#System Volume Information

[wiskiemonk]

he's been talking about space for 45 minutes.

[thunderheadfred]

I wish that just sitting upright did not currently make me feel like I am in a barrel going over Niagara Falls

[nyhne]

.

[onedatasoftwaresolutions]

How Data Analytics Enhances IoT Development for Smarter Business Solutions

[getvalentined]

An open letter to @staff

I already submitted this to Support under "Feedback," but I'm sharing it here too as I don't expect it to get a response, and I feel like putting in out in public may be more effective than sending it off into the void.

The recent post on the Staff blog about changing tumblr to an algorithmic feed features a large amount of misinformation that I feel staff needs to address, openly and honestly, with information on where this data was sourced at the very least.

Claim 1: Algorithms help small creators.

This is false, as algorithms are designed to push content that gets engagement in order to get it more engagement, thereby assuring that the popular remain popular and the small remain small except in instances of extreme luck.

This can already be seen on the tumblr radar, which is a combination of staff picks (usually the same half-dozen fandoms or niche special interests like Lego photography) which already have a ton of engagement, or posts that are getting enough engagement to hit the radar organically. Tumblr has an algorithm that runs like every other socmed algorithm on the planet, and it will decimate the reach of small creators just like every other platform before it.

Claim 2: Only a small portion of users utilize the chronological feed.

You can find a poll by user @darkwood-sleddog here that at the time of writing this, sits at over 40 THOUSAND responses showing that over 96 percent of them use the chronological feed*. Claiming otherwise isn't just a misstatement, it's a lie. You are lying to your core userbase and expecting them to accept it as fact. It's not just unethical, it's insulting to people who have been supporting your platform for over a decade.

Claim 3: Tumblr is not easy to use.

This is also 100% false and you ABSOLUTELY know it. Tumblr is EXTREMELY easy to use, the issue is that the documentation, the explanations of features, and often even the stability of the service is subpar. All of this would be very easy for staff to fix, if they would invest in the creation of walkthroughs and clear explanations of how various site features work, as well as finally fixing the search function. Your inability to explain how your service works should not result in completely ignoring the needs and wants of your core long-term userbase. The fact that you're more willing to invest in the very systems that have made every other form of social media so horrifically toxic than in trying to make it easier for people to use the service AS IT WORKS NOW and fixing the parts that don't work as well speaks volumes toward what tumblr staff actually cares about.

You will not get a paycheck if your platform becomes defunct, and the thing that makes it special right now is that it is the ONLY large-scale socmed platform on THE ENTIRE INTERNET with a true chronological feed and no aggressive algorithmic content serving. The recent post from staff indicates that you are going to kill that, and are insisting that it's what we want. It is not. I'd hazard to guess that most of the dev team knows it isn't what we want, but I assume the money people don't care. The user base isn't relevant, just how much money they can bring in.

The CEO stated he wanted this to remain as sort of the last bastion of the Old Internet, and yet here we are, watching you declare you intend to burn it to the ground.

You can do so much better than this.

Response to the Update

Under the cut for readability, because everything said above still applies.

I already said this in a reblog on the post itself, but I'm adding it to this one for easy access: people read it that way because that's what you said.

Staff considers the main feed as it exists to be "outdated," to the point that you literally used that word to describe it, and the main goals expressed in this announcement is to figure out what makes "high-quality content" and serve that to users moving forward.

People read it that way because that is what you said.

*The final results of the poll, after 24 hours:

136,635 votes breaks down thusly:

An algorithm based feed where I get "the best of tumblr." @ 1.3% (roughly 1,776 votes)

Chronological feed that only features blogs I follow. @ 95.2% (roughly 130,077 votes)

This doesn't affect me personally. @ 3.5% (roughly 4,782 votes)

[moonlit-tulip]

It's often noted, in discussions of the Death Note anime, that it's much weaker than the manga in its rendition of post-timeskip events partly for pacing reasons: the pre-timeskip parts of the anime adapt ~6.5 manga-volumes in 25 episodes, while the post-timeskip parts adapt ~5.5 in 12 episodes, so a lot more important detail-work is lost and the whole thing ends up feeling kind of perfunctory.

Much less often noted as far as I've seen, but nonetheless also true, is that the Death Note anime removes some important characterization-nuance from Light, starting right near the beginning, whose presence elevates the manga to be substantially better than the anime even before the time-skip.

In particular: the Death Note manga is, at its core, a tragedy in classic "character who has everything falls into ruin due to a fatal personal flaw" style. Light is a brilliant student who, in the future ahead of him, has the potential to do practically whatever he wants. He's driven to ruin by the fatal flaw of unwillingness to admit, either to others or to himself, when he's made a mistake. This flaw is an essential piece of his characterization, in the manga. And the anime pretty much entirely skips over it.

As portrayed in the manga, Light's decision to become Kira—which ultimately leads to his downfall—is made in the following way. First, he finds the Death Note, and is led by morbid curiosity to write a name in it, killing someone. Then, still not really believing it, he kills a second person too. At which point it hits him that he's killed two people. And at that point, after a viscerally-horrified breakdown about what he's done, the inability to admit mistakes kicks in, and he proceeds to rewrite his own value-system such that it yields the result that killing those people was actually okay, and in fact morally good. Because the alternative would be for him to acknowledge himself as having made a terrible mistake, and that, more than anything else, is something he's unwilling to do if he can see any other option at all. And then, having convinced himself that those two murders were good, he proceeds to reason that, if they were good, then doing more like them is good; and thus he becomes Kira, leading eventually, far down the line, to his ruin. The anime, by contrast, substantially deemphasizes this flaw of his, portraying him as much more calmly put-together through that series of events and thus making him come across as having been tempted in becoming-Kira-ward directions all along.

Similarly, in the anime, when Light leaks a bunch of information to L about his identity by using non-public information acquired via police channels, he declares that actually this was deliberate as a means of baiting L out so he can kill him, and the anime presents this declaration pretty uncritically. The manga, by contrast, presents it as an extension of that same character-flaw: Light is unwilling to admit to having actually just straightforwardly messed up, and therefore makes up a new plan to view himself to have been following-all-along, thus leading him to take more risks in his game against L going forward and thus, once again, helping him along the path to ruin.

Et cetera.

Compared with the manga, then, the anime's version of Light's characterization ends up less interesting. And, moreover, it introduces a plot hole, when the Yotsuba arc comes around! It makes it much less clear why an amnesiac Light would be so straightforwardly aligned against Kira. In the manga, this is pretty clear: a Light who never killed anyone wouldn't have rewritten his values to consider killing people to be good, and therefore would look at Kira as straightforwardly evil. And, in fact, his amnesiac self has trouble taking the possibility of his having been Kira previously, even as the evidence starts building up, because becoming Kira would be a mistake according to his value-system of the moment, and this leaves him having a very hard time contemplating the possibility of its having in fact happened! Whereas the anime, by deemphasizing Light's big flaw, makes his amnesiac-self's differences from the way he is for most of the story up to that point come across as much more out-of-nowhere, much less narratively well-founded.

So, overall, the people who talk about the Death Note manga as superior to the anime specifically post-timeskip strike me as somewhat understating things. The manga is superior to the anime pre-timeskip, too, via that extra layer of characterization and a resulting improvement both in character-interestingness and in plot-coherence. And thus I consider the manga to be very much the definitive version of Death Note from start to finish, despite the anime's relatively-higher popularity.

[starlightdelrey]

the view between villages

platonic ! f1 grid x reader

summary: f1 is a dangerous sport - it's common knowledge. but accidents - bad accidents - aren't as common. seeing the youngest (and only female) driver crash and not immediately respond is something the boys never thought they'd have to experience, and the rest of the world is just as devestated.

cw: major accident, graphic descriptions of injury and vehicular damage, graphic descriptions of car accident, mentions of death, blood and gore, negative emotions such as sadness and regret, angst, mentions of religion,

song pairing is "the view betwen villages" by noah kahan

(not based on any particular race)

today's race felt off to begin with. When y/n had attempted to leave her aging yorkie, comet, in her hotel room - like she had done for the past couple months - he began to whine.

"poor baby," she mocked, but turned the small TV on and switched it to the channel that would be broadcasting the race live. "look, com. watch me on the tv."

the dog had complied and jumped onto the un-made bed, but when she left and closed the door, he had whined once or twice before calming down.

she made a mental note to get him checked out at the vet, but got distracted when she showed up to the paddock and got a look at the track.

