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#sorry for the incomprehensible posting

chongoblog · 2 months

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SAT vs ACT except it’s treated like Team Edward vs Team Jacob

#im team ACT btw #anyone outside the US sorry that this post is incomprehensible

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domwitch · 4 months

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Thinking about boys who get sluttier when they're intoxicated. When you refuse their advances at first they whine "Awww, you're no funnnn 🥺🥺🥺" and spread their legs apart while leaning back on the couch, shifting his hips just enough that it draws attention to the bulge in his pants.

#my post #sorry if this is incomprehensible #im thinking about ways men can attract the attention of women #like rubbing his thighs w his hands #tracing his adams apple #sitting w his hips forward n legs spread #stretching w his hands above his head and his shirt lifts up and shows some tummy

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dykeinthedark · 8 months

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t shirt that says "i am a victim of the 'watching Q&A with bert and gerard 2005 taste of chaos tour bus interview every day when i was 15 and now my favorite movie is velvet goldmine' pipeline"

#ummmm. if ur favorite mcr interview was q&a with bert and gerard u should watch velvet goldmine instead #also this post is incomprehensible sorry abt that i have a migraine please pretend like it makes sense

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zzztlk · 1 year

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Finally getting around to setting up the tapas and webtoons pages for my upcoming supernatural horror (romance?) comic TIES THAT BIND. Here's the current title page and synopsis (the title/logo definitely needs some work lol). Full release up in the air but you'll be able to read the teaser in Feb!

#ttb #I know I said I was gonna post this tomorrow a few days ago but #the amygdala started acting up #wait I should tag this with other stuff too LOL #sorry I come from insta where the tagging system is. basically incomprehensible #webtoon #tapas #webcomic #not sure what else to put..

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aq2003 · 10 days

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martha jones is kind of like if horatio and ophelia were one person tbh

this post by darkcomedies

s03e08 human nature // hamlet (2009), act 3 scene 2 // hamlet to horatio, act 3 scene 2 // martha about ten, s03e09 the family of blood // s03e03 gridlock // hamlet (2009), act 5 scene 1 // canary in a coal mine by the crane wives

s03e02 the shakespeare code // hamlet (2009), act 3 scene 1 // ophelia about hamlet, act 2 scene 1 // s03e07 42 // hamlet (2009), act 3 scene 2 // s03e05 evolution of the daleks // hoping on another life by madds buckley

hamlet's letter to ophelia, act 2 scene 2 // s03e13 last of the time lords // hamlet (2009), act 5 scene 2 // the shooting script for s03e07 42 // the tags on darkcomedies' post

#martha jones #tenth doctor #10th doctor #doctor who #hamlet #david tennant #<- because this IS his fault . at least a little bit #dr who #10 era #ten and martha #my edits #i do NOT know how to title my webweaving posts sorry and also my sources look like a nightmare #this post is just extremely fucking incomprehensible . sorry. my bad #so proud of the parallel i drew between the scene at the end of gridlock and alas poor yorick i'm so smart <- deranged #also despite the fact martha clocks closer to horatio in my head and it's way easier drawing parallels between those two #so proud of the parallel between hamlet's love letter and last of the timelords my brain is huge <- DERANGED #no this isnt a ship post bc im not built like that but i do realize i've set myself up for failure completely with this one #DONT LET ME COOK [BANGS POTS AND PANS] DONT LET ME COOK

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spotlightstudios · 7 months

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Ayo!!! It's been a while since I've drawn utau (utmv?) stuff in a fully rendered style, so.... when I saw @itsxroxannex had a dtiys I had to shoot my shot!

Actually, I don't think I've ever done a dtyis before 👀 so this was really fun.

(Speedpaint and More Process Rambles beneath the cut ♡)

I... actually don't think I've ever drawn Passive!NM either tbh. This entire drawing was kinda like a personal challenge to myself, since I often lack w/ backgrounds too.

I did kinda a study on the originals background, because I tend to just draw characters w/o a solid background, and when I do add a background characters usually blend into it a lil too well to discern figures, so the color choices and soft loose lines compared to the hard lines + cell shading felt really nice.

I also decided to go back to Procreate for this one too! Normally I draw w/ Medibang these days, but I learned to draw utau stuff on Procreate and so drawing them elsewhere feels wrong.

And, of course, the last note I'll add in the actual post: my sketch process is trash lmao. Literally I just wing the shapes of clothes and junk based on the vibes and resize as needed. I love looking at the og sketch tho cuz it's so... bald. No under-form, no indicator of limbs, nothing.

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ohbo-ohno · 4 months

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happy new year's eve @luminousbeings-crudematter, here's another version of the purge au (4k) that i forgot i finished in the process of trying to get the first one done lol

(also when i said "it's essentially the same thing but with different smut" i meant... no smut. i didn't post this one bc i couldn't figure out what to do with the smut. but this has some kidnapping and overall rough creepiness!)

cw: noncon touching, kidnapping, graphic murder, blood & violence, unedited bc im lazy

The soles of your feet burn against the hot asphalt, even though the sun’s been set for hours. The flames roaring from the burning high school alongside you are enough to heat the ground, enough to leave you wincing with every step and trying your best to walk on your toes.

