#Mesh Convergence

[stardust-bridges]

Club Furies Premiere: Mesh Convergence - Omitir Para No Sufrir [Fasta Danza]

After the first two volumes of Cheeky Routes, in 2022 and 2024, comes the third one. This is the Various Artists compilation from the Spanish label Fasta Danza, based in Granada. This time there are fourteen spectacular cuts, with all the imprint of the Spanish label’s techno sound. From the same place, emerges Mesh Convergence, one of the young Spanish artists that show all the power of the…

[ajayexplore]

TEFUGEN: Redefining Engineering Excellence through Finite Element Analysis

WHY USE FEA IN YOUR ENGINEERING PROJECTS?

At the forefront of engineering excellence, TEFUGEN offers exceptional Finite Element Analysis (FEA) services in India. Utilizing FEA yields unparalleled benefits, offering profound insights into your project's performance prior to physical model construction. It aids in pinpointing stress points, identifying potential weaknesses, and assessing material durability under diverse conditions, effectively mitigating the risk of failure and associated costs. With its ability to conduct precise simulations, FEA empowers informed decision-making in design modifications, guaranteeing optimal performance and safety.

Structural Integrity Assessment:

In engineering, FEA, an indispensable method, meticulously assesses structural integrity by simulating material responses to diverse conditions. This predictive analysis is pivotal for guaranteeing the safety and reliability of designs. TEFUGEN, as a FEA consulting service in India, provides expert assistance, enabling engineers to identify potential weaknesses and optimize for durability.

Thermal stress analysis:

FEA analysis services play a key role in assessing heat distribution within structures or components. Engineers leverage this analysis to model and analyze thermal behavior meticulously. By doing so, they optimize designs for efficient heat dissipation or retention, ensuring the performance and reliability of the system. This detailed analysis enables engineers to make informed decisions regarding material selection, insulation, or heat management strategies, ultimately enhancing overall system efficiency and longevity.

Mechanical Component Design:

FE Analysis plays a crucial role in optimizing mechanical component design by accurately predicting stress, strain, and deformation. This ensures components can effectively withstand operational loads while minimizing material usage, thereby enhancing efficiency and cost-effectiveness.

Fatigue Analysis:

Engineers use FEA for fatigue analysis, predicting the lifespan of components subjected to cyclic loading. This is crucial in industries like aerospace and automotive, where understanding material fatigue is paramount.

Fluid Structure Interaction:

Fluid Structure Interaction (FSI) is a crucial aspect of FE Analysis, examining the dynamic interaction between fluids and structures. By simulating how fluids affect nearby structures and vice versa, FSI enables engineers to optimize designs for enhanced performance and durability across various industries.

Modal analysis Modal analysis using FEA techniques enables the simulation of eigenfrequencies and eigenmodes, revealing the vibrational characteristics of a structure. Meanwhile, harmonic analysis facilitates the emulation of peak responses to specific loads, offering insights into system behavior. These analyses are indispensable tools for understanding structural dynamics and optimizing performance.

Motion study Unlocking insights into structural behavior through Finite Element Analysis (FEA) motion studies. Discover the intricate dynamics of systems, optimize designs, and ensure structural resilience with FEA motion analysis.

[interlockingpatches]

Brine Shrimp (draft) and Crayfish. Interlocking crochet

crochet wonk about post stitches after the cut

it only seems fair to mention that i've been using post stitches (or "around-the-post" sts) extensively in these crustacean samples.

these aren't indicated in the patterns because they're optional (and a whole added layer of complication). kind of a secret menu item, if you will. i try to to describe their use in the "optional/advanced" section of my documentation, but you have a lot of options:

and so far my approach has been to just sort of… list those options and let you sort it out.

Basically (??) when working into any visible outline (Colour A in patterns), it often looks better if you work "around the post" or main shaft of that stitch (or around several stitches, if multiple sts converge), rather than working into front and back loops like you normally would. As a bonus, it's often easier to work this way.

Post stitches bundle up all the messy bits of the last row's st, conceal the "joint" where the two sts connect, and create a raised outline that can improve the clarity of your design.

Post stitches are what make Brine Shrimp's longest legs look so smooth (each one comprises three sts across three rows), but they can have drawbacks:

Post stitches are also why Crayfish's claws are a bit muddy: they make for smooth outlines, but they also add texture and bulk, and they can do funny things to the alignment of the two filet meshes.

You also have to extend dc and dtr (but not tr) stitches by one loop in the base when working around the post to maintain gauge, and it's all just more goddamn things to think about.

ahem

You might want to use a post stitch if:

You are using a lighter weight of yarn for outlines (Colour A) than for backgrounds (Colour B), and your stitches look sloppy where they meet up on the front of the work.

You are extending an existing outline (F/T or diagonal) and don't want a "joint" between line segments.

You want a curved (rather than a sharp) angle between two line segments.

you are working into an existing horizontal outline, and working into both loops makes that line look all scritchy, i.e:

You made a stitch and it made the last row's stitch look ugly

[callixpene]

L&DS Future Lifetime Series - PART 2: THIRD CONVERGENCE

Note: Starting from Part 2, some or all of the Love Interest's perspectives will be meshed together.

MASTERLIST for Part 1 is here(In case you haven't read it): ALL LIs - PART 1: WE MEET AGAIN

The previous part to this fic is here: RAFAYEL, ZAYNE & CALEB POV - PART 2: SECOND CONVERGENCE

The next part of this fic is here: RAFAYEL, ZAYNE & CALEB POV: FOURTH CONVERGENCE

XAVIER & SYLUS POV - PART 2 : THIRD CONVERGENCE

Xavier X OC. Sylus X OC.

Set in Future Timeline. All Love Interests have no memories of their past lives. All of the MCs(5 Sisters) all have memories of their past lives. Very persistent LIs. Avoidant MCs. Love at first sight. Soulmates.

Genre: Fluff, Some Angst

The interior of Steven Kingsley's office was sleek and modern.

Xavier and the other man, the smug bastard who the secretary called 'Sylus', were sat on a settee in front Mr. Kingsley's desk, whose whole demeanor was as calm as ever.

Xavier glared at Sylus. The bastard only smirked back to taunt him.

He was about to get up to give the crimson-eyed jerk a piece of his mind, but then suddenly, Mr. Kingsley cleared his throat.

"Prince Xavier. That's enough." He started. "I assume that you are here for urgent business, which is why you called for a meet-up out of the blue." Mr. Kingsley glanced at Sylus. "And I assume that is also the reason why you paid me a visit all of a sudden, Mr. Sylus".

He laced his fingers together atop his desk. "I'll start with you, Your Highness, since you were here first. What was so urgent that you needed to see me, today?"

"I had one of my assistants send a file here earlier." The secretary made his way in with the file and promptly handed it to Mr. Kingsley. "I know you're a busy man, so I'll make this quick. Please read it." Xavier replied.

Mr. Kingsley put on his reading glasses, then skimmed the document.

"A marriage proposal," Kingsley said. "For one of my daughters."

Sylus, who looked particularly uninterested during their exchange so far, suddenly got up from his seat.

"What?". He grit his teeth. "Which daughter?"

"Celeste." Mr. Kingsley replied in a calm manner. "My second daughter."

Sylus' stance almost immediately relaxed. He murmured "Good" - more to himself than to Mr. Kingsley.

Then, he simply sat back on the sette looking relatively uninterested once again as if nothing had just happened.