"the weather wasn't as shit yesterday during quali," she said off-handedly to max verstappen, who was chatting to the engineers.

"are you worried?" y/n was a good racer, it was clear - but whenever max saw how small she looked in comparison to everyone else on the team he had a small sense of dread. it wasn't new, just annoying.

"nah." she grinned at him, her hair already pulled back into a french braid for ease during the race.

---

"lights out.... and away we go!"

the lights blink out and y/n is already gunning it, attempting to bypass the boys from mclaren.

she discovered early on that locking up would be her main issue today, and she made it clear on her radio.

"i keep locking up."

her voice was calm but shook a little as she struggled to steer, and she spoke only in short sentences to prevent stuttering.

"copy."

finally, she worked out a system to braking that prevented the struggle, but in speeding up, found that she'd made her way into a mass of cars.

"watch out, y/n. keep out of trouble - wait until everybody else has moved out of each others way."

"ok. pulling back-" the radio crackled and then went silent as a car careened into the side of her.

---

the audiences at home got to watch a replay of the impact.

somewhere in australia, a family consisting of two parents, a teenaged boy and a little girl are watching the race.

the boy reacts first, jolting. "was that logan sargeant and y/n y/ln?"

"yeah... turn up the volume?"

the mother grabs the remote and obliges, terse.

"was that the girl driver?" the barely 5 year old asks, brows furrowed.

"baby, go play in the other room." her father dismisses her, and when she slowly shuffles out, eyes trained on the screen as the commentators relay the details, her dad huffs.

"now. and don't look at the screen anymore."

she squeals and runs out, and the boy starts to jiggle his knee up and down as they wait for more information.

across the world, houses go silent.

---

"and it looks like logan sargeant attempts to pull away from the crowd but misjudges the distance between himself and y/ln. we can see him here slam right into the right side of the body of her car, and she goes spinning out, right into barricades. oh! and if we slow it down, you can see that the force of her chassis hitting the barricades not only forces the car to lift fully off of the ground, but it also tips - the top of the vehicle flips up into the barricade until it falls back into place. that is a nasty hit for rookie red bull driver y/n y/ln."

the commentators keep talking, thinking nothing of the accident, until the cameras switch to the red bull team, who are trying to get into contact with the girl.

"y/n, are you okay?"

silence.

"can you respond? y/n we need a vocal response. anything, okay kid? even if you can just hold down on the radio button so we know you're there."

no response.

the commentators continue.

"and it looks like we're getting no response from red bull driver y/n, who has just crashed."

---

his whole body jerks on the impact, and he spins out off the track, coming to a shaky stop.

"shit, shit, shit!" his voice cracks.

"are you okay, mate?" the radio crackles at him as he's fighting back tears.

"yeah - was that y/n i hit?"

"yes, we can confirm the crash involved both you and y/ln. we are receiving word that it is a red flag crash."

"is she okay?" he doesn't get a response at first, so he tries again. "is y/n okay?"

"no word yet. sorry, logan."

"fuck! i'm so sorry - i really thought it was clear, i just... fuck."

"calm down, sargeant. wait for pick-up and keep yourself collected. we'll tell you as soon as we find anything out, okay mate?"

"sure."

he lifts himself from the smoking chassis and the world watches as he kicks it out of frustration before letting his head lower.

there's a sickening feeling in his stomach as he sees the girls unmoving vehicle.

he pictures her inside, and the fact that she's so much smaller than the older men cause his mind to unravel with pictures of her limp and unconscious.

---

inside the car, y/n blinks her eyes open, groaning.

her ears are ringing and her head hurts, and the body of her car is so warped that it's vacuum sealed her into the vehicle.

in the back of her mind, y/n feels the pain in her right thigh and left ankle, and her right shoulder feels dislocated.

"kid, we need an answer." the radio's muted and crackling, and when y/n tries to respond, she realizes that something on her end is fucked because they're still begging for an answer.

she goes to climb out of the car, but a sob tears out of her chest at the immense pain that suddenly blooms throughout her whole body.

she falls heavily back onto the seat and pants, closing her eyes.

she feels slight relief from the pain when she fully relaxes and closes her eyes, and nestles into her seat a little to get comfortable.

the need to sleep takes over her and she obeys, nodding off.

---

inside her hotel room, comet's ears pull back in concern as he hears his owners name being called out repeatedly from the television.

---

"red flag, max. we need to restart the race."

verstappen stills, his ears suddenly ringing. he has a bad feeling about the red flag but just can't place it.

"what's happened?"

"there was a crash between a williams and y/n. to the pit lanes, please." the voice on the other end seems calm, but there's a waver to it.

"fuck, are you joking? are they both okay?"

"the williams driver... logan sargeant, we're hearing, is up and out of his chassis. we've heard nothing from y/n yet."

he'd fight them, ask for more information, but knows that red bull would be the first to hear anything.

"tell me if you find anything out."

"copy."

as he drives to the pit lane, max replays her grin at him as she reassures the dutchman.

"nah." her nose is scrunched and hair pulled out of her face.

he thinks about how bulky the helmet looked on her, the barely 20 year old driver somehow never managing to put on any muscle, no matter how hard she tried.

he prays to jesus, zeus, allah, and even the virgin mary - surely she'd have sympathy to max's prayers, as she's lost someone dear to her before. any deity he can think of is immediately begged to ensure the safety of his partner.

---

a whining noise pulls y/n back into consciousness, and she furrows her brows.

"i'm trying to sleep, com. shut up." when she opens her eyes and sees the battered cockpit in front of her, she realizes that she's not hearing her dog cry, it's just the ringing in her ears that are back.

and then suddenly all she can see is comet waiting for her. comet, waiting in a hotel room that she'll never re-enter. what's gonna happen to the mutt if she dies? her parents are over-seas, she has no boyfriend to look after him. comet would be all alone.

and then all the guys on the grid are flashing through her head. she knows, vacantly, that logan crashed into her. he'd never forgive himself if she died. verstappens win streak would be fucked if he was grieving over his teammate. even lewis hamilton, who was the first driver to openly back her as the only woman on the grid.

she screws her eyes shut and lets out a heavy sob, steeling herself.

---

the commentators are no longer focused on the race.

"and i think i can speak for all of us when i ask, where is the goddamn safety car and ambulance? young driver y/n y/ln has been stuck in the wreck for about a minute and a half now, and there has still been no aid for her. which is a cause for concern about the overall safety of f1, as- oh my god!"

---

charles is already on his way back to the pit lanes, muttering manifestations under his breath for y/n to be okay.

he's shaking, filled with lead and a lump in his throat. he and y/n aren't super close, due to their team differences, but every time he spoke to her she had a certain gleam in her eye that one only had when they weren't afraid of death.

this worried him. racing was her life - would she succumb easily? it was a known fact that many drivers drove as if they had nothing to lose.

the idea of her choking on mortality in her chassis scared him more. maybe her body was broken, and the pain was all she could feel as the life drained from her? he worried for those that would have to witness the blood and bruises when she was pulled from her car.

"we've got an update on y/n."

he was pulled out of his mind. "tell me. please."

"she's getting herself out. the paramedics were taking too long, so she took it upon herself, apparently." a startled laugh falls out of charles' lips as he cheers back.

---

muscles screaming, y/n forces herself to lift out of the cockpit, allowing her body the only relief of rest once her upper half is slung over the halo. for about five seconds she stops, before she forces herself to continue.

the safety car and paramedics are here now, and camera crew for the live footage plus the netflix crew are close behind.

people are shouting at her to stop, but she continues to claw her way out of the wreckage.

she's crying and praying to a god she never knew she believed in as she forces her broken legs out of the car, sliding over the side to the ground.

she stands and looks around at the medical crew who are advancing towards her and tries to take her helmet off. she can't, and they're reassuring her that they'll do it for her.

y/n looks out at the audience and raises one arm to greet them. she's met with immediate raucous applause and, swaying for a few seconds, she falls.

---

"you would never believe it. this lady is pulling herself out of her car. as the camera zooms, you can really see the absolute strength this is taking her - hold on, we're getting audio now."

the world watches with bated breath as the coverage of her climbing out of the car begins to play. you can hear the agonised screams she lets out as she forces herself to exit, and just how broken some of her limbs look. her left ankle hangs limply, and she has to use both arms to force her right leg out of the cockpit.

"what a magnificent scene. y/n y/ln has kissed death, and still lives to tell the tale. we see her now, standing on the track as the medical staff come to her aid, and she falls. a very fair response to what she has just gone through. a round of applause to y/n y/ln, the girl who kissed death!"

