#vs his current design

[belphieslilcow]

what if this was canon

[bacchuschucklefuck]

dreaming abt sophomore year class swap bard!riz

[lab-gr0wn-lambs]

Oh lawd

[denkilightning]

can we talk about how jay took off his mask to tell unagami he was abandoned too? can we talk about how both of them took off their armour and masks because theyre the same?

[hauntingjasper]

(Headcanon!) Do they know something he doesn't

[honeybangkay]

I did a poll with my friends (only two answered btw) so now there’s two versions (poorly drawn background)

[verymuchwowperson]

Becker family shenanigans >:) (ft. @villainsidestep's fawn becker and @idlenight's river becker! this was also inspired by their posts)

text is in the alt text, and click for better quality because tumblr is apparently determined to kill the quality of everything i post

[sketchywasteland]

swap AU designs for v1, v2, and gabriel (or variel, vadriel, and g-3, respectively). these are redraws of the ones i made in this post.

me yapping about the AU below but be warned it contains spoilers for the game up to fraud

Variel (v1)

variel and vadriel are messengers of god, with vadriel writing and reciting god's messages while variel reinforced them.

variel and vadriel were brothers the first few years of their lives, but gradually grew apart as people kept comparing them. variel didn't know how to close the rift, so became resigned to it.

unlike gabriel and vadriel, variel was able to see the hypocrisy of what god said vs what god did and eventually became disillusioned with both god and heaven. when god left heaven, it saw an opportunity to leave as well and flew into hell. hell greeted it with open arms.

variel ripped off vadriel's arm when vadriel hunted it down and tried to drag it back to heaven.

currently, variel is deep in hell, fighting and killing anything hell throws in front of it. so far, hell is entertained, but not for long.

Vadriel (v2)

the definition of nice, but not kind. he becomes kinder throughout the story, though

HUGE jealousy issues, with resentment to boot. when variel was still in heaven, most angels preferred variel to vadriel since variel was considered the "dependable" one. the resentment grew when variel became disillusioned with heaven and refused to do its work, dumping it on vadriel's shoulders. and, of course, it grew into hatred when variel abandoned its post and ripped off vadriel's arm.

vadriel noticed humans exploring hell and booted them out, preventing hell from gaining access to the machines and indirectly saving humanity from extinction. he replaces the cerberi at the gates of hell.

he is absolutely furious when g-3 beats him in battle. not because he's concerned about the humans getting further into hell, but because an object managed to defeat him, and that's humiliating to his already-fragile ego.

G-3 (gabriel)

he was made to guard and repair earthmovers rather than invade them like v1. now that the Great War is over, he's considered an icon of peace and tasked with helping humanity and boosting morale.

after vadriel booted humans out of hell and all other machines failed to defeat him, g-3 was eventually brought into hell to kick the crap out of him. unfortunately, that got the attention of hell, and now g-3 is not allowed to leave.

g-3 doesn't see himself as a person at first, but after he's left to his own devices, he starts thinking more and more about himself, his creators, and what he saw during the war.

g-3 acts as a catalyst for pretty much everyone to become better people, including himself.

[cheriladycl01]

Could you do SMAU for Toto Wolff with wife fashion designer!reader? He always goes to her events even though he's busy and she vice versa. Bonus : appearance by their son, Jack Wolff. Just something fluff and romantic. Add something else to it if you want to. Thanks!! :))

Dolce and Gabana vs Wolff vs Versace - Toto Wolff x FashionDesignerWife! Reader

Plot: It's coming to the annual Met Gala and you've got a list of celebrities you are set to dress in your brand, however there's one celebrity your all fighting for. Things are getting busy with that and being not even halfway through the F1 season!

Credit to 44lh for the GIF

"Baby? Can you ask Lewis round for dinner!" you call and he comes trotting round the stairs your son in his arms.

“Mumma” your son cries opening his arms up for you to take him and you frown not being able to hold him anymore so you walk over to the sofa so he can lay down with you.

“Hello baby” you grin nuzzling his nose with yours making him burst out laughing and hold both sides of your cheeks.

“So, Lewis for dinner?” You grin.

“Yes let me message him darling” he says pulling you in for a kiss before tapping away at his phone.

iMessage:

Toto: Hello Lewis, Y/N wants you to come over for dinner. I suspect it’s to ask you about the Met Gala.

