#Adapters for Excavator

[anaktoria-of-the-moon]

At work plagued by thoughts of a mech bigger than you can imagine.

She starts like most of them do, a Titan excavator rig modestly sized for their line: maybe a house or thereabouts, a big house. (Doesn’t matter why she signed up - perhaps a breadwinner, a lone mother or eldest sister, a daughter of aging parents nobody else will take; doesn’t matter what site they sent her to, Earth or Enceladus or Venus or Europa. She’s there, and she lets them strap her in and adapt her for the piloting interface and pump her full of protein ooze and electrolytes and hyperstimulant cocktails as obediently as the next laborer.)

Upgrades come, from big house to bigger, with shovels like hillsides and treads like highways. Still she remains in the cockpit, out only for one day every six months to say hello to her burgeoning family, who have moved nearby to make it easy on her, to meet the baby nephews and nieces whose names she doesn’t yet know.

War comes. The facility hunkers down. It just makes sense to retrofit their biggest digger with shields, to expand her arsenal a little more, give her a better engine, pour all their leftover resources into making her a great guardian, and she rises to the occasion, shielding them from orbital rays, absorbing the energy and taking the pain of it up into her own engines. When the corporate rats who own the site finally turn tail and run the workers and their families band together and do the needful repairs themselves. Her nieces and nephews grow up learning engineering by the light of oil lamps from stolen Old Era textbooks and jailbroken datapads. She hardly ever now glimpses their faces with her own two eyes from within her steel shell but it is a worthy sacrifice to her, to them, for both parties know she is still there, still with them, embracing them in a great steel hug and watching through a thousand glass-lensed eyes.

Years pass. The brightest of her nieces works out how to modify the nutrition cocktail going into her cockpit so she will never age, never die, never fall sick. Somewhere in there all the metal and ceramic encloses her ever-sleeping body like a lotus flower around the benevolent, immortal form of a bodhisattva.

The outpost survives the war, somehow. Refugees hear of the little town on the colony that could, guarded by a goddess the size of a temple, and flock there. It makes sense to add to her control, among her array of sensors and actuators, the new city’s power generation and delivery system, its wall defenses, its waste management, its communications mains. Nowhere is anything safer than with her.

With all these new additions come techs and custodians to keep her in good care. They build modest crew cabins nestled amongst her treads (now rusty from disuse) so they can be close to her, the better to help her.

Slowly more and more falls under her purview, new cabins, then mezzanines and stairways and platforms between them; each generation has their own superstitions that they add to those of the last before them, so paintings crop up on her metal panels now, in nooks and crannies, often crude symbols that promise good oil changes or swift code updates, or simply depictions of their goddess, of the war she survived. Still she watches.

Her nieces and nephews are all dead now, and their nieces and nephews look on through rheumed eyes as the city attains new heights, heralded everywhere on every planet that still lives as an oasis of peace and prosperity. Still she watches.

A new company comes, enticed by the stories. They want to buy her. Buy her! The people scoff. As if you could just buy a person! - A person? asks the representative from Acher Spaceways, perplexed. - We heard she was your goddess.

She is both, of course, the goddess who lives, the goddess who is one hundred percent flesh and one hundred percent machine.

Acher doesn’t like this. They send machines - zero percent flesh, entirely drones - screaming down from the stars for a more insistent negotiation, one phrased in metal slugs and incendiary fire.

So your goddess rises up to meet them.

It is over in a short day. The drones lie in pieces; Acher, from orbit, licks their wounds, and the goddess rebukes them with a single laser blast, modified from her very first mining waymaker photonic drill.

The blast is precise and surgical. It tears apart the whole platform, spinning central axis to annular habitat space, which supernovas into a blossom of shining proof in the night sky at which the citizens below cheer.

But the pieces are falling, and soon they will pepper the surface below with molten debris, kick up dust into the atmosphere and make it all but unbreathable. The people could leave, the goddess advises them through short-wave radio bursts. They could use her emergency shuttles to escape gravity before it is too late, or they could go underground and salvage her rarest and most precious resources to survive until the surface is safe again.

Here is the thing - every pilot is augmented, and most augments are for the benefit of the plainly physical, for strength and speed and stamina and sharpness of perception. When her people augmented her, they augmented something else entirely. With every new module, every sensor upgrade, every painted symbol and hidden shrine, they gave her a superhuman capacity not for stamina or speed or strength, but for love.

It is her love that saved them, so they must save her back.

For two days they work tirelessly, the whole city, while above them the shattered pieces of Acher Spaceways looms ever closer. When they are done the treads are gone, the cabins dismantled, only the little drawings carefully preserved under coats of abrasion- and heat-resistant paint. And under her, their city, their Haven, lie rockets, ten of them, repurposed from the old all-ore crucibles, fit to move an asteroid.

She’s out there somewhere by Orion now, they say, the fourth jewel in his belt. And she has only grown: from three thousand then to three hundred million. Creatures from all over come to pay her their respects, or to visit lovers, or to live there themselves. There is always room in a body that is ever expanding, like the cosmos itself. Over all of them, she watches, eternal.

Among all the stories they tell of her, they repeat this one the most - how she tore apart a whole space station for the sake of her people, knowing she would die if she failed, for how can a whole city hope to flee? She guards them, and in turn they do not abandon her. They are two halves of the same whole, they say reverently, love manifest - the people and their city; this pilot, this great machine. This Haven.

[thatdeadaquarius]

About your language brainrot. I see your "Reader's writing can't match tyvat's long and flowery writing" and bring you "Tyvat isn't used to books over 50 pages long so a short story to the Reader is a whole dictionary to tyvat readers".

Seriously, have you seen how thin the books are? They don't wrote novels, they write short chapters formatted in the way really old stories are. As in, summarizing all the events down into one smooth story then adding a few quotes. Fanfiction writers are insane. They will willingly sit down and write hundreds of words at a time. To them, a proper modern day story of maybe, oh 10k words or so, would probably be like the Oddessy itself.

If we were to combine the two headcanons. It would end up as many historians being intimidated by this insanely long written scripture in the language of the forgotten.

I'm going to take this a step further and say that if the creator asked some people to proofread their things, it would establish a hiarchy of who is able to actually finish the book the creator read and who isn't.

NOW THIS, THIS IS MY FUCKING JAMMMM

I'm so sorry this is so old!! u probably all know this by this point that I've really slowed down as the year has gone on, but I graduated university and then got my first job so its been pretty crazy!

Sun: Reader (you/they/them)

Orbit: Headcanons-ish

Stars: dash of all the book/nerds of Genshin, heavy on Sumeru?

Comets & Meteors: Content Warnings: Cussing, 16+ Mature Audiences, Spoliers for Sumeru Archon Quests/Scaramouche, & Trigger Warnings: mention of shipping/characters shipping themselves with you.

Comment if any missed, please.

☆

FULL STOP.

THE AKADEMIYA, FONTAINE RESEARCH INSTITUTE, HAVE BEEN WAITTTINNGGGG ON YOUR ASS LMAO

You fall from the fucking sky like a 5 star, or pop out of the Irminsul or whatever

and immediately are mobbed by scholars. LMAO jkjk (not really, bc that's what it’d feel like)

can you even imagine the dread older stories(”the classics” to them), that was instilled in the poor students around Teyvat??

id like to think ur works are the most preserved over the thousands of years of Teyvat archeologists excavating them, in comparison to other authors (teyvat just likes you more, suck it William Shakespeare)

also, bc I cant resist language differences/world building I'm sorryyyy 😭 😭

the vocab of Genshin lang vs. ours, has significantly less vocabulary like their actual dictionary is 1/3 the size of ours type of energy

(Omfg all ur fanfics being considered like insanely long realistic romantic classics or tragedies like Jane Austen-level, and only the richest and biggest play companies put on plays about ur stories bc the script goes on for hours)

(ur plays only get put on for rlly big events bc of this, like Lantern Rite or like a Summer/Winter festival/your birthday, which is, yes, an international holiday)

dude the sheer power move of anything you’ve written being essentially “Journey of the West” to them, like Damnnn.

endless like adaptations, plays, Teyvat-short stories condensing it, (THEIR OWN FANFICTION ABOUT UR STORIES)

the power is, in fact, going to your head every time another scholar both deflates at how long ur stuff is, but also lights up bc they get to read it

speaking of scholars… you know who snatched you up first. you know. you don’t even need to read the next line.

Alhaitham.

sneaky bastard he is, absolutely manipulated, mansplained (and manwhored bc he knows he’s handsome, cheeky little shit) his way into getting you to sit down with him and interview you about both translating other classics, your own, giving your own analysis of others works and ur own, and picking ur brain apart of how/why you wrote urs, etc. its fucking endless,

Kaveh had to come rescue you bc u were starving to death after getting stuck with the Haravatat scholar in his office for nearly 7 hours of interrogation discussion about literature

and Alhaitham wasn't even nearly done, he’d informed you as you left that he already had another appointment for later conversation scheduled (how?? you don't even know ur own schedule??? you have a schedule???) and was looking forward to more of your “creative and enlightening input” :)))

(you’re never going to escape him, not even Nahida herself can save you from his stubborn ass)

On another note, Xingqiu is quaking when you agree to autograph his copy of your stories (of which he has all hard covers of the first edition translations)

Zhongli/Rex Lapis is known for having a near-lifelong passion for searching for your works specifically, and learning how to translate them better into Teyvatian vernacular

like the same way he can absolutely speak on Rex Lapis facts/rocks/adepti info, is the same confidence he speaks about knowing ur work lol

(yes he did also ask for several autographs and another sit-down talk about the works, tho a lot more sneaky then Alhaitham bc he just casually gets u guys into it during dinner)

Barbatos/Venti has written some of the most famous songs based on your stuff, he has his favorites too,

but he always claims the best songs are any that have been written in the story, like either when a character sings something, or there are like quotes from songs ur fanfics are based on lol

