked you to," Rozion said in a flippant manner, pulling out a chair roughly and sitting down. He immediately began tapping his fingers on the table, creating a constant rhythm.

It was Kiril who had spoken. Rozion had apparently returned earlier than the others and seemed reluctant to wear his black jacket again for this gathering.

"Don't sit sloppily in front of me, will you?"

Rozion, apparently more wary of Kiril than Valery, didn't retort but muttered "What a pain" and buttoned his collar. As he started to button his cuffs, he seemed to lose patience and stopped halfway, leaving them undone.

"Valery and Kiril, why don't you look for Maxim instead of worrying about me? Right, Eduard?"

Eduard didn't respond, and Kiril spoke in his place.

"He's been acting alone a lot lately. Well, he's in a different class from us anyway."

"I follow his instructions properly!"

Valery interrupted Kiril's slightly accusatory tone. The person named Maxim, who had been mentioned earlier, was probably the one absent. As Rozion had said, Valery seemed eager to follow Maxim's orders. Among the boys who exuded an air of aloofness, Valery's demeanor struck Saya as endearing.

Valery noticed Saya's gaze and blushed slightly. He then straightened his posture and adjusted his glasses.

"Anyway, let's confirm the contents of our work from now on," he said.

He glanced at Saya for a moment before lowering his eyes to the table. The documents in front of him were densely typed and included several photos, but from Saya's position, she couldn't see the details. Sitting at the far end of the heavy table, Saya felt a bit out of place. There were still several seats between her and the boys, but they all seemed to be watching her from a distance, as if she were being interrogated.

"We've been informed by the Red Shield headquarters that our task is to support SAYA in pursuing a creature called 'DIVA,' which escaped from the 'Zoo' in Bordeaux thirty years ago."

Saya nodded carefully.

"We also know that wherever DIVA appears, creatures called 'Chiropterans' appear as well," Valery continued.

"...it's understood in the study of..."

Valerie nodded at Saya's words and continued.

"DIVA and chiropterans are believed to attack and suck blood from humans."

Although this should have been known beforehand, the word "bloodsucking" caused a slight tension in the room.

Saya suppressed the unease in her chest and raised her head resolutely. Valerie continued further.

"Recently, an investigation revealed that around summer, there were sightings of corpses believed to be caused by chiropterans in Russia."

"Believed to be?"

Saya furrowed her brows at the ambiguous way this was said. Red Shield, the organization established to destroy DIVA. For now, neither Saya nor Haji could oppose its policy. Still, she thought they were moving for more certain information.

Kiril, seemingly irritated by Saya's words, responded in a harsh tone.

"The sightings of the corpses were in the suburbs where the royal family and nobility have villas. It was hushed up for a while. In this country, which still deifies the royal family, there's a big gap between the upper class and commoners... Information doesn't come down immediately. It's not that we overlooked it."

"Kiril."

Valerie tried to scold him, but Kiril turned away indifferently. Valerie then gave up on saying any more and turned to Saya.

"For a while, we will need you two to gather information in high society. Headquarters is aware of this."

"If it is Red Shield's decision, I have no objections."

Saya said, and Haji nodded. Seeing this, Valerie relaxed his previously tense expression.

"Then, use the wing across the courtyard for your quarters. Necessary items have been arranged, but if there's anything missing, please inform the butler who welcomed you. We are all here under the guise of distant relatives of nobility or children of wealthy merchants, and during the day we mostly attend the officer's academy... This mansion is owned by Red Shield, but the maids are not informed of the details, so please keep that in mind. How many maids do you need?"

Saya barely managed to interrupt the words flowing without hesitation.

"The minimum necessary is fine. We can take care of ourselves."

"I will prepare the meals if there is a kitchen over there. Can we eat there?"

Haji added. Valerie looked at him with a puzzled expression. He probably couldn't imagine Haji preparing meals. In fact, Haji had taken care of almost everything around Saya until now.

"That's... as you like. But if you ever need help, we can arrange it."

"Okay―"

Valerie said, pushing the point while Haji smiled calmly.

"Thank you. Then, let's go to our room, Saya."

As they were about to leave the room, Rodion's voice stopped them.

When they turned around, Rodion was leaning back deeply in his chair, balancing skillfully with his legs raised. With his hands behind his head, he spoke without looking at them.

"It was written that <SAYA> is the <only weapon> to defeat the chiropterans, but you don't look like it."

Those words weighed even heavier on Saya's already troubled heart. (But)

It is an undeniable fact that she is the only one capable of defeating the chiropterans.

So at least until she leaves this room, she must keep a calm face.

Kiril, still not looking at her, played with his ice-blonde hair and spoke to the silent Saya.

"Though we also benefit from it, Joel has left us with quite a burden. It’s absolute madness, right?"

"Don’t speak of Joel that way."

Saya raised her head reflexively. She endured the sudden collective gaze and continued. "I don’t care what you say about me, but Joel—"

Kiril's beautiful eyebrows curved with interest. "Heh. You’re quite well-trained, SAYA."

"Trained—" The word stung. Just as Saya was about to look down, a figure stepped forward to shield her from the stares. It was Haji.

Haji reached into his jacket, silently staring everyone down. The gentle smile he usually directed at Saya was gone, replaced by a cold, suppressed anger that filled the room with a chilling tension.