Lewis: Ah, yes when should I come over?

Toto: Anytime that pleases you!

“Lewis!” You squeal in excitement as he walks through the door to your home. You pull him in for a hug. You were currently very pregnant with yours and Totos second child, only a few weeks away from your due date. But you never stopped working as, to you it wasn’t really work, it was a hobby that you got payed very kindly to do.

“Hello beautiful” Lewis smiles kissing your cheek before looking you over.

“God look how big she’s getting!” He smiles looking at your stomach making you smile at hold it happily.

“She’s been kicking a lot, she’s ready to come out and meet her uncle” you grin elbowing him a little before your son comes running in.

“LEW LEW” he screams wrapping himself around his uncles leg. Lewis laughs before picking him up.

“So, will you let me style you for the met gala?” You ask, and he laughs a little.

“Mmm I’ve already had a few people reach out to me…” he says cheekily and you gasp in mock horror.

“WHO! Tell me now!” You demand and he laughs.

“Dolce and Gabana and Donatella Versace” he admits and you gasp even more.

“Oh Lord, I can’t fight for you when I’m pregnant” you sigh knowing it would be hard work considering that Lewis had a brand deal with Dolce and Gabana.

“Y/N, chill i was always going to go with you anyway. I trust no one more than i trust you” he grins and you pull him into a bigger hug, regardless of the struggle.

“I promise your going to look amazing!” You grin and he nods knowing you’d keep that up!

y/user

Liked by themetgalaofficial zendaya and others

y/user: preparing for the met gala. Such an exciting theme for 2024! Got some of my faves on board already…

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fan1: she’s tagged Lewis, does that mean he’s attending and she’s styling him?

-> fan2: I’m sure of it! She’s married to his team principle so she has those connections!

toto.wolff: I’m so proud of everything you’ve done this year!

-> y/user: thank you my love!

fan3: shes such an icon, everyone and their mum is wearing her right now

lewishamilton: I’m excited to work with you again!

You’d worked hard for the last few months, after you’d given birth you got straight to working on your new summer line of clothing which you decided on two different themes.

You’d been a little more stressed, trying to keep up with work while looking after both the kids. But it was getting too much with Toto often away. You’d asked him many times to come home and help but he was so busy with Mercedes and how rubbish their car was this year.

It took a whole breakdown of you sobbing to Lewis on the phone saying you were thinking you’d have to stop out of the Met Gala because of the stress to get Toto’s attention.

He came home straight away, pulling you into a hug and giving you the time off you needed. You spent time at a spa, relaxing and spending evenings with your husband which you felt like you hadn’t done for months now.

Of course you didn’t end up dropping out of the Gala, and you’d turned down all the rumours that you were. The rumours being that Versase and Dolce and Gabana were going to take on all your celebrity clients.

“I’m sorry I haven’t been here for you more” Toto sighs and he cuddles into you and kisses all over your face and down your jaw and onto your neck.

“It’s okay, I love you so much baby” you sigh into him and the feeling of him being present.

y/userfanpage

Liked by y/user and others

y/userfanpage: some of Y/N Y/L/N most iconic met gala styles. I saw a thread that was similar on Twitter and thought I’d share my opinion!

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fan1: she is the icon, she is the moment

fan2: we gonna get loads of cool stuff this year, I can feel it!

“Can I have some design input” Toto says as he feeds your son while you feed your daughter.

“What do you mean design input?” You ask suspiciously.

Every time that he’d asked for this it had somehow been a ploy to incorpórate the Mercedes logo into something.

“Well I was thinking if you were styling Lewis you could …” he starts but you immediately shake your head and glare.

“No, no toto I - im not putting a Mercedes Logo on Lewis suit!” You cry with a laugh looking at him.

But Toto knew he had a few months to convince you.

iMessage

Lewis: Is Mercedes plan a go?

Toto: I’m working in it, I’ll get her to cave in soon.

Lewis: it’s gotta look slick okay?

y/user

Liked by lewishamilton and zendaya

y/user: I loved this years theme! Made some beautiful pieces on some beautiful people!