You’re not sure if the wetness on your cheeks is tears or blood, or some sick combination of both. You’d wipe it off to see, but your hands are covered in red, and you don’t want to smear it across your face.

It’s impossible not to flinch at the sudden sound of cackling laughter, some indeterminate distance away but clear as a bell. The laugh cuts off abruptly, followed by a high-pitched scream that makes you wince. You speed up as much as you can, breath shuddering in your chest. You feel a few tears slip down your cheeks, just adding to the tacky mixture already covering your face.

The street is crowded with Purgers, people wearing all sorts of different gear to make themselves seem as terrifying as possible. You’d feel lacking in your black pants and shirt, if you wanted any attention like them. Instead you pray that whoever’s looking for fun won’t focus on you, that you’ll disappear with so many other distractions out tonight.

The sound of a chainsaw revving makes you shudder, and you tuck your arms close to your chest.

You can’t believe you were stupid enough to come out on Purge night, but there’s no use dwelling on that now, not when you’re still blocks away from home with absolutely no way to defend yourself.

You should’ve known your friend - your now very dead friend - didn’t have good intentions. She’d invited you out with her to vandalize your most recent ex’s house, and like an idiot you’d agreed and walked yourself right into a trap. Your only defense is that you’d had a few drinks before leaving your perfectly safe apartment, in hopes of forgetting all the screams you’d hear outside. It’s the only reason you can think that you were so quick to agree when you’ve got absolutely no way of defending yourself.

Her blood is still wet on your hands. You don’t feel bad about her death, and that makes you feel sick. You’d never thought you’d be the kind of person to actually partake in the Purge, let alone kill during it, but here you are - stumbling home covered in blood with two deaths on your hands. The fact that it was self-defense isn’t nearly as much of a comfort as you need to make your heart beat less erratically, to make the blood stop burning against your skin.

The quick flashes of their deaths won’t stop playing on repeat in your mind - you would’ve died if you’d been any less lucky, and you doubt your piece of shit ex would have made it quick.

If you hadn’t caught them together - your friend fucking him in the bed you used to sleep in, that fucking bitch - you might not have had the anger necessary to kill them. Might not have had the rage, the energy, to stab them both until they stopped screaming.

Your arms already ache from the force you’d used. You can’t stop seeing your friend’s face, torn to shreds beneath you, blood splattering up onto your own face and neck while your ex’s corpse cooled beside you. You’re not sure if you’re hearing her screams still, or if someone nearby is suffering just like she had.

The only thing you can bring yourself to regret is leaving behind the knife. It would come in handy now, as you walk alone down one of the poorest neighborhoods in your city.

It would come in especially handy as a hand grabs your shoulder, yanking you to the side and into an alleyway, shoving you against rough bricks and ignoring your yelp.

“Well, well, look’it you…” the man drawls, his face hidden by a bright red skull and a black hood covering the rest of his head. “Wha’s a bonnie lass like you doin’ out tonight, all alone?”

You can’t speak, heart thudding painfully at your ribcage as you blink up at him. He’s all you can see, just a bright red skull floating in place.

“Please,” you manage to gasp, hands shakily raised in front of your chest.

“Please? Please what?” His words are sharp, almost bitten off, and he leans closer. “Haven’t even threatened ye yet, pretty thing. What’re you beggin’ for?”

You whimper as he leans closer, hardly inches away from your face, and a loud boom from somewhere nearby shakes the wall at your back. You still can’t tell if it’s blood or tears dripping down your face. You jump at the sound, and your chest hits his. Before you can move back, his hands are on your shoulders, keeping you pressed to him.

“Oh, did that scare you?” He coos, patronizing and mean. “You a little scaredy cat, all alone and afraid?”

You sob, hands pushing at his chest, and he makes a sound somewhere between a hum and a laugh, pushes you against the wall without pulling even an inch away.

“No, no, you’re not goin’ anywhere. ‘S not safe out there for you, kitty. It was so easy to grab you, you want someone else to get a hold of you? They won’t be as nice as me, I can tell you that.”

“Get- get off!”

He laughs, loud and rough, right in your face. “Oh, I’ll be gettin’ off, kitty. Might take some teamwork, huh? A good way to get to know my new friend-”

He cuts himself off with a sharp Oh! as your knee jerks up into his crotch, the man doubling over in pain and groaning as his head comes to rest against the wall by your face. You barely have enough sense left in you to duck out of his way before his body goes limp against the wall, hand cupping your target.

“Fuckin’ bitch,” you hear him hiss, right before you stumble away, legs weak as you put all your energy into not tripping over your own feet. Your only thought is getting out of the alley, even though being more exposed is probably riskier than just taking your chances with the man in the red skull. Still, there’s some instinct at the back of your mind telling you go, run, and you’re not stupid enough to ignore it.

You hardly make it five steps away before you hit a wall - no, not a wall, a person.

It’s almost comical, the way you bounce off of him and stumble backwards, losing your balance on weak knees and sending yourself straight to the ground. He’s a monolith above you, a massive figure clothed in all black, the light from the flames behind him almost making him glow. He’s all black cloth and white mask, a skull hovering well past six feet in the air.