"Ha—ji."

Rodion, who had stopped rocking his chair at some point, said with eyes gleaming like a beast's.

"I heard there was a knight protecting SAYA. So, it's you."

Before he finished speaking, Rodion leapt into the air. His movements were fluid and feline, aiming a kick.

Saya involuntarily closed her eyes.

When she opened her eyes the next moment, Haji was not in front of her.

"Eh...?"

Rodion's high kick was stopped by Eduardo, who had stepped in at some point and blocked it with his arm.

Without a word, Eduardo stared at Rodion with his deep ultramarine eyes.

Rodion's killing intent, which had been palpable, vanished as if extinguished by the calm, deep blue of Eduardo's gaze.

Eventually, Rodion lowered his leg and spoke awkwardly.

"I just wanted to test your strength a bit."

Valerie, who had been stunned, snapped back to reality and reprimanded him.

"A bit—Don't act on your own!"

"I said I was sorry, didn't I?"

While Saya was distracted by their exchange, Eduardo quietly returned to his seat as if nothing had happened.

"Well, we’ll see how you perform. We have our own jobs to do, so we can’t afford to have you slacking off."

With a sigh, Kiril coldly remarked. It seemed he was not only the most glamorous but also the most barbed.

Saya noticed that Eduardo, who sat silently beside Kiril, also preferred to avoid unnecessary trouble, though he was not particularly friendly.

(They're not exactly comrades, are they?)

"Let’s go, Haji."

Saya felt ashamed of her earlier naivety. She forced a smile at Haji and left the room, almost fleeing.

Upon being shown to a two-room suite, Saya headed straight to the bedroom, throwing herself onto the bed freshly made with new linens. She hadn't expected a warm welcome, but it was still exhausting.

Suppressing another sigh, Saya shook her head resolutely.

(Things will only get harder from here.)

She jumped off the bed and returned to the living room where she had dropped her bags earlier. The room, with its black and silver plant-patterned wallpaper, had furniture matching the same color scheme. She found her bag on the white marble-topped table and picked it up. The large trunk sent earlier was neatly placed against the wall. She stood up to organize her things, catching her reflection in the large window glass.

Saya idly walks to the window and touches her short hair, remembering it used to be long.

"Sister..."

Startled, Saya thinks she sees a girl moving in the reflection and gasps. As she tries to steady herself against a sudden wave of dizziness, there is a hesitant knock at the door. It’s Haji.

"Are you already asleep, Saya?"

Saya rushes to the door but pauses to compose herself with deep breaths before opening it.

"I'm awake. What is it?"

"I brought you some tea."

Expecting something simple, Saya is surprised when Haji comes in pushing a cart laden with snacks and a large silver samovar. Noticing her look, Haji smiles.

"It’s called a samovar. It's quite special."

Haji places it on the table, opens the lid, and lights it. The tea pot is placed on top to keep it warm, and there’s a tap at the bottom for hot water, allowing the tea to be diluted to taste.

"Amazing," Saya murmurs, more impressed by Haji’s quick mastery of the samovar and preparation of snacks. Haji pours the tea into delicate glass cups with gold holders.

"It’s very convenient. I found everything ready, but the kitchen seems quite functional," Haji says cheerfully.

"You seem to be enjoying yourself," Saya comments with a wry smile as she takes the tea, noting the familiar scent of brandy, ginger, and honey that Haji always prepares when she's tired.

Saya realizes Haji likely suggested dining in their room to avoid the awkwardness of eating with the others. As she watches Haji portioning out cookies, she feels a sense of relief. Haji is always himself.

After sipping the tea and feeling more at ease, Saya remarks, "We've come a long way."

She recalls never having left her homeland. Haji responds gently, explaining that Petrograd, historically called the "window to the West," is at the western edge of Russia and also known as the "Venice of the North."

"Where exactly in Petrograd are we?" Saya wonders aloud. Despite her fatigue, she feels the need to stay occupied.

Haji, casually drinking his tea, answers promptly. "We came down the main street with the Hermitage on our left and turned left again. We’re likely in the Liteyny District. There are many similar mansions here, making it a suitable place for a noble to hide."

[astrowhump]

Junior #2

TW: restraints, aftermath of drugging, threats, objectification, torture devices (this chapter’s mostly talk and no action tbh)

[previous chapter]

“Rise and shine, lovely.”

Noah grunts, his head feels as if it was run over by a car time and time again. He tries to gather his memory, his thoughts scattered and intangible; then they start rushing to his brain in slides, not in chronological order, but he grasps a sense of where he is and then everything falls into place—

“YOU FUCKING-“

“Sh sh sh shhhh.” His captor wraps a piece of cloth around his mouth, it slides onto his tongue and between his teeth as he tightens it behind his head.

“I’d watch that mouth if I were you, sugar” he coos in his ear.

He tries to use his hands, and that’s when he notices his position; his arms hang above his head, restrained by cufflinks that connect to the ceiling. He must’ve been left there for quite a while, his arms feel devoid of sensation.

He knows he can only make muffled noises through the gag, and what would be the point of that? He stops making a noise alltogether; instead, his eyes - filled with disgust and hatred- stare into those of the smug bastard, who only smirks back, clearly looking at him from a position of power.