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lewishamilton: thank you for putting the merc symbols on the white lace, it made myself and toto very happy! ❤️

-> y/user: it took lots of convincing but I’m happy with the results! You looked fab Lewis!

fan1: y/n slayed

zendaya: my beauty, it will never get old getting styled by you - a true legend 🫶🏼❤️

-> y/user: STOP! You rocked it! 🍒

You walked along the red carpet Toto on your arm as you smiled for the cameras.

“Y/N who are you wearing tonight?” One of the paps cheekily calls making you grin in their direction as they snap a picture.

“Myself of course!” You shot back with a massive smile on your face that had Toto’s heart soaring. It was a rare day in which you and Toto were free of the little monsters you guys called your children and you were both lapping up the time with one another.

“Looking fabulous Y/N” another shouts and you are walking down the carpet, greeting everyone who you had dressed before you meet up with Lewis.

“Hello” you smile and he pulls you into a hug.

“Looking radiant as ever” he says spinning you round making you chuckle. Lewis was quite literally a part of yours and Toto’s family at this point and so you always were acting like this.

“Now it’s time to face the crowd!” You smile before entering in for a night at the mets.

y/user

Liked by toto.wolff and themetgalaofficial

y/user: never felt so close to my family than designing this one of a kind suit for my husband… and having my dress represent me as a person. What a wonderful night!

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fan1: the fact she literally made his a suit to wear … I’m crying 😢

fan2: they are my fav couple fr

toto.wolff: it was an honour to wear you my love ❤️

-> y/user: I love you so much! ❤️

Taglist:

@littlesatanicassholebitch @hockey-racing-fubol @laura-naruto-fan1998 @22yuki @simxican @sinofwriting @lewisroscoelove @cmleitora @daemyratwst @lauralarsen @the-untamed-soul l @thewulf @itsjustkhaos @purplephantomwolf @chasing-liberosis @summissss @gulphulp @starfusionsworld @jspitwall @sierruhhhh @georgeparisole @youcannotcancelquidditch @tallbrownhairsarcastic @ourteenagetragedy @peachiicherries @formulas-bitch @cherry-piee @spilled-coffee-cup @mehrmonga @bigsimperika @blueberry64857959 @eiraethh @curseofhecate @alliwantisadonut @dark-night-sky-99 @i-wish-this-was-me @tallrock35 @butterfly-lover @barnestatic @landossainz @darleneslane @barcelonaloverf1life @r0nnsblog @ilove-tswizzle @laneyspaulding19 @malynn @viennakarma @landosgirlxoxo @marie0v @yourbane @teamnovalak @nikfigueiredo @fionaschicken @0picels0 @seomako @urdad-hot @tinydeskwriter @ironmaiden1313 @splaterparty0-0 @formula1mount @styl1shl1v

[thosewickedlovelies]

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

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

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

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

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

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

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

Types of Jobs

Curator

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

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

A list of things a curator might do:

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

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

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

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

Education/Engagement

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

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

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

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

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

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

Exhibit Design

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

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

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

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

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

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

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

Collections Care

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Conservation

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

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

Some methods/machinery by which you can analyze objects:

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

Stereo-microscopy (microscopes, of varying strengths)

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

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

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

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

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

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

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

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

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

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

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

Museum Technician

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

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

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

Other

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

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

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

[syntheticsorrow]

I love how I left the fandom for a few years, then returned to this nightmare. Nothing new—I went through this with the Zim fandom years ago. I actually drew this in excitement of the live action two days ago, and then I saw what became of it after it was released and my motivation just slumped again. I wanted to draw works adapted into my own versions of the movie. That's the thing about me—I get inspired so easily but I let others get under my skin too much and just tend to back off and leave my ideas on the wayside. But man, the backlash has been unreal. Screw it though, maybe I'll just do it because I want to. I'm 35 now, a stressed mother with a mortgage and I'm just so TIRED of this shit happening in the various fandoms I've been a part of. Lilo and Stitch has been the ONE thing that kept me slumping throughout the years. I looked forward to the movie for so long, even when others were just entirely negative and hating on it. Yes, I will still stand my ground as one of the few that ENJOYED the movie. Why? Because in the 2002 movie, Stitch and Jumba were originally designed to be criminals and Stitch was a gang leader, Jumba being a PART of his gang. The deleted 747 sequence with Stitch's gang is a direct reference to this. Of course that was all removed though because it was too mature for a kids movie and the themes didn't sit well with audiences. I say this though, as I believe this to be the most likely reason why Jumba was a criminal in the movie vs the empathetic father we received in the show/series/shorts. Could be wrong, but I think it's entirely plausible. I didn't exactly mind Zach Galifianakis as Jumba, it certainly was interesting to see Jumba in a different light—though yes, I prefer original Jumba at the end of the day, as well as the original Pleakley. Because of their personalities. The OG franchise is a staple to my heart and always will be.