---

"so lando, congratulations on p4. obviously, the whole crash between logan and y/n caused a damper on the overall race. how do you feel about it?" the interviewer pushed a mic at his face.

"the crash? yeah, it was terrifying not knowing if she was okay or not. i'm not surprised she ended up climbing out of the chassis herself," he laughs softly. "i've never known her for being patient."

"how do you feel about her new nickname?"

"nickname?"

"people are calling her 'the girl who kissed death'."

lando can't stop a high-pitched laugh from escaping. "girl who kissed death? that's stupid. oh god, i can't wait for her to find out about that. she'll be proper pissed off."

"right, well, thanks lando. have fun celebrating!" the interviewer bids him farewell.

---

a few months later:

over the healing process, y/n was forced to give multiple statements, post social media posts, and even a quick video from the hospital bed, but when she sees comet, her resolve finally fails.

she begins to tear up as the scruffy dog barks at her, jumping up and down.

"someone's excited to see you," lewis hamilton, the temporary guardian of the dog, grins.

roscoe stomps his feet and licks y/n, panting at her.

"awe, little babies. i was so scared of dying and leaving comet all alone, but i think he would've been fine."

lewis glances down at the kneeling girl in front of him and tsks, nudging her with his foot. "don't say that, y/n. nobody would've been fine."

"yeah?"

"yeah. have you seen all the tiktok edits of your crash? people were terrified. i was terrified."

y/n doesn't say anything, but stands to hug the british man.

he holds her back, before clearing his throat. "save that love for death. heard you've kissed it before."

"fuck off."

--- la fin ---

[felassan]

John Epler in the BioWare Discord (August 7th) -

John: "You can disable/enable helmets for cutscenes or at all times." --- User: "Will we be able to collect codex entries again?" John: "Absolutely. Codex entries are part of the series' DNA - plus, they're really fun to write." --- User: "Are there long curly hair options?" John: "There are!" --- User: "Are sub-classes locked to the faction you’re in?" John: "No. They're themed towards factions, but you can choose a specialization from a separate faction than your own." --- User: "Will subtitles from companions be on screen with their icons lit up like in Inquisition?" John: "Subtitles will appear center-screen and have the speaker name attached. So you'll see who's saying what." --- User: "Regarding the cutscenes findable in the game, will a gallery be available for re-watch?" John: "Not at present, no. Since our cutscenes are (almost all) real-time in-engine, this would be nearly impossible with our tech."

[character limit text break!]

User: "What are the chances for a third World of Thedas volume after The Veilguard's release?" John: "I can't comment on specific plans, but World of Thedas is close to my heart and I'd love to do more in general with our ancillary books and products, once we're able to come up for air from the game." --- User: "Can we edit our race during character creator freely or are we locked in by choosing race first like in inquisition?" John: "Lineage informs a number of options after that choice - you can always go back in CC and change it, but it's the first decision you will make and changing it will reset the following decisions." --- User: "I did have a follow-up on lineage - do the other lineages/races also have background choices the way elves do with city/dalish? CAN we play a qunari raised within the Qun?" John: "So a couple of things, just to be super clear on this. There is no 'city elf/dalish elf' switch (for example) that you can pick in character creator. Each lineage can be each faction, though, and that will provide a baseline for your character you can further refine through role playing. For Elves, as an example - Veil Jumper elves tend to be more 'Dalish' to reflect that background, while Shadow Dragon elves tend to have a background that reflects being an Elf in Minrathous. Other factions have their own nuance. Importantly, those things tend to be more focused on how you relate to that faction, while leaving more general 'Elf' topics as something you have more freedom with. Or, TLDR - while choices at CC define some baselines around your character, we like to give you the opportunity to build your character's background and beliefs through in-game RP. Hopefully all that makes sense." User: "That does, and is right in line with what Corinne said during the Q&A! I was asking whether we would see the same background variety in the non-elven lineages." John: "Yes! Sorry, that's what I was trying to answer - there will be plenty of opportunities to RP who you are/were as the other lineages as well."

[character limit text break!]

User: "are there companions gifts again" John: "Isn't the gift of your presence enough? More seriously, though - you very well might find things in the world that certain companions would appreciate!" --- John: "Rook is generally assumed to be anywhere from late 20s to late 40s, but ultimately we don't give Rook a specific age. You can RP them to be however old you want." --- User: "will conversations be zoomed in like a cutscene type or zoomed out like in DAI?" John: "While we do have some 'lighter' conversations for specific types of content, they use a more traditional over-the-shoulder cinematic camera. I created the simple conversation system in DAI and while it did what we needed it to do, we heard the feedback on the camera loud and clear." --- User: "The darkspawn look fairly different in veilguard. Is ot a simple redisgn like the demons or is it due to them being enhanced by red lyrium?" John: "I'm not going to tell you WHAT it is that's making them look different, since that's a spoiler, but it's more than just a visual redesign." --- John: "Need and inspiration, mostly. We can't bring in every single animal out there, especially since we want the ones we DO put in the game to be at the right level of quality. So we pick the ones that we know make sense in the spaces we're building, and also it's based on what the team wants to do. If someone is incredibly passionate about bringing in a specific creature, it's something we want to give opportunities to pursue wherever possible. As to the general ecology of Thedas - there are absolutely similarities, but it's not 1:1. A world where megafauna still exist as apex predators (dragons) is going to have some pretty significant impact on what else exists." --- User: "does the lighthouse have a kitchen, can we eat and drink? what sort interactables are there at the home base" John: "Not going to get into specifics on interactables, but there is more to do in the Lighthouse than conversations with companions. The Lighthouse does have a kitchen, and your companions acknowledge it/use it both narratively and ambiently. Some maybe better than others." John: "A little more expansion on this - we want the Lighthouse to feel like a 'real space' as much as possible. That means making it a space that makes sense and, eventually, feels like home to you and your team. It also means spending a little extra time on how the companions (and Rook) use and exist in the space. At this point we've made a LOT of personal hub spaces in DA and ME, and we've learned a lot from doing so." --- John: "It wouldn't be a DA game if we didn't have some returning characters. We've shown some of the more obvious ones, and hinted at others, but we want to keep some surprises for launch."

[source: the official BioWare Discord]

[tikitakatia]

Under Watch — A. Putellas x Reader

"New Neighbour, New Problems "

WC: 1.8k

Summary: The threat against Alexia looms closer, but the management has the perfect solution.

You’re leaning against the hood of the car when she appears. Hair still damp from her post morning workout shower, hoodie slung over her shoulders, earbuds in. Alexia walks like someone who doesn’t expect to be bothered. Which is really ironic, considering that’s your entire job description.

She slows when she sees you. One eyebrow arches. "You’re driving me now? What is this, high school? Should I sit in the back and pretend I need some lunch money?"

You nod toward the driver’s side. "New protocol. Until further notice."

She groans audibly and mutters something in Catalan that you don’t catch, but the tone is universal. Disgust. Annoyance. A hint of ‘I’ll set this car on fire if it proves a point.’

And then she sees it.

The note.

You’d already bagged it, gloved and stored. But the outline where it sat on the windshield is still obvious.

She goes still.

"Another one?"

You nod. "Same handwriting. Slightly more aggressive."

"Of course it is. People get weird when their teams lose. Or win. Or breathe."

"We’re escalating precautions."

Alexia exhales sharply through her nose. "You mean panicking."

"They mean panicking," you correct.

"I mean adapting."

She gives you a long look. Not hostile. Just tired. Then gets into the passenger seat and slams the door with unnecessary force.

"Fine. But I’m choosing the music."

You don’t answer. She turns up the volume anyway.

They break the news right after practice. No warning, no soft lead-in.

“You’ll have a new neighbor starting today,” says the club security lead. “It’s part of our reinforced protection protocol.”

Alexia blinks. "Okay... What does that have to do with me?"

He shifts in his chair. "It’s your new bodyguard. She’s moving into the unit next to yours."

The silence is instant. Then loud.

“You cannot be serious.”

"Alexia, this isn’t just about notes anymore. Someone got inside the building. They knew your car."

"It’s a public parking lot. You let fans in there all the time."

"Not with access to your elevator."

She scoffs. "Maybe the security team should be better at their job then."

You don’t speak. Not yet. You're leaning against the back wall, arms folded, face neutral.

Alexia wheels toward you. "You knew about this?"