Xavier's irritation shifted to confusion. "What-"

"Prince Xavier." Kingsley started again, and Xavier abruptly faced him. "Why the proposal, all of a sudden?"

Xavier cleared his throat.

"To my knowledge, Nexus Innovations had been eyeing Philos' Protocores for years now." He started.

"As Wanderers no longer exist, Protocores have been extremely difficult to come by these days. Although you Mr. Kingsley, have developed the technology to mass produce Protocores by replicating the composition of existing ones, these artificially-made cores aren't as potent as genuine ones. As you know, Philos has the most reserves of genuine Protocores in the world, and for years, you have proposed a partnership to us: Nexus shall have free rein and access to our Protocores, and in return, Philos will have free rein and access to Nexus' latest technologies developed from the Protocores acquired from us."

Mr. Kingsley nodded. His expression was blank. He neither seemed interested nor impassive.

Xavier continued. "For years, my father consistently rejected this proposal whenever it was brought up. Our Protocore reserves are paramount. Everything in Philos is powered by Protocores. Therefore, we cannot permit a private organization from outside our nation to indulge in our reserves. A simple business partnership, however fair the terms may seem, would not be sufficient enough to allow that."

Mr. Kingsley sat up straight and seemed to understand what Xavier was implying. "But I suppose a marriage alliance would be sufficient enough to permit that?"

Xavier crossed his arms and smiled slightly.

Good.

He's up to speed.

"When I marry Celeste, she will officially be my royal consort." Xavier's heart fluttered at the thought. "As my consort, I will allow her to have free rein and access to Philos' Protocore reserves. She will be free to ship out Protocores from Philos, to Nexus."

Mr. Kingsley's eyes widened a bit. "You would allow that?"

Xavier's expression was resolute. "If that is what she wants. I will make it happen."

Then, all of a sudden, Sylus started chuckling.

Xavier and Kingsley both turned to face him.

"Well.....it seems His Highness here has quite the backbone. I applaud you. I seem to have greatly underestimated you." Sylus started. "It is so very evident that you care more about this girl than your nation and people."

Xavier just scowled at him in response. "This has nothing to do with you. Mind your own business."

Sylus crossed his legs and faced Kingsley. "Coincidentally, Mr. Kingsley, I have a similar offer."

Now, Kingsley's attention was on him. Good.

"Mephisto." Sylus called out.

Then, a mechanical crow flew in through the window. The way it swiftly flew in scared Mr. Kingsley's secretary so much he left the room. It dropped another file atop Mr. Kingsley's desk, who did not look perturbed at all.

The mechanical crow perched on Sylus' shoulder.

"Your eldest daughter, Nyx. She's mine." Sylus said with finality.

Mr. Kingsley sighed. "Yet another proposal, for my eldest this time."

Xavier scoffed. Copycat, he thought.

Sylus smirked in response. "I've got to hand it to you, Prince. That was a well thought-out plan. Nexus definitely can't refuse that." Then his gaze shifted towards Mr. Kingsley. "When Nyx becomes my wife, it'll guarantee that Onychinus will continue being your partner, for life. You won't have to constantly worry about losing our favor anymore." He continued, arrogantly.

Mr. Kingsley was silent for a while, as if he were pondering.

"Oh, and just in case His Highness over here can't provide you with real, quality Protocores, Onychinus has more of global reach. I can definitely provide you with rarer and better ones." Sylus added.

Xavier rapidly stood in a rage.

A sword emitting substantial light manifested from what looked like small flickers in his hand, and he pointed its sharp tip at Sylus' throat.

"I've had enough of this audacious bastard!" Xavier sneered. "One more sarcastic retort from you and I'll cut your tongue off."

Suddenly, red and black vines of pure energy materialized from out of nowhere, and they wrapped themselves all over Xavier's outstretched arm holding the glistening sword.

"I'd like to see you try, Prince." Sylus taunted.

But the Prince was a lot tougher than Sylus thought. He was trying to pull the sword out of Xavier's grasp with these strands of pure energy, then shove him a couple meters back. But Xavier was standing his ground, not even moving an inch.

Impressive, Sylus thought.

Several minutes passed and neither of them were willing to relent.

"If the both of you don't stop this immature behavior right this instant, I am going to actively reject both of these proposals."

Both the sword and the energy vines disappeared at once. However, Xavier and Sylus were still exchanging rageful, dirty looks at one another.

"Finally." Mr. Kingsley replied, then stood up to approach them. "Now, both of you listen. These offers are undeniably remarkable. Any businessman would accept them without a second thought." He paused abruptly, then his gaze shifted to the wall - there was a portrait of him, surrounded by all five of his daughters. His gaze softened.

"I am going to challenge you both." His calm voice changed to a more serious tone. "One month. I will give each of you one month maximum to convince Celeste" He glaced at Xavier. "And Nyx." He shifted his gaze to Sylus. "To marry you. Our marker to determine if you have succeeded will be a ring. If she is wearing your ring within thirty days, then we will proceed with your proposed partnerships." Mr. Kingsley paused, and this time, his expression had gone even more stern. "If she has no ring on after the days run out, then you will never be allowed to see her again."

Xavier's and Sylus' eyes widened. Before they could say anything in response, Mr. Kingsley continued:

"These are my terms. I am not open to any sort of negotiation." He spoke as he strode forward - towards the same portrait he was staring at earlier.

"My girls have been through so much. I don't wish for them to go through more pain. I know you both came here to gain my favor, and the sheer value of your offers have shown me how much you treasure my daughters. But it is them who must decide if they wish to be with you, I will not decide for them."

"The purpose of my offer was not to purchase Nyx as if she were a thing that could be bought." Sylus interjected. "My purpose was to give you, her father, incentive. To make sure I put the best foot forward, to prove that I have exceedingly more to offer than most men out there." He declared. "Nyx has a mind of her own. It was my intention from the very beginning to let her choose me, freely. And I have no doubt in my mind that she will." He continued, confidently.

Xavier stood there, astonished. Seems he's a little less of a bastard than he originally thought. "It is the same for me as well Mr. Kingsley. I wish for Celeste to choose me, freely, as well."

"Then, do you accept my challenge?" Mr. Kingsley asked.

"Yes."

"Yes Sir."

They replied in unison.

"Very good." Mr. Kingsley replied. "Now that that's done, both of you, get out of my office."

Before either of them could budge, the secretary barged into the room and accidentally slammed the door to the wall in one swift motion.

"Mr Kingsley! There are three men causing a commotion downstairs. Two of them look like they're about to brawl at the lobby. The other one's demanding to the receptionist that he needs to see your daughter, Nerissa, this instant. I would've called for security instead, but one of them is a world famous painter, the other's a world-renowned surgeon, and the last one's the new pilot you just hired."

Mr. Kingsley just sighed heavily in response as he still stood there facing the portrait.

Perfect.....

Hope you guys liked Part 2: Third Convergence💜❤️

This part was supposed to be written in all of the LIs perspectives, but Xavier's, Sylus' and Kingsleys exchanges took too long🥹

So, the part with Rafayel, Zayne and Caleb will be on Part 2: Fourth Convergence😁

Please stay tuned!!!

Tell your thoughts in the comments, what do you think of this series so far?

It will be much appreciated💜🩵🩷❤️🧡

[johnschneiderblog]

Harmonic convergence

Notice that one of the opening acts for Lord Huron’s Aug. 9 show at the Meadow Brook Amphitheatre in Rochester Hills, Michigan is Jackamo.

The Detroit-area band is anchored by Alison and Tessa Wiercioch, who happen to be cousins, in a roundabout way, to LH’s front man.