(he also demanded to hear what they actually sound like from you, yes, you have to sing them for him lol)

Venti also can surprisingly drunkenly ramble the entirety of at least one of ur stories, like, word for word lmao

(Diluc gave in and did give him a drink on the house for that one, just once, Venti doesn’t remember it lol)

(I forgot to mention, u guys still speak the same language, just like, different versions of it)

ur works being one of the few things all the Archons can freely talk about with each other, like it’s neutral ground bc they’re all fangirling about it lmao

Furina and Neuvillette have had like,, fierce debates over the decades about character dynamics and the general drama of ur stories, they’ve gotten into it enough they’ve stopped talking to each other for a couple days a few times lol

Albedo, Sucrose, Kokomi, Yae Miko, Ei, Raiden, have read every single work they’re gotten their hands on in Teyvat (it took them like a literal year or longer)

Albedo drew you fanart for every single story, bc he’s hyperfixated on everything related to you ngl,

Kokomi had commissioned smaller pocket versions of ur works (which later got popular thanks to Yae Miko) both the OG and the Teyvat shortened versions

THE HARBINGERS ARE THE MOST DOWN BAD LMAO

Childe has literally tried to recreate battle scenes from ur works lmao

and gets especially riled up about fighting someone who resembles any characters from them (esp villains, what a cutie)

You cannot fathom the amount of research throughout Teyvat that has been secretly or indirectly funded by Pantalone/Tsaritsa

from the experts to analyze them, to funding play companies to act them out, to actually excavating places to get more of ur stuff unearthed

(the Harbingers absolutely are the first group of people that got to read several of ur stories first bc of this, like the world’s most exclusive secret book club lol)

Scaramouche used to clown on Childe all the time about how he was too impatient to even “sit down and read the King’s classics”, and he was downright insufferable when he found out about Tartaglia’s habit of recreating battle scenes/that being what motivated him to fight sometimes lol

that being said, Wanderer surprisingly never forgot ur stories.

Even when his memories were wiped for a bit, he found comfort in these fantastical epics still sticking around, even when his old names did not

(he mayyyy or mayyy nottt have secretly namedhimselfafteroneofthetragicprotagonistsherelatesto- )

oh btw, Nahida also found joy and comfort in ur stories when she was trapped, they also helped her literally grow as a person bc she had ur stories to help her sort of process the world/what life was like outside of her dreaming prison 🥺💔❤️‍🩹

◇

OMFG

ANYWAY FULL TONE SHIFT LMFAO-

the ABSOLUTE SPIRAL-RED-STRING-CONSPIRACY-THEORY-BOARD ENERGY IF THIS WAS A BLUNT LANGUAGE AU LMAOOOO

like specifically how Teyvatians like to give all the context ever thru their words, but older deities/beings like you just do simple phrases that can have deeper meanings (whereas teyvat just explains all the meanings behind their words)

STOP there’s like an official display at the Akademiya and Fontaine Institute of red string theory boards 😭😭 (look what you’ve done to themmm LMAO)

for like every story of urs, INCLUDING THE FANFICS STOP

IMAGINE THE SHIPPING WARS IF U EVER WROTE ONE THAT WASNT EXPLICIT OR LIKE ONE OF THE MAIN ROMANTIC INTERESTS HAD CHEMISTRY WITH OTHER CHARACTERS HAHAHAHAA

that's actually what Akademiya scholars argue about the most viciously, it’s like politics you can’t just bring up ships from ur stories casually in regular convos 💀

(poor Cyno has to deal with a shipping war once a year bc someone always makes the mistake of reading ur work for the first time (without being told to not talk to others abt ships lol) and it starts an all out brawl in the cafeteria every time LMAO)

Also yes.

Cyno is a fanboy.

(he has read Creator x Reader-insert fanfiction.)

(As have most of the characters mentioned, and those not lol)

…

(I'm gonna make a whole Creator x reader fanfic post one day i stg lmao)

☆

an iced coffee? for me?? :0

ok but real talk…

wtf do you guys wanna see for new years!!

i didn't do a inktober/october days thingy bc i felt too unprepared (and bc id wanted to post that 1000+ followers eldritch au for Halloween)

but now i kinda wanna, at least for a few days :o

ill post a poll in a minute, so check it out!! but still, please feel free to comment some ideas here! :)

Safe Travels Deafening Dreamer,

💀♒

If you wanna join a taglist, DM me what for! "Pspspsss, please tag me for [All SAGAU posts, Only SAGAU Language AUs, diff fandom, etc.]!"

(If you ever wanna drop, just DM me! "No more taglists/[specifically this AU/fandom] please!")

♡the beloveds♡

@karmawonders / @0rah-s / @randomnatics / @glxssynarvi / @nexylaza / @genshin-impacts-me / @wholesomey-artist / @thedevioussmirk / @the-dumber-scaramouche / @chocogi / @fallen-starr / @areaderofbooks / @devilangel657 / @esthelily

[calebwittebane]

cool fucking parking lot you got there. pretty big. uh yeah sorry so heres whats happening. im crushing all that concrete with a fuckass jackhammer clawhammer and excavator. and removing it and i'll find some use for it later. ok now im running my rototiller all over the lot a couple times and also dumping some natural fertilizers all over the place im talking dead plant matter and other compost and ash and some simple mineral fertilizers as needed. yeah. yeah and tilling that shit again for even and efficient distribution. mhm. and yup im gonna do some irrigating to speed things up but trust what im about to do next is sprinkle the seeds of native grass and weeds and shrubs that adapt to the specific conditions of the area. all over that nicely tilled soil full of nutrients. the bits of gravel and rocks and whatnot left from the pavement layers actually awesome here for extra drainage in case theres too much moisture. yeah im telling you all of this so you know not to park your car there because you cant stop this and if i find your car in the parking lot well you wont find it there when you get back. yeah. oh yeah theres gonna be a LOT of bugs yeah

[jungkoode]

死 KKANGPAE | #19 死

† infiltration †

"When you ask about Sylvia, you are poking at wounds that run deeper than any knife Jeon's ever taken to the chest."

next | index

— chapter details

word count: 8.2k

content: the infiltration mission begins with motorcycle rides and pine-scented tension, jeon's impromptu marriage lie creates dangerous dynamics, seduction division training put to deadly use against fervio and kaleido, comm line conversations revealing painful histories, successful bug planting while y/n plays the most dangerous game of flirtation, and one name that changes everything

☠ author's note ☠

THE INFILTRATION MISSION IS FINALLY HERE!!! Can I just say how absolutely FERAL I am about this chapter?? Because holy SHIT did this turn out more intense than I planned. Originally this was going to be a straightforward "get in, plant bug, get out" situation but then my brain said "hey what if we make this psychologically devastating instead?" and here we are!

First off, let's talk about Jeon on that motorcycle because DEAR GOD. Writing him all leather-clad and dangerous while being simultaneously protective and calculating? *chef's kiss* The man really said "let me create the perfect storm of sexual tension and strategic brilliance" and then had the AUDACITY to pull that husband stunt. Like sir, who gave you permission to be that smooth under pressure? The way he reads Kaleido's predatory nature and immediately adapts the cover story? That's not just tactical genius, that's emotional intelligence wrapped in a bulletproof vest and it's SO fucking attractive.

But can we also discuss the absolute NIGHTMARE that is Fervio? Writing that character genuinely made my skin crawl. I spent SO much time researching the psychology of sadistic personalities to make him authentically terrifying without glorifying anything. The yellow contacts, the theatrical cruelty, the way he gets off on psychological manipulation—every detail was chosen to make readers feel the same visceral discomfort that Y/N experiences. And Y/N having to flirt with that monster while maintaining her cover? That girl deserves a medal for not throwing up or committing murder on the spot.

The comm line dynamics absolutely DESTROYED me to write. Having AD and Jeon's fractured relationship play out in real-time while Jeon's navigating enemy territory? The guilt, the anger, the way old wounds keep reopening? And then that slip about Sylvia—OOPS. Y/N hearing that name and filing it away for later? The way Jeon's walls SLAM back up the second she asks about it? I'm obsessed with how trauma shapes every interaction between these characters, how the past keeps bleeding into the present no matter how hard they try to compartmentalize.

Speaking of compartmentalizing—Y/N's performance in this chapter showcases exactly why she belongs in Seduction Division. The way she reads the room, adapts to Jeon's improvisation, keeps both psychopaths distracted while processing the horror of their situation? That's not just survival, that's mastery. She's not some damsel being protected; she's a professional doing her job under the worst possible circumstances. The balance between vulnerability and competence, between genuine fear and trained composure—that's what makes her such a compelling character.

The ending though? Jeon retreating back into his shell the moment Y/N shows curiosity about his past? PAIN. Pure, unadulterated emotional pain. He's so desperate to maintain distance, to keep his trauma locked away, but Y/N's already under his skin. She's asking the right questions and it terrifies him. Because letting someone see your wounds means risking them poking at them, and Jeon's been hurt enough for several lifetimes.

Next chapter is going to be... *evil laughter* ...let's just say the aftermath of this mission is going to hit DIFFERENT. Hope you're ready for some serious emotional excavation because these two aren't done processing what just happened. Not by a long shot.

Edit: Also, yeah. The coins was a post-editing addition because I’ve been watching the John Wick movies and I loved the coin system so I adapted it heheheheh. 🤭

— read on

read on ao3

read on wattpad

tumblr/twitter: @jungkoode

⋆⁺₊⋆ ☾ ⋆⁺₊⋆ ☁︎

Pine is all you can smell right now.

It's annoying, really, how the air outside the night air hits different outside the castle. It's crisp—almost sharp against your skin.

And of course, because the universe loves to fuck with you, it's saturated with that distinct scent of pine and wood that follows Jeon everywhere.

You check your phone. 22:00. Perfect timing.

The moon's doing that thing where it makes everything look like a noir film, all dramatic shadows and silver light washing over the castle grounds. It's actually kind of pretty, in a moody sort of way.