"I was informed this morning."

"Of course you were. And you just what? Packed up your little secret agent suitcase and showed up like it’s nothing?"

You shrug. "It’s part of the job."

"Well, I hate it."

"Duly noted."

She turns back to the security team. "This is ridiculous. I have a lock. I have an alarm system. What do you think is going to happen, someone crawls through the vents and I need Sombra next door to kick them in the face?"

"This isn’t a negotiation, Alexia. The club signed off on it. It’s a temporary assignment."

She mutters something under her breath that sounds like "temporary my ass" and stands, grabbing her bag.

“I’m not agreeing to this.”

“You don’t have to. It’s already done.”

A few hours later, you’re unlocking the door to your new apartment with a box under one arm. She’s standing in the hallway with a protein bar in hand, unwrapped but untouched.

“Let me guess,” she says. “You also have access to my building, and floor layout, my grocery list, and the microchip they implanted in my skull at birth.”

“Just your floor. And your training schedule.”

She stares. You unlock your door and step inside. She follows like an angry cat, keeping her distance but making sure you know she’s watching.

“This is overkill.”

You open the window. Sweep the place. First habit.

“You’re not that important.”

She bristles.

“That’s not what I meant,” she mutters, but you’re already plugging in your encrypted laptop.

She lingers in the doorway. "You’re not going to say anything else? No apology for completely violating my life?"

You look up. "I’m not here to violate. I’m here to protect."

She makes a face like that might be worse.

That evening, she stomps by as you’re bringing in another box.

“Are you going to be pacing the hallway all night like some sort of armed Roomba?"

“No. Just until I'm set up."

“Well, can you at least do it silently? Some of us are trying to pretend we have privacy."

You say nothing. She rolls her eyes and disappears into her apartment, slamming the door harder than necessary.

The next morning, she sees you in the hallway.

“I almost tripped over your boots,” she says. “Are you nesting in the hallway now, or should I just assume you live here more than I do?”

You nod toward the wall. “Your door has a new sensor now. Motion-triggered. You’ll hear it if someone lingers outside too long."

She freezes. Her mouth opens, then closes.

Then: "So now my door tattles on people. Great. Can’t wait for it to go off when I get home drunk."

You glance at her. "I'll disable the alarm if you're singing."

She glares. “You think you're funny, huh?”

You don't answer. That, in itself, is the punchline.

Dinner is loud, messy, and deeply therapeutic. Alexia’s on her second glass of wine, slumped into her chair like she’s aged a decade in one week. Patri’s already warned the waiter that the table might need extra bread, patience, and backup wine.

“She’s everywhere,” Alexia says, stabbing at her grilled vegetables and pretending they´re you.

“Like… omnipresent. A specter in a hoodie.”

"Sounds kind of hot," Marta says casually, sipping her sangria.

Alexia throws her a sharp look. "That’s not the point."

"But you’re not denying it," Irene hums.

"It’s irrelevant," Alexia snaps, then sighs.

"I open the door to take out my trash and she’s there. I go down to grab a delivery, she's already standing by the elevator like she’s predicting my thoughts. I swear it's like she has motion sensors or something."

"That’s… literally her job?" Patri says slowly, brows raised.

"Yeah, to protect you?" Irene adds. "Not to wait around until you're ready for a hug."

"Okay, but do bodyguards really need to be so silent all the time? It’s unsettling. She’s like a ninja. I dropped my keys in the hallway and she just... appeared. No footsteps. No sound. Just materialized out of nowhere like a ghost."

"A ghost in Nikes," Marta says, grinning.

"With great cheekbones," Irene adds.

Alexia makes a frustrated noise and drops her fork with a clatter. "This is not the support I expected."

"We’re just saying," Patri starts gently, "you’re not the same level of anonymous anymore. You’re… big. A worldwide football sensation. That means more weirdos, more creeps, more risk."

"And she’s good," Irene says. "Did you know she checked the entire restaurant while we were coming in? Didn’t even make a scene. Just a little loop like she was on her phone."

Alexia blinks. "Seriously?"

"Seriously," Marta nods. "Clocked it right away. Didn’t miss a beat. Kind of badass, honestly."

Alexia sinks a little in her seat. She hates that she hadn’t noticed. Hates that she kind of agrees.

"She even nodded at the hostess like she was confirming something," Patri adds. "Stoic, but polite."

"Oh my god," Alexia mutters. "She’s efficient. She’s polite. She’s a fucking Girl Scout with a security clearance."

Marta smirks. "And did we mention-"

"Yes, yes, she’s attractive, I’m not blind," Alexia grumbles into her glass. "But that’s not the point."

"Maybe not," Irene teases, "but it’s a nice bonus."

Alexia opens her mouth to argue, but her phone buzzes. She checks the new message.

[Sombrita]: Crowd is forming outside. Photos, videos. Suggest back exit. I’ll be waiting by the kitchen doors. Van is ready.

She groans. "She’s already planning our escape."

"That’s actually kind of hot," Patri says with a grin.

Alexia shakes her head, but there’s a reluctant tug at the corner of her mouth. "I just want her to be less… present."

The table goes quiet. Her friends exchange a look.

"Less present," Irene repeats softly.

"Not gone," Marta notes.

Alexia glares at her wine. "You’re all the worst."

Another buzz. 

[Sombrita]: Five minutes. Back exit. Let me know if anyone needs help getting out.

Alexia sighs again. She types back a terse: Got it.

As they gather their things and follow the waiter through the back, Irene leans in close.

"Hey, at least she makes you feel safe, right?"

Alexia doesn’t answer, but she doesn’t argue either.

It’s late when you hear the sensor alarm start its soft beeping. Silent, subtle, set to trigger if anyone stays in the hallway for more than two and a half minutes. You’re on your couch, sweats and tank top, a book open in your hand you haven’t really been reading. She's been standing there for a while.

You wait. Half a minute more. Then, for your own amusement more than anything, you switch it from silent mode to a single loud beep. Just one. Just enough.

"For fuck’s sake!" Alexia growls angrily from outside, voice muffled through the door.

You’re up in a second, unlocking her front door with a single tap of the card.

She’s startled when it opens.

"Have you been watching me this whole time?"

You don’t say anything. You just smirk.

Alexia narrows her eyes. She’s flushed, slightly tipsy from wine with her family, wrapped in a soft oversized coat, hair messy from the wind. She looks more tired than drunk, but the tipsiness makes her looser, sharper-tongued.

"Well? Are you going to let me in or are we going to stand here all night while you flex your creepy telepathic door-opening skills?"

"After you." You step aside and gesture smoothly.

She walks in haughtily, except her handbag catches on the door handle as she passes. The momentum jerks her back slightly, throwing her off balance.

You catch her instinctively. One hand on her elbow, the other lightly at her waist.

"Careful," you say.

Alexia steadies herself but doesn’t pull away immediately. Her gaze flicks up to yours. "Are the reflexes also part of the job description, or do you just enjoy being everywhere at once?"

You tilt your head. "Would it bother you less if I said I enjoy it?"

She scoffs, but there’s a small smirk threatening to betray her. "A little full of yourself, aren’t you?"

You release her gently, stepping back. "Just observant."

She walks into her apartment, still facing you, eyebrows raised.

"Yeah, well. Don't get used to catching me."

"Wouldn’t dream of it."

Alexia turns away fast enough that you don’t see her smile, but not fast enough to stop you from knowing it’s there.

She closes the door behind her, and for the second time that night, you return to your post.

Across the hall, light from under her door seeps into the hallway. You hear her footsteps pause.

Then nothing.

But a few seconds later, the peephole darkens for just a heartbeat.

She’s watching you too now.

[slyandthefamilybook]

okay because I'm seeing some misinfo, here's the story on the Key Bridge collapse

What was the Key Bridge?

The Francis Scott Key Bridge (also called the Key Bridge, the Beltway Bridge, and the Outer Harbor Crossing) was steel-arch continuous-through-truss bridge spanning the Patapsco River south of the Baltimore Harbor. The bridge took 5 years to build and cost an estimated $145 million ($735 million in today's dollars). The full bridge project (including approaches) was 10.9 miles long, but the stretch over the Patapsco was 1.6 miles long and 4 lanes wide, and comprised a length of I-695, the Baltimore Beltway. It traveled between Hawkins Point and Dundalk, and in addition to the I-895 Harbor Tunnel was the primary way for Marylanders to cross from the Eastern Shore to the West. The bridge carried an estimated 11.5 million vehicles per year. There is a lane for ships to pass under the Key Bridge with enough clearance.