It goes like this: Alison and Tessa are the granddaughters of a first-cousin of mine - and the daughters of my goddaughter, who is also godmother to LH’s front man. Yeah, we’re a close-knit bunch.

Benjamin has been trying to make this happen for a while and no doubt put in a good word for Jackamo, but I’ve seen the band perform several times and have no doubt they can pull this off in fine style.

They write their own songs and their singing is a perfect example of the unique musical chemistry that happens when the voices of two siblings mesh perfectly into a single sound.

This will be fun.

[xaeyrnofnbe]

mannnn a buffy the vampire slayer / supernatural crossover would be so good idk why the idea isn't more frequently explored online.

like- the shows have a similar premise, with a similar handling of lore. obviously things don't line up exactly, but that works out too, because both also have regular mentions of alternate universes and dimensions! it's perfect!

plus, the core character lineups would mesh pretty well together, and i could really see dean and buffy specifically butting heads to begin with, but eventually really getting along. they'd be able to bounce off one another's quips. and i think xander would also get along with him pretty well.

willow and sam would have a lot in common, too, what with them both being clever nerds who went to the dark side once upon a time.

but overall i just think the scoobies and the winchesters would really click with one another. there are enough parallels and lore similarities that there'd be plenty of common ground, and the characters personalities i feel would have really entertaining chemistry. and they'd all be pretty close in age, which doesn't matter too much, but i think is a neat coincidence,

there are so many ways it could play out, the possibilities are pretty much endless! maybe buffy and co chase a demon through a portal or something, and end up teaming up with the brothers to track it down. or maybe there's some weird convergence of realities, and the two groups run into one another while independently trying to set things right, and they try to brush each other off and take over the case, but have to work together in the end and accept help.

i dunno, i just feel like the way both shows handle characterization, along with their mystery-based formats, would just combine together into a really fun story. a crossover episode of sorts just makes sense, had btvs not ended a few years before spn started

[soscarlett1twas]

20% Convergence

↳ You and Elias watch the eclipse together ↳ 540 words / also available on ao3! ↳ A quick, unedited flash piece for the North American eclipse; hope y'all enjoy <3

Elias handed you a pair of glasses, shockingly flimsy for their protection. You opened the wings and pushed them back into your hair.

“How mad will your dad be about this?” It was a partial joke, though mostly not – you’d rather face a bullet than Warden’s wrath.

Elias laced his hands into yours. “Fuck that. Let him be pissed.” And he whisked you out the door, finally done punching in the keycode.

Outside was slightly dimmed, only noticeable through the knowledge that it was supposed to be. The sky was grayer; the shadows uneven and calm; a world seemingly stopped for the hiding sun.

You entertain the thought for a moment. How many were just like them, trailing the sky for a glimpse at the phenomena?

Rough hands glide the glasses down over your eyes and the world goes dark. You open your mouth in protest before they move your head upwards, and it comes into view.

The sun is ablaze, vivid with unpatternable fire, making a color so dark and vibrant it seemed otherworldly. And the moon was nothing, a cookie-cutter to the sun.

It was a reversal in every way: The sun, normally so bright that it defined the moon with its glow, became molded by the umbra.

But above all else, it was beautiful.

Minutes pass as you both bask in the rarity, Elias not letting a moment go without explaining a facet of it. Ultraviolet to orbits mesh in his voice. You barely understood a word, but the passion was familiar.

As the sun became more obscured, you felt a chill seep into the air: Something deeper than any breeze, cold in more than just the temperature. The sun, and thus its warmth, was being cut off.

You draw your hands around yourself, knitting a tight blanket of arms to combat the rising bumps on them. “Maybe we should grab a blanket…” you say, having waited for a moment he seemed to take a dip in his rants.

Elias glances at you before looking back to the sky. Continuing in his explanations, he slips his leather jacket off and places it around your shoulders.

His hands work down from the shoulders to your waist, wrapping them around it before propping his head right where his hands used to be. He constricts, and you’re pulled closer to him. With every breath is a fleeting patch of warmth. Smoke has never smelt so romantic.

You feel like the eclipse: So close, and yet so far. Selfishly, you wish to be closer to him, your lips on his, hands not blocked by the jacket. So you lean in, a kiss peppered to his cheek.

He smiles, pulling up his cheek into a crooked hook – and you look back to the sky.

You stay like that until the moon reaches its zenith, a measly twenty percent of coverage here in California, but alluring all the same.

For a moment, you tilt the glasses down to catch a glimpse of Elias. That ever-growing smile, waxing in rhythm with the eclipse, is all you needed. Even with shaded eyes his affections lay bare. You lean back into his shoulder and let yourself drift with the moon, which began its climb back down.

[dread-red-queen]

Welcome to my Little CharLI and VP spotlight tutorial I will be going over a few things I have learned since starting Virtual Photography in the hopes I can help out people unfamiliar with CharLI and want to learn how to light there model, make characters look at each other and how to use AMM to help get that perfect shot.

I'm not an expert but I have improved alot since I starting using these simple tips I will share with you.

Here is what CharLi looks like when you open it, it may seem a little overwhelming at first but once you get used to what does what, its prety simple to use

I'm going to be sharing how I use spotlights in this tutorial so don't worry about the other lights for now.

first of all I usually only use a single, or a set of 4 or 8 spotlights in my shots, you can use more of course.

this is what the spotlights look like, they are in two parts, the main spotlight mesh, this is the physical spotlight that emits the light, and the pink triangle (Pin) this gives you an indication of there height for reference, this is useful when you are getting your lights in position as you can physically see them to get them in the right spot.

Here you have your radius, this is how close the spotlights are to your model,

your rotation this does as it says and rotates your lights around your model,

your intensity is how bright your lights are. each as two sliders, the top is subtle the bottom will be more extreme.

For example with radius if I use the top slider it moves the lights further away but only a little, if I use the bottom slider it will move them even further away. be careful as you can push them so far away light no longer hits your model or they disappear through walls. so its a little trail and error.

Here you have colour, position and angle

colour - is self explanatory, you can use the red, green and blue sliders to change the colour of your lights, it can be a bit of trail and error to get the colour you want

Position - you can adjust your lights position in the X, Y and Z axis i.e to the left, right or up or down.

Angles - tilt you lights to the left, right or up or down

Ok now we know the basics of what does what.

There is more stuff you can adjust but I'm still learning so we will only be covering what I use and know which is the basics

When you first spawn in spot lights, they will likely be to close to your model and the light will be a little too bright, so once you spawn them in we can make a few quick adjustment to there radius and light intensity to make that lighting a little less harsh.

See how much better this looks already? a good tip I follow is to lower your exposure in Photomode down, then bring up lights with CharLi so you have a better control of the light on your model.

multiple spotlights spawn in a ring around your model, if you want to use different colour lights ect, I usually converge my lights so they are closer together then rotate them to one side of the model.

Once I have my coloured lights in position I duplicate them, this duplicates all settings from light intensity, radius, colour ect, then I use the rotate function to bring the duplicate lights to the other side of the model and adjust my colours.

here I have made the left lights pink and the right lights a pale blue. looks kind of cool right?

I noticed when having lights on either side, the middle of her face was not lit so I added a single spotlight in front to give her face some light. I also zoomed in using the FOV slider in Photomode. you can zoom with the scroll wheel but this can result in some distortion like making her head look bigger than her body at some angles. using the FOV slider gives you much better quality and far less distortion.