Jeon's walking ahead of you, and god—even his walk is intimidating.

The air around him swirls slightly, tinged with static. Like a thunderstorm incoming.

You're starting to think his whole 'I must look badass 24/7' thing is just his default setting.

The gravel crunches under his boots as he approaches his bike. It's this sleek, black monster of a machine that somehow manages to look both elegant and menacing.

Just like its owner, you think, watching him move with that fluid grace that comes from years of... well, probably things you'd rather not think about.

He opens a compartment on the bike, pulling out leather gloves with an ease that makes it look like he's done this a thousand times before. Which, knowing him, he probably has. The way he slides them on is almost hypnotic—not that you're staring or anything.

(d̶e̶f̶i̶n̶i̶t̶e̶l̶y̶ maybe staring.)

Then he's got two helmets in his hands, checking them over like he's inspecting weapons.

Everything's a tactical operation with this man, isn't it?

He puts his on first, and suddenly Chief Jeon of Tactical Assassinations is fully activated. The transformation would be impressive if it wasn't so intense.

The second helmet comes flying at you without warning.

Your hands scramble to catch it—which you do, thankfully, because dropping it would be mortifying. But then comes the real challenge: actually putting the damn thing on.

The straps are being particularly bitchy tonight. They keep slipping through your fingers like they're coated in butter or something. You're probably making this look way harder than it needs to be, but whatever.

You catch Jeon watching you, and there's this tiny smirk playing at the corner of his mouth. It's barely there, but you've learned to spot these micro-expressions of his. The fact that you can read him at all is probably something you should worry about later.

"You always manage to make the simplest tasks look like a battle," he says, voice slightly muffled by his helmet.

The words should sting, but there's this undercurrent of... something else. Something almost playful, if you didn't know better.

He steps closer, and fuck—the wind hits you full force.

It's like being caught in the eye of a storm, where everything's calm but you know there's chaos just inches away.

His gloved hands reach for the straps, and despite the leather barrier, his touch is weirdly gentle.

Clinical, sure, but gentle.

"There," he says, and it's just one word but it feels loaded.

You make the mistake of looking up at his eyes—those dark, intense eyes that make you feel like you're being dissected and devoured all at once.

"Thanks," you manage to say, keeping your voice steady because you refuse to let him see how much he affects you. "I guess I'm still not used to all this."

He takes a step back, and you can breathe again. His expression is back to that unreadable mask he wears so well.

"You're still fairly new, you've got time to learn. Everyone does, eventually."

Silence. Words hovering between you, carried by the night breeze.

If you were s̶t̶u̶p̶i̶d̶ optimistic enough, you might think his voice had softened just a bit. But you know better.

You've learned better.

"We should get going," he says, breaking whatever moment was building. "We have a long night ahead of us."

Yeah, you think. A long night of pretending this tension doesn't exist.

Jeon swings his leg over the bike with this fluid grace that's honestly unfair, engine purring beneath him like some mechanical beast waiting to be unleashed.

You climb on after him, trying (and probably failing) to look half as graceful. The leather seat is cool against your thighs, and you're suddenly very aware of how close you need to be.

Fuck it.

You wrap your arms around his torso, hands splaying across his abdomen. Even through his jacket, you can feel how solid he is—all muscle, all heat, like a human furnace.

The proximity makes your skin tingle where you're pressed against him.

He goes completely still for a moment. You feel his breath catch, just slightly. Then he relaxes, and you could swear the air shifts, becoming less stormy, more like a breeze.

The engine growls louder as he revs it.

"Hold on tight," he says, and you know that tone. That's his 'I'm-about-to-be-a-little-shit' voice. "Don't let go."

You barely have time to process the warning before he twists the throttle.

The bike lurches forward and—holy shit—you slam back against him, the sudden acceleration catching you completely off guard. A very u̶n̶d̶i̶g̶n̶i̶f̶i̶e̶d̶ surprised yelp escapes you as he immediately cuts the speed, leaving you pressed firmly against his back.

The bastard chuckles. You can feel it rumble through his chest where you're plastered against him.

"Gotta hold on tighter than that, sunshine," he taunts, and you can hear the smirk in his voice. "Don't want you flying off the back now."

You smack his shoulder, hard enough to mean business but not enough to actually hurt.

Not that you could probably hurt him anyway. He's like a fucking brick wall.

"You're such a dick," you mutter, but you're fighting back a smile he can't see.

You can practically feel his shit-eating grin and you're starting to think this whole helmet struggle earlier was just an excuse to mess with you.

"Maybe I should drive," you say, matching his teasing tone. "Since you clearly can't be trusted to act like a proper adult."

"In your dreams, sunshine." The pet name rolls off his tongue like honey-coated poison. "Now hold on properly, unless you want another demonstration."

You tighten your grip around him—maybe a bit more forcefully than necessary. Your chest presses flush against his back, and you swear you feel his breath hitch again.

"Just drive the damn bike, Jeon," you say, trying to sound annoyed but probably failing miserably.

"Yes ma'am," he drawls, and this time when he revs the engine, the acceleration is smooth as silk as you both glide into the darkness.

The bike thunders beneath you, eating up the empty backroads leading away from the castle.

You catch glimpses of city lights in the distance, little pinpricks of civilization breaking through the darkness.

Jeon handles the bike like it's an extension of himself, without exaggeration.

His back is solid against your chest, and you're definitely n̶o̶t̶ totally noticing how the leather jacket stretches across his shoulders with each turn. One gloved hand stays steady on the throttle while the other grips the handlebar confidently.

The road then straightens out, and Jeon takes full advantage.

The engine roars as he opens up the throttle, and you instinctively press closer. Your thighs tighten around the bike, and you swear you feel him tense for a split second before relaxing again.

After that, your world becomes a blur of shadows and occasional bursts of neon. Each mile brings you closer to the city, that concrete jungle where your target is hiding.

The buildings start growing taller, streets getting busier, and Jeon weaves through traffic with this contained impatience that you feel in your bones. Every block brings you deeper into enemy territory, and you can't help but think about what's waiting at the end of this ride.

God, you think, this is actually happening.

The bike slows as Jeon turns down an alley, the engine's growl echoing off brick walls before he kills it.

You've stopped beside this completely unremarkable door that somehow manages to look threatening anyway.

Because you know what's behind it.

Who's behind it.

Jeon pulls off his helmet, and those dark eyes find yours.

They're intense, focused—the kind of look that makes your stomach do this weird flip thing you're choosing to ignore.

"We're here," he says, voice low and serious.

You resist the urge to say 'no shit.'

Barely.

Jeon slides off the bike and you follow, yanking off the helmet and running fingers through your hair to fix whatever mess the wind made of it.

The alley you're in is sketchy as fuck—all grimy walls and creepy shadows.

And to add onto that—a siren wails somewhere in the distance before dying out, and you can't help but think how perfectly ominous that is.

You take a deep breath, trying to get your shit together.

The mission brief keeps playing in your head like some twisted PowerPoint presentation: get in, play nice with the bad guys, wait for the lights to go out.

Easy peasy.

Right.

No pressure or anything—just the tiny matter of infiltrating a rival gang's hideout.

Then, Jeon is moving—towards the grimy door.

Wind cuts through the clothing that shields you from the force of nature he is.

You follow close behind, channeling every ounce of that Seduction Division training into looking like you absolutely belong here. Time to put on the mask, become whoever these assholes need you to be.

Jeon knocks on the door—two quick taps, one long, two quick. The sound bounces off the alley walls before getting swallowed by the night.

For a moment, there's nothing but silence and your heartbeat doing this annoying thing where it won't slow the fuck down.

Then comes the click of locks, and the door swings open to reveal this absolute unit of a guy. His face is mostly shadow, but his suspicion? That's crystal clear.

He gives you both this once-over that practically screams 'I don't trust you,' but steps aside anyway.

Jeon walks in first, and you follow his lead, channeling your inner bad bitch because that's what's gonna keep you alive tonight.

The inside is like every seedy underground bar in every crime movie ever, except the smell is worse. It's this nasty cocktail of booze and something sickeningly sweet that makes your nose want to revolt. You force yourself not to react, keeping your face neutral even though your lungs are screaming.

You weave through the crowd behind Jeon, feeling eyes tracking your movement. Some look curious, others suspicious, but most are too wasted or high to give a shit. You keep your head high, shoulders back, playing the role of someone who's seen it all and isn't impressed.

Jeon posts up at the bar like he's been coming here his whole life. When the bartender comes over, Jeon pulls this smile that's all teeth and zero warmth. It's kind of terrifying how good he is at this.

"We're here to see Kaleido," he says, smooth as silk. "Tell him the traders he's been expecting have arrived."

The bartender's got a sour face on. "I don't know any Kaleido," he says, flat and cold.

But Jeon? He doesn't even blink. Just does this thing where he bites the inside of his cheek—which is not distracting at all—and pulls out two golden coins, sliding them across the counter like he's dealing cards.

"We're the new faces in town," he says, casual as fuck. "Kaleido is expecting us."

You resist the urge to smirk. Because damn, he's good at this.

The bartender snatches up the coins like they personally offended him. His eyes flick between the metal and your faces, doing that thing where he's trying real hard to catch you in a lie. You keep your face neutral even though your stomach's doing gymnastics.

After what feels like fucking forever, he gives this tiny nod that probably killed him inside and slides the coins in his pocket.

"Wait here," he grunts, disappearing through a door that's seen better days.

You fight the urge to bounce your leg or fidget with your clothes or do any of the thousand nervous tells that would blow your cover right now.

The wait is excruciating. You're about to lose your mind when the bartender finally emerges with this dude looks like he bench presses cars for fun, with a face that's all hard angles and zero emotion. He doesn't say a word, just jerks his head toward the back like you're supposed to know what that means.