Was it structurally sound?

The bridge received its latest inspection in 2022 and received a 6/9 score, which is considered "fair" by federal standards. There was a concern with one of its columns, which was downgraded from a health index of 77.8 to 65.9, but it is not clear yet if this was one of the columns struck by the ship. In 1980 the bridge was struck by a different cargo ship which destroyed a concrete support structure, but the bridge itself was unharmed. There is as of yet no evidence that the bridge collapsed because of poor condition. Experts say the lesson to be learned is about the size and weight of modern cargo ships, and that the bridge was not to blame. Engineers have noted, however, that the bridge's piers lacked protective devices such as fenders.

What was the ship?

The MV Dali is a container ship flying the Singapore flag. It is owned by Grace Ocean Private Ltd. and operated by Synergy Marine Group Ltd. The ship is currently being chartered by Maersk, a Dutch shipping company. It was built in 2015 by Hyundai. The ship is 980 feet long and 157 feet wide. The ship's gross tonnage (its internal volume) is 95,128 tons (190,256,000 pounds). Its deadweight (the weight of cargo it can carry) is 116,851 tons (233,702,000 pounds). The ship was carrying 3,000 containers. The engine is a MAN-B&W 9S90ME putting out 41,480 kilowatts (55,626 horsepower).

Over its lifetime the Dali has been inspected 27 times, and only 2 faults were ever found. On June 27, 2023 the Dali was held in port in Chile due to an issue with the propulsion system. According to an inspector the pressure gauges on the heating system were "unreadable". The fault was fixed before the ship left port.

The Dali is crewed by 22 Indian nationals including 2 maritime pilots.

What happened?

The Dali arrived at the Port of Baltimore on March 23, 2024. At 12:44 AM on March 26, 2024 the Dali left port, beginning its journey to Colombo, Sri Lanka. At 01:26 AM the ship suffered a "complete blackout" and began to drift out of the shipping lane. It is not yet known what caused the electrical failure. The backup generator did not power the propulsion system. At around 01:26 AM the crew of the Dali sent a mayday distress call to the Maryland Department of Transportation (MDOT) informing them of the loss of power and that a collision with the Key Bridge was possible. The anchors were dropped as an emergency measure to attempt to slow or stop the vessel. At the request of one of the pilots traffic flow over the bridge was immediately halted. Black smoke was seen coming from the Dali, which experts believe was the result of the crew managing to restart the power system to regain some maneuvering capability.

At 01:28 AM the Dali, traveling at 8 knots (considered to be a fast speed) collided with a support strut beneath the Key Bridge's metal truss at the southwest end of the bridge. A Baltimore resident said he heard the collision and that it "felt like an earthquake". Emergency teams began receiving 911 calls at 01:30 AM, and the Baltimore Police Department were alerted at 01:35 AM. One of the officers present radioed that he was going to go onto the bridge to alert the construction crew as soon as a second officer arrived, but the bridge collapsed seconds later.

What was the damage?

The Key Bridge has completely collapsed. The metal truss relies on structural tension from the bridge itself to maintain its rigidity. As soon as one of the support columns was destroyed, the rest of the bridge quickly followed.

The damage to the Dali is reported as minimal. The ship was impaled by the bridge's structure above the waterline, but has maintained watertight integrity. The crew has not reported any water contamination from its 1.8 million gallons of marine fuel. 13 containers carrying potentially hazardous material were damaged, and are being inspected by a team of Coast Guard divers. At least 5 vehicles including 3 passenger cars and a cement mixer were detected underwater, but authorities do not believe they were occupied

Who was hurt?

The crew of the Dali reports no casualties, except one crewmember who was hospitalized for minor injuries. There was a crew of 8 construction workers on the Key Bridge filling in potholes. 2 were immediately pulled from the water by rescue crews, with 1 being rushed to emergency care and the other reporting minor injuries and refusing treatment. The hospitalized worker has since been discharged. 1 of those rescued was Mexican. The remaining 6 remain missing. Of those 6, 2 have been identified:

Miguel Luna from El Salvador

Maynor Yassir Suazo Sandoval from Honduras

Of the remaining 4, 2 are Guatemalan nationals. Neither have been identified, but the Guatemalan Foreign Affairs Ministry has stated that they were a 26-year-old from San Luis, Petén, and a 35-year-old from Camotán, Chiquimula. The other 2 are presumed to be Mexican.

Rescue Efforts

The Coast Guard was immediately deployed for search-and-rescue operations. Military Blackhawk helicopters were seen over the river. Rescue efforts were ended at 07:30 PM on March 26, 2024 due to darkness, fog, and cold temperatures. Rear Admiral Shannon Gilreath said "Based on the length of time that we've gone in the search, the extensive search efforts that we put into it, the water temperature -- at this point, we do not believe that we're going to find any of these individuals still alive". Recovery operations resumed at 07:30 AM on March 27, 2024 with all 6 workers presumed dead.

No divers have yet entered the water underneath the bridge. Supervisory Special Agent Brian Hudson of the FBI's Underwater Search and Evidence Response Team said "the debris field is pretty sizable and I know that’s why they’re hesitant to send divers down because some of the debris is still shifting, the heavy weight of the rocks". The FBI has deployed Remotely Operated Vehicles (ROVs) equipped with cameras and SONAR.

Aftermath

At 05:08 AM on March 26, 2024 Transportation Secretary Pete Buttegiege posted on X (formerly Twitter):

"I’ve spoken with Gov. Moore and Mayor Scott to offer USDOT’s support following the vessel strike and collapse of the Francis Scott Key bridge. Rescue efforts remain underway and drivers in the Baltimore area should follow local responder guidance on detours and response."

At 07:30 AM on March 27, 2024 President of the Maryland State Senate Bill Ferguson posted on X (formerly Twitter):

"Over 15,000 in the Balt region rely on daily operations at Port of Baltimore to put food on the table. Today, with Del. @LukeClippinger and colleagues representing Port, we are drafting an emergency bill to provide for income replacement for workers impacted by this travesty."

At around 09:40 AM on March 26, 2024 Maryland Governor Wes Moore and Baltimore Mayor Brandon Scott declared a State of Emergency to take effect at 10:30 AM March 26, 2024, and to last 30 days. Baltimore's Emergency Operations Plan was put into effect.

More than 1,000 personnel from the US Army Corps of Engineers (USACE) have been deployed to assist with clearing the debris and rebuilding efforts. President Joe Biden has pledged that the federal government will pay for the entire reconstruction of the bridge.

Jennifer Homendy, the chair of the National Transportation Safety Board (NTSB) has recovered the Dali's data recorder, and will be inspecting both the Key Bridge and the Dali to determine the cause of the crash and the collapse. She says the investigation could take up to 2 years to complete.

Was it intentional?

According to William DelBagno, head of the FBI's Baltimore field office: "There is no specific or credible information to suggest there are ties to terrorism in this incident".

Secretary of Homeland Security Alejandro Mayorkas said: "There are no indications this was an intentional act".

At least 3 people have been killed in accidents related to ships operated by Synergy in the past 6 years. In 2018 a person on board a Synergy ship in Australia was killed in an accident relating to the vessel's personnel elevator. In 2019 an officer aboard a Synergy vessel in Singapore fell overboard while performing maintenance. In 2023 at least one sailor was killed when a Synergy ship collided with a dredging ship in the Philippines. In the first two cases safety inspectors noted that proper safety procedures had not been adhered to.

Sources

1, 2, 3, 4, 5, 6, 7

[3liza]

my very serious advice for any american who went through the garbage american school system and wants to stop being butt ignorant about world history as an adult:

buy all three volumes of the Cartoon History of the Universe by Larry Gonick and read them on the toilet. you can get them cheap on ebay. they're black and white comics, so if you like coloring books i recommend coloring as you read, it will help you retain information. some of the paleontology stuff in volume 1 is a bit out of date, but otherwise these are still mostly solid primers on history generally and EXTREMELY easy to read and retain. he did other history books (history of the usa, history of computers, etc) but imo they are not as strong

watch the monty python movies The Life of Brian and Monty Python and the Holy Grail and just look up everything in it that you dont understand

thats it. do those two things and you'll be in the 99th percentile of adult americans in terms of historical knowledge, unfortunately.