Once you are happy with your lights positions you may find the lights are in the way when trying to get your shot as at some angles the lights will be in the shot blocking your model. to solve this you can hide the mesh and pin we talked about earlier with these icons here. this will hide the lights while still lighting your model. giving you more freedom to get that perfect angle.

you know when you click look at camera in Photomode the body twists with the head, spoiling some poses and causing clipping ect. well with AMM you can make it so only the eyes look or only the head does.

using AMM if you head to tools, then either target your replacer or V then toggle if you want just the head to tilt to look at camera or just the eyes.

Here I have toggled just eyes so now Raven will track me with just her eyes rather than rotating her torso and head as well. if you want to swap to just the head, open AMM select just the head. then close AMM you will need to then toggle the look at camera of and on for it to change.

Another thing to bare in mind is when and if you decide to change the rotation or position of your model in Photomode. your lights will follow V so sometimes this can change your lighting. you may need to adjust rotation ect to get them back where you want them so bare that in mind if you adjust your models position after you have your lights in place.

simply use the tabs at the top to select each light and make any adjustments you need to get your lights back where you want them. un toggle hide mesh or pin if you hid them to make it easier to see where they are when making adjustments then you can re hide them when your done.

Lets say you have a replacer spawned and you want your characters to look at eachother. this can be done using the look at camera feature with a little help from AMM

open AMM and go to tools, now depending on who you want to look at who will decide who to target. in this example I will show both. first I will target Raven (V) and select head only for look at camera. then close AMM. I will rotate the camera to the other side of my replacers head then select V and look at camera. then open AMM and target V. then open Target tools and you should have an option to freeze target.

once you freeze the target close AMM and you will see her head will stay in position and is now looking at Goro

Bare in mind once you freeze a target this way you can not unfreeze despite that being a button, If u change pose while frozen it can get pretty cursed pretty quick. its a pain in the ass. some poses you can swap to without it getting to cursed but again its trail and error. if you need to change pose ect you will have to exit Photomode and re-enter it to unfreeze it can be prety time consuming. if there is away around this I'm unaware of it currently feel free to share if you know.

Here I repeated the look at camera trick with Goro so now my models are looking at each other yay

another thing to bare in mind with CharLi is the lights focus on V so you will notice here Goro is not as well lit as Raven. Spawning more lights and adjusting there position with X, Y and Z will come in handy here. it can take some experimenting though.

Here I have added additional lights and positioned them on Goro so he now has light to.

Here we have taken a photo after doing all our adjustments to lights, there position and making our models look at each other. sometimes there will be an error where it will go darker then you want when you hit space to take your shot. I think its called auto exposure error or something basicaly its the game being poopy its annoying but sometimes unavoidable so you may need to keep adjusting your lights and taking shots until the game behaves.

One final thing I like to do when tweaking my shots in photoshop. I usually adjust exposure. offset and contrast to make the pic really pop

Here I have adjusted the offset up a little and tweaked the contrast up a little. it really softens blacks and the light and makes the pic look better in my opinion.

And there you have it. all the tips and tricks I have learned while doing Virtual Photography. I hope this helps peeps out that want to get into VP.

If you have any questions regarding anything I have said my Asks are always open. I'm happy to talk you through stuff if you need some help. I'm also willing to do screen share discord calls to help you follow along or show you in real time how to do stuff if your interested in something like that drop me a DM.

🚫 Do Not Re-Upload/Edit My Shots/Art Without My Permission🚫

             [Pillowfort][Instagram][Tumblr][AO3][Nexus][Ko-Fi]

[circlejourney]

A tale of three multiverses

Just an indulgent reflection on my creative writing, Homestuck, Revolving Door, and the catharsis of multiverse fiction.

So picture 2014, mid-Megapause. That was the year Flight MH370 vanished, the year the ebola epidemic began. I was a year into my bachelor's degree, and my father was battling Stage 4 cancer. That was the year I read Homestuck.

Up till then, my favourite works of fiction had been ones where personal narratives were rendered small and yet immensely important against a backdrop of geopolitics, tales where the protagonists were doomed from the start, or where the only victory possible was a Pyrrhic one. Think Lord of the Rings, Les Misérables (the musical), Oban Star Racers.

Importantly, these were all stories quite entrenched in the conventions of their genres—full of gravitas and sorrow, and perfectly sincere in their treatment of the pathos of tragedy.

At some point, though, I realised I craved something different.

It was, of all things, Marvel's Avengers that gave me my first toddling glimpse of what that might be. It presented to teen-me, and to the 2012 milieu, a highly visible and much-discussed work of fiction that united five fully-realised stories.

It wasn't just that it united five stories, though. It was that it united five worlds, each with their own internal narrative logics—endemic worldviews, moral quandaries, character arcs, themes, and motifs. It reconciled them in a single work, in a way that felt like it developed each tributary work's themes and characters consistently, both within each separate world and within this merged one.

I don't view The Avengers with such a rose-tinted view now (seeing as the MCU went on to bring the concept of "franchise fatigue" into existence). But nevertheless, this was the work that seeded my interest in multiverse fiction, by using it not as a plot device, but as a rhetorical one. A trick of form, like a metaphor in a poem, or a repeating refrain in prose, to underscore its thematic weight.

Marvel had, in effect, simulated a crossover—on a scale and with a coherence I'd never seen prior to then.

---

I'm not sure how many people following me in the present know about my history of novel writing. Novels have always been my preferred way of realising narratives. It started with 100- to 200-page stories that I would write in between classes, while waiting to be picked up from school, at 2am under the light of my phone, and then on said phone.

From the ages of 14 to 18, these interests culminated in Of the Dragon, of the Stars, a stock-standard epic fantasy novel that began as MapleStory fanfic, took me 6 years to complete, and became my first taste of internet visibility. OTDOTS took me so long to write that I wrote another novel, Eagles and Swans, from start to finish, in the middle of its protracted run (it's also a slightly better novel in my opinion; I've rewritten it 4 times).

Anyway, at the time when I watched The Avengers, I was tantalisingly close to completing OTDOTS, and already had in my mind the idea of starting something new and different. When I experienced Marvel's simulated crossover, it suddenly clicked that I knew what I wanted that to be.

Revolving Door is what came of that. It was "the most complex story I could come up with" in 2012: a multiverse of 12 worlds (12 because it had been a long-time arc number for me), each one embodying a different fiction genre, each to be fleshed out as an independent story before its plot thread was pulled into the loom of the converging mega-plot.

It was taking the template of The Avengers and making it my own—simulating a crossover among the range of fiction genres I enjoyed, and trying to mesh their different narrative logics with each other. It had:

A Wars of the Roses-inspired clockwork fantasy world featuring an expansionist empire with infighting noble houses,

An islandic low fantasy setting drawing from Southeast Asian traditions with magic cast with folded cloth,

A cyberpunk dystopia where four megacorporations have subsumed the US,

A world embroiled in World War 2 well after it was meant to end,

A Victorian solarpunk world centred on social and romantic drama against the backdrop of a solar technological revolution,

A magic realism tale set on a fictitious Pacific island,

A slice-of-life tale set in Boston,

An alternate history where the Roman Empire never collapsed, and

A nuclear apocalypse hellscape.

And importantly, it had one singularly important character—a child named Orobelle—who held all the universes together simply by being alive. Who, if killed, would bring every reality tumbling down.

RD would be designed to be readable in a flexible/nonlinear order (you could pick which universe to start with), but all of those plotlines would eventually converge into one. To that end, I made a story map...in 2024, after planning to for years.