Jeon pushes off the bar, and the way he straightens up is somehow both lazy and intimidating. He tilts his head slightly—your cue to follow. Your heart's going absolutely feral in your chest, but you've got your game face locked down tight.

No backing out now.

You follow Jeon and Mr. Mountain through the crowd.

The place is exactly what you'd expect from a seedy underground bar—sketchy people having sketchy conversations over even sketchier drinks.

The hallway they lead you down is grimy as fuck, and you can hear music thumping through the walls from somewhere nearby.

Muscles McGee opens a door to what has to be the most depressing room you've ever seen—dim, small, and probably hasn't seen a cleaning crew since the 90s.

"Kaleido will be with you shortly," he rumbles, and his voice matches his appearance perfectly—like gravel in a blender.

The door clicks shut behind him, leaving you alone with Jeon.

His eyes find yours in the low light, and there's this whole conversation happening without words.

You both know what's at stake here.

One wrong move and you're both d̶e̶a̶d̶ screwed.

The door swings open again, and in walks this guy who looks like he raided a rapper's closet. His suit probably costs more than your yearly salary, and he's wearing enough gold to fund a small country.

He gives you this dismissive once-over that makes your blood boil before turning to Jeon with barely concealed suspicion.

"Was told to expect the woman," he drawls, sounding bored out of his mind. "Didn't mention anything about a man crashing our little party."

You resist the urge to roll your eyes. Men.

Jeon's eyes narrow just a fraction, but you jump in before he can say something that'll probably piss everyone off.

"I'm the one you're here to meet," you say, keeping your voice smooth and professional. "My associate is—"

"Her husband," Jeon cuts in, voice like silk over steel.

The word rolls off his tongue like he's been saying it his whole life instead of pulling it out of his ass two seconds ago.

You shoot him a look that could curdle milk.

Husband? Really?

But Jeon's locked onto Kaleido like a sniper on his target, completely ignoring your death glare. His jaw is set in that way that means he's about to be a stubborn ass about something.

Kaleido's laugh is sharp and mocking, the kind that makes you want to punch teeth.

"Her husband?" He looks between you both like this is the funniest shit he's seen all week. "What, she needs a big scary guard dog to hold her hand during business deals?"

You watch Jeon's jaw clench, the muscle jumping under his skin. But his voice stays steady, dangerous in its calmness.

"More like insurance."

You clear your throat, loud enough to make a point.

"As I was saying"—and you put just enough emphasis on that word to let Jeon know you'll be having words about this later—"my associate and I have some opportunities that might interest you. The kind that makes serious money."

Kaleido finally tears his eyes away from Jeon to look at you, and something in his gaze makes your skin recoil.

"Well then," he drawls, dropping into his chair like a king on his throne, "let's talk business."

His eyes rake over you both, lingering a bit too long for comfort.

"Impress me."

You meet his stare head-on because fuck that—you're not some rookie who's gonna get intimidated by his wannabe mob boss act.

Time to put all that Seduction Division training to work.

You've got a whole script of lies ready to roll off your tongue, each one crafted to hook this smug bastard right where you want him.

Game fucking on.

You start laying out the deal, watching Kaleido's face shift from bored rich boy to actually interested businessman. But part of your brain is still stuck on Jeon's little improvisation. Because Jeon doesn't do random—every move is calculated, every word chosen for maximum effect.

He saw something in Kaleido that made him change the plan.

And whatever it was, it was bad enough to make him go full protective mode.

"So these new routes we've set up?" You tap the documents as you slide them across the table, keeping your voice casual but confident. "They'll keep the good shit flowing steady. Premium grade only—none of that watered-down crap."

Kaleido snatches up the papers like they're made of gold, those calculating eyes scanning every detail. His perfectly manicured finger stops at something, and his face does this thing where he's trying to look unimpressed but you can tell he's interested.

"End of next week? With customs breathing down everyone's neck lately?" He clicks his tongue. "That's a bold claim."

His eyes lock onto yours, and it feels like being dissected. You can feel the cold breeze intensify beside you, ready to strike at the slightest provocation.

But you've got this. This is what you were trained for.

"Yeah, customs is a bitch lately," you say with a knowing smirk, leaning forward slightly. "Good thing we've got someone on the inside who's very invested in looking the other way."

You tap the timeline sheet with one perfectly manicured nail.

"See this? Already factored in their... cooperation. We might work outside the law, but we're not stupid about it."

Kaleido stares at the paper for what feels like forever, then his eyes snap back to you. His eyebrows climb up his forehead, and suddenly he's grinning like you just told him his favorite candy is back in store. He claps once, the sound sharp and jarring in the small room.

"Well, fuck me," he says, sounding genuinely impressed. "You actually know what you're talking about."

He stands up, straightening his ridiculous designer suit.

"There's someone else who needs to hear this. Come on."

He gestures toward a door at the back of the room like some fancy maître d' inviting you to the VIP section.

You catch Jeon's eye for a split second—just long enough to see the tension in his jaw.

Something's off about this whole thing, but you're in too deep to back out now.

You follow Kaleido down this sketchy-ass hallway.

The subvocal mic hidden in your collar is tiny but feels like it weighs a ton as you activate it.

"What the fuck was that husband shit about?" you whisper, making sure your lips barely move. "Because I know you didn't just pull that out of your ass for fun."

Jeon's voice comes through your earpiece, quiet but crystal clear.

"Guys like him?" There's a edge to his voice that makes your skin prickle. "They see single women as prey. Trust me on this one."

Oh. Well, shit.

You throw a glance over your shoulder, brows furrowed because what the actual fuck is going on in that tactical brain of his. But Jeon's already explaining through the subvocals, his voice low and steady in your ear.

"These types get off on finding weak spots they can dig their fingers into," he murmurs, and something in his tone makes your skin prickle. "A couple? That's like serving them weakness on a silver fucking platter."

You have to fight to keep your voice down. "So you just painted a giant fucking target on our backs for fun?"

"Think of it as controlled bait," he says, and you can practically hear that annoying smirk in his voice. "They see what looks like an obvious pressure point, but they also see two people who won't let the other out of their sight. Can't divide what won't separate."

Kaleido throws this look over his shoulder that's trying way too hard to be casual. You flash him your best trophy-wife smile before turning back to your hushed conversation.

"I don't like playing from behind," you breathe into the mic. "If this blows up in our faces—"

"It won't." The certainty in his voice would be irritating if you didn't know how that big brain of his works. "Guys like Kaleido? They're like snakes. They won't strike without knowing exactly where to sink their fangs. Marriage looks like an easy weak spot to exploit, but it also means they have to be real careful about how they play it. Nobody wants to poke a bear and its mate."

You chew on your bottom lip as you follow Kaleido through another door into what looks like some bougie conference room from hell.

"So what you're saying is," you whisper, working it out, "we look like an easy mark, but we're actually too much of a pain in the ass to fuck with directly?"

The tiny nod he gives is barely perceptible. "Bingo. It's all about the balance—make him think he's got leverage, but make him second-guess using it."

You take a deep breath, letting it out slowly. The pieces are starting to click into place.

"Okay, yeah. I get what you're doing here."

It's actually kind of brilliant, in a fucked-up way. Present a tempting target that's also too risky to take a shot at.

Classic Jeon strategy—making someone think they've got the upper hand while he's actually ten steps ahead.

You just hope his read on Kaleido is as accurate as he thinks it is.

The new room is bigger, fancier, trying way too hard to look impressive.

But what catches your attention isn't the tacky decor—it's the guy sprawled in this throne-like chair (what's with these people and thrones?). His hair's this violent shade of red, styled up in a mohawk that screams 'look at me, I'm dangerous.'

But it's his eyes that make your stomach drop.

Yellow contacts that make him look like some kind of Boomslang sizing up its next meal.

You feel Jeon go completely still beside you, every muscle in his body coiled tight. The air around him sharpens into something deadly, and you just know this situation just went from bad to absolutely fucked.

"Where the fuck are you going?" AD's voice cuts through your earpiece, sharp and irritated.

You tilt your head slightly, keeping your voice barely above a whisper. "Kaleido brought us to meet someone else. Apparently, they're very interested in our deal."

"Who?" The way AD snaps the word makes your skin prickle.

"Red mohawk. Yellow contacts. Looks like he raided some goth's closet," you murmur, trying to keep the tension out of your voice.

There's this pause that feels heavy enough to crush your lungs.

Then AD's voice comes back, cold as ice: "That's Fervio."

"Motherfucker," Jeon mutters under his breath, and the fact that he's breaking radio silence to curse tells you everything you need to know about how deeply shit you are.

You glance between Mohawk Guy—Fervio—and Jeon, trying to piece together why everyone's suddenly acting like you're standing in front of Death himself.

Your confusion must show somehow through the comms because AD starts talking again, his voice tight with barely contained urgency.

"Listen carefully. Fervio's not just another MDF thug. He's their fucking torture specialist." There's a rustling sound, like AD's leaning closer to his mic. "We're talking serious psychological damage. The kind of shit that keeps other psychopaths up at night. Makes V look like a boy scout."

"Hey!" V's voice cuts in, sounding actually offended. "I have standards, okay? And do you know how hard it is to get blood out of designer suits?"

"Both of you, shut up," RM's voice slices through the chatter, cold and commanding. "Get out. Now. Before he decides you look interesting."

You watch Fervio rise from his chair with this fluid grace that makes your skin crawl, yellow eyes locking onto you both like a snake spotting mice.

"We can't," you breathe into the comm, keeping your face neutral even though your heart's trying to punch through your ribs. "Backing out now would be suspicious as fuck."

Great, you think. Just great.

Of all the psychos in MDF, you had to run into their resident Hannibal Lecter.

Before AD can continue with his rant, J-Hope's voice cuts in, sharp and deadly serious.

"Listen here, you little shit," he hisses, and you've never heard him sound this intense before. "That psycho in front of you? I've had to put his victims back together. Multiple fucking times. And let me tell you something—there usually isn't enough left to work with. The things he does to people? That's not normal torture. That's not even human. He's a fucking monster wearing people skin for fun."