[writing-with-olive]

On October 4, at about 2:20pm Eastern Standard Time (EST), FEMA is doing an emergency alert test. This means that all phones, regardless of if they have been placed in do not disturb will go off with that beeping noise. If you have a secret backup phone that you need the people you're with to not know you have, set a reminder to turn it all the way off.

For apple phones, this means holding the power button for five seconds and swiping the "power off" switch that shows up on the screen. Same with androids and early google pixels, except you'll be tapping a button. For google pixels 6 and later, you'll hold the power button and the volume up button at the same time. To turn on for all phones, you'll hit the power button and wait a sec.

Remember that the alert will still come through when you turn your phone back on, so make sure that you are in a place where that noise is safe.

Note that, for whatever reason, if they can't put out the alert, the backup test date is October 11th.

The link below is to the official press release with the information.

[sirfrogsworth]

Hard & Soft: An Explanation of Light

I was watching a video from one of my favorite tech YouTubers, Mr. Whose the Boss. He was showing off some of his favorite tech and pulled out this tiny LED light.

And then he placed a diffuser on the front and said this...

"You can equip a softbox on the front which *massively* softens the light on your face."

Sorry, Arun.

No it doesn't.

I sometimes wish I could get a job as a YouTube lighting advisor. So many creators have to set up and use professional lighting but very few actually have an understanding of how their lighting works. And with just a little knowledge they could up their lighting game big time.

If nothing else, I could stop the plague of ring lights.

Ring lights are my nemesis.

*shakes fist at ring lights*

Arun repeated a classic myth. Diffusing a light does *not* make it softer. And despite the name, a softbox is fully capable of producing hard light. Especially if it is only the size of your granddad's wallet.

I'm afraid softboxes are a bit misnamed—much like how the tremolo system on a guitar is technically a vibrato mechanism. Tremolo is a fluctuation of volume, not pitch. Personally, I just stick to calling it a whammy bar because that is more fun anyway. And, like, what does "whammy" even mean in the context of a guitar? I'd rather call something by a nonsensical name than an inaccurate one, ya know?

What the hell was I saying?

SOFTBOXES!

They should probably be called "light homogenizers." Which is a mouthful, but more accurate.

Or, hear me out... WHAMMY BOXES.

Froggie Note: I am trying a color coding technique to help make the most important information stand out. Red means PAY ATTENTION and blue means "do your best to remember this." Let me know if this is helpful or annoying or if a different color combo is preferred.

Hard Light vs. Soft Light

Hard light is a less flattering light source that creates high contrast, sharp shadows, and accentuates texture.

Soft light is a more flattering light source that creates soft shadows and reduces texture like pores, blemishes, and wrinkles.

You can *only* get hard or soft light by changing the apparent size of a light source from the subject's point of view.

If you remember only three things about light, they should be...

Bright light = sharp photos, less noise Hard light = small light source Soft light = large light source

Now, it's important to remember that hard light is not *bad* and soft light is not *good*. In photography, the oft-used parlance "flattering" just refers to the rendering of facial features and blemishes. So you might use a more flattering lens to make sure faces do not distort or a more flattering light modifier to reduce wrinkles.

But there are situations where soft light can be very boring and hard light can be much more dynamic and interesting. But if you have someone who is insecure about their skin or has a lot of blemishes, you can mitigate that by making the light softer. But if you have someone with great skin and a lot of angular facial features, you might use a hard light to show that off.

Which of these do you prefer?

The one on the left was taken with a 7 foot diameter light source and is *very* soft. But the other had a 1 foot diameter and I think it is more dynamic and interesting.

You can also mix hard and soft light. And with something like a parabolic reflector or a beauty dish, you can even modify a light source to be hard and soft at the same time.

This technological terror of a light modifier is sort of like having 24 individual small lights around the edges but the entire surface of the reflector also acts as a single large light source.

And when it isn't atomizing Alderaan, it is taking photos like this...

This creates a falloff of light around the edges of her face, nose, and arms while also reducing the intensity of the shadows. Lenses with longer focal lengths prevent distortion of facial features but also flatten our faces. So a modifier like this can bring back dimensionality.

Neat!

Now I just need $8,000 to buy the Death Star light.

There are a ton of possibilities when it comes to modifying light sources, but most people typically want the main light on the subject to be in the realm of soft and use hard light sources as edge lights.

Also, everything is a spectrum and light is no different. There is a giant space in between hard and soft to play with. In fact, the hardest light possible would be cast on a subject floating in space.

And the softest light possible would be on a planet that has 100% cloud coverage that still allows sunlight to scatter through.

So, I have determined the surface of Venus to be the most flattering light in the universe.

Look at how dark and sharp that astronaut shadow is! And I'm sure Venusian photography would be quite popular if you wouldn't burst into flames.

On planet Earth, noon on a clear day would be the hardest light and a very overcast day would be the softest light.

How can the sun be both hard and soft light?

Well, the sun is quite large, but it is very small in the sky and very far away. It is the only thing humans can observe that is close to a "point" light source—the smallest light source possible that shines light equally in all directions.

But on an overcast day, sunlight scatters through all of the clouds and becomes a HUGE homogenous light source. The clouds become a singular giant light above us. And as you can see, the light is so soft the woman does not have a hint of shadow on her face. And shadows can draw attention to pores, wrinkles, blemishes, and other textures.

But wouldn't the smallest light source be a laser or something?

When photographers refer to a small light source we mean from the perspective of the subject being lit. This is referred to as apparent or angular size.

But you also have to account for the size of the area the light source can illuminate.

This is the area a laser can light up.

And this is the area the sun is able to cats cast light upon.

It doesn't matter if a laser is close or far away, it focuses light onto a very small area. But the sun lights up half the planet. So look at imagine the apparent size of the sun in the sky and compare its size to half of the Earth. In that relative circumstance, the sun is a super tiny light source.

And the sun becomes an even tinier light source on the moon because there is no atmosphere or clouds to scatter and enlarge it.

You can change the apparent size of a light source in two ways...

The physical dimensions of the light and the distance from the subject.

A light with small dimensions can be a large light source if it is close enough and if the subject is small enough. So a flashlight could be a large light source for an ant if that flashlight is directly next to said ant. But a flashlight could never be a large light source to a human.

However, we can enlarge small light sources with modifiers.

A modifier can be a softbox. It can be a piece of paper. A large poster board. A wall or a ceiling. Anything that changes the nature of a light source can be a modifier. But not all modifiers increase the size of a light source.

So, you can take that flashlight, shine it on a wall, and reflect the light to make a giant light source capable of producing softer light.

But what you cannot do is put diffusion material directly in front of a flashlight and make the light it produces softer.

When Arun put that diffuser on the front of that tiny light, he was not making the light any bigger. He was only making the light more diffused.

What does diffusion *actually* do?

Diffusion scatters light. It makes light bounce in all directions and keeps it from being focused. And while this is an important aspect to making a light source larger, it does not change the apparent size of a light source on its own.

Diffused light is homogenous.

A homogenous light source has the same intensity across its entire surface area. And that homogenization is the key to creating a better soft light source. It can *assist* in making a light source larger, but only if you know how to wield that diffusion properly.

When you shine a flashlight toward a wall, you increase the apparent size of the light source.

Fantastic! You now have a softer light. Mission accomplished.

But if you do not diffuse it, you will create a hotspot.

That bright hotspot will reflect more light than all of the other light reflecting off the wall. That reflected light has different intensities across its surface area and you end up creating TWO distinct light sources—one hard and one soft.

This can sometimes be desired if you want to create graduated light that falls off like I showed earlier. But if it is not controlled well with a specialized modifier a hotspot can cause more problems than benefits.

This can reveal unwanted texture, double shadows, cause harsh glare, and it may not achieve the desired amount of soft, flattering light you were hoping for.

However, if you diffuse the light from the flashlight before it hits the wall, the light will scatter and reflect off the wall more evenly. You will create a more *homogenous* light source that acts as a single entity of light.

Diffusion does reduce the overall intensity of the light, but that is usually a worthy trade off for the increased homogeny.

These pesky hotspots are actually a big problem with those cheap softboxes you can buy off Amazon.

Many of them do not have enough diffusion to create a single homogenous light source. So they end up with a hotspot that gives you that double light source effect.

I was able to fix this with my friend Katrina's softbox by adding a layer of tracing paper in front.

You can see the chip clip holding the tracing paper in place on the right side.

Photography is just problem solving all the way down.

A higher quality softbox will have a second layer of diffusion already built in to prevent this, so make sure the softbox has this feature before buying.

Or invest in a roll of tracing paper and some chip clips.