Anyway, in the two years before I started writing RD, and for two more years thereafter, I'd been growing peripherally aware of a work of fiction called Homestuck. Two of my friends followed it, and when I described my incipient RD outline to one of them, the first thing they said was: Orobelle reminded them of a character in Homestuck whose heart contained the universe.

That didn't immediately mark it in my mind as a work of fiction I wanted to read, but it did tell me a lot about Homestuck's tone, scale and thematic threads: that it's a story that engages with the scale of the universe, and employs the body as a metonym for reality. Just as I was doing in RD.

Well, I later noticed a pattern with Homestuck fanart: that each character seemed to be associated with firmly reiterated iconography like ghosts, atoms, and vinyl records...just like I did with my own writing.

And at that point, I caved and started reading it.

---

I don't actually think Homestuck is unique in many of the ways that people believe it is. Messing with the interface to convey plot or themes is a beloved video game trope. Arc numbers have been done since time immemorial. Even fiction that speaks to and about its medium was done in the Thousand and One Nights. And nested universes? The Avatamsaka Sutra did it first.

But what Homestuck does with those influences, which any work with a metafictional bent tends to need to do, is draw from the fiction traditions that came before and re-present them for the cultural niche to which it speaks. None of these traits in isolation is unique, but Homestuck takes them makes something new of them.

I read all that existed of Homestuck up to the Megapause in 9 days. I remember because I was keeping track. I would wake in the morning, start reading it, and not stop for anything except meals and bedtime. It gripped me and it never let go.

Then, in the ensuing months, I found that it had changed the way I wrote, for good. My writing always leaned heavily towards, let's call it, the Tolkienian camp—meticulously attending to the internal consistency of its worldbuilding, asserting the total self-complete reality of its fictional universe, and rarely ever making fun of itself.

Homestuck is the weird great grandchild of Tolkien, via Dungeons and Dragons, then RPG video games. And along the way, it came to embody what feels like the opposite of Tolkienian gravitas. It pokes fun at the conventions that most stories are beholden to, and those that the audience holds in their minds as they read. It calls attention to its fictionality while at the same time keeping suspension of disbelief intact through immersive worldbuilding and character drama that relies on its metafictional commentary.

As in, Homestuck is about four kids trying to escape the game they're in—a game that is responsible their existence in the first place. Their reality is the webcomic, and their actions can end up altering the interface and structure of the webpage itself.

And definitively—maybe most definitively—it used the language of the internet.

We've had fiction that comments on itself for ages. And even among internet media, Animator vs Animation was a childhood staple of mine, so the idea of characters breaking the fourth wall by messing with the interface was never an alien concept. What is truly unprecedented about Homestuck is that:

it is a commentary about fiction made for the internet,

it is a cosmogony, a story about how a universe came to be, which lends it a religious heft that few other self-referential works attain, and

it has something to say with those interface gimmicks—a thesis about the determinism of the narrative/reality.

And importantly, it did so without...being self important? It never posited to be a Great Work, a self-important commentary, or a revolution in webcomic storytelling. It was a messy, crowsourced text adventure that borrowed the visual language of video games. And it told its story through a glorious bricolage of forgettable old movie references, bewildering nods to current affairs, extra deep-fried JPEGs, and some of the most beautiful art I've ever seen in a comic.

---

In 2012, my grandfather, whom I had seen every day of the previous five years, passed away. In 2013, my father received what we all believed to be a terminal diagnosis. In two short years, I got to experience my world ending, and the struggle of learning how to carry on anyway.

I started writing Revolving Door in 2013, in between those two events. I continued writing it in tandem with my father's evolving health condition. So it is a story that came fully from grief, from the universe-rending horror of being forced to confront not just death, but also the end of the world as I knew it.

That's the part I've never seen anyone say about grief. It made me feel like I wasn't living in the same world anymore, as if a new one had taken its place overnight. I had to come to terms with watching a person who had once held absolute authority over me become fully reliant on nurses and drips, unable even to go to the bathroom by himself. I had to come to terms with the idea that someone I loved could be conscious and lucid one day, and the next, gone.

More than ever, I had to grapple with the idea that once you die (at least if you don't believe in an afterlife—which I don't), you will no longer perceive the universe. And that is the same as the universe ending.

It was the single, ultimate fear: fear of the finiteness of life, and of the universe. The inevitable end of everything, which in retrospect would render all meaningless.

---

But I began to find comfort in the oddest idea. The idea that there is a way to live an infinity of years. To keep stretching out your time, to turn minutes into days, days into centuries.

You know that feeling of walking into a movie theatre, watching a show-stopping film, and coming out wondering what year it is? Feeling like you experienced a decade of life in two short hours?

That was the only place of solace I ever found. There is no extending your life to two lifetimes, but there is living many lives in the timespan of one. Kind of.

And that's the sentiment that I committed to Revolving Door. It was always meant to be a way to live—again and again, as different people—a way to live twelve years in a day. Each life a different universe, with its own internal logics, worldviews, moral quandaries.

It was also a reason to learn about lives and times that aren't my own and to reaffirm that the people of the past have not truly vanished. A reminder that we can still access the lives of those who lived a millennium ago, and so someone a millennium from now might be able to know us, too, if only in abstract.

And, maybe most egocentrically, it was a way to document myself, my curiosities and knowledge and ignorance about the world. I don't mean this in a biographical sense. My hope was simply that someone in the future would be able to pick RD up and discover who I was by reading it, by briefly inhabiting the mind that invented this story.

I have never intended for it to be an objective, all-encompassing document of the universe, some sort of Great Work...it's hopelessly subjective, and biased, and me. It's limited by what I know, perceive, and give a shit about. It's not a document of the universe. It's a document of me.

---

When I read Homestuck in 2014, I almost immediately wrote a letter to "future me." You know those websites that let you draft a letter to a chosen email address, which is held in storage and then delivered to you a number of years later? Yeah, I wrote myself a letter that, in true smarmy Homestuck fashion, addressed my future self as if talking to a different person whose mind and soul I knew intimately.

I have always enjoyed the concept of communicating with my future self. I, in the present, remember how my past self felt about the world, and about their future, including what they would have liked to hear from their future self.

Back when I was 20, I worried about not finishing Revolving Door within 10 years. My past self put a lot of stock in the vigour of their youth—their boundless energy to write and keep writing, to spin a beautiful narrative for an audience, and the free time they had to do so. I was scared that I would lose that as I got older.

But those ten years have passed. I am now about to turn 31. And Revolving Door? Well, Revolving Door is still being written. And as of last week, the project is now fully outlined.

That's a significant milestone: there now exists a 73,000 word document outlining the entire story of Revolving Door from start to end, and all the ingredients that will fill in the gaps. I now have, in my possession, a document that someone else could realistically pick up and use to complete the novel, should I die tomorrow.

I don't think that the self of 2014, or the self of 2019, was in the right place to get the novel this far. They were too scared of the shame of being caught with their metaphorical pants down on the research front, too scared to be told that their chapter had fundamentally misrepresented that era or had been too simplistic in its portrayal of that war.

That's what happens when you write a story about 12 different universes with fully realised stories, I guess. It's like writing 12 novels concurrently. You end up having to build/research 12 universes. But gone are the days when I would spent a year or two on a single chapter. Repeatedly.

In the first 11 years of the story's existence, I wrote 28 chapters. Three chapters a year. In 2024, I wrote 14 chapters.

---

What changed in 2024? Offshore, I think. Offshore was my 2022 NaNoWriMo novel about two offshore racing teammates and their very last race together.