The sight of him makes your heart stutter, brings everything into acute focus around you, slowing the world down to a near stop. That same instinct at the back of your mind tells you this man is worse than the last, that you should’ve taken your chances with the red skull.

You’re jerked back and to the side, shoved roughly against the brick wall. Your face scrunches up at the rough texture against your cheek, your torso flush against the wall and the first man flush against your back. You manage to open one eye and track the new man, your other forced shut from the way your head is angled.

The white skull tilts, and its wearer steps closer. You can’t help the small cry you let out, the way you flinch back into the first man like he’ll do anything but expose you more. His hands are rough on you, one hand locked around the back of your neck and the other harsh on your hip.

The body behind you laughs, push further into the wall regardless of the stinging pain as the white skull steps closer. He stops hardly a foot away, when your vision is eclipsed by only him. You try to struggle against the hands holding you, whimpering when they dig in more harshly.

“You got her?” A voice asks, and it takes a minute for you to realize it’s the new man in front of you.

“Yeah,” the first man pants, holding you close and alleviating some of the pressure against your cheek. “Woulda caught her without you, y’know. She just caught me off guard.”

The white skull rumbles low in his chest, a rejection. You’re not sure if he’s got faith in your ability to escape, or doesn’t trust his partner’s ability to chase. He’s close enough that you can only see the black of his chest, close enough that you can watch him breathe.

“I’m sure. You got a good hold on her?”

The hands squeeze, you can’t help but make a sound disturbingly close to a squeal, and- “Yeah, course, got her tight to me, Ghost. She’s not goin’ anywhere.” There’s an air of desperation in Red’s voice, a strained tension underlying every word. He’s almost eager, but it’s all directed towards the man in front of you - Ghost - instead of towards the prospect of hurting you.

Ghost doesn’t respond, but he steps close enough to press his chest against your shoulder. The three of you are all less than a foot apart, and there’s absolutely nothing you can do to get away. Another tear slips down your cheek.

You can feel Red’s chest heaving behind you, and at first you can’t understand why - he hasn’t had to chase you, hasn’t had to fight, there’s no reason for him to be out of breath.

It hits you when you feel the hard plastic of his mask press into the top of your head. He’s eager, and it’s making him pant like a dog. You’d bet he’s drooling behind the mask and the thought makes you shiver.

You flinch when a gloved hand cups your chin, tugging your face up so you’re staring into the eye sockets of the mask.

His eyes are dark brown, so dark that you almost can’t see them past the shadows and the paint over his skin. The flames roar behind him, giving him a monstrous glow.

“Pretty thing,” he hums, chest rumbling against your side. You try to push away from him, but there’s nowhere to go. “You’re gonna be our little toy for the night. Things’ll get worse for you if you try to run. You hearin’ me?”

It’s pure instinct to nod, to give this man what he wants, but you know you’ll still try to run the second they look away.

“Alright then. Let’s get you home. Johnny,” the man steps away, jerking his head in clear instruction for Johnny to follow and turning away. “Come.”

“Right behind ye,” Red - Johnny - assures, that same eagerness in his tone as he tugs you away from the wall, trotting behind his partner. “It’s gonna be a great night, lass. You and I are gonna have fun.”

You can’t help but whimper at that, letting your body go nearly limp as the man drags you by the elbow. You can’t even fathom the horrors they’ve got in store for you, what fun is to two men hunting for lone girls on Purge night.

You try to let your feet drag, but they hurt too much for that to last long. You consider going limp, making them carry you, but you’re too scared that they’ll just drag you across the concrete and let you bleed.

You only manage to keep up with Johnny because he doesn’t give you another choice. You’re practically hobbling from the pain in your feet, forced to walk on the balls of your feet and lean your weight into his hand where it’s wrapped tight around your arm. He doesn’t give you any slack, doesn’t even seem to notice when you struggle to match his pace.

The three of you have walked several blocks - you can’t quite focus enough to count - keeping to the sides of buildings and dodging other people, when you’re tackled to the ground out of nowhere.

It’s impossible to stop the blood-curdling shriek from leaving your throat. Your bare arms feel torn to shreds as you slide across the ground, head bouncing off the ground and leaving you with black spots dancing across your vision.

You’re hardly able to blink, body alight with pain, and the heavy weight over you only serves to make your panic worse. You moan as you roll your neck, staring wide-eyed up at the dark sky and praying the ringing in your ears isn’t permanent.

Your vision is just starting to clear when the man on top of you - and he’s definitely a man, he’s not even wearing a mask and his expression is mean and you find yourself glad you can’t hear what he’s saying - jerks back, his head pulled back until all you can see is his bared throat.

You can hardly even register what’s happening in the next few seconds. Some distant, detached part of you can recognize that someone slits the man’s throat, that his blood comes gushing out and covers your face.

The first sound you can hear again is your own screaming - it’s an ear splitting sound that melts from the ringing in your ears. When you gasp underneath the man, the corpse, you can feel his blood falling into your mouth. Every breath tastes like iron, and the world is tinted pink from the drops of it falling from your brows.