Your stomach does this violent flip thing, but you keep your face perfectly blank. Years of Flower's training kicking in as Fervio stalks toward you.

Those yellow contacts make him look like something that crawled out of a horror movie, and that smile—fuck, that smile is all kinds of wrong.

Next to you, Jeon's whole soul has turned deadly, like the kind of storm that levels entire cities. His body is coiled so tight you can practically hear his muscles screaming, ready to launch at Fervio's throat at the smallest wrong move.

"We need to find another way," you breathe into the comm, barely moving your lips. "But if we bolt now, this place turns into a fucking slaughterhouse. We stick to the plan."

AD starts cursing in your ear, and J-Hope's protests get even more colorful, but you tune them out.

Time to put on the performance of your life.

You stretch your lips into what you hope is a convincing smile and extend your hand to Fervio.

"Pleasure to meet you," you say, voice steady despite your heart trying to punch through your ribcage. "Kaleido mentioned you might be interested in what we're offering."

Your skin crawls when Fervio takes your hand. His grip is too tight, too deliberate, and he holds on way longer than necessary as he brings your knuckles to his lips in this theatrical gesture that makes you want to g̶a̶g̶ grimace. Those yellow eyes never leave yours, gleaming with something that looks too much like hunger.

"A pleasure indeed," he practically purrs, and the way he says it makes you feel like you need a shower.

You force yourself to stay still, channeling every ounce of Seduction Division training into keeping your expression pleasant and engaged.

"The pleasure's mine. Your reputation precedes you."

Please, you think, let us get through this without anyone getting skinned alive.

Those creepy yellow contacts slide over to Jeon, and you watch Fervio size him up. "And who's the strong, silent type?"

"Her husband," Kaleido cuts in before either of you can speak, his smirk dripping with smug satisfaction. "Though he doesn't seem too keen on... friendly conversation."

Fervio's laugh is sharp and ugly, like broken glass scraping metal. "Oh, I get it. The big scary guard dog act, right? All growl, no real bite. What, they keep you on a leash, make sure no one gets too handsy with the missus?"

You feel Jeon's hurricane darken dangerously, but his voice stays deadly calm.

"Trust me, she doesn't need protection. She's perfectly capable of handling herself."

Your hand shoots out to grip his bicep—partly to stop him from doing something stupid, partly to ground yourself. When he glances at you, his tongue flicks out to play with his lip ring.

"I'm sure my husband"—and god, that word feels weird in your mouth—"would appreciate it if we skipped the implications and got down to business."

You can feel Jeon practically vibrating with tension under your grip, so you squeeze his arm just a bit harder.

Don't, you try to telegraph through the touch. He's testing us. Don't give him what he wants.

Fervio's eyes dart between you and Jeon, calculating and hungry, before settling back on you.

"Of course, my sincerest apologies," he says, in a tone that suggests he's about as sorry as a cat in a canary shop. "Let's discuss this fascinating deal of yours."

He sinks back into his chair with a loud thud, and you take the seat across from him whilst Jeon drops into the chair beside you. His presence is both comforting and terrifying—like having a loaded gun pressed against your back. Protection and danger all wrapped up in one p̶r̶e̶t̶t̶y̶ lethal package.

Fervio leans back, threading his fingers together like some b̶u̶l̶l̶s̶h̶i̶t̶ wannabe movie villain. The smile playing around his lips makes your skin crawl. It's the kind of smile that says he knows exactly how much power he holds in this room, and he can't wait to use it.

"So," Fervio drawls, and his voice makes your skin want to crawl right off your body. "Partnership's a delicate thing, isn't it? All about that... give and take."

You nod, studying his face like you're trying to read a book written in blood.

"That's right. We're always looking for deals that work out for everyone involved."

He leans forward, elbows on the table. "Everyone involved? Now that's interesting. I've always enjoyed... expanding my circle. Trying new things. Meeting new friends."

You force yourself to stay still. "Well, they do say variety keeps life interesting."

Jeon clears his throat, this tiny sound that somehow manages to carry a death threat.

Fervio's attention snaps to him like a rubber band, and fuck—those yellow eyes are practically glowing now.

"What about you, tough guy?" Fervio's words drip with mock sweetness. "You like getting your hands dirty, or do you just stand there looking pretty while the missus handles business?"

You feel Jeon's muscles coil under your touch. His jaw clenches so hard you can practically hear his teeth grinding.

"I do whatever needs doing," he says, voice cold enough to freeze hell. "And I never just stand there."

"Ooh, feisty," Fervio actually fucking giggles, and it's the most unsettling sound you've ever heard. "I like that in a man."

Your brain is going a mile a minute, mapping every possible way this could go sideways.

The clock on the wall reads 22:45.

Fifteen minutes.

Just fifteen fucking minutes until the power goes out and you can stop playing nice with this psycho.

You lean in, like you're actually interested in whatever sick shit he's suggesting.

"So what exactly did you have in mind for this partnership?"

Fervio's mouth opens, probably to say something horrifying, but you cut him off with a perfectly timed cough.

"Of course," you add quickly, matching his suggestive tone, "we'd need to explore all the possibilities first. Make sure everyone's needs are met."

"Oh, I like you," he purrs, and his smile is all teeth and zero warmth. "I have so many... creative ideas we could try. I've gotten quite good at finding that sweet spot between pleasure and screaming."

You feel Jeon tense beside you, practically vibrating with the need to put a bullet between Fervio's eyes. Your fingers dig into his arm, silently begging him to keep it together.

"We're always eager to learn new methods," you say, keeping your voice light. "As long as they get results."

His laugh sounds like gravel in a blender. "Trust me, sweetheart. My methods always get results. I've turned it into an art form."

22:50.

You maintain your flirty smile even though you want nothing more than to dump bleach on your brain to wash away this entire conversation.

Ten more minutes, you think. Just ten more minutes of not punching this creep in his stupid face.

You force yourself to lean forward, all casual interest like you're not sitting across from a literal psychopath.

"Maybe we should talk specifics first. You know—terms, guarantees, all that boring but necessary shit."

"Of course, of course." Fervio's smile promises pain. "Always good to handle business before... other matters."

He starts laying out some proposal, but you're only half listening. Your eyes keep darting to the clock while trying to look like they're not. Jeon's still beside you, watching Fervio like he's mentally cataloging all the ways he could end him.

22:55. Five more minutes of this psychological torture session.

You can practically feel AD's planned blackout humming in the air—or maybe that's just your nerves making shit up.

You keep nodding, throwing out questions designed to keep Fervio talking. The more he talks, the more he reveals just how fucked in the head he is. But you're careful—dancing on the edge of interest without actually promising anything.

"That's an... interesting approach," you say, watching his yellow eyes light up at your apparent engagement. "Very creative."

Kaleido shifts in his seat, and you catch this tiny frown crossing his face. Someone's starting to smell something fishy.

But then it happens.

23:00 hits, and everything goes black.

The darkness feels like a goddamn blessing after staring at those creepy yellow contacts.

You let out this little laugh, playing it cool. "Well, this is getting atmospheric."

"Indeed it is," Fervio practically purrs, and fuck—his voice has dropped into something that makes your skin want to crawl right off your body. "The darkness has a way of... bringing out our true natures."

You can feel Kaleido's tension from here. He's not buying this convenient timing, but Fervio's too caught up in his own twisted fantasy to notice.

"They do say the best deals happen in the dark," you drawl, channeling every ounce of Seduction Division training into your voice. "When you can't see the fine print."

Come on, you think. Just keep them distracted for a few more minutes.

The darkness is so thick you could probably drown in it, and somewhere in it, Fervio is getting way too excited about this whole situation. But you've got bigger problems than his murder boner—like making sure Kaleido doesn't put two and two together before you can complete the mission.

You feel Jeon slip away like a ghost, silent and deadly in the darkness.

Kaleido's head snaps toward the movement—fuck, he's sharp.

Time to do what you do best: be really fucking distracting.

Your hand finds Kaleido's arm, touch light enough to seem inviting rather than desperate.

"Hey now," you purr. "Don't get distracted. We were just getting to the fun part, weren't we? There's enough entertainment to keep everyone happy."

You hear Kaleido's breath hitch—gotcha. "Is that right?" His voice has that edge of interest that tells you he's taking the bait.

Hook, line, and s̶u̶c̶k̶e̶r̶ sinker.

But then Fervio's voice cuts through, a bit irritated. "Fun is an art form. It's not about how many players are in the game. It's about how thoroughly you can explore each possibility."

Something touches your hand—Fervio's fingers, cold and invasive. Every instinct screams at you to pull away, but you hold steady. Years of training kick in, and you force yourself to lean into the touch instead of breaking his fucking fingers.

"Couldn't agree more," you say, making your voice all honey and smoke. "Quality over quantity, right? Though sometimes..." You let the words hang there, suggestive. "A little variety can make things interesting."

Fervio's laugh makes your skin want to crawl right off your body and run for the hills.

"Let's keep our friend out of this particular equation," he says, and there's steel under that fake playfulness. "I prefer my entertainment more concentrated. Just us three."

You paint on a smile he can't see in the dark, grateful for small mercies.

"Whatever you say," you reply, like you're actually disappointed. "Your house, your rules."

The minutes drag by like years. Your heart's going so hard you're amazed they can't hear it, but you keep talking, keep flirting, keep Kaleido's suspicions buried under layers of innuendo and suggestion.

Every time Fervio opens his mouth, something more twisted comes out, but you dance around his sick fantasies like you're actually interested.

Come on, Jeon, you think. Hurry the fuck up.

You remind yourself that every creepy comment, every time Fervio's hand 'accidentally' brushes yours, every moment you have to pretend his psycho ass is fascinating—it's all getting you closer to bringing these bastards down.

This is what you trained for. This is what you're good at.