“You’re quite the heavy sleeper…Noah,” He drags out his name on purpose, emphasising that he knows his identity even though Noah never introduced himself…to either of them. He remembers now, there were two of them, a…Junior, where did that one go?

His eyes wander around in search of the boy, but other – more interesting – objects catch his attention. He’s chained to the ceiling right in the middle of what looks like a dungeon. He sees a wall covered with a collection of whips -various models, shapes and designs- in an orderly arrangement. The wall across from him is where the door is, heavy-looking metal, and a tad over-polished, especially for a basement.

The wall to his left is what makes his bones shiver inside his body. There’s a wooden board attached to the wall with multiple leather straps on it; he can guess what each one’s supposed to restrain by the placement of them – there’s one for the neck, four for the arms and four for the legs- but the most gruesome part of that wall isn’t the vertical wooden bed, not even the medeival piercing handcuffs and worn-out pliers that hang next to it; It’s the blood that paints almost every inch of the cement in crimson. He can spot different patterns from different types of slashes, some consistent with long shallow blows of something light-weight and some with slow and deep cuts of a blade.

The whole room looks like a serial killer’s bullet journal; everything is neatly positioned and has its own place, and some of the items look purely aesthetic. Then there’s the wall of memoir, with the most disgusting traces left of his victims; the only part of the room that lacks structure.

“I can see you’re blown away by the decoration. Took me a while to design the whole place…with a personal touch.”

‘Your decoration makes me sick and you’re fucked in the head’ is what Noah wants to say, however, he can only frown, as he doesn’t have many muscles free to communicate; but he makes sure his facial expression gives his captor a hint of his thoughts.

“I try to be humble about it, but I can’t lie, I really am proud of how it turned out.”

He giggles as he speaks, like an excited little girl ranting about her new dollhouse.

“I imagine you have a bunch of questions, most of them do.”

Noah rolls his eyes in their sockets so hard he could see inside his brain. It doesn’t take a psychic to realize anyone in his position would have questions, and a rising urge to skin the man alive.

His captor doesn’t seem pleased. He grips the boy’s jaw, staring through his eyes and straight into his soul.

“oh I am gonna have so much fun breaking that attitude out of you…”

He lets go of the grip, sliding the gag out of his mouth as he retracts his hand. Every cell in Noah’s body tells him to spit on his face, to curse and scream and chew on the asshole’s neck. He takes a deep breath in, and decides not to waste the chance he’s been given; the guy looks too mentally unstable, he’d rather not try his patience.

“Who are you?” he asks first. Speaking hurts his dry throat.

“I was preparing for a scream, but I guess you knew better…”

His prisoner doesn’t react, still waiting on his answer.

“I’m Alexander, but you’ll refer to me as Sir. I’ll be taking care of you…for as long as you last.”

‘you’re doing one hell of a job taking care of me’ Noah barely swallows down.

“Why did you capture me? Why am I hanging from the ceiling like a slaughtered cow?” he couldn’t help the bitter comment, the thought was sitting heavy on his tongue, waiting to be spat out. Alex doesn’t seem to mind.

“Because I was bored, Junior’s hardly any entertainment anymore.” He answers honestly; not like honesty makes the sick content of what he says any better.

“why- what are you planning to do to me?” The bitterness in Noah’s voice is now replaced by worry. He gets visibly nervous and he can’t help as it leaks into his words.

“I’m gonna play with you, sugar. I’ll mold your mind, body and soul into submission and I’ll have my fun doing that. When you lose your…spark, you’ll be discarded and I’ll take on a new project. Simple as that.”

Something about that sentence, being referred to as a new project -a breakable object- makes Noah’s gut churn. He tries his damned hardest to stop his jaw from trembling and tears from falling. False hope, as Alexander notices the glint of tears in his eyes and his lips open to a faux-sympathetic smile.

“It’s okay to be scared, I would be too.”

He catches a tear that falls astray from his boy’s eyes with his knuckles.

“Last question?”

“w-w-why me?” He wants to slap himself across the face for the embarrassing quiver in his voice. The man seems to think about that one for a second before answering blandly.

“…You were at the wrong place, at the wrong time, and you made all the wrong choices.”

It can’t just be that, he can’t just end up in a horror movie because he decided to help out a person in need. He can’t just be randomly dragged into a torture chamber when he did nothing to deserve it. It’s unfair. He shouldn’t be here…but he is, and there’s not a single limb in his body he can move to protest. He no longer tries to gulp down his sobs.

“Enough chit chat for now, sweetheart. I’ll let you settle in for today, we’ll start the fun tomorrow. “

The gag gets shoved into his mouth again and the man leaves him there to weep, bound and truly miserable.

[next chapter]

I’m tagging people who reblogged the first chapter here, please tell me if you want on or off the taglist @ladygwennn @darkthingshappen @keeper-of-all-the-random-things @thelazywitchphotographer @horribleauthortm @angelwhump

[givehimthemedicine]

that massacre blood won't let me rest

(bloodstain pattern analysis)

warning, this will contain some graphic explanations of how blood stains get made and a couple pictures of real blood (no people) as I attempt to apply my modicum of education on this subject to the HNL massacre

I'm mostly focusing on that main blood stain that goes across One's chest, but toward the end I'll touch on other stains in the RR.

tldr: I think that chest stain leaves plenty of room for doubt about whether One was the attacker.

so. bloodstain analysis crash course.

your main types of blood stains:

active - blood flying and landing on a surface as a result of force/motion. this includes spatters, splashes, arterial sprays.

passive - blood falling from plain old gravity. stains like drops and pools.

transfer - a surface coming into contact with another surface with blood on it. smears, maybe a hand or shoe print.

two lovely volunteers to demonstrate:

One's neck bleeding on his collar is an example of a passive blood stain. if any of those larger vertical blood drops on his shirt are supposed to be nose blood, (his nose barely bled but his shirt looks like it dripped) that's also passive. victims' eye blood is passive.