Regardless, I'll still be drawing what I love and have loved since I was 12. The current attitude towards the live action won't change anything for me. I have my own aspects of the franchise that I enjoy focusing on, particularly Chopsuey (621) and Jumba and Stitch's relationship. That's what keeps my passion/interests strong. I have a lot of ideas, but I don't get much time to myself anymore. So when I do post, any content of Lilo and Stitch, that's what my focus will be, as well as content from my story, Error 626, which is almost completed and I am currently writing the last chapter. https://www.fanfiction.net/s/12709810/1/Error-626

For now though, I might consider colouring this up if I can kick the negativity bringing me down. It's not just that though, I've had it pretty rough the past few months with a very hurtful family situation going on in the background.

[tls12lessthan3]

thinking about the differences between kim dokja's and yoo joonghyuk's suicidality. kim dokja's suicidality is one specifically designed to be familiar to the reader - he's miserable, he's in pain, he feels as though he's got no one to rely on and no prospects and really the world would be better off without him at all. it's a painfully common story, isn't it. yoo joonghyuk's suicidality by contrast is largely incredibly fantastical. suicide is basically his super power, and he never does it because he wants to die, it's always because he simply believes it'll put him in a better position than he currently is in. his regressions are definitely a type of death, both literally and figuratively - its a life he's given up on - but its never a true end. it's why i think so many modern aus will keep kim dokja's canon suicidal ideation to some extent but often drop yoo joonghyuk's completely. why would yoo joonghyuk kill himself if he wasn't regressing, after all?

but there are instances where yoo joonghyuk does express a more realistic suicidal ideation. first, in the 1863rd round, where he's sick of living and simply wants it to be over. second, in the pseudo-epilogue, where he believes that there's no longer a point to his existence and thus wants it to end. both are driven by the same thing, ultimately, i think - he's lost sight of his purpose. yoo joonghyuk isn't the type to continue living simply for the small pleasures in life - he would never have been able to cling to the updates of a favourite webnovel, for example, because he's simply not built to consider that enough. this contrasts with kim dokja, for whom small pleasures (or this one small pleasure, to be specific) is all he's got.

i don't really have a point here. just thinking about how on the surface kim dokja and yoo joonghyuk are both willing to die very easily, with their suicides often paralleling or influencing the other, but that suicidality ultimately comes from opposite ends of a spectrum. clinging to a small comfort vs seeking out a grand purpose. a lack of care for yourself vs the idea that you alone matter - you alone must save the world. etc etc.

[endearing-dalliance]

the way the Arcane team romanticize the undercity disgusts me

Especially in the new art book, they talk about how Zaun and Piltover really aren’t as different as they first seem, as they are both heavily invested in technology. Zaun is a bastion of flamboyant body modification and innovative technology. They describe it as a refuge for outcasts who are looking for a home, where people are free from Piltover’s rigid rules and politics. A communal place with a thrilling sense that anything is possible. The Firelights are described as a group uses the freedom granted by Piltover not caring about them to find beauty and innovation. People are particularly interested in recycling technology and resources because "nothing is precious and everything can always be made better". Bc obviously that's why poor people fix stuff. They are definitely able to easily replace stuff at any time, but they want to strive for perfection...

In the same breath, they describe Zaun as being oppressed, crushed by Piltover, addicted to Shimmer, having “some issues with the mob”, dangerous, volatile. They talk about how if it was better, people like Jinx and Ekko could use their skills for good. This is the same place that’s a refuge for innovative, flamboyantly augmented outcasts to be able to make wonderful technology?

Notable mention: "we had to design a prison, and that was tricky because Piltover is supposed to be a city of progress - do they really put people in prisons? Maybe only people from the Undercity, and maybe they put them really far away" like seriously does nobody realize how fucked up that is? Your issue with it is the difficulty in designing the prison?