And when those lights come back on, you'll walk out of here without a scratch, leaving these fuckers none the wiser.

Because that's what you do. That's who you are.

You're not just some pretty distraction.

You're a goddamn professional.

This fucking hideout is a maze—that's all Jungkook can think as he tries to move through silently.

The mission weighs on his shoulders, made heavier by AD's voice crackling through his earpiece—sharp, cold, and deliberately sparse with information.

"Left. Next intersection."

His eyes scan the dim corridor, searching for any sign of the server room. Or worse—company.

The lack of proper directions makes his jaw clench. AD's being difficult on purpose, and they both know it.

A soft shuffle of footsteps echoes from around the corner. His body moves on instinct, melting into a shadowed alcove. The wall is cold against his back as some MDF grunt walks past, completely oblivious to the death that could have been waiting for them.

"Almost got made," he mutters into the comm, keeping his voice low. "Your directions are fucking useless."

The silence that follows is loaded.

"Oh no, what a tragedy that would be. What would we do without our perfect Captain America?"

The words hit exactly where AD means them to—right in that raw spot that never quite heals.

But Jungkook swallows it down, like he always does. Like he deserves to.

"Just focus on the fucking mission."

"Whatever you say." AD's voice drips acid. "Next right, straight down. Try not to die—the paperwork's a bitch, and I'd hate to waste my time processing your replacement."

His teeth grind together so hard his jaw aches. The guilt sits heavy in his chest, a constant companion these days. AD never lets him forget what happened with Sylvia, never misses a chance to twist the knife.

But that's fine. He deserves that too.

The mission is what matters. Everything else—the guilt, AD's hatred, the constant reminder of his failures—that's just background noise. He's gotten good at drowning it out.

Focus on the objective, he thinks. Nothing else matters.

(But god, some days the weight of it all feels like it might finally break him.)

"Thanks for the fucking concern," Jungkook mutters, the words tasting like ash in his mouth.

Not that he expects anything else from AD these days.

"Don't flatter yourself." AD's voice crackles with venom through the comm. "I'm here for the mission. You're just the unfortunate means to an end."

Each step feels heavier than the last, weighted down by years of AD's cultivated hatred.

But the mission is what matters.

That's what he keeps telling himself, anyway.

Has to keep telling himself.

The LED lights overhead cast these long, twisted shadows that remind him too much of things he'd rather forget.

Of Sylvia. Of choices he can't take back. Of the way everything went so spectacularly wrong.

"Left door," AD says, clipped and cold. "Try not to fuck this up too."

Jungkook's hand pauses over the doorknob, metal cool against his palm. He presses his ear to the door, listening for movement, for breath, for anything that might mean trouble. Nothing but silence answers back.

"You know," he breathes, slipping into the room like a ghost, "with how much you hate me, you'd think I killed her myself."

The laugh that comes through his earpiece is ugly. "Didn't you? Might as well have handed her the gun yourself."

He's right, of course. Jungkook deserves every bit of venom AD spits at him.

He simply exhales. Ignores the guilt that threatens to choke him.

"Moving on," he says quietly, both an update and a desperate attempt to change the subject.

"Yeah, better hurry," AD sneers. "Clock's ticking, and we both know how good you are at getting people killed when you're running out of time."

"Crystal fucking clear," Jungkook grits out, his jaw clenched so tight it hurts.

But pain is familiar territory these days. Almost comforting, in a twisted way.

"Door on your left, five meters." AD's voice is clinical now, professional.

Sometimes that's worse than the open hostility.

At least hatred is honest.

"Could you at least pretend not to want me dead?" Jungkook mutters.

"Maybe if you hadn't gotten Sylvia killed, I would."

It hits him like a bullet between the ribs, the name.

Sylvia.

It always comes back to her, doesn't it?

That night haunts every interaction with AD, turning what used to be friendship into this twisted thing full of barbs and old wounds.

"I know."

It's all he can say. All he's allowed to say, really. Some apologies are just fucking pointless.

The server room is exactly what he expected—all blinking lights and humming machines. Perfect place to hide a bug.

His hands move on autopilot while his mind keeps circling back to AD's words like picking at a scab.

"Focus, Jeon." AD's voice cuts through his thoughts. "Get the job done and get out."

Jungkook crouches down, finding a spot that'll give them good coverage. The familiar motions of planting surveillance gear almost feel like penance. Almost. His fingers work quickly, efficiently, working with the kind of precision his father drilled into him.

The comm line goes quiet. AD's probably stewing in his anger, replaying old memories like a fucked-up highlight reel.

Jungkook knows because he does the same thing.

"Bug's planted," he whispers, straightening up. "Moving out."

There's this pause—longer than usual. Like AD's wrestling with something.

When he finally speaks, his voice has lost some of its edge. "Watch your back."

It's not forgiveness. Not even close. But it's... something.

A tiny crack in the wall of hatred AD's built between them.

Maybe it's just muscle memory from their old friendship, or maybe AD's just too tired to maintain the rage.

Either way, it doesn't change anything.

Some mistakes can't be undone, some bridges stay burned.

And dead people always stay dead.

Jungkook heads back the way he came, knowing he needs to hurry. He can't afford any mistakes, not now—not ever again, really. Time's running out, and he can't afford to fuck this up too.

"Move your ass, Jeon. You got less than a minute."

AD's voice has faded to white noise in his ear, like a storm that's finally burned itself out.

But the urgency remains, thrumming under his skin like a fucking hornets' nest.

And his mind isn't helpful—keeps circling back to everything riding on this—the mission, the intel, the fact that you're still in that room with those psychos.

A drop of sweat slides down his temple, and he forces himself to focus.

No room for distractions. Not now.

He's almost at the final corner, freedom just fucking there, when he catches the low rumble of voices. His body reacts before his brain, pressing flat against the wall in a shadowed spot. His breath comes shallow and quiet as footsteps approach.

The seconds crawl by like years. Each heartbeat feels too loud, each breath a risk. The guards' voices drift closer, then past, then fade into nothing.

The moment the footsteps disappear, Jungkook moves.

Those last few meters might as well be a mile, but he covers them in seconds. The lights could come back any moment, and if he's not in that room when they do—

He slides into his seat beside you, forcing his breathing to stay steady even though his heart's trying to punch through his ribs.

The power surges back on immediately. The sudden brightness makes his eyes burn, but there's no time to adjust.

You turn toward him, probably to ask if he got it done, but the room's already buzzing with conversation again like nothing happened. Like he didn't just plant a bug that could bring this whole operation crashing down. Like there aren't two psychopaths sitting across from you both, one of them already suspicious.

His eyes meet yours for a split second. There's relief there, yeah, but also the weight of knowing this is just the beginning.

"Looking forward to our... partnership," Fervio then purrs, those creepy yellow contacts flicking between you and Jeon. "I'm veryinterested to see what you bring to the table."

You catch Jeon giving you this look from the corner of your eye—all confusion and barely concealed questions.

Of course he's lost, poor bastard missed the whole song and dance while he was playing spy. His dark eyes are practically screaming for some kind of explanation, any hint about what kind of mess he just walked back into.

You meet his gaze for a split second, trying to pack a whole conversation into one look.

Later, you try to telegraph. When we're not surrounded by psychos who want to wear our skin as party hats.

After a few more minutes, everyone starts getting up, chairs scraping against the floor.

Kaleido's already at the door, and you and Jeon fall in line behind him like good little lambs to the s̶l̶a̶u̶g̶h̶t̶e̶r̶ meeting.

The hallway feels weirdly normal after that pressure cooker of a room. Just the click of shoes on fancy floors and the distant mumble of voices that could almost make you forget you're in the heart of enemy territory.

Jeon slides into step beside you, and it's kind of impressive how he manages to look completely chill while also being wound tight enough to snap. His shoulders are relaxed but his eyes keep scanning everything, cataloging exits and threats like the walking weapon he is.

Your brain's working overtime, trying to figure out how to explain everything that went down while he was gone. How do you even begin to summarize that clusterfuck of a conversation?

'Hey, so while you were planting bugs, I had to flirt with two different flavors of psychopath to keep us alive. Fun times!'

He's counting on you to be his eyes and ears in there, to help him navigate whatever landmines you just agreed to. And fuck if you're going to let him down now.

God; you are in so far over your heads. But hey, at least you're drowning together.

The walk back through MDF's territory feels like it takes forever.

Kaleido leads you through this maze of hallways that all look the same—probably designed that way on purpose, the paranoid bastards.

You've got questions burning holes in your tongue, and you can tell from the way Jeon keeps glancing at you that he's got plenty of his own.

Finally, finally, you push through the exit doors and the night air hits your face like freedom.

Jeon practically deflates next to you, all that coiled tension leaving his body in one long exhale.

You get it. Being in there felt like having a knife pressed against your throat for hours.

It's weird how normal everything looks when you just spent the evening playing nice with actual monsters.

You reach up and pull out your earpiece, watching Jeon do the same.

No more voices in your head—just the ambient noise of Seoul at night and about a million questions that need answers.

The bike's waiting right where you left it, looking like the most beautiful thing you've ever seen because it means you can get the fuck out of here.

Jeon moves toward it, probably ready to bolt, but something's been nagging at you since those comms went live.

"Who's Sylvia?"

The words slip out before you can stop them.

It's probably not the best timing, but if Seduction has taught you anything is that information is power.

And right now you feel pretty fucking powerless.

You watch Jeon's shoulders lock up again, his whole body going still like you just pulled a gun on him instead of asking a simple question.

Fuck. He forgot about the comms.

In the rush to get back before the lights came on, Jungkook completely forgot the line was still open.

That you heard everything—including that name.

Sylvia.

The word sits like poison in his mind, dragging up memories he's spent years trying to bury.

His heart slams against his ribs, and it has nothing to do with almost getting caught back there.

Your question hangs in the air between you, and suddenly he can't breathe right. Can't think straight.

Because you weren't supposed to know about this. About her.