One mopping the floor with El leaving her with blood smeared on her gown is transfer.

that main pattern of blood droplets across One's chest is an active type stain. all the blood on him, apart from his own, appears to have flown through the air and landed on him.

the costume dept clearly put effort into depicting those types differently, going as far as to actually drag someone around the floor to find out what El's gown blood should look like as a result of the actions that put it there. I think it's fair to expect a similar level of research went into designing One's stains.

but discussing those methods in the interview might have revealed too much.

some types of active blood stains

arterial spray is when a vein or artery is cut and blood squirts out, flies through the air and lands on nearby surfaces. it's not usually just a little blood. here are two real examples of arterial spray:

to me, it seems like a severed artery would produce a more blood than is on One.

impact spatter is created when an object forcefully hits exposed blood and little droplets fly. forward spatter is made in the direction of the force, backward spatter is thrown back toward the direction the force came from.

in many cases forward and back spatter look much the same, so the main distinguishing clue is location.

back spatter is, without us even thinking about it, the type of stain we assume is on One's chest, because we also assume that he is the attacker. that he did something violent to someone and their blood splashed back on him. that is one valid explanation, but not the only.

see, spatter flies in all directions from an impact, 360. it looks like this (simulation). not all spatter is automatically back spatter. if it's forward spatter, it suggests One was facing the impact from opposite where the force came from. it's hard to imagine a scenario where the attacker gets forward spatter on himself.

castoff is another type of spatter typical of repetitious stabbing or beating where a weapon that's covered in blood, when swung back for another blow, flings off an arc of small blood droplets.

examples:

the attacker virtually never gets castoff on themselves. rather they fling it on the walls/ceiling around them, depending on the arc of their swings.

telekinetic blows cannot possibly create castoff because there would be nothing for the blood to stick to.

so if the stains on One are castoff, A) there was a bloody physical weapon/object involved and B) he seems very unlikely the attacker.

to me, the main stain on One looks consistent with either impact or castoff spatter. let's consider some more characteristics:

blood velocity

droplet size can also tell the speed at which the blood was moving, which helps reconstruct what amount of force and therefore type of injury it came from. generally, the smaller the droplets the higher the velocity.

One's chest spatter looks medium velocity. no surprises here.

blood directionality

the shape of droplets helps determine the direction the blood came from.

a drop onto a 90 degree angle, like if you're just standing there and your blood drips on the ground, leaves a circular droplet. an elongated blood droplet shows that the blood was flying through the air at an angle.

blood tails are what you call the pointy end of an elongated blood drop, which points in the direction of the motion. the bottoms of these more acute examples are the tails, indicating the blood was moving toward the bottoms.

now look at One. he definitely has multiple spatters on him, but I'm focusing on the main spatter that goes diagonally across his chest.

note how blood tails go in a consistent direction (bottom screen left moving towards upper screen right). this creates a strong idea of the spatter having originated low around One's right hip and flown upwards across his body.

of course we can't get too into analyzing this as legit forensic evidence, because it isn't. but the fact that they kept consistent with the direction of the blood tails when recreating these stains by hand multiple times seems like that detail mattered to them.

(I don't wanna shoplift directly from em's jumpsuit blood post but that has the best collection of pics and you can see that all iterations are in agreement with the direction of motion suggested).

here's a quick video showing a guy creating a bloodstain that illustrates both castoff and blood tails:

how'd homeboy get blood on his back?

I wish I could get a clearer look, but those are absolutely active spatters and not transfer. do you wanna tell me how, if you are the attacker, you'd manage to get your victim's blood to spatter onto your own back? like, even if he can Vecna someone behind his back, why? was he showboating like shredding guitar behind his head?? was it like the champagne in that one kim kardashian photo??

whose blood is on him?

neither castoff nor impact spatter makes sense for the bodies we see.

as I've discussed in other posts, none of the ways we saw anyone get killed in the massacre, nor any of the dead bodies in the RR, should produce blood stains like the ones on One.

the only external bleeding that getting Vecna'd™ produces is passive drips from the eyes. nobody got stabbed or struck repeatedly. even the eyes getting sucked out (or whatever?) doesn't result in any spatter. you can watch One kill Two, and there's no new blood on his face or on the floor between them. you can watch him throw guards into walls without a speck of blood on the walls or on himself.

for the amount of blood around the scene, there should be at least one much, much bloodier wounded person around here somewhere.

what is telekinetic force shaped like?

I'm unclear on what kind of spatter to expect when the weapon is telekinesis because I have so many unknowns about the nature of the impact. it really seems up to the person what shape and force of power they want to use in each instance (think the brute force of flipping a van vs the fine motor skills of turning a tv knob).

what I want is to picture the telekinesis used in the massacre as an invisible physical object so I can draw conclusions about the impact spatter it might create, but I can't.