You can do nothing but pant and shake when the corpse is thrown off of you, replaced immediately by Johnny. You can hardly focus on him, are only really aware enough to know he’s there.

“Hush, bonnie, yer fine,” he scolds, one big hand coming up to cover your mouth, pinky and ring finger holding your jaw shut. “Wanna draw people over? Ye wanna see me and Ghost kill someone else for you, ‘s that it?”

You shake your head on instinct, tears running down your temples, dampening your hair. Your chest aches with the force of your breaths, nose congested from all the crying.

“Then hush,” he hisses, face so close that you can feel the breaths from his nostrils. You flinch at the loud sound of gunshots disturbingly nearby, desperately pushing against his body to try and see what’s going on. You can hear grunts and moans, the sound of something heavy hitting the ground, and your heart races.

Then, the sounds stop. It doesn’t go silent - not with other Purgers still out, still killing - but the area you’re trapped in is quiet again. Johnny drops a little more of his weight onto you, making it even harder to breathe.

You have to focus on every breath, deliberately making sure you get enough air so that your lungs stop aching. You only notice the movement on top of you after nearly a minute of slow breathing.

Johnny’s hips grind slow and steady against your stomach, and it makes you sick to realize you can feel his erection through his pants. His chest rises and falls with harsh breaths, and his movements are just harsh enough to force your body to move with his.

There’s absolutely nothing you can do about it. Not with shock settling in, his weight holding you pinned to the ground, and the pain in your head shifting to something closer to a migraine. All you can do is focus on your breathing and stare up at the stars.

“Johnny,” Ghost eventually calls, and you can hear him kick what you can only assume to be a corpse out of the way. You can’t help but whimper when he crouches nearby, his boots splattered with blood. “What do you think you’re doing?”

“Need-” Johnny gasps, hips stuttering against you before working even more quickly. “Needed to feel her, fuck, Ghost, she’s so fuckin’ soft. Can’t wait to be inside, to fuck her full, feel her squeeze-”

You whine against the hand over your mouth, trying to pull your face away from his grip and only succeeding in dragging your sensitive head across the harsh concrete.

“You’re gonna fuck her out here, where anyone can see? Doubt you’ll be able to keep her safe when you’re pussydrunk.”

Johnny moans above you, dropping more of his weight on each thrust. “Tha’s why you’re here, yeah? To keep me and the lass safe?”

Ghost grunts, fisting a hand in the strip of hair left revealed by Johnny’s mask. “Don’t be a fuckin’ brat, Johnny. You know I don’t have to do shit for you - either of you. Maybe I want to see my mutt get all defensive, growlin’ over his girl. You ever think about that?”

The whine that slips from Johnny’s throat is nothing less than pathetic, his pace becoming uneven as his eyes screw shut behind the mask. “C’mon, Ghost, I’m close, just let me… just watch for another minute, yeah?”

The scoff from Ghost is mean, and even you feel the absurd desire to try and placate the man. He stands abruptly, stepping away from where you’re pinned and leaving you staring at the cooling corpse of a man you don’t recognize.

“You do whatever you want, puppy. Stay here and get yourself off or behave and heel. You know what you’ll get either way.”

You can’t help but furrow your eyebrows as Johnny hisses out shit above you, hips working desperately against you for a few long moments before he drops his entire body weight onto you, knocking the air out of you.

“Okay,” he whispers, seemingly to himself. “Okay, alright, it’s fine. It’s fine.”

He pulls himself away from you with a long oan, pushing up until there’s no place the two of you are touching but you’re still entirely caged in by him. He takes his hand off your mouth to hold himself up and you wince at the string of blood between his hand and your lips.

“Not gonna fuck ye yet, kitty,” he tells you, staring into your eyes with an intensity you don’t quite know what to do with. “Ghost’ll make the both of us regret it, and ye don’t deserve that on your first night home.”

You hardly manage to bite back a whimper. “Please…”

His eyes crease, like he’s smiling beneath the mask. “God, yer so scared, aren’t ye? I can fucking taste it in the air, kitty. It’s delicious. Cannae fuckin’ wait to have you on my tongue.” You shudder, eyes dropping to his neck when his gaze becomes too heavy.

He forces you to stand before you’re ready, leaving you to lean on him if only to avoid crumbling to the ground like a ragdoll. You ite your tongue against a sob at the sight of three corpses around you, a twisted sense of appreciation and disgust warring in your mind.

Johnny herds you like a dog, pushing you by the small of your back and your shoulders as he tries to catch back up with his partner. You’re left stumbling in front of him, unsure and terrified, not quite strong enough to think running away would be a good idea. It doesn’t take long for you to spot Ghost’s large back on the street in front of you, and a part of you resents the fact that he’s already so recognizable.

He’s an overeager shadow, unable to decide if he wants to tug you forward or chase you from behind. He ends up almost circling you, shifting from your back to your side to your front and back again, always moving, always rushing. It leaves you unstable and nervous, unable to predict what he'll do next.

Chills run down your spine at the thought of this man… taking you. If you’re this terrified of him fully clothed, you’re loath to think of how you’ll react when he gets you where he wants you.