He turns to look at you, trying to read your expression in the dim light. Trying to figure out how much you heard, how much you understood.

But your face gives nothing away—you've gotten too good at that. The Seduction Division taught you well.

His features lock down on instinct, years of practice kicking in like muscle memory.

It's easier this way. Safer. Put up the walls, shut everything down, become the cold, untouchable Chief everyone expects him to be.

"Nobody you should be concerned about." His voice comes out flat, empty. The kind of tone that usually makes people back off real quick.

He watches something flicker across your face—curiosity maybe, or concern. But you don't push. Don't demand answers.

You just say "Alright" in this careful, neutral way that somehow makes everything worse.

Because you're giving him space he doesn't deserve.

Understanding he hasn't earned.

Jungkook turns back to the bike, jamming the key in with more force than necessary.

The engine roars to life, and he focuses on that sound instead of the chaos in his head. Instead of the weight of all these secrets pressing down on his chest.

You climb on behind him, and the warmth of your body against his back feels wrong.

Too close. Too real.

Too much like something he can't afford to want.

"Let's get out of here," he says, keeping his voice empty.

The city starts to blur as he accelerates, but his mind stays stuck on that name. On memories he can't outrun.

Distance, he reminds himself. Distance is survival.

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[blueiscoool]

Ancient Bread Rises Again as Turkey Recreates 5,000-Year-Old Loaf

In the early Bronze Age, a piece of bread was buried beneath the threshold of a newly built house in what is today central Turkey.

Now, more than 5000 years later, archaeologists have unearthed it, and helped a local bakery to recreate the recipe—with customers lining up to buy it.

Round and flat like a pancake, 12 centimeters (five inches) in diameter, the bread was discovered during excavations at Kulluoba, a site near the central Anatolian city of Eskisehir.

"This is the oldest baked bread to have come to light during an excavation, and it has largely been able to preserve its shape," said Murat Turkteki, archaeologist and director of the excavation.

"Bread is a rare find during an excavation. Usually, you only find crumbs," he told AFP.

"But here, it was preserved because it had been burnt and buried," he said.

Archaeologists Murat Turkteki and Deniz Sari examine an ancient house at the Kulluoba excavation site in central Turkey.

The bread was charred and buried under the entrance of a dwelling built around 3300 BC.

A piece had been torn off, before the bread was burnt, then buried when the house was built.

"It makes us think of a ritual of abundance," Turkteki said.

The original Kulluoba bread, on display at the Eskisehir Archaeological Museum.

'Moved by this discovery'

Unearthed in September 2024, the charred bread has been on display at the Eskisehir Archaeological Museum since Wednesday.

"We were very moved by this discovery. Talking to our excavation director, I wondered if we could reproduce this bread," said the city's mayor, Ayse Unluce.

Analyses showed that the bread was made with coarsely ground emmer flour, an ancient variety of wheat, and lentil seeds, with the leaf of an as yet undetermined plant used as yeast.

Ancient emmer seeds no longer exist in Turkey.

To get as close as possible to the original recipe, the municipality, after analyzing the ancient bread, decided to use Kavilca wheat, a variety that is close to ancient emmer, as well as bulgur and lentils.

Employees at the Halk Ekmek bakery mix and cut dough for Kulluoba bread, recreating a 5,000-year-old loaf.

At the Halk Ekmek bakery (meaning "People's Bread" in Turkish), promoted by the municipality to offer low-cost bread, employees have been shaping 300 loaves of Kulluoba by hand every day.

"The combination of ancestral wheat flour, lentils and bulgur results in a rich, satiating, low-gluten, preservative-free bread," said Serap Guler, the bakery's manager.

The first Kulluoba loaves, marketed as 300-gram (11-ounce) cakes that cost 50 Turkish lira (around $1.28), sold out within hours.

"I rushed because I was afraid there wouldn't be any left. I'm curious about the taste of this ancient bread," said customer Suzan Kuru.

Drought resistant

In the absence of written traces, the civilization of Kulluoba remains largely mysterious.

In the Bronze Age, the Hattians, an Anatolian people who preceded the Hittites, lived in the Eskisehir region.

"Kulluoba was a medium-sized urban agglomeration engaged in commercial activities, crafts, agriculture and mining. There was clearly a certain family and social order," said archaeologist Deniz Sari.

Customers have been lining up for Kulluoba bread at the Halk Ekmek bakery.

The rediscovery of the bread has sparked interest in the cultivation of ancient wheats better adapted to drought.

Once rich in water sources, the province of Eskisehir is today suffering from drought.

"We're facing a climate crisis, but we're still growing corn and sunflowers, which require a lot of water," said Unluce, the local mayor.

"Our ancestors are teaching us a lesson. Like them, we should be moving towards less thirsty crops," she added.

The mayor wants to revive the cultivation of Kavilca wheat in the region, which is resistant to drought and disease.

"We need strong policies on this subject. Cultivating ancient wheat will be a symbolic step in this direction," she said.

"These lands have preserved this bread for 5,000 years and given us this gift. We have a duty to protect this heritage and pass it on."

By Burcin GERCEK.

'The combination of ancestral wheat flour, lentils and bulgur results in a rich, satiating, low-gluten, preservative-free bread,' says Serap Guler, the bakery's manager.

[probablyasocialecologist]

There is a growing body of physiological, anatomical, ethnographic, and archaeological evidence to suggest that not only did women hunt in our evolutionary past, but they may well have been better suited for such an endurance-dependent activity. We are both biological anthropologists. I (co-author Cara) specialize in the physiology of humans who live in extreme conditions, using my research to reconstruct how our ancestors may have adapted to different climates. And I (co-author Sarah) study Neanderthal and early modern human health. I also excavate at their archaeological sites. It’s not uncommon for scientists like us—who attempt to include the contributions of all individuals, regardless of sex and gender, in reconstructions of our evolutionary past—to be accused of rewriting the past to fulfill a politically correct, woke agenda. The actual evidence speaks for itself, though: Gendered labor roles did not exist in the Paleolithic era, which lasted from 3.3 million years ago until 12,000 years ago. The story is written in human bodies, now and in the past.

[...]

Our Neanderthal cousins, a group of humans who lived across Western and Central Eurasia approximately 250,000 to 40,000 years ago, formed small, highly nomadic bands. Fossil evidence shows females and males experienced the same bony traumas across their bodies—a signature of a hard life hunting deer, aurochs, and woolly mammoths. Tooth wear that results from using the front teeth as a third hand, likely in tasks like tanning hides, is equally evident across females and males. This nongendered picture should not be surprising when you imagine small-group living. Everyone needs to contribute to the tasks necessary for group survival—chiefly, producing food and shelter, and raising children. Individual mothers are not solely responsible for their children; in forager communities, the whole group contributes to child care. You might imagine this unified labor strategy then changed in early modern humans, but archaeological and anatomical evidence shows it did not. Upper Paleolithic modern humans leaving Africa and entering Europe and Asia show very few sexed differences in trauma and repetitive motion wear. One difference is more evidence of “thrower’s elbow” in males than females, though some females shared these pathologies. And this was also the time when people were innovating with hunting technologies like atlatls (spear throwers), fishing hooks and nets, and bow and arrows—alleviating some of the wear and tear hunting would take on their bodies. A recent archaeological experiment found that using atlatls decreased sex differences in the speed of spears thrown by contemporary men and women. Even in death, there are no sexed differences in how Neanderthals or modern humans buried their dead or the goods affiliated with their graves. These indicators of differential gendered social status do not arrive until agriculture, with its stratified economic system and monopolizable resources. All this evidence suggests Paleolithic women and men did not occupy differing roles or social realms.

[irisbleufic]

REVIEW

Gatsby: An American Myth (Welch, Chavkin, Bartlett, Majok, & Tayeh; American Repertory Theater)

Something that most adaptations of Gatsby get wrong, whether film or stage, is the treatment of characters as archetypes rather than individuals. Symbolism drowns out most genuine attempts at capturing emotional connections and conflicts of personality. They forget that this story is not only a failure of the so-called American Dream; first and foremost, it’s a tragedy of failed roles and relationships. Almost every one of the players is attempting to be someone they are not, and even as they reach for what they believe they should want, they reveal with increasing fervor what they actually want. This is the heart of what makes Welch’s new adaptation so devastatingly, disarmingly unique, so true to its source.

The set design is literal wreckage. Crushed and warped automobile chassis scaffold the moving staircases, and concealed trap doors. The backdrop shows no clear incorporation of the infamous Eckleburg billboard; rather, it is made up of a dotted grid resembling headlights. These play out effects ranging from a downpour to camera flashes to, briefly and only once, a pair of eyes that make no effort to hide behind the owlish frames of glasses. The only thing infusing this jagged framework with meaning is the people who move through it.

The lighting design works with the set’s incongruences, deepening or excavating shadows as needed. The brightness, when it flares, is blinding. Jewel tones either enhance or diminish a costuming scheme that is composed of either very pale or very dark shades, no in between. And whether it’s the post-apocalyptic black and gray cabaret garb of the ensemble or the wealthy protagonists’ pale suits or the gunmetal and gray denizens of the wasteland, everyone’s trouser and skirt hems are conspicuously rimed with reddish dust. The visual effects are nearly impossible to describe without sounding like I had some kind of desperate fever dream.

So far, I realize that these descriptions of the set and lighting design sound like this production is about to fall into the trap of overplaying symbolism, but please bear with me. With all of that established, I can focus on what’s truly extraordinary here, what’s meant to and does shine unhindered. The acting, musicianship and vocals are all so precise that it was hard for me to believe this show is still in previews. It feels Broadway ready, West End ready, major international tours ready. If I was the production crew, I’d turn this loose on a massive scale from the get-go without a second thought.