ST has given us a couple great visuals of what impression telekinetic force actually creates when impacting various substances, revealing its "shape," and it varies a lot. my ruling is that telekinetic force has no default shape, so this is kind of a dead end.

but regardless, here's the curious thing about spatter:

(and that IS spatter on One, whether it's impact or castoff): spatter is the result of force upon exposed blood.

and a bunch of blood is not exposed yet until after a victim has been struck/stabbed/whatever at least once. meaning the victim that One's bloodstain belongs to was likely struck in the same spot repeatedly. twice minimum.

"well, blood is already exposed from the eye thing, couldn't it just be that?" yes, but striking victims after the eye thing isn't the MO. watch Virginia, Two, Chrissy, Fred, and Patrick die - after the eyes, they simply drop in place. he doesn't throw or hit them in any way.

if that is castoff, what was the blood cast off OF?

if there was a physical weapon, it's either missing from the scene or not shown.

I'd love to finish this section by suggesting an object in the lab that would make a thematically fitting murder weapon, but nothing jumps out at me.

it would be unlike them not to have brought our attention to the murder weapon before it's revealed as such. like, we need to be able to go "ohhh, they killed everybody with the 8 ball!" or whatever later or else it's not as fun.

the blood being castoff from a weapon would tend to suggest that the attacker wasn't telekinetic (or wasn't currently able to use their telekinesis). I mean, would you bother doing the manual labor if you didn't have to?

I don't see any very bloody objects lying around the RR, but I do see extremely clear evidence that there were very bloody hands.

hands are absolutely a thing that can cast off blood.

and there's only one person I know of who was ever shown with bloody hands in conjunction with the massacre.

let's talk about hands, then

we've got a diagonal thing going on here:

this bottom-left-upper-right orientation that would tend to result from a right-handed person casting off blood from an upward swing of either a weapon or their bloody hand. a lefty's swing would most likely create a bottom right-upper left diagonal castoff.

so which lab folk are what-handed?

lefties:

righties:

(I found only 2 lefts from El: manipulating the helicopter and stopping Vecna from killing Max. I could do a whole post on that. stop me)

ok, but what if that's backsplash, not castoff? same logic.

One is left handed, and when he throws someone with telekinesis, say like if he slams them downward, he uses his left hand. the way the arm swings naturally seems more likely to create an impact on that same side of the body. but the spatter originates from his right hip.

(NOT saying otherwise is impossible, it's totally possible, just seems less likely. go ahead and pretend you have telekinesis for a sec and see what direction of arm sweeps feel most natural.)

this is why when I look at the stain on One, I'm not totally convinced it's back spatter.

so what are some possible scenarios that might be consistent with blood like that?

where One is the attacker:

One strikes Victim with either a physical weapon or telekinesis. either from the strike or from falling and hitting some surface, their blood back spatters onto his shirt.

where One is not the attacker:

Attacker is striking Victim with a physical object or telekinesis. One stands opposite Attacker. forward or sideways impact spatter flies onto One's shirt.

Attacker is beating Victim with a physical object. One stands opposite Attacker. blood is cast up onto his shirt on one of Attacker's upswings.

One stands near Attacker or Victim who swings a bloody hand upward and casts blood across his shirt. (I'm liking this best)

now that I've been serious for a whole post, let me go insane about the scene overall (I'M JUST BRAINSTORMING DON'T SNIPE ME):

what if, by timeline shenanigans or I don't know what, some versions of Henry, Edward, and El are all present in the RR during the massacre.

Edward is doing some or all of the killing in such a way that impact spatters are being sent onto Henry. the bloody face of one of Edward's victims hits the floor while Henry's back is turned, causing that small spatter on the back of his pant leg.

El's hands are covered with blood. she makes a sweeping motion like this, up and to her right, to throw Edward, and blood casts off her hand onto Henry's shirt.

if an action like the above gif happened, we'd expect to see damage and/or blood on the walls or ceiling of the RR. there are multiple drippy blood impacts on the RR walls. we assume them to have come from the kids (even though this is not consistent with their injuries). what if some or all of that is Edward's blood?

whoever hit the walls would have needed to already be bloody when they hit the wall. (we know from the hallway guards and Two that neither getting thrown against a wall nor Vecna'd up against a wall leaves blood.)

another explanation for already-bloody-Ed and Henry shirt castoff/forward spatter from a physical weapon is if Brenner comes in and tries to stop Edward by beating him with [?object]. but I feel like Ed would overpower Brenner too quickly to get very bloody. this isn't a strong one, I feel better about the bloody hands idea

re: the blood pools on the floor all being smeared even before El gets dragged... you know how El has some way-too-different-to-be-accidental variations in the blood transfer patterns on her gown? could we have multiple Els in play? like, by the time we see our El arrive in the RR, other-bloody-handed-El has already been mucking around the scene?

varying El blood and multiple El concept plays well with the way there are also at least two different crime scenes.