The two of you only manage to catch up to Ghost because he stops for a cigarette. His pale jaw is exposed when he tugs the mask up enough, and you try your best to memorize the scars covering his face, telling yourself that you’ll remember him, that you’ll never let him near you again once this night is over.

The look he sends Johnny is approving, the look he sends you is distinctly smug. It makes your teeth grind, makes you really wish you still had that knife so you could lurch forward, thrust the blade into the solid center of him and twist, pull out again and aim a little higher, then again, then again, then again-

“Made your choice, then?”

“Yes, sir. Wanna be good.”

Ghost hums, flicking the butt of his cig then dropping it to the ground, the cherry still glowing. “Settin’ a good example for your girl, huh? That’s my boy.”

The sound Johnny makes is animalistic, and despite the harsh grip he’s got on your arm you try to lean as far away as possible. There’s a building energy under his skin, a twitch in his fingers, that unnerves the animal part of your brain in ways Ghost doesn’t.

“‘Course. Gonna teach her how to be good, too, gonna keep her perfect for us.”

Ghost is completely stoic with the mask tugged back over his face, nothing but his heavy gaze as he stares you down. It’s hard not to jerk away from Johnny and run, no matter how futile you know the effort would be.

He reaches out a big, gloved hand towards your face, moving quickly enough that you can’t fully flinch away and hide your face in your shoulder or chest. His thumb strokes across your cheekbone, smearing the sticky mess of liquid across your face and huffing a sound just loud enough for you to hear.

“Cat got your tongue, girl?” He rumbles, a faint note of something in his voice lost in the sounds of anarchy behind you.

You try to shake your head, unable to manage anything more than a, “Please.”

Johnny scoffs beside you, wrapping both of his massive arms around your shoulders and holding you close. “Broken record, this one. Hasn’t said much else since we nicked her.”

“That’s alright,” Ghost rumbles, give Johnny one firm stroke over his mohawk. “I’m sure you’ll drag all sorts of pretty sounds out of her tonight. Now, let’s get goin’. Don’t want your little toy gettin’ her nerve up and earnin’ herself a punishment so early in the night. Come, now.”

Johnny laughs, loud and harsh as he tugs you to follow him and Ghost. You know you should be upset about what he’s said, know he should be doing exactly what he warns against and try to get away.

But you’ve got no energy left to fight. Everything hurts, your system is overrun by fear and just the tiniest drop of adrenaline, and your best chance of making it through this night is passing out and forgetting any of it ever happened.

A few tears, stragglers, drip down your cheeks when Johnny tugs you beside him. The places his fingertips squeeze against your arm have gone numb, and your feet feel like they’re on fire. Your arms are sluggishly bleeding and you’re not convinced you don’t have a concussion.

It’s hard to hold back sobs when you think of how much worse it’s going to get. Staring at the broad back of Ghost, feeling the feral energy of Johnny hardly contained by your side, all you can hope is that they let you survive the night.

You close your eyes as Johnny guides you, take a deep, steadying breath, and pray for your own strength. You tell yourself that maybe next year you can seek them out, find them at the very start of the Purge and get your revenge.

It’s a comforting enough daydream to lessen the aches of your body, to shine a spot of light after the hurricane of your future.

#this might very well be incomprehensible #when i say unedited i mean i haven't read this since i originally gave up on it #i just remember liking the way i wrote johnny and being said i wouldnt get to post it LMAO #anyways. no one say anything mean about it to me if it sucks #remember that this is not the first version i posted lmao #ghoap x reader #bo writes #dark fic #also sorry for the random tag lumi lmk if you want me to untag you lol

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tara-the-star · 4 days

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elodie and jean moreau thoughts

when jean left home, he never got to say goodbye to her, he left thinking elodie would hate him for no longer protecting her from their parents' abuse. she was ten at the time and jean was convinced he was leaving her to face hell alone.

jean tried to fight against riko and tetsuji's abuse, perhaps clinging on to the hope that one day, one day he might just get to see elodie again. but of course, he could hold on to that distant memory for only so long. so he put his head down, he gave up any hope he had and accepted whatever the nest had in store for him. he buried all his memories of marseille, concluding that they should remain in that past, whether good or bad. It wasn't like ravens were allowed to have families anymore.

except

jean left the nest. his memories stayed buried after years of repression, but for how long? eventually when he did start remembering him, he could feel those memories tainted by the mental scars of his mothers abuse, though the physical marks had long since faded under the remnants of his time at the nest.

it had been so long since jean even saw elodie, he doubted that she was the same girl he had unwillingly left under the questionable care of his father's violent business and mother's unpredictable temper. so jean didn't dare think of reaching out to elodie, fearing that she would hate him for abandoning her.

but that didnt mean he stopped caring for her. when stuart mentioned that his family was going to take the hit in the moriyama's stead, jean only wanted to know what would happen to his sister. and then he found out that she faced the same fate as him, and in his words, that moment felt worse than anything riko had ever inflicted upon him.

and then, just like that, the only person he loved, who loved him back uncondtionally was dead.

his baby sister, a mere child, was dead because jean was unable to protect her from their parents' wrath. at the end of the day, his love couldn't shield her from them because they were moreaus. born to serve. it was written in their fate to exist solely for others. and if they lost their lives in the process, there was nothing they could do about it.

and thats why elodie moreau would never cross the age of twelve, ten in jean's memories, to which her existence was limited to. but the mind is a fickle thing. jean would eventually forget the exact hue of her eyes, the exact sound of her voice, the way she smelled curled up next to him, her favourite colour, and finally, inevitably, her.