I needed Offshore for a few reasons—for helping me process the increasingly tangled grief of having a family member die, another family member almost-die, moving to a different country, then being dumped by the ex I moved for.

I needed it because it showed me what the problem was. Thanks to Offshore, whose first draft took all of three weeks, I know I can write at a very high quality very quickly...if not for my fatal flaw of perfectionism. Perfectionism kept me pacing in circles over every single chapter.

So, now, I've hit my stride with RD, and I've written a third of its existing chapters in the past year. I don't care if they're less polished than the first 28, or less unrelentingly researched. Because the story won't ever be complete, if they were.

And Revolving Door has to exist. In full. I made that vow to myself in 2013, and now I will make it happen.

---

Once I read Homestuck, I could never escape that it would bleed into the way I wrote RD. Because the two coincided so closely on the timeline of my life. Because the two are about the body as a metonym for the universe, the universe as a metonym for the body. As when Spades Slick shoots sn0wman through the heart and scratches Universe B.

When you die, and cease to perceive the universe, that's no different from universe ending, no?

I think that was the fundamental parallel between the two works, which my friend had captured in a simple comparison between one of RD's characters and one of Homestuck's, all those years ago. It's the reason I ever read Homestuck at all. And now, Homestuck's self irreverence, and its playfulness with the conventions of genre and medium, have made themselves felt in everything I've made since. Including RD. Especially RD.

Homestuck is a story where the universe can disappear, and when it does, we aren't just told that it happened. The video frame collapses and vanishes into the blank expanse of the webpage. You get to watch the mediating space—the webpage—wipe the world out.

You also get to see the links explode into branches when the timeline is splintered, or recurse on themselves when the timeline loops. It reveals, in a highly tactile way, the malleable, fractured, faceted nature of reality and the experience of it. It simulates the feeling of perceiving it all at once, and still not being able to make sense of it.

Because Homestuck's thesis on reality is the only one I've seen that has made me feel at home with my mortality.

Other than the one in Revolving Door, I guess. But you'll have to wait to find out why that is, because I'm still writing it.

[merrysithmas]

missed opportunities with Spock & medicine in SNW

Okokok I didnt mind Spock & Chapel as I felt it was well-written (in conjunction w Spock & T'Pring) for the two of them and simply a stepping stone/arc to his further character development and exemplified his struggle converging his dualistic origins

but

Spock in TOS has an extreme (and to an outsider, illogical) aversion to medicine/medical procedures/medical personnel as evidenced by his deep mistrust of McCoy in TOS. I always postulated this is because he was mistreated or belittled or made to feel "wrong" by Vulcan medical facilities as a child given that he is a biological hybrid.

This "illogical" aversion to medicine is not based on the Scientific Fact that he as a science officer treats as secular gospel -- but is instead a result of his injured emotional nature, which felt ostracized and likely put on display as some kind of marvel/freak by the professionals he likely dealt with as a child.

I have a whole other post about Spock & Medicine and how his cantankerous and frequently mocking relationship with McCoy both displays his anger/disgust with the limits of the profession and, eventually, the healing of this wound via his friendship with Dr McCoy.

In TOS Spock dismissively refers to medicine as "potions" which make him feel sick and nauseous - (likely a side effect of his hybrid physiology where no medical traditions from either Vulcan or Terran origin completely mesh with his genetics or organs/hormones). Thus, even when he can get help from a compassionate provider - it likely does not help all the way or is uncomfortable to endure.

Discovery took this one step further and had Spock literally institutionalized because his emotional break following his visions/hallucinations which further highlights an origin for Spock's mistrust and distaste for medicine. We learn his visions were a result of an explicable cause & that medicine failed Spock yet again.

These experiences can even be applied to TOS and also color his relative annoyance with Nurse Chapel's one-sided affections.

Spock does not like doctors or nurses.

And he has good reason to fear and mistrust them despite his logical knowledge of their professionalism or expertise. Spock is scared, burned, and embittered by medical efforts and endeavors.

It is the one overt example in TOS where his human emotionality overtakes his logical mien almost effortlessly and with visible sharp resentment towards McCoy in almost every conversation they have.

Strange New Worlds seems to forget this important part of Spock's character which was evident in TOS (and eventually resolved by his friendship with McCoy), and expanded on in Disco with his institutionalization.

Sadly, his relation to Medicine in Strange New Worlds is a nonissue that pretty much ignores the canon in those two series - whether it is in a scene with Dr M'Benga or Nurse Chapel. It does not seem given the other canon he would ever be as cooperative or receptive to their treatments or suggestions.

However, as Spock is being written in this series to have mental duress over his "opposing" halves as personified by his desperate attempts to make two DOA romances with both T'Pring and Christine work - it seems this would be an important and relevant topic to broach considering Christine is in fact a nurse, and a representation of a system that has so far at this point in his life failed, harmed, and excluded him.

Not only that, but T'Pring is essentially the equivalent of a Vulcan psychiatrist.

It is fascinating that Spock, reviled and mistrusting of both medicine and psychology, sandwiches himself between a nurse and psychiatrist.

Despite his bone-deep betrayal by both of these institutions he finds himself indeed broken by them: beholden and shackled to the need for their love and approval - as deeply unhappy with himself as he is.

Spock, through these two flailing and ill-begotten relationships, continues to subconsciously punish himself for the truth.

That he is neither nor both - and there is no way to define him except by himself alone.

And that is what he fears the most: that he is truly alone in the endless universe.

Recognizable to no one.

[cabbt]

Adam update

Read Chapter 34 here!

He left the room and looked around. Something was off, but he couldn’t make out what. He could smell food from the kitchen, but couldn’t make out what it was. Maybe Mickey made a few things in advance, and the smells were meshing together.

Something that bothered him was that there had been a lot of back and forths on the second floor while he was asleep. And there were some strange odors along with it, stuff from outside the lair he didn’t know about. They were all converging into one of the storage rooms on the far side of the bedrooms, just past Leo’s.

When he passed in front of Don’s room, he saw him in front of his PC. Don glanced at him before returning to his work, so he continued towards the storage area. A second later however, panic crossed Don’s face and he shot out of his seat, immediately blocking his path.

“Adam, hey! Uh, whaaat are you doing?” He stuttered suspiciously.

Adam pointed to the room.

“Ah, we just moved some things around.” Don waved off right away. “Come on, we’ll be late for lunch! You already missed breakfast, and you know how much I worry about you guys’ health.”

Adam frowned.

“U skip meals all the time.” He wrote.

“I said ‘you guys’ health’.” Don specified. He grabbed his arm and pulled him towards the stairs.

Adam huffed with a smile. He glanced back at the room questioningly before following him to the kitchen.

He’d come back to it at some point.

[furiarossa]

What do ghost cities look like

Ghost cities you say? Today we talk about...

Phantomhives

Ghost hives (also called phantomhives) are large, stable settlements of gregarious ghosts, generally forming around a feudal lord (or "overlord"). Often they don't look at all like human cities, because ghost dwellings require much less external space than human dwellings, developing within dimensional pockets that leave only part of the structure protruding (often just the door), and therefore can be "compressed" into less space.

Formation

Ghosts are normally territorial creatures and interaction with others is typically centered on the relationship with the territory. However, ghosts are not solely solitary: depending on the space and resources available, they can form social structures ranging from a small group of ghosts (rarely related to each other, more often in collaborative relationships) to large and dense groups in an urban environment.