"Nat you idiot, that shot is filmed in the mirror, you're just confusing two different sides of the room. why are your green and purple circles on the same bookcase when they're clearly on two different bookcases on opposite sides of the room?":

YEAH I SURE AM CONFUSED! BC WHY WERE THOSE TWO BOOKCASE STAINS BOTH SHOWN ON THE RED-TOP-RAINBOW-BEND-ON-THE-WALL SIDE OF THE ROOM? the side with that pyramid thing and the plinko board has a red-top rainbow bend. the opposite side, with the benches and the drawing tables, has a purple-top rainbow bend (see below). like, whatever mirror tricks you wanna pull, shouldn't the side of the room with the bookcase corner stain be purple-top-bend? seriously, am I picturing this wrong??

anyway, many of those RR bloodstains could be explained by at least one unaccounted for person being thrown repeatedly around the room. telekinetic people really seem to like doing this to each other.

say El makes that hand motion, which makes One's shirt castoff and throws Edward. Ed hits that bookcase hard enough to get bloodied. Edward gets thrown around some more, leaving various stains around the walls and floors. El or Ed stomps in the blood puddle by the bookcase, resulting in the purple-circled splatter and the spatter on Henry's pant leg.

but if we're allowed to have multiple Els maybe some of the blood is other-El's too. or One's. or Brenner's

I DON'T KNOW. I'M DONE. END MY SUFFERING

[anubiarts]

hi ! I have to learn pixel art for a game development class im taking.... do you have any tips to perhaps get started? (i have aseprite alr :3) thank u!!!!!!!!

Hi! I'm not the best person to ask this (my only projects for game dev were unfinished projects very early on), but I'll try to help

There's 3 important things that I'd say you should know about pixel art for game development specifically: Tiles/Tilesets, Character Animation, and Consistent Sizing

Let's go for one by one

Tiles/Tilesets

While you can make completely hand-drawn scenes for games, it's certainly way harder to do, as it requires a lot more time to achieve, and with things like deadlines on the way, you'll probably have to crunch yourself to achieve it on time, which I wouldn't recommend, especially if you're just starting out

This is where the Tiles/Tilesets come in handy. To put it simply, a Tile is a pattern that can either repeat horizontally/vertically/in all sides, or also a pattern that doesn't exactly repeat in any direction, but can be used to give a smoother end to something, like a corner. There's way more uses for Tiles, but these two are the most common types you'll see

A tileset is a collection of tiles, commonly with the tiles being together with those they work well with

Below is an example of a (messy) tileset along with how the tiles work together!

Basically these two allow you to make scenes quickier and easier, which is a lifesaver most of the time

Below is the most common type of tileset (for platformers and side-view games)!

There's a variant of this which adds slopes and smoother cornes on the insides, but this is still a good starting point

Basically these tiles allow you to cover most sizes regarding ground/wall tiles, which work well in things like gameboy games for example

As for Aseprite, in the latest update they added tileset layers, which makes it way easier to reorganize tiles, along with the existing Tiled mode, which duplicates your current canvas in all axis (or a specific one, depending on which one you pick) to see how the tile connects with their surroundings

You can enable Tiled mode by going into View > Tiled Mode and picking the best option that suits your tile. As for the tileset layers, there's this video that goes far more into detail on how it works:

Character Animation

I want you to look at this set of animations

How many frames do you think were used for each one?

The answer is 4 or less!

The idle animation has 3 frames, the walking/running animation has 4, and the sliding animation has 2! (which technically is the exact same image, but slightly moved left and right between each frame)

If you're starting out with pixel art, I'd really recommend to minimize the amount of frames you use in total, as it'll make it way easier to work with if you don't know much about pixel art/animation, plus you can still manage to add tons of personality into each frame

In Aseprite, you can add tags (by clicking the frame number and "Add Tag"), which helps to separate specific animations. Also, depending on your game engine/tool, it'll pick animations either by a sprite-sheet or by separate png files. I'll cover spritesheets here as that's the most common method

In Aseprite, if you go to File > Export, you can choose to export a Spritesheet, which is essentialy a set of frames connected into a single image, which can then be imported into a game engine/tool and be tweaked there

There's 4 buttons in the Export Spritesheet prompt, "Layout", "Sprite", "Borders" and "Output"

In "Layout" you can select how the frames should be arranged, along with setting constraints on them

In "Sprite", you can select the source of these frames, along with specifying if you want to export a specific layer/tag or all of them

in "Borders" you can specify if you want to add padding or remove space from your exported file

and in "Output" you can enable the option to export the spritesheet (in "Output file") along with a JSON data file if you want

Tweak these options depending on how your game engine/tool handles spritesheets, and you should be good to go!

Consistent Sizing

if you do art with backgrounds already, this shouldn't be hard to do, but it's still important!

This one should be straightforward; Keep the sizes of the characters and scenarios around the same size! Unless you're making something like Grounded, a character will look out of place with a normal house 20 times it's size

Work between the sizes of the tiles and characters to make consistent sizes all around

You can break this rule somewhat if it helps portray better your idea, like here:

but don't go too over the top with it!