#sorry for the long post #elodie is taking up my entire mind #if its incomprehensible its because its 2 am here and im just rambling #tsc spoilers #jean moreau #nora sakavic #the sunshine court #aftg #elodie moreau #all for the game #tsc #the sunshine court spoilers

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delisocks · 1 month

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i wonder if mike thought about kim ever. when jesse threw himself in front of walt in the desert, i wonder if he thought about kim. did he see her that night, the hoodie and the gun and the tearful determination, while they sat in the lab and waited for gus? did he see her in that junkyard, watching the laptop splinter into a million pieces, jumping and cheering?? two lost souls who gave Everything and got shattered in return??? one day you’ll wake up and realize you haven’t thought about it, but do you ever really? do you ever really forget? maybe you can’t, when you’re working for a time bomb. “what is it with you guys?” don’t know. i wonder if mike ever thought about kim.

#sorry about this 😔 could not sleep and decided to be incomprehensible on tumblr instead #i already said something along t these lines in the dms but i can’t get it out of my head #thought it would make more sense if i got it out into a post and Bravo!!! it Does Not.#but i rely on the assumption of everyone else here being just as deranged as i am #like. y’all know what i’m talking about right #i don’t think im going to remember posting this in the morning. goodnight now honk shoo #and also i stand by what is it with you guys as like #the golden rule of gilliganverse. could literally say the same thing about So Many guys it’s insane #“what is it with you guys” well. what Isn’t it with you guys really #brbabcs #mike ehrmantraut #kim wexler #jimmy mcgill #jesse pinkman #walter white

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usernyoom · 4 months

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Physics for rookies! What is Adrien Newey cooking in there?

Here is the culmination of my research into the physics behind F1, my own knowledge from GCSE physics, and what I have gleaned from my very patient friend who took A-Level physics. This is about as in-depth as I can understand in hopefully simple and fun explanations. I've used the RB19 as my example model because I don't think I'll ever truly be over her.

The basics!

Because a lot of this primer uses language that you might not remember or sort of vaguely understand, here's some basic explanations of physics stuff that comes up:

Energy: this is defined as 'the ability to do work' - how much capacity you have to do something, such as move, or react! There are several different forms of energy: kinetic (movement), thermal, light, gravitational, electrical, sound, chemical and nuclear. Energy can be transferred between these different forms - for example, some of the light energy produced by light bulbs is transferred into heat, which is why they are hot to touch. It can also be transferred between different objects that are touching. This can cause other objects to move, such as water rippling, or other objects to begin to heat up, like a pan on a stove.

Particle: in science, this refers to an extremely small piece of stuff, most commonly a molecule or an atom. Although the air seems invisible to us, it is actually made up of various gases and other types of particles. We don't feel the pressure these particles exert on us because we produce enough energy to move through them without them bothering us, and we don't see them because they're so small and spread out!

Pressure: the physical force exerted on or against an object by something coming into contact with it. In this primer, this mostly refers to the pressure caused by the particles that make up gases, which collide with the things around them as they move around randomly. Pressure can be relative in the same volume - high pressure areas have more particles in the same volume than low pressure areas, which have less. Pressure can be changed by increasing the volume - more volume with the same amount of particles equals a lower pressure.

But wait ... physics matters in F1?

The physics behind F1 cars dictates how the team develops their cars! Understanding why the updates they add to the car work why they do helps them to develop further changes, or to make adjustments according to the race weekend. There are a few different forces teams need to think about during development and set-up:

Drag

Downforce

Ground effect

Some cars have high or low drag - what does that mean?

Simply: how much drag a car has directly translates to how easily the car moves through the air. The more drag the car has, the less energy goes into acceleration, as more energy goes into moving the particles in the air out of the way. Complicatedly:

The energy of an F1 car produces different types of energy, the most obvious ones being kinetic, thermal, and sound. Most of the kinetic energy the car produces goes into making it go fast, but since some of the particles that make up the air are touching the car, some of that kinetic energy has to go into pushing those particles out of the way so the car can move past them. This makes the car less efficient, as less of the energy produced is going toward its intended purpose: zooming! The horizontal force the car experiences caused by these air particles pushing on it as it moves them out of the way is called drag. There are a few different types of drag that an F1 car can experience:

Skin Friction Drag: what it sounds like! Some particles in the air have qualities that make them attracted to surfaces, such as the wings or chassis of an F1 car. These particles can stick to the car, and then become attracted to other particles that are free in the air. These attractions can build up layers of particles. The attraction between particles attached to the car, and particles in the air increases the amount of energy the car has to use to move them out of the way

Form Drag: this just refers to 'normal' drag - the force caused when an object pushes the particles in the air out of the way. The shape of an object can affect the amount of form drag it experiences. The smaller the area moving through the air, the less pressure it experiences, and therefore the less drag experienced

Induced Drag: this is a type of drag caused by a second force an F1 car experiences, downforce. Downforce creates an area of high pressure and an area of low pressure. The particles in the air try to even this out by moving from the area of high pressure to the area of low pressure. This happens most around the front and rear wings of an F1 car. However, it's unavoidable, because downforce is vital to the function of an F1 car!