Like have any of these people ever actually met someone who lives in an irl place like Zaun? Heard of Maslow’s hierarchy of needs? Opened any book or video on heavily polluted urban areas?

On top of that, the undercity is filled with negative stereotypes. Many of the characters are “bad” in some way, whether that be missing body parts, mentally damaged, filthy, an addict. Their food is tentacles, a drooling animal head, and a dish that looks very much like slugs in mud sauce (vs Piltover’s “normal” sandwich). Many of the people are all dressed punk/goth/sexy and look “dangerous”. This season, I expected them to address those stereotypes and show how Zaun has equal value to Piltover. That those differences don’t make people hateable or disgusting or deserving of their misery. Instead, we got “actions have consequences” theme and a dying man who suffered from chronic pain and mobility issues his entire life being told that his imperfections make him beautiful. (She-Ra did that line already and did it much better.) Because using tech/magic to fix his leg and spine strip him of his humanity.

The team have said they were specifically inspired by the current political climate in the US, specifically the two-party system within one nation divided and unable to reason with each other. But that is an entirely different and incompatible concept. Zaun literally doesn’t get a vote, and that kind of lack of political representation is literally why America rebelled against England. Its not as simple as them just talking it out or getting a single vote. And for me it explains why the conflict fizzled out in season 2 and felt so unresolved. I was expecting independence, which is the only solution to colonial oppression, but the creators gave us a fix for the political party problem they thought they were showing. We only got to see the Piltie’s viewpoint of Zaun, and it was unflattering specifically in the ways that are in real life associated classism, body shaming, and cultural shaming. They were never redeemed or validated, and almost everyone repeatedly proved the Pilties were right about them all along. In season 2, all the bad guys were Zaunites (Jinx, Viktor, Skye, Vanwick, Singed kind of) aided by a foreign power also trying to use them, and the solution was for them not to be part of their world anymore. They were too broken, too evil, too violent to remain. And for the rest, their only use was to die protecting the Pilties from one of their own people (whose autonomy wasn't even respected by his own partner and became his own worst nightmare). Instead of it being this glorious, Marvelesque fight where everyone bands together against one common enemy, it’s just another situation in which they are brutally exploited.

And I would genuinely be OK with all of this as some sort of tragic story that ended terribly for everyone and there was no real solution or progress, just more bloodshed. A tale of caution.

But the creators have been very clear that they feel that this is an appropriate ending to the story and the individual characters’ stories. Specifically, they are pushing this idea that the finale was to show the characters facing the consequences of their actions. But the characters themselves aren’t the problem, it’s the society that they are living in that basically corrupted everything it touched. Mel and the council manipulated and pressured Jayce and Viktor into making weapons instead of technology that was designed to help people, while also ignoring Viktor’s steadily worsening health problems that *they caused*. Vi and Jinx were repeatedly traumatized, orphaned, and weaponized. Cait literally got away with being a dictator, but even she was manipulated by someone who was only ever able to establish power by taking advantage of the situation. Singed (OG Piltie) literally committed war crimes and got everything he wanted. And according to the creators, everyone got what they deserved. Piltover received no punishment or retribution for their oppression. The undercity got no apology or redemption/validation. Piltover got no significant consequences. They’re still in power, still rich, still have Hextech, still oppressing the undercity. And I guess that's what they deserve.

What a load of absolute horseshit. I had a lot of expectations for season 2, but "the arcane team are actually Pilties in the worst way possible" was absolutely not one of them. I'm genuinely devastated.

[razberrypuck]

if I may circle back around to the thought that gl!ranboo escaped and was re-captured prior to the social experiments, I think maybe the reason their mask is so needlessly gruesome (wires wrapped around their fucking jawbone as well as going down his throat + the mask literally being stitched onto his face) could be because of this escape attempt.

I think he may have had a different mask (hence the one they're wearing in his showfall branded missing poster) that wasn't quite as "if you tear this off, your face goes with it" in design, and ranboo was able to get it off more easily and make a run for it. maybe the brain implants and manual reset on the back of his neck that we see on this CURRENT design were an extra precaution, to make sure he wouldn't be able to break out of showfall's control so easily -- and even if he did, prying that thing off before showfall got a handle of them again is a near impossible task now.

it seems like this mask design could be a punishment for escaping (even looking at hetch's signature suggests that this design was rushed, when compared to that of sneeg and charlie's mind-control devices.) he got out once, so their designs became more invasive, practically becoming a part of ranboo's body. like they're DARING him to try it again.

and if this IS the case, it also makes me wonder about sneeg and charlie. sneeg's hat being 100% separate and removable from his body with no additional technology inside of him vs showfall, even if his glasses that he needs to see are technically removable, being IN charlie's brain, two-way transmission and all. it's interesting.