I hope this helped a bit ^^

(sorry for the delay with this btw)

[puddingpong]

🌈CSP Assets MasterList🌈

I use Clip Studio Paint a lot… and i am always checking the assets store

This is a big list of assets i find interesting/useful that are ✨free✨

🖌️Brushes

Belt Buckle

Scattering Papers

Bullet Band

Simple Rope

Wisteria Flowers

Rubble/Debris

Vertical Rocks

Pointy Rocks

Chains

Simple Chains

Floor Pattern

Wizard Bookshelf

Cartoon Leaf Brush

Large Foliage

Bushes

🛋️3d Furniture:

Modern Bookshelf

Antique Books

Chesterfield Antique Chair

Bookcase

Simple Computer Chair

2 seats Sofa

Armrest Chair

Office Chair

Fancy Chair

Celestial Globe Set

Simple Queen Bed

Bird Cage Chair

Toilet Set

Bunk Bed

Hospital Bed

⚙️3d Misc:

Angel Wings

Cogs

Helm

Wires

Cowboy Hat

Camera

Dog Muzzle

Valves

🏠3d Buildings / Structures / etc

Back Alley Wall

Cartoonish Back Alley

Mobile/Ice Cream Stand

Outside Asian Insp. Lantern

Tall Upscale building with 4 entrances

Medieval Market Stand

Fantasy city street

Mansion

Wooden School Hall

Boxing Ring

Multitenant Building

Sci-fi Door

City

Medieval Ruins

Throne Room

Big House

Iron Gate

Torii Gate

Japanese Style Room

Cliff Covered With Concrete Blocks

Medieval Shop Stand

Bus Seats

Boxing Hall

Simple Building Apartments

Sci-fi Medical Pod

Basic Ruins

Tiny Cafe Table Set

Tall Shopping Street Building

Shopping Street Building

Inside Castle Throne Room

Inside Castle Hall

Inside Castle Corridor

Skyscraper

Fantasy Castle/Church

🚲3d Vehicles

Racing Bike

Bicycle

⚔️3d Weapons

Nodachi Sword

Medieval Sword

Dart Gun

Pistol Parts

Automatic rifle

Futuristic Weapon Set

🎸3d Instruments:

Drum Set

Guitar

Electric Guitar

Electric Guitar (Mustang Type)

🌈Hope it helps? idk... bye bye🌈

[askingjeffwinger]

24/7, Eight days a week. on the kitchen counter, on the couch, on the bed, on the bathroom counter, in the bathtub, on the Living room table, on the dining table, on the doorstep, against the wall, in the closet, on his Lap, on his face, in a Locker, on your desk, on the floor, mattress, carpet, on the stairs, anywhere possible. No stopping, don't stop when i pass out. Continue. Continue as i gasp for air, grab the headboard, grip your hair, scratch your back, roll my eyesback, salivate, back is broken, cant walk, cant talk, Legs are numb, core is swollen and dehydrated, until im absolutely devoured into a sloppy mess. Don't stop until my organs are rearranged, until my insides know the attack pattern, until i beg for mercy, until i scream your name Louder than a microphone, thighs drippy, until I'm in a wheelchair, until my core is ripped apart, until i grip the sheets so hard i drive holes through them, until i need to be rushed to the hospital, until I'm broken into machsolisticslut covered from head to toe in your seed. Until you come on my face so much that my face is so mosturized I won't need skincare anymore, until he's sucked out dry, until I'm shaking so hard It'd be considered as a siezure, until you've made me pass out so much l'd need to be put on IV drip. Milk me raw with toys, thrust until the vibrator's battery runs out. need skincareanymore, until he's sucked out dry, until I'm shaking so hard It'd be considered as a siezure, until you've made me pass out so much l'd need to be put on IV drip. Milk me raw with toys, thrust until the vibrator's battery runs out. Don't stop. No protection, impregante me with your heirs, until I rip. Make me crawl away for mercy. Those thrusts will bring tears to my eyes, but my face will never be as wet compared to down there. I'd willingly give him the most eye rolling, hip thrusting, toe curling, squriming, jaw dropping, sheet clenching, hair pulling, sloppy, creamy, head nodding, trembling, sweaty, Lip Licking, groaning, eye widening, back arching, addictive, shoving, wet head. I'd do it whether he asked or not. Make me crawl away for mercy. Those thrusts will bring tears to my eyes, but my face will never be. no lube, no protection, all night, all day, from the kitchen floor to the toilet seat, fromthe dining table to the bedroom, from thebathroom sink to the shower, from the frontporch to the balcony, vertically, horizontally, quadratic, exponential, logarithmic, while Igasp for air, scream and see the light, missionary, cowgirl, reverse cowgirl, doggy, backwards, sideways, upside down, on the floor, in the bed, on the couch, on a chair, beingcarried against the wall, outside, in a train, ona plane, in the car, on a motorcycle, the the bedof a truck, on a trampoline, in a bounce house, in the pool, bent over, in the basement, againstthe window, have the most toe curling, backarching, leg shaking, dick throbbing, fistclenching, ear ringing, mouth drooling, assclenching, nose sniffling, eye watering, eyerolling, hip thrusting, earthquaking, sheetgripping, knuckles cracking, jaw dropping, hairpulling, teeth jitterbug, mind blogging, soulsnatching, overstimulating, vile, sloppy, moaninducing, heart wrenching, spine tingling, backbreaking, atrocious, gushy, creamy, beastly, lipbiting, gravity defying, nail biting, sweaty, feekicking, mind blowing, body shivering, orgasmic, bone breaking, world ending, blackhole creating, universe destroying, devious, scrumptious, amazing, delightful, delectable, unbelievable, body numbing, bark worthy, can'twalk, head nodding, soul evaporating, volcanoerupting, sweat rolling, voice cracking, trembling, sheets soaked, hair drenched, flabbergasting, lip locking, skin peeling, eyelash_removing, eye widening, pussy popping, nailscratching, back cuts, spectacular, brain celldesolving, hair ripping, show stopping, magnificent, unique, extraordinary, slendid, phenomenal, mouth foaming, heavenly, awakening, devils tango ever bro could cause a nuclear bomb inside me and I'd still ride.

k thanks king 🫶✨

what.