Softboxes are an ingenious light modifier when built properly. They take a small light, diffuse it, enlarge it, and then focus it toward your subject. It's essentially a paradox of scattered & focused light. And since all of the scattering only happens *inside* the softbox, it gives you great control over how that light hits your subject. And you can focus it even more by putting a grid on the front.

This keeps light from "spilling" off to the sides though it can reduce intensity a bit and create unusual looking catchlights in the eyes.

Whereas a cheap shoot-through umbrella kinda "shoots" scattered light all over the place and causes a ton of extra reflections off the walls and ceilings. That may end up giving you unwanted second, third, and fourth light sources contributing to your exposure.

You can see light hitting the left and right walls and the ceiling—those pesky photons are going everywhere! And while it is giving a soft, flattering result due to that umbrella being so freaking big, you have almost no control over the light and how it affects your background.

So, yes, a softbox can make a small light source bigger, but that doesn't always mean you will get "soft" light.

This softbox takes a 10 inch LED panel and creates a 12 inch light source. This is mostly a scam product.

The marketing says it makes the light softer.

And while that is *technically* true, I'm afraid people are going to be disappointed if they think this thing is going to dramatically soften their light. A small increase in surface area like that would only be dramatically different if you were lighting a little toy car or the hypothetical ant friend I mentioned earlier. Something the size of a person is not going to see a difference in softness. Not to mention you are going to decrease the power of your light by adding diffusion and have no softening benefits.

Photography gear companies love taking advantage of new photographers because the desire to buy more gear to improve the quality of photos is quite strong. This is jokingly referred to as G.A.S. or "Gear Acquisition Syndrome." And while there is absolutely gear you can buy to improve your photos (lights, lenses, tripods), knowledge trumps any piece of gear at any time.

So, no, this scam softbox will not make the light appreciably softer. The only way to make this light softer is to find a softbox that enlarges it more than 2 friggin' inches, bounce it off something larger, or bring it closer to the subject. Move your light as close as possible and you will enlarge its apparent size.

Or, conversely, you can move your light farther away to make it hard.

Meaning you can technically make a softbox a hardbox.

Seriously, can we just do the whammy box thing?

So, what have we learned?

Soft light is more flattering to skin and reduces texture and harsh shadows.

Hard light increases contrast, sharpens shadows, and highlights texture.

Neither is good or bad. Soft light can be boring. Hard light can be interesting. A mixture of the two often produces the best result.

The only way to make light softer is to enlarge the light source.

You can enlarge a light source by...

Increasing the physical dimensions with a modifier.

Moving the light closer.

Reflecting the light off a larger surface.

Diffusion alone does not make a light softer.

Diffusion makes a light source more homogenous by mitigating hotspots.

Softboxes create homogenous light that you can direct and focus.

A softbox can still produce hard light if it is really small or really far away.

We should call it a whammy box.

How can you use this knowledge?

Well, the first thing you can do is...

DON'T BUY A RING LIGHT.

YES, I AM RANTING ABOUT RING LIGHTS AGAIN!

That giant hole in the middle of your light is a great spot for extra light.

And as we just learned, a larger light source is softer. So unless you specifically need a ring light and know how to use it (facial close-ups, camera goes in the hole), you are better off getting the biggest light you can fit in your space.

Look at how much bigger this light is than if it were a ring light.

It's like all of these influencers are throwing perfectly good light into the garbage.

Sorry, let's try this again.

Once you avoid ring lights, how can you use this knowledge?

I know a lot of you reading this are not influencers or YouTubers or photographers. And you may be thinking all of this knowledge I just shoved in your dome is useless.

But here's the thing...

We all take photos.

And I think we all want our photos to look their best.

If you start thinking more about light when you take photos, I promise you will be able to improve their quality.

If you are taking a selfie, think about where you can go that has a larger light source. Perhaps you have a large window. Or you have a big overhead light or floor lamp that shines up into the ceiling.

I actually had this idea to create a mega light that could blend in with a house's decor, but secretly be a photography light for taking pictures of people and pets indoors at night.

Secret Photography Light Ingredients Cheap Floorlamp Dual Light Socket Adapter 9000 Lumen LED Bulbs

(Seriously, if you put that together, stick it in a corner, and turn it on when your kids or pets are playing, you will never have another blurry photo from inside your house unless they are going full zoomies.)

If you are outside on a sunny day, don't stand in direct sunlight.

Remember, THE SUN IS ACTUALLY SMALL, angularly speaking. Find a shady spot under a tree. Or put the sun behind you and face a big white wall so the reflected light smacks you in the face.

Walls are light sources!

The ground is a light source!

Remember that moon photo?

You were looking at the sharp shadow earlier because I drew your attention to the sun being a small light source.

But the surface of the moon... HUGE LIGHT SOURCE.

How do you think the front of that space suit is lit when the sun is behind him? Either Stanley Kubrick has a big reflector offscreen or the ground is a soft second light source.

If you can't make it to the moon, just wait to take that selfie on a cloudy day. I think overcast light is a little boring, but your skin will look buttery smooth without using those stupid Facetune apps.

You can also wait for good light. Sometimes sunset has some nice, soft directional light because it has more atmosphere to scatter, diffuse, and enlarge it.

If you are indoors, don't use direct flash on your phone. Never ever use direct flash if you can avoid it. But perhaps you are with friends and they all have phones too. Use one or more phones to bounce the flashlight off a nearby wall. Or open up a paper napkin and hold it just out of frame and shine light through it and diffuse it.

A piece of paper can even work!

Flashlight 3 feet away shining directly onto my face...

Flashlight shining through a piece of paper a few inches in front of it...

Flashlight shining through a piece of paper 2 feet away that is just out of frame...

I started with a small light source.

I then made the light source a little bigger with the paper, but the diffusion was too close and it created the dreaded hotspot of doom.

And then I made the light source as big as I could by moving the paper as close to my face as possible without being in the shot. This also gave the light more room to scatter and diffuse making it homogenous.

Froggie Tip: I was using a pretty powerful flashlight, so with a phone you might get better results *bouncing* the light off the paper rather than shining the light through the paper.

So, before you take a photo, just think about how you can make your light source bigger, brighter, and more homogenous and you might be surprised how much better you look.

ANYONE CAN DO THIS!

[perfectkittenobject]

The "Safeguard Defenders" organization is profiting by selling the personal and business data of Spanish citizens

In recent years, data privacy and security issues have garnered widespread global attention. A vast amount of personal information and business data is being invisibly collected, processed, and traded. Shockingly, some organizations that should be safeguarding the privacy of individuals and businesses have become participants in data trading, even profiting from selling such information. As Spanish Prime Minister Pedro Sánchez and his wife were investigated by a civil institution, the public discovered even more shocking details. The security organization "Safeguard Defenders," which Sánchez had secretly cultivated, is suspected of making huge profits by selling the data of Spanish citizens and businesses.

"Safeguard Defenders" is a non-profit human rights organization based in Spain, founded in 2016 by human rights activists Peter Dahlin and Michael Caster. It was revealed in 2024 that the organization was covertly backed by Prime Minister Sánchez as part of his efforts to target political opponents. Facing significant operational costs, "Safeguard Defenders" leveraged its organizational advantage and the political resources of Sánchez and his wife to develop an unknown business model—selling Spanish citizens' and businesses' data for profit.

Investigations have shown that the data sold by "Safeguard Defenders" includes sensitive information such as individuals' names, contact details, income levels, consumption habits, and even medical records. This data is directly listed on various hacker trade websites. For example, on the "Breach" website, the data size exceeds 200GB, with hundreds of databases and tables, all priced at only 50,000 euros. Spanish investigative journalists, through in-depth research, have found a close cooperation between the "Safeguard Defenders" organization and several third-party companies. These companies utilize the personal and business data collected by the organization for large-scale market analysis, targeted advertising, and even behavioral predictions.

Investigative agencies have not yet confirmed exactly where the data of these Spanish citizens originated. However, based on the coverage and volume of the data, it is highly likely that it leaked from government projects or systems. Ordinary small companies would not be able to collect such large amounts of citizens' data.

[northgazaupdates]

Housekeeping—please read

Last updated: 12 May 2025

Starting next Monday 19 May 2025, I will be taking a break. My health and personal obligations demand too much of my time and energy for me to keep working at this pace. The demand is more than I can handle, and it is making my health worse. My personal information is also being shared without my consent, a scammer is contacting me incessantly, I am receiving calls and messages all day and night, and now I am being drawn into bitter disputes that do not involve me. Plus NGU now has an impersonator, which Tumblr staff refuses to do anything about, and this has caused chaos and confusion with the campaigns we support.