[gojinka]

Hehe may I ask about evil Callie?

(The evil/brainwashed) Callie here functions a bit differently… as I also use her to explore what exactly mud mouths are… and the octarian’s relationship with their ally, Salmonids…

Explanation under the cut. 🚧

Due to constrained relations between them and the other main dominating species— (salmonid/octarian vs inklings)— most Inklings, namely younger generations, are more desperate to fix and mend the relationship.

(There is plenty more to this! But I don’t want to make this come across as far more convoluted than it needs to be, so here have this for now:📒)

Octavio contacted Callie directly, albeit in secret, telling her that he has plans that would be a step forward in ending the tension between the Inklings and Octarian-Salmonid groups. What he had introduced was a new type of “ink” that would make their species “salmonid friendly”, and he wanted Callie to be the one to be the first public appearance with this new Ink in hopes to reach a wider audience…

Most of that isn’t true— but to Callie— who is a direct descendant of a war leader, was raised as an agent, and lives in a fairly dangerous city zone that floods, that sounded like a better step towards a better life, and she went for it.

This ink is known as MUD— and this “ink” isn’t technically ink at all, as mentioned in a previous post, most inks are a synthetic toxic poison, designed for warfare, but this ink on the contrary, wasn't designed by Inkfish, it was designed by Salmonids.

MUD is a slimy corrosive ink designed to rival Inkfish’s ink, namely in salmon runs and Ink Wasted territories, one that blends into the grounds and spreads out quickly and efficiently much like Inkfish ink, but one that corrodes Inklings by absorbing into them, and leaves salmonids completely safe from any burning effects.

The Octarian were the ones tasked with creating this new bio-weapon, as an added benefit being it would not affect their species, (they would be safe from it regardless, considering Salmon-Runs are an Inkling exclusive event, and Octolings were surprised when they learned about them.)

They tried different methods of testing it, and ultimately, the project failed— Mud uses both Salmonid and Inkling DNA in its creation, and when Mud was being developed, it melted Salmonids like Ink typically does due to its hyper-corrosive nature, but because it carried Inkling + Salmonid DNA, the salmonid’s skin would attempt to mimic the properties of inklings and constantly try to reconstruct itself into the “swim” form, which made Salmonids a walking (or rather, squirming) sludge, these monsters became known as MUDMOUTHS, and are not truly considered alive, since they run exclusively on the Running Instinct that exists in Salmonid DNA.

And in turn, when the ink was absorbed into Inklings— the previously noted “running instinct” would have an almost Kraken-Esque affect on inklings before corroding and splatting them.

The running instinct would work as intended, everything they eat immediately converts to growth in preparation for an arduous journey, they’re extremely aggressive, and they have a desire to return to the salmonid birthplace.

Mud would splat inklings upon prolonged contact, but Inklings who were test subjects for mud were slowly injected with Mud over a course of time. These subjects were disoriented and had a sort of “positive” aggressive attitude that didn’t falter even in the face of family or friends.

They are easy to persuade and it’s unclear if this is due to the pain of getting the ink-content in their bodies replaced by this synthetic fake-ink, or if the running instinct muddles their thoughts. It’s probably a healthy mix of both.

Dj Octavio, kept Callie by his side, since in her current state her mind would be too fogged up to dispute or make sense of what he’s making her do.

He planned on using Callie to stir up trouble in Inkopolis solely for the sake of rising tension. Octavio is constantly searching for reasons to make Inkling’s an enemy in the eyes of everyone who sees them, and painting Callie— a well known public figure; a known descendant of Captain Cuttlefish— as vicious would do wonders for allowing most people to view the Octarian as a force that would more desirably be backed up, it would reinforce their armies. And make them overall stronger if people felt they had reason to target Inklings.

He didn’t get this far due to Agent Four’s interference.