[theblackbookofarkera]

Lesh Kath Dohr

Rising from the cracked earth of what was once the Lake of Hali, Lesh Kath Dohr stands as a monument to engineered malevolence. The fortress's stark geometries seem to actively reject natural forms, its angles and proportions deliberately calculated by its designer, the mad sorcerer Mazar ka-Sarno, to induce feelings of dread and insignificance in those who behold it.

The structure is built from massive blocks of black stone quarried from deep beneath the ancient lakebed, each block treated with alchemical processes that render them not just impervious to conventional siege weapons, but uncomfortable to look at for extended periods. The stone seems to absorb light rather than reflect it, creating an impression of depth that makes it difficult for observers to accurately judge distances or scale within the fortress's walls.

Lesh Kath Dohr's most distinctive feature is its hierarchical arrangement of perfectly square towers, each slightly offset from the others in a pattern that ka-Sarno claimed was based on "the geometry of pain." These towers are connected by enclosed bridges that cast impossibly dark shadows regardless of the sun's position. The fortress walls are uniformly vertical, broken only by arrow slits that have been engineered to amplify the screams of prisoners and the howls of the Kathic war hounds, carrying these sounds for miles across the dried lakebed.

The fortress's main gate is a masterwork of psychological warfare, designed as a massive mouth-like opening lined with sharp-edged geometric teeth. The approach to this gate is deliberate in its exposure, forcing visitors to walk a long, gradually narrowing causeway with no cover or shade. The walls on either side are angled to create wind effects that produce a constant, low-frequency moan, while the flagstones of the causeway itself are carved with scenes of torture that become progressively more disturbing as one nears the entrance.

The interior layout follows what ka-Sarno called "the Principles of Festering Despair." The courtyards and training grounds are arranged in concentric squares, each level slightly lower than the last, creating the impression of descending into an artificial hell. The parade ground where the Brazen Hounds conduct their drills is paved with polished obsidian, its surface kept perpetually slick with water to reflect the sky - creating a disorienting effect for those forced to watch the company's demonstrations of power.

Deep within the fortress lies the Flesh Kennels, a sprawling series of kennels and training areas where the company's Kathic war hounds are bred and conditioned. The complex is designed with acoustic channels that collect and amplify the beasts' howls, directing them through the fortress's ventilation system. This creates an ever-present background of bestial noise that seems to come from everywhere and nowhere at once.

The fortress's dungeons deserve special mention, as they represent perhaps the purest expression of ka-Sarno's twisted genius. Rather than traditional cells, the detention areas are constructed as a series of geometrically perfect cubes, each precisely calculated to amplify feelings of isolation and despair. The walls are lined with copper sheets inscribed with mathematical formulas that ka-Sarno claimed would "resonate with human suffering," though whether this is truth or merely psychological warfare is unknown.

One of the fortress's most practical yet disturbing features is its water collection system. The entire structure is designed to channel and collect even the slightest rainfall, storing it in deep cisterns beneath the foundation. These cisterns are accessed through a series of narrow spiral staircases, each step carved with symbols from ka-Sarno's personal system of mathematical mysticism. The water itself, filtered through layers of enchanted copper, is said to retain a metallic taste that never quite leaves the mouth.

The company's administrative center occupies the highest tower, known as the Throne of Calculation. Here, the Brazen Hounds maintain their meticulous records of atrocity in a library whose shelves are arranged in the same geometric patterns as the fortress itself. The reading room features windows of specially treated glass that cast prismatic shadows, creating an environment where even the act of reviewing documents becomes an exercise in disorientation.

The fortress's parade ground is surrounded by copper poles topped with the preserved heads of those who have attempted to infiltrate or assault Lesh Kath Dohr. These poles are arranged in precise mathematical patterns that, when viewed from the commander's balcony, form complex geometric shapes said to have mystical significance in ka-Sarno's theories of architectural sorcery.

The training grounds where new recruits are broken and remade in the company's image are perhaps the most deliberately oppressive areas of the fortress. The walls here are set at angles that create constant shadows regardless of the time of day, while the ground is paved with stones of varying heights, making it impossible to find stable footing. The overall effect is one of perpetual physical and psychological destabilization.

In recent years, the fortress has begun to develop its own legends among the Brazen Hounds themselves. Some claim that ka-Sarno's geometries are slowly altering the very fabric of reality around Lesh Kath Dohr, while others insist that the fortress itself has developed a form of consciousness, actively working to break the spirits of those imprisoned within its walls. Whether these stories represent truth or simply the psychological effect of living within such a deliberately oppressive structure remains unclear.

What is clear is that Lesh Kath Dohr serves its purpose with terrible efficiency. It is more than merely a fortress - it is a machine designed to process human brutality, transforming ordinary soldiers into the efficient dealers of atrocity that make up the Brazen Hounds' ranks. In this, at least, Mazar ka-Sarno's mad vision has been entirely successful.