If an F1 car is high drag, this basically means it is designed in a way that is not efficient for moving through the air, so it wastes loads of the energy produced by the engine. These cars often have huge speeds losses on straights when compared to low drag cars. Low drag cars are great at moving through the air! They have lots more energy left over to go into speed.

How do you make a car high or low drag?

F1 engineers use a few different techniques to reduce drag. Here are some of them:

Endplates: induced drag means that the air moving over the front wing and rear wing of F1 cars wants to go down underneath them, from the area of high pressure to the area of low pressure. Endplates stop them moving sideways over the plates, and instead keeps them moving in a straight line over the wings. On the front wing of the car, the endplates also reduce drag by directing air over the wheels of the car, and not into them!

Sidepods: remember how Mercedes refused to have sidepods, and then added them as an upgrade? Sidepods help to reduce form drag by directing the air flow in specific ways over the car. This also helps to increase downforce - they're kind of important!

Nose: F1 cars have super thin noses. This helps to reduce form drag - the smaller the area experiencing pressure as it moves through the air, the less energy is used!

DRS: the drag reduction system on an F1 car opens the rear wing during specified zones on each circuit. This removes the induced drag caused by the wing generating downforce, so the car gains around 10 extra km/h!

To see how these different components change how air is directed over the surface of the car, you can watch the tests teams often do early in free practice 1. During aerodynamic tests, they add neon paint to areas of the car and record how it spreads!

Most of these components are regulated by the FIA, but teams can design and adjust them within those regulations to get different effects to suit different circumstances. This can be why you see teams bringing different sidepods, or wings, to different tracks! Power circuits (e.g. Monza) refer to circuits where the speed of the car is most important to its performance. These circuits typically have a bunch of straights and slow speed corners, where downforce isn't useful, but reducing drag is!

What's downforce?

Simply: downforce is a term mainly specific to F1 that refers to the force that sucks the car down toward the floor when it moves. The more downforce a car has, the faster it can go! Complicatedly:

Downforce refers to the vertical force that a car experiences due to the particles in the air pushing downward on it. This happens when the car isn't moving, but also when it does! As the car moves and air flows over it, the particles in the air collide with the car and create pressure. Downforce is also sometimes called 'negative lift', as the opposite of lift occurs.

The amount of downforce an object experiences increases according to the square of its speed. This means that if you are travelling at 50 km/h, with 10N of downforce, and double your speed to 100 km/h, you increase the amount of downforce you experience to 40N (WARNING! MATHS: 50 x 2 = 100, 2² = 4, 10 x 4 = 40).

Teams want lots of downforce on their car for a few different reasons:

Downforce stabilises the rear of the car. This makes it easier for the driver to handle the car and predict what it will do

The more downforce you have, the higher the top speed of your car is

Teams want extra speed in medium and low speed corners. Because of the above principle, its actually easy to find extra downforce in fast corners! Medium and slow speed corners are the problems.

What's a ground effect? How does it work?

To generate more downforce, F1 engineers now consider the ground to be part of the system that produces different forces on an F1 car. This principle is called the ground-effect, and it can be used to produce ground-effect downforce. Ground-effect is also used to explain why planes float before they reach take-off speed!

In modern-day F1, most ways that are used to produce ground-effect are based off Bernoulli's principle. This principle refers to the effect that occurs when an object is lowered to the floor as air flows around it. As air moves between the object and the ground, it accelerates as the amount of space it has to move between them decreases. This causes pressure between the object and the ground to decrease, while pressure above the object stays the same - this creates an area of low pressure, and an area of high pressure. The object then experiences an overall downward force, which presses it toward the floor!

The area of low pressure underneath the car also works between the floor of the car and the track surface by trying to decrease the volume that the particles are contained in - it either tries to pull the track up towards the floor of the car, or pull the floor down toward the surface. This 'pulling' force acts as a vertical force, so it technically increases downforce!

How do you get extra downforce?

Anything that helps to either increase the pressure over the top of the car, or decreases the pressure underneath the car can help! The most common way engineers do this is by considering the entire car to be one big 'wing', but there are couple of methods:

The front wing: the front wing directs air close to the surface of the track up and over the body of the car, which increases the amount of air causing pressure over the top of it. This creates an area of low pressure under the front wing, and an area of high pressure above it

The skirt: the skirt around the floor of the car prevents air from entering underneath it from the sides. This stops the low pressure area underneath the car from being interrupted!

The flaps and fins: flaps and fins along the sides of the car force air into little spirals that create and trap a vacuum that 'seals' the edges of the car

The floor: the floor of an F1 car is covered in venturis - these are ducts that slowly expand toward their end. This both accelerates the particles in the air through the duct as they try to accommodate for the increase in space, but also decreases pressure under the car. The floor of the car is one of the biggest ways teams utilise ground-effect to increase downforce!