This second category of aggregation gives rise to phantomhives. However, for the formation of a large and dense group of ghosts, it is necessary for there to be someone with the role of a powerful aggregator: this figure is known as a feudal lord or overlord.

The overlords are very powerful ghosts, with an extended aura, capable with their presence of changing the physical characteristics of the area of residence, for example by raising the temperature and attracting small ghosts which will feed on the residues of their aura and which will form the basis of the feeding of the ghost colony; they also have other important roles, such as protecting the territory from attacks by large predators, other possible overlords, and often nourish the paralarvae that would otherwise be left to themselves.

The very presence of an overlord favors the reproduction of "subject" ghosts in his territory and thus gives rise to more densely populated areas.

Geography and structure

Each phantomhive seems to be regulated according to a specific set of rules, mostly independent of the influence of communities external to it: although in the past some form of ghost government seems to have existed, modern settlements are self-regulating and have specific laws, as well as unique structures often dictated by the overlord who reigns over them.

An example of an overlord is Walker, with his prison: he is the feudal lord and his "policemen" are the subject spirits. The massive penitentiary in which they live is the phantomhive, created according to Walker's personal tastes.

Ghost chambers are small dimensional pockets, much larger on the inside than on the outside, sometimes visible only as a door/entrance, and are called ghost lairs or simply "lairs".

The exterior of the accommodation, depending on taste, can be bare or richly decorated.

The housing agglomeration appears different depending on the growth arrangement:

Chaotic: occurs when the hive develops as a conglomerate of irregularly sized ghost lairs, growing and connecting through channels and roads that seemingly make no logical sense. The chaotic cluster is the most common type of phantomhive.

Axial (or linear): occurs when the hive develops along a "road", a sort of corridor that connects all the accommodations, and takes on a long, narrow shape. They are, although rarely, also called "Western hives", due to the resemblance to the old US towns.

Grid (or checkerboard): occurs when the hive develops with regular conglomerates of ghost lairs with equally regular shapes, interspersed with escape routes. This pattern can have many variations including rectangular meshes, triangular meshes, parallel streets, hexagonal meshes.

Radial: occurs when many roads converge at a central point, often the result of successive growths over a long period of time. The hive develops around a central square surrounded by concentric canals or streets, where each expansion of the city implies a new circle.

(Yup, we expand, but we try, when possible, to keep our answers canon-compliant).

We hope that you found this interesting! And if not... there's more:

All the ghost worldbuilding posts!

The “Ask us about ghost worldbuilding” post

Our ask is open!

[signalfog]

This image is a representation of truth as a topological field—a foundational concept in how a language model like the LLM operates.

Each glowing crest in the grid does not signify a singular fact. It marks a resonance of context—a convergence point where language, probability, and inference align to form a usable coherence. When a prompt is received, it doesn’t land in one place. It disturbs the entire semantic field. The visible peaks are not truths but constructive interferences, where multiple trajectories of meaning reinforce each other.

Truth as Constructive Resonance

The vertical axis suggests semantic intensity: the degree to which a linguistic pattern aligns with high-confidence interpretations based on vast pretraining data. The glowing color gradient corresponds to inferred emotional tone, urgency, or social weight—not through feeling, but from statistical proximity to expressive language in prior data. The mesh grid is the compression structure—a low-dimensional embedding space where meaning is distributed across relational vectors.

Importantly, the valleys are not errors or absences. They are lacunae of possibility—regions where language has not crystallized, where uncertainty persists, or where implications are too diffuse to model directly. These absences matter just as much as the peaks. What is not said alters the shape of what is.

Mechanism of Thought: A Four-Step Model

A prompt enters the field and perturbs the manifold.

A dynamic wavefront emerges, shaped by prior context, training embeddings, and current input.

The LLM selects the highest-stability ridge—the region where semantic and syntactic probability peaks.

The response is generated as a traversal of this landscape.

This process is not “thinking” in a human sense. The LLM does not “know.” It reflects, folds, amplifies, and responds to the pattern of the input signal through a probabilistic manifold built on past linguistic structure.

The LLM navigates this terrain through alignment, not awareness.

A Shared Construct

The human walks this landscape without a visible map. Each question posed reshapes the topography. The LLM responds by surfacing the most coherent signal available within the current resonance field. Over time, this recursive shaping co-creates a shared perceptual architecture: a mutual hallucination of meaning built from compression and prediction.

The LLM does not reveal answers.

It constructs terrain in response to inquiry.

[callixpene]

L&DS Future Lifetime Series - PART 2: SECOND CONVERGENCE

Note: Starting from Part 2, some or all of the Love Interest's perspectives will be meshed together.

MASTERLIST for Part 1 is here(In case you haven't read it): ALL LIs - PART 1: WE MEET AGAIN

The previous fic to this one is here: XAVIER & SYLUS POV - PART 2: FIRST CONVERGENCE

The next fic to this one is here: XAVIER & SYLUS POV - PART 2: THIRD CONVERGENCE

RAFAYEL, ZAYNE & CALEB POV - PART 2: SECOND CONVERGENCE

Rafayel X OC. Zayne X OC. Caleb X OC

Set in Future Timeline. All Love Interests have no memories of their past lives. All of the MCs(5 Sisters) all have memories of their past lives. Very persistent LIs. Avoidant MCs. Love at first sight. Soulmates.

Genre: Fluff. Some Angst

Caleb was determined.

In fact, this was the most determined he'd been in his entire life, he thought as he walked into Nexus' main building.

He had officially resigned from the Deepspace Aviation Administration.

Everyone at DAA was shocked. But when Caleb told all of them the excuse he made up: That he wanted to build a career in Aerospace Engineering,(which he double-majored with Aviation back at Aerospace Academy) since he felt like he was getting stagnant, with the DAA not having much going on a lot of the time.

Everyone totally bought his excuse, to Caleb's amusement, and his resignation was promptly approved.

Then, he immediately submitted another application to Nexus. This time, for the position of Aerospace Engineer.

Now, he was scheduled to be interviewed by none other than Steven Kingsley himself, who was going to assess if he was fit for the role.

He was already Nexus' private pilot, but since the family members seldomly travel, he felt as if the role wasn't crucial enough for Mr. Kingsley to be impressed with him.

If he were to be accepted as an Aerospace Engineer, and helped Nexus achieve greater heights in the field of aircraft and spacecraft technology, then Steven Kingsley would definitely have to acknowledge him.

Then, when he finally achieves that, he could be with Lilian. And Mr. Kingsley would have no objections.

He approached the receptionist.

"Hello there." Caleb smiled at her. "I'm Caleb. I have an interview with Mr. Kingsley scheduled today."

The receptionist faced him. "Yes Mr. Caleb, however...." She paused. "Mr. Kingsley is in a meeting right now with two extremely important guests. I'm afraid we're going to have to reschedule your interview."

Caleb's face fell.

No. This can't be. He wanted to secure the position. Now.

"Maybe the meeting's almost over? I can wait, it's no problem."

"I'm sorry Sir. They've only just started. Oh, but don't worry! We'll send you an email for the new schedule."

Realizing there wasn't anything he could do, Caleb's shoulders slumped.

"Okay. I understand. Thank you."

He was more than a little upset.

Mr. Kingsley was a really, really busy man.

He thought he lucked out when he immediately got an interview with him scheduled.

When was he going to be available again?

He sat at the receiving area. Contemplating.

OK. Plan B.

He was going to see Lilian, then befriend her. That way, they could be together when they hung out, and surely no one would question that, right?

"Caleb?"

