Do you have any fun Buzzer facts for us
Omg Buzzer question hehe - I can come up with something sure
He has claws ! Bc I want to make it more creature . They are blue and come out when he's frightened like his fangs , this is also why he wears gloves unlike the usual Walter Worker (it doesn't like them)
His favorite spg songs are please explain and progress and technology , but he relates to wired wrong a lot
This guy is also like . Stupid asf . He has the book smart a robot usually has but in any other aspect it's clueless
He chose the Walter Worker aesthetic bc not only does he want to blend in he also wants to be a part of something , as you do . it thinks he's onto something (it isn't)
Also random class doodle attack 💥💥💥
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Here’s a story about changelings:
Mary was a beautiful baby, sweet and affectionate, but by the time she’s three she’s turned difficult and strange, with fey moods and a stubborn mouth that screams and bites but never says mama. But her mother’s well-used to hard work with little thanks, and when the village gossips wag their tongues she just shrugs, and pulls her difficult child away from their precious, perfect blossoms, before the bites draw blood. Mary’s mother doesn’t drown her in a bucket of saltwater, and she doesn’t take up the silver knife the wife of the village priest leaves out for her one Sunday brunch.
She gives her daughter yarn, instead, and instead of a rowan stake through her inhuman heart she gives her a child’s first loom, oak and ash. She lets her vicious, uncooperative fairy daughter entertain herself with games of her own devising, in as much peace and comfort as either of them can manage.
Mary grows up strangely, as a strange child would, learning everything in all the wrong order, and biting a great deal more than she should. But she also learns to weave, and takes to it with a grand passion. Soon enough she knows more than her mother–which isn’t all that much–and is striking out into unknown territory, turning out odd new knots and weaves, patterns as complex as spiderwebs and spellrings.
“Aren’t you clever,” her mother says, of her work, and leaves her to her wool and flax and whatnot. Mary’s not biting anymore, and she smiles more than she frowns, and that’s about as much, her mother figures, as anyone should hope for from their child.
Mary still cries sometimes, when the other girls reject her for her strange graces, her odd slow way of talking, her restless reaching fluttering hands that have learned to spin but never to settle. The other girls call her freak, witchblood, hobgoblin.
“I don’t remember girls being quite so stupid when I was that age,” her mother says, brushing Mary’s hair smooth and steady like they’ve both learned to enjoy, smooth as a skein of silk. “Time was, you knew not to insult anyone you might need to flatter later. ‘Specially when you don’t know if they’re going to grow wings or horns or whatnot. Serve ‘em all right if you ever figure out curses.”
“I want to go back,” Mary says. “I want to go home, to where I came from, where there’s people like me. If I’m a fairy’s child I should be in fairyland, and no one would call me a freak.”
“Aye, well, I’d miss you though,” her mother says. “And I expect there’s stupid folk everywhere, even in fairyland. Cruel folk, too. You just have to make the best of things where you are, being my child instead.”
Mary learns to read well enough, in between the weaving, especially when her mother tracks down the traveling booktraders and comes home with slim, precious manuals on dyes and stains and mordants, on pigments and patterns, diagrams too arcane for her own eyes but which make her daughter’s eyes shine.
“We need an herb garden,” her daughter says, hands busy, flipping from page to page, pulling on her hair, twisting in her skirt, itching for a project. “Yarrow, and madder, and woad and weld…”
“Well, start digging,” her mother says. “Won’t do you a harm to get out of the house now’n then.”
Mary doesn’t like dirt but she’s learned determination well enough from her mother. She digs and digs, and plants what she’s given, and the first year doesn’t turn out so well but the second’s better, and by the third a cauldron’s always simmering something over the fire, and Mary’s taking in orders from girls five years older or more, turning out vivid bolts and spools and skeins of red and gold and blue, restless fingers dancing like they’ve summoned down the rainbow. Her mother figures she probably has.
“Just as well you never got the hang of curses,” she says, admiring her bright new skirts. “I like this sort of trick a lot better.”
Mary smiles, rocking back and forth on her heels, fingers already fluttering to find the next project.
She finally grows up tall and fair, if a bit stooped and squinty, and time and age seem to calm her unhappy mouth about as well as it does for human children. Word gets around she never lies or breaks a bargain, and if the first seems odd for a fairy’s child then the second one seems fit enough. The undyed stacks of taken orders grow taller, the dyed lots of filled orders grow brighter, the loom in the corner for Mary’s own creations grows stranger and more complex. Mary’s hands callus just like her mother’s, become as strong and tough and smooth as the oak and ash of her needles and frames, though they never fall still.
“Do you ever wonder what your real daughter would be like?” the priest’s wife asks, once.
Mary’s mother snorts. “She wouldn’t be worth a damn at weaving,” she says. “Lord knows I never was. No, I’ll keep what I’ve been given and thank the givers kindly. It was a fair enough trade for me. Good day, ma’am.”
Mary brings her mother sweet chamomile tea, that night, and a warm shawl in all the colors of a garden, and a hairbrush. In the morning, the priest’s son comes round, with payment for his mother’s pretty new dress and a shy smile just for Mary. He thinks her hair is nice, and her hands are even nicer, vibrant in their strength and skill and endless motion.
They all live happily ever after.
*
Here’s another story:
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The last time we were on a long flight, my wife and I invented a game we call "Little Guy."
You start a game of Little Guy by saying, "I'm gonna hand you a little guy." The little guy is some kind of baby animal you are imagining. "Oh," she might say in response, "Okay," and hold out her hands for it. I will then mime handing her the animal. This provides some clues as to the little guy's size, weight, and general ungainliness.
She then gets to ask questions about what kind of little guy this is, BUT NO QUESTIONS ABOUT HIS ACTUAL APPEARANCE OR SPECIES ARE ALLOWED. Qualitative questions, or questions about his behavior, are the only ones permitted. She can ask "Is he soft?" or "Does he seem nervous about being held?" or "If I put him in the bathtub, does he seem okay with that?" or "Would he like a lil grape?" or "Is he the sort of little fellow who would wear a vest in a children's book?" but not "Does he have fur," "Is he a reptile," "Is he from Asia," etc. Some questions are in a grey area so you have to follow your heart, but the point is not to identify the animal as fast as possible: the point is to guess the animal purely based on vibes + how he would act if he were in your living room right now.
And I'm not limited to yes or no answers! If she asks, "Would it feel appropriate to see this little guy in a propeller hat?" I can reply, "Oh no, he has a gravity to him. A bowler hat would be a more appropriate hat." Or if she asks, "Does this little guy have protagonist energy?" I can say something like, "he probably wouldn't be the main character in a children's cartoon. He'd probably be the main character's ditzy best friend who's always eating sandwiches, or something."
We're big Twenty Questions to kill time in a waiting room people, but Little Guy is more about the journey than the destination. It's got a different kind of sauce that's nice if "killing time" and "lowering anxiety" need to happen hand in hand.
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