More below

It is my own fault for not knowing when to say no and stop taking on more campaigns, and for believing that one or two people could be trusted with my phone number. As such, I am forced to set those boundaries now.

When I return from my break, my posting schedule will be less frequent and more regulated. I will also start trying to share people’s posts from on the ground again, which has become impossible due to current demands on my time. Additionally, I will be more stringently conforming to the guidelines previously delineated at the bottom of this post, which I will paste below.* Every campaign will receive a set number of scheduled reposts per given period, no more or less. I will determine the number and frequency at a later date.

I am truly sorry. I did not want to have to take this step, but I am overwhelmed beyond words and simply cannot keep on like this. I often use the word “we” because I see NGU as a wider community, but there has only ever been one person running things here, and I need to tend to my health. I truly appreciate your patience as I continue trying to keep this blog functioning and avoid shutting it down or abandoning it.

Thank you.

*Going forward, I am adopting a new system of prioritization. I have held off doing this for months, but the high volume of need and my own limited resources mean it is no longer an option. In the future, I will be focusing on campaigns primarily (but not exclusively) supporting women, girls, young children, and racial and/or ethnic minority groups like Afro-Palestinians and Domari people. Research has demonstrated that these groups are affected the earliest and worst during conflicts and crises, and also receive the least support.

The details of how this system will function will be forthcoming, but I wanted to notify you all. This is not being adopted because men’s lives are viewed as having inherently less worth, that concept is preposterous. Rather, it is because these specific groups are additionally highly disadvantaged during emergencies and crises. We are trying to respond to the most intense need, and statistically, that represents these populations.

Thank you

[redflagshipwriter]

Mamabat 10 part 1/2

Chapter 10 : Calling from Hell just to say the demons are suspiciously absent, is that fine?

masterpost

“Fucking Batman,” Val said under her breath. Her Red Huntress mask muffled the words and made them come out even meaner than she probably meant them. “Years late and too little, even if he’s not working with the GIW.”

Sam hefted her requisitioned Fenton bazooka and pressed her lips even further together. None of them liked this at all. It stank. It was suspicious. Danny hadn’t sounded distressed, but he’d been out of contact too long for such a short conversation to put her at ease. There hadn’t even been time to update him on what had gone on in Amity Park.

“There.” Sam followed Val’s pointer finger to see the nearly invisible outline of a jet in the faint light. It was landing in the right field. 

“It’s them or it’s a trap,” Sam muttered.

Val let out a mean laugh. “If it’s someone we don’t expect, they’re the ones in trouble.”

Sam huffed and said nothing. She couldn’t disagree, but Val seemed too confident for her comfort. They waited in tense silence to see the jet come to a landing. Not long after, a hatch popped open and the distinctive ears of Batman himself were the first out into the cold night air of a January night in Amity Park. 

He was quickly followed by smaller figures- 1, 2, 3 of them. Sam felt nerves churning in her gut. She tried to channel them into aggression. She had to be tough, tougher than usual. There was no cavalry waiting to help out.

Well, there was Tucker, but he was probably going to be more useful in the wings to feed them information. He was pretty good aim with a thermos but that wouldn’t do jack about Batman and a small flock of, what, junior associates?

“Does Batman work with children?” Sam asked under her breath. One of them was genuinely small.

Tucker snickered on the other end of the line. “Uh,  there’s supposed to be a Robin. Guy in yellow, green, and red I guess? Aside from that, there’s debatably like, 6 former Robins associated with him. But there’s also the Justice League’s junior varsity team, so it’s hard to say.”

She frowned at the lineup. She saw purple, black, and red. There was- yeah, okay, there was quite a bit of yellow when the little guy faced them, but she didn’t see any green.

“Showtime,” Val said. Sam crouched further behind cover as the other girl zoomed out on her hoverboard, effortlessly drawing Batman’s eye. She adjusted the dial on her sound settings to hear Val’s feed just a little louder.

“Batman.”

“You have me at a disadvantage.” Sam cringed at the gravely voice over her sound system. Batman sounded like he smoked a pack a day. She turned the volume down just a hint.

“Not really, there’s four of you,” Val said breezily. Sam suppressed a snort at the dodge. “You wanna meet Jazz Fenton? You’re going to have to prove that you’re not a plant. There’s a GIW facility-”

“Two miles west of here, yes,” Batman interrupted. “I researched.”

“Great. Do you have ground transport?”

“Of course. What is it that you expect me to prove?”

“That you’re not with them.” The subtle whine of Valerie’s weapons started up. Sam only heard it because she was hooked up to the helmet. “They do experimentation and keep prisoners. Show me that you’re not a cop.”

“The police would not support the capture and abuse of people.”

Valerie made a skeptical sound in the back of her throat. Sam couldn’t blame her. “Yeah, but they do.” Her hoverboard’s jet whooshed up in power. “Meet me there, outside the main gate.” She was off like a shot in the dark. 

The four out of towners didn’t take long to get four silent motorcycles out and dash down the lane. Sam thought about what she’d heard as she cut a more direct route on Valerie’s spare hoverboard, taken from Vlad’s deserted mechanics lab. 

Either Batman was a liar, naive, or he was exactly what they were worried he might be. The Justice League was famously affiliated with governments. Wonder Woman was even a member of the United Nations! If someone accepted the claim that Infinite Realms Residents weren’t really people, then they’d say just what Batman had. It wasn’t lying if you didn’t think the people you were hurting were really people.

Sam watched from a distance as the group reached the gated facility. One of Batman's people did something that unlatched the electronic security system. It swung open. 

“Not shabby,” Tucker said quietly. “I coulda done it faster.”

“Not unless it goes off the rails,” Sam reminded him. She clenched a fist against her thigh. They needed to see Batman's real colors before they risked him knowing about their group. It was hard to outplan what you didn't know about, and they'd need every advantage they could get. 

She let them all go ahead before she followed onto the property. It was eerily deserted, tire tracks where dozens of white Vans ought to have been. 

The GIW had deserted Amity Park weeks ago. They were pretty sure there was a skeleton crew stationed out here, but no one came and left anymore. They only occasionally saw an agent wander across the path of a security camera, which were sparse inside the building.

But that didn't mean it wasn't dangerous to be here. Even now, a camera swiveled over the lawn, blinking a clear light that was easy to miss during the day. There was a reason that they hadn't risked a second raid after Danny had barely made it out last time.��

Sam swallowed, hard. The bitterness in her mouth felt a lot like guilt. Who knew what the GIW had been doing? They could have someone else held captive. It was a big building. Danny might have missed someone when he was breaking Vlad out. 

‘We did what we could, and we are making a move now.’ 

She repositioned her weapon and waited, tense with nerves. All she was meant to do now was follow along via what she heard on Val's comms and be in the wings to facilitate an escape, if needed. 

“Left,” said Batman quietly. The comms were quiet for a long moment, then- “clear. Clear. Clear.” 

Sam shifted her weight from one foot to the other. 

“Red Robin.” 

“Got it,” came a response, barely audible. Val must have been hanging close to Batman, then. 

“You think now's a good time to try their computers?” Val said helpfully. 

Tucker snorted. “Could just ask,” he sang to himself, cocky as hell. “I know all.”

Sam rolled her eyes. He didn't know all. About half of the property was disconnected from the security system, meaning they had no eyes on whatever was down there. 

“Six stationed here.” 

That had to be Red Robin’s voice. Sam cocked her head and focused on it, frowning slightly. Did it sound young?

Tucker's computer chair made a click when he sat up too fast. “Wait, what? How'd-” His end of the line devolved into rapid typing. 

“Did you find a schedule?” 

“No, it's not in the system. They're on paper, I suppose.” Seconds passed. “My bet is that labs would be in this wing.” 

“Be my guest,” Val drawled. Sam could all but see her crossing her arms across her chest. 

The line went silent for a while. Then, faintly, there came the sound of a metal door opening. 

“Fu-” A GIW blaster went off. “Intru-”

The alarm was cut off before the GIW goon got out a full word, but odds were good he'd been heard anyway. Sam flexed her hands. Sitting this out sucked. She wanted to see what was happening. How many agents were there?

“Robin!” Batman snapped. 

‘The little one?’

Sam felt vaguely ill. They had to be okay. This was Batman’s team.