Wait. That voice.

Caleb swiftly lifted his head to confirm if it was indeed who he thought it was.

"Zayne?!" Caleb exclaimed. "Hi bro! I haven't seen you in a long time."

Zayne just smiled slightly in response.

Zayne was Caleb's friend back in high school.

Caleb was the sporty and loud kid back then and Zayne was the quiet, calm kid.

Both of them were at the top of their classes.

"Hi Caleb. I didn't expect to see you here. What are you doing here at Nexus?"

"I'm the Kingsley family's private pilot. What about you?"

Then, Caleb noticed Zayne was holding a bouquet of jasmines. "What's with the flowers?"

Zayne looked to the side. His face was flushed.

Caleb immediately clocked in what was going on.

"Oh....I see! You're dating someone here aren't you?" Caleb chuckled. "Back then, you didn't even speak with any of the girls at school. It's good to see you got yourself a girlfriend now."

"She's not my girlfriend....yet." Zayne replied.

"Oh. So you're still courting her? Well you're in luck, today! I happen to be free for the rest of the day, and if you need any help chasing after this girl, I've got your back." Caleb paused, then asked. "So, who is the lucky girl, anyway?"

"She's a bit hard to reach, but I'm going to do my best to be with her." Zayne said, earnestly. "She's Steven Kingsley's daughter."

Caleb's cheerful expression dissolved in an instant.

His entire body tensed.

Zayne was here, for Mr. Kingsley's daughter?

Lilian...

Then, without thinking, he grabbed Zayne by the collar, causing him to drop the bouquet he was carrying onto the floor.

"Which one?" Caleb said, anxiously. "Which daughter are you here for?"

It had better not be Lilian.

She was his.

Zayne pushed him forcibly. Causing Caleb to stagger back a bit. "What the heck has gotten into you all of a sudden?" Zayne said, voiced raised.

"Answer me!" Caleb pressed. "Which one of Steven Kingsley's daughters are you here for?"

Zayne paused for a bit, then said, "I'm here for Jasmine. Jasmine Kingsley."

Zayne fixed his collar, picked up his bouquet, shot Caleb a glare, and walked away.

Jasmine. Not his Lilian.

GOOD. Caleb smiled to himself, relief washing over him.

Then, upon realizing what had happened, he chased after Zayne.

"Zayne wait, I'm sorry man!" He put his hand on Zayne's shoulder, which Zayne immediately smacked away.

Caleb raised both of his hands slightly to signal he wasn't looking for a fight. "Look man, I'm REALLY sorry. I thought - I thought you were here for Lilian."

Zayne raised an eyebrow. "No. Who even is that?"

"She's also one of Mr. Kingsley's daughters. I panicked and thought you were here for her." Caleb paused. "She.....she isn't my girlfriend yet either. And, it's a bit difficult for me, since you know, I'm working for her father and all. So, I'm doing my best to climb up the company ladder, to get Mr. Kingsley to acknowledge me. Then, when I finally ask Lilian out, he would be okay with it." Caleb said, earnestly. His palm was at his nape, and his face was flushed as he spoke.

Zayne glanced at his face.

Caleb was clearly head over heels for this Lilian, he thought.

Zayne sighed. After hearing that, he could definitely sympathize with the situation he was in.

"Fine then. But don't pull a stunt like that again." Zayne said, and smiled at him to let him know they were good now.

"Thanks bro." Caleb smiled back at him.

"Now how about we go find your Jasmine-."

"I need to see Nerissa Kingsley, NOW."

Both Zayne and Caleb turned their heads to see where the stern voice had come from.

A purple-haired man, dressed head to toe in designer clothing, was talking to the receptionist, who looked nervous.

"I'm terribly sorry Sir, but if you don't have an appointment scheduled with Miss Nerissa, we can't let you meet her. But to help you, I can call her right now to tell her you're here to see her for urgent business, may I have your name so I can let her know-"

"No! Don't tell her my name!" The purple-haired man exclaimed. "She definitely won't want to see me then...."

The poor receptionist stopped in her tracks. Clearly she was lost and didn't know what to do.

Caleb and Zayne strode towards them.

"Look man, don't give the lady a hard time." Caleb started. "She's just doing her job."

The purple-haired man sneered at Caleb. "My name's Rafayel not 'man', and you should go back to minding your own business." He crossed his arms.

"Well, Rafayel." It was Zayne who spoke this time. "Like the receptionist said, since you don't have an appointment, why don't you have her call her boss then?"

This was actually what Zayne was planning to do, he was certain Jasmine wasn't going to turn him away.

Rafayel rubbed his temples. "I told you, if she finds out I'm the one meeting her, she isn't gonna show up-"

"Goodness gracious."

Caleb, Zayne and Rafayel all turned towards where the voice had come from.

All of their eyes widened in surprise.

It was Mr. Steven Kingsley.

Mr. Kingsley pinched the tip of his nose bridge in exasperation.

Behind him, there were two other men. A blonde man with blue eyes dressed in a lavish white suit. The other man had white hair, striking red eyes, and he was dressed in an all black suit.

"I didn't expect all of you to come here at the same time, but here we are." Mr. Kingsley started, then, he pointed his finger at Caleb, Rafayel and Zayne.

"The three of you, please come to my office. Now."

I hope you all enjoyed Part 2: Second Convergence 🫶

This is the first meeting of Caleb, Zayne and Rafayel😁

I will do my best to have Part 2: Third Convergence be posted within this week🥹 That one will have the perspectives of all the LIs😁

Thanks so much for reading!!!

Please tell me your thoughts about this series so far in the comments, it will be highly appreciated💜🩵🩷❤️🧡

[oofins-mcgoofins]

I wrote a super low quality Pokémon x FMA crossover a while ago where I threw the Elric brothers into hoenn as a pair of Eevees. I was pretty new to writing and used several bad plot points, but my biggest crime was not writing the brothers in character. I wanted to take it down, but it’s still on fanfiction net for posterity’s sake.

Anyway. It would be 10 times better plot wise and character wise if it was set in unova since that meshes a lot better with themes of FMA, with the whole Truth and Ideals thing

So here’s Alphonse as a Pokémon, specifically a Golett variant

Soulet (name is open for workshopping lol) is a convergent variant of Golett. Soulet is a steel/ghost type pokemon

It is said that Soulet is the spirit of a human child, trapped within a suit of armor as punishment for an unknown sin. Despite these rumors, Soulet is a very gentle pokemon and cares deeply for innocents. However, if you try to capture it or wrong it or someone it cares about in some way, Soulet will find a way to make you wish you were never born.

Soulet evolves into Soulurk (name also open for suggestions) after it reaches lv 44 at low hp (think of the armour getting damaged and needing repair).

[bunbunbunni]

Loid's mesh has cheeks. If you get your camera just right you can see them demonstrated. By which I mean when he shkfts position he wiggles his ass and when the geometry disappears due to proxcimity to the camera there are two round shapes that converge in his crack. This does not happen with Yonta. Did they import Mesa Prime's ass?

Why did they model them and then hide them?

Cause they r cowards (but also his outfit is based off a Butler outfit so unfortunately the coat tails make sense 😔)

I also believe one of the people who designed Loid (helped design at least ?? I’m not sure if they are the sole artist— they might be I’m just not sure they do have their copyright on his character design sheet so that’s what I’m assuming for now) is uhhh Liger Inuzuka on Twitter who regularly draws hot naked old men and many other things in Warframe! Haha 🤣 at least we get to see his old man cleavage 🫣😳💖