But, he got to accomplish many theft missions using Callie— which included robbing Inkopolis of some of the Zapfish Generators, which are giant machines that are powered thanks to the Zapfish, and thanks to the Zap-Ink— ⤵️

(Above image is from here) — Octavio was able to use said generators to restore power to many of the war-affected bio-domes that have been obsolete for decades, WITHOUT the need for a Zapfish.

But his reasoning can still be dumbed down to a petty move on Octavio’s part— who despite having a safer ground in the domes due to a good trade relationship with Salmonids and a vast space away from water— he still feels bitter about losing the remaining lands. And because of this the Octarian are plenty more war driven, and they are more likely to easily fall to the fervor of these schemes and battles.

[celestial-sphere-press]

what kind/style of endbands do you usually do? they look so good 👀

hi!! sorry for taking a while to answer, I wanted to make sure I could give you my best answer.

I usually do what's called a "double core" endband. I use double core endbands over the "bead on front" method because bead on front style is not great for uneven distributions of color, irregular patterns, or using more than three colors. Functionally it works by having your extra threads wrapped up inside the thread that is showing, forming the smaller secondary core. Ultimately you are doing figure 8s around the main core & then your secondary core of thread. This keeps things pretty neat & tidy. The tutorial I first used was this one by DAS Bookbinding, though I don't think his endband tutorials are his best ones. Another binder I've spoken with endbands about a lot is maleeka, who recently did an endband tutorial herself.

maybe I should do one... but it takes a lot for me to get enough motivation to make videos. I'll take this opportunity to write up some tips I've shared when people ask instead:

1. Endband core material is the MOST IMPORTANT component. You need a core that is stiff but flexible - it should NOT be floppy because it wiggles everywhere under the tension of the thread, but still needs to flex with the opening & closing of the book. You want something that doesn't compress, to reduce tension shifts in thread creating a lumpy endband. Have a smooth core is less critical but helps to avoid snagging threads & allows you some leeway on sliding threads around for adjustments. My personal choice is smooth leather jewelers cord (link is just an example, I get mine from a local craft store).

2. Thread size. All your threads need to be the same size; it will be visible if you are using two different sizes, and mess with your front core. Additionally, I know lots of people will use larger twists of multiple strands of embroidery thread, which can work, but is more likely to compress & alter its size in unexpected ways. A single strand is preferable. If you want something thicker you can find some thread weights that are heavier twists intended to be used in a single strand, not pulled apart. I prefer smaller sizes because it works better for the gradient designs I like.

3. Silk thread is your friend (if you can spend the money on it). It reduces fuzz (no fuzz like you get with cotton/DMC embroidery thread), it's usually easier to manage, has a more compact twist, and a higher shine. I use Japanese silk hand sewing thread in size #9 (9号). There's multiple brands (Tire, Daruma, KNK/kanagawa, etc). Here's a wholesale listing (minimum 20,000¥ for international). A non-Japanese brand is Guterman silk (German brand). Both the Japanese & German threads come in a heavier weight (Japanese is #16, Guterman is buttonhole).

4. Thread tension is the most important part of the actual technique. You need to ensure the threads currently wrapped in the secondary core keep tension when you are working the thread around them.

5. Working on a curve. This is only really relevant if you're doing an endband on a rounded book, but the circumference of the curve means there's more real estate on the outside vs inside of the curve. Sometimes this can cause bunching on the secondary core. My own solution to this is that sometimes I wrap the primary core but drop a wrap here or there around the secondary core (only between two wraps of the same color I'm dropping). I uh... don't know of anyone currently recommending this besides myself so I can't point to any pro endorsement for this method, it's just what works for me. Forgive my terrible writing:

6. Pattern management. I... don't really plan much how my patterns sit on the spine, which is not very helpful. HOWEVER you can do some pattern management on the fly, if you really want your pattern to end at a certain place. Thread can be packed more or less densely on the core, resulting in some pattern compression; you could also strategically drop wraps in less noticeable locations. An unintended example: I was replicating the pattern on this endband (left) when I realize I wasn't packing the thread as densely as I had the first time around (right), which resulted in the overall pattern taking up more space. You can do this on purpose, if you need to.

this was way more than you asked but it gave me a chance to put all this in one spot. Best of luck in vanquishing the dreaded EndWyrms.