Ride height: adjusting the ride height of an F1 car refers to adjusting how low it sits to the ground. Decreasing the ride height increases downforce according to Bernoulli's principle. It is also one of the favoured ways to increase downforce, as it is one of the few that does so without massively increasing drag!

Sidepods: sidepods can be used to direct air flowing over the car toward the floor and into the venturis to increase downforce. Wide sidepods can also function in a similar way to the skirt of the car

Some of these components can be adjusted every race weekend to suit the conditions of the track. For example, the ride height can be adjusted, as can the angles of the front and rear wings. High downforce circuits (e.g. Monaco) are those where having a lot of downforce is advantageous. They are characterised by lots of corners, and very few, often short, straights. At these type of circuits, having low drag isn't super important - how attached to the floor you can get your car is!

Let's go porpoising! - Gunter Steiner

Porpoising refers to the rapid upward and downward movement of the body of the car as it bounces on its suspension. This is caused by the floor of the car being sucked too close to the floor, and the low pressure becoming problematic. It causes the air to stall underneath the car, which forces it to bounce up so the air underneath it can be released. This cycle continues over and over again, and you end up with porpoising!

The problem arose after the regulation changes for the 2022 season, when using the ground effect to generate downforce was allowed again! It dominated the way F1 cars were engineered throughout the 1970s and early 1980s, and then was disallowed after regulation changes. There were fears about cars losing the downforce generated from the ground affect, and then shooting off the track. The FIA reintroduced it in an attempt the reduce the effect of dirty air.

Porpoising became so wide-spread and severe among the teams that the FIA had to stage a technical intervention with a change to the regulations. The edges of an F1 car's floor have to be 15mm further away from the surface of the track than previously, which allows stalled air to be released and decreases the area of low pressure underneath the car. This appears to have fixed the problem! However, porpoising is still one of the more memorable parts of the 2022 season.

How does this help me understand what Adrien Newey is cooking in there?

I know that the title of the primer suggests that I do, in fact, know 'what Adrien Newey is cooking in there.' I regret to inform you that I don't. He's beyond all of us.

But, if you have any questions or want to chat more technical F1 stuff with me, my ask box is open and I'm happy to talk! Hope this helped :)

#seriously tho. sm1 needs to study adrien's brain i gotta know what that man is storing up there #and also tbh i do not fully understand bernoulli's principle or what a ground effect is bc there arent many simple and understandable #explanations out there. so if that part is incomprehensible im so sorry #f1 #formula 1 #f1 primer #f1blr primer #beth posts

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holocene-sims · 2 months

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next // previous

august 26, 2021 4:15 a.m. seoul

halfway down the subway station staircase, the strangeness of the scenario hits him at last.

what are you doing?

no. seriously. hello?

you led her on.

i didn’t. no, i didn’t.

she asked me for a drink first.

at the bottom, as they approach the train tracks, grant quietly observes his conversation partner scanning the subway timetables hanging feet above their heads. a moment later, cold morning air rushes through the platform, blasting strands of loose hair in yunha’s face that stick to her makeup, as a train races into the station, ushered in tandem by quirky trumpet music and an arrival announcement.

it was only supposed to be a drink.

now what?

yunha glances over her shoulder at the incoming train, then spins back around to face him. “where are you going?”

“right, i'm actually just going to walk back to my...” he trails off, scratching at the back of his neck.

“oh my gosh. you came all the way here to the station for me?”

“well, yeah,” grant answers, “i have no doubt you’d have made it over here totally fine, but i would be remiss not to accompany you. it's my pleasure, and it’s the gentlemanly thing to do.”

her face rapidly cycles through a million shades of pink as she looks over her shoulder once more at the train, her hand still firm over her mouth and hiding her real expression, and then back at him.

and then she says nothing. she stands there in complete silence.

just staring softly at him.

oh god.

she’s waiting for you.

oh. you’re an idiot.

this was a bad idea. oh my god.

you’re not ready for any of this, but you agreed to–

the doors of the train squeak open in the backdrop. a few late-night stragglers, mostly young folks in club attire, file off onto the platform.

but she’s so…

likable.

maybe you could…

yunha tries to produce words. she finally drops her hand from her face, but what’s painted across her delicate features is the same funny unpredictable mix of embarrassment and shyness he’d halfway seen when she ran off in the arcade hours ago.

“so sorry.” yunha glances at the train again, this time for a few seconds longer. the loudspeaker blares a final boarding call. “thank you. you're very nice. um. that’s my–i'm so sorry.”

he tries to say something, too, but by the time he remembers he’s how to form a single unstable syllable in his throat...

she’s already dashing towards the train as the doors slide precipitously shut, hopping on in the nick of time.

#ts4 #the sims 4 #sims 4 #sims 4 story #sims 4 storytelling #simblr #hlcn: everything the stars promised #AHHHHHH *more screaming*#sorry all my tags on these posts are incomprehensible lmao #holocene.docx #holocene.png #hlcn: grant #hlcn: yunha

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