Much like with Hadestown, the musicians are not down in an orchestra pit. They’re characters in their own right, present on the stage from start to finish on tiered risers that run up from the center on each side from one of the catwalks. I’m sure Chavkin’s involvement as director has everything to do with why this show feels so much like, moves so much like Hadestown. The company is on an equally small scale, about 23 - 25 people including the principals.

Costuming among the ensemble is delightfully gender agnostic. I mention a cabaret aesthetic earlier in this review, and I’m not kidding. If you had shown me the ensemble costume designs without showing me the principals’ designs, I would have assumed I was looking at a Cabaret revival. They’re the most talented dancers I’ve seen occupy one stage in more than a decade. The choreography relies on movements in eerie unison for a significant portion of the show, but not without allowance for individual flair within those constraints. The guy sitting next to me, when I spoke to him at the intermission, said he works as a choreographer in regional theater, and he’d never seen anything like this. I couldn’t agree more; the dancing is singular, and as impressive as the musicianship is, the dancing and unusual body movement are maybe the greatest achievements of this show on the living, breathing end of things. I could have watched the dancers for those three hours without any dialogue or vocal intervention and still understood the story. That takes so much fucking doing.

As for the principal cast, they’re constantly among the ensemble; when I say these are all triple threats in the purest sense of that terminology, I really mean it. You always expect a few of the principals to be less dance and movement focused, more polished on the acting and singing side, but this show gives you terrifying proficiency from every angle. Even the guy playing Meyer Wolfsheim is at the center of what I think is the most memorable dance number in the piece. I’ve just never seen such versatile principals all in one production. What’s even more extraordinary is that I had never heard of or previously seen any of them, and that takes some doing given how much live theater I’ve consumed in several decades of life.

Ironically, the musical composition is the one aspect of this production on which I’ll be spending the least time. I need not tell you why Welch and Bartlett were perfect for this job. They understood the assignment, and then some. There’s not a single weak number among the track listings, and I desperately hope they release a recording soon. The standout numbers all have something in common: they showcase Soleia Pfeiffer as Myrtle Wilson. You can tell that’s the role where Welch sank most of the sound that’s considered her signature style. I don’t even need to describe it; you already know what I’m talking about. What’s impressive otherwise is the restraint, the lack of over-reliance on that signature style.

The principals are fucking perfect. I’ve kept this review tautly professional without meaning to thus far, but from here on out is where I start bleeding feels all over the post. If you don’t already know who my blorbos are due to my writing history with a Gatsby-related novel (The Pursued and the Pursuing, 2021), you’re going to know by the time you’re done reading this. You’re going to know exactly who I love and why, who I hate and why, who I ship and why. But you’ll also know that I approach all three of those elements from a place of enjoying every moment of those characters, even the ones I hate. Nobody’s performance put me off or struck the wrong tone when taken in context of the novel and how the tragedy of how their relationships play out.

For a long time, I’ve been saying that there are certain support roles, certain sidekicks, that make or break the higher-profile person to whose side they’re stuck, ride or die, until the bitter end. Horatio is a great example that I’ve ranted about before; if your Hamlet production has a lackluster Horatio, then it doesn’t matter how good the Hamlet is. You have nothing if you don’t have the binary star system at the heart of that harrowing universe. I’ve seen other adaptations of Gatsby consistently fall apart because Nick Carraway is treated like the kind of voyeur who doesn’t matter, the kind of voyeur who serves as the audience’s eyes and ears, and nothing else. Anyway, this is all to say: Ben Levi Ross as Nick might be the most compelling argument I can make for the fact that the creative team behind this show understood the assignment. He’s awkward, warm, sincere, and reactive in all of the ways you need Nick to be. He’s not a passive observer; he’s in the middle of everything, and he knows it. There’s a self-deprecating response he makes when one character, Jordan if I’m not mistaken, quips that maybe he’s the reason for Gatsby’s parties for all he knows. “Maybe I am,” he says, and the tongue-in-cheekness belies a gutting meta-sincerity. We believe Daisy is the point, Gatsby believes Daisy is the point, but what’s borne out every breathtaking moment of this production is that Nick is the point. He always was. He’s also given his due as a gay man in context of the story for the first time ever. I might make some folks mad when I say Nick has always been gay; I’m going to point you to Myrtle’s apartment party and the hookup with Mr. McKee as textual evidence in the novel. The kiss with McKee, the hookup with McKee, is unapologetically here. His lack of belonging everywhere else he’s ever been, because he is gay, is unapologetically here. One of the most memorable numbers in the show hinges on the hope feels at being able to be himself in New York. Queer fans of Gatsby have been waiting a long time for this. Anyone who’s read the text closely and understood him has been waiting a long time for this. I’ve been waiting several decades as a reader, and I would’ve waited forever to have Nick so fully, lovingly realized.

One of the other things that Gatsby adaptations have persistently gotten wrong is the titular character himself. The invention of Jay Gatsby hides the underlying James Gatz, makes it feel as if that old self is truly subsumed, as if it never mattered. But Isaac Powell gives us a Jay who’s exactly as he should be, who can’t hide beneath his own attempt at artifice and reinvention worth a goddamn. He’s young (as young as Nick; they’re 32 and 30 respectively both in the novel and here), painfully earnest, and just barely keeping a handle on the criminal shit he’s had to do in order to get where he is. When he says old sport to Nick, it’s not an affectation; when he says it to Tom, it becomes a biting insult. This is a Jay who knows where and why he’s vulnerable; he latches onto Nick like a not because he sees a man close to Daisy that he can exploit, but because he sees another young man who’s equally vulnerable, equally an outsider, equally haunted by the things they had to do in the war. From the moment they meet, they are almost always touching—a hand on the shoulder, on the back, getting in social harm’s way for each other, eyes seeking each other without cease in the most crowded of settings. When Jay takes Nick to lunch to meet Wolfsheim (who has in this production taken on the function of Dan Cody as well), it’s not to have somebody else vouch for the artifice of who Jay Gatsby is. It’s taking Nick to meet his fucking father-figure, and all of the messy, sincere “if you hurt my boy, I’ll kill you” sentiment that Wolfsheim aims at Nick was the moment I knew just how much the Nick’s loss by the end was going to hurt. Jay’s love for Daisy is a ghost of itself, even if as painfully earnest as everything else about him. Meanwhile, his attachment to Nick is so disarmingly genuine from the start that you understand the true tragedy you’re about to watch untold: these men who need each other, maybe even were made for each other, each prove unable to step outside their parallel distractions from what they truly are to each other. Jay’s interactions with Daisy and Nick’s interactions with several male and/or gender ambiguous members of the ensemble have something in common, which is a shocking level of physicality. This show had an intimacy coordinator; that’s the level of no holds barred we’re talking about. When you look at Tom and Myrtle, you can see why that was merited, too.

Speaking of Tom (Cory Jeacoma), the treatment of him here is every bit as scary as it should be. There’s no attempt to make him palatable, unlike what I’ve seen done with him in other adaptations. He towers over everyone else in the cast, I mean everyone, to a physical degree that’s uncomfortable. The way his wife, lover, and friends all flinch when he gets too close to them speaks volumes to the fact that he’s an abuser in every sense of the term. Even Nick, the prodigal college friend from Yale, is on eggshells around him (which, by the hotel blowup at the end of the show, becomes a sneering, reckless contempt, one of the driving forces that drives Nick to put himself between Jay and Tom whenever real harm is on the table). At the same time, this is a Tom who sincerely loves his wife and was only ever using Myrtle as a fling. You can tell he never meant any of the promises he made Myrtle. When Daisy tells him she didn’t stop the car on purpose, it’s as if his wife’s unapologetic act of manslaughter (“It was her or me!”) is the thing that wins him back. They aren’t careless people; they are people who consciously choose, day in and day out, to use others until they’re bored or done with them. The ruthlessness of Tom and Daisy as a couple is impressive, played up to a level that I feel more adaptations should do without fear of exaggerating the text.

As mentioned above, Daisy (Charlotte MacInnes) is no delicate, nervous creature who can’t help her actions under duress. She knows what she’s doing every bit as much as Tom knows what he’s doing. They use people, hurt people because they get bored and restless and enjoy it. I respect a Daisy who’s in control of her actions every step of the way even if I don’t like her; it’s better than trying to depict her as weak and at the mercy of the men around her. She’s a pragmatist and a survivor. So many of her songs are about choices and being conscious of those choices. She is a person you should fear every bit as much as you fear her husband, and even Jordan knows she’s not safe in Daisy’s orbit.

As Jordan, Eleri Ward is one of the neatest personalities on stage. Like Tom, she’s noticeably taller than most, which gives her a commanding physical presence. She has no romantic interest in anyone; I fucking love that this production show her and Nick bonding on the basis of being queer and tired of everyone else’s shit. This is a more likable, relatable Jordan than I’ve seen in the past. This is a Jordan whose relationship to Gatsby is much more familiar and warm, much more akin to the friendship she forms with Nick. In fact, the queer-and-tired vibes that roll off several of the principals in this production are palpable.

Myrtle and Wilson (Matthew Amira) aren’t always played as effective foils for Daisy and Tom, but here? They unquestionably are. They do actually love each other in spite of the things they’ve done to hurt each other, and it’s a constant dance of daring each other, challenging each other. The most memorable duet in the entire show is between them, during Act II. The confrontation is positively electric. These are two people with deep, complicated history. Of all the couples in the show, they feel the most real, the most alive. It makes the loss of Myrtle so much more wrenching; she’s not just a plot device emblematic of the bad choices they’ve all been making. She’s not shallow or frivolous or anything like that. She’s a shrewd woman with complex motivations, and for the first time ever I find myself loving her and caring what happens to her. She’s thrust even further into the action in that one of her part time gigs is working as a maid at Gatsby’s parties, a conceit that works shockingly well and hastens the devastating consequences of her affair with Tom.

I’ve made mention of Meyer Wolfsheim’s (Adam Grupper) uniquely enhanced role previously, so I’d be remiss if I didn’t comment on him again. This is a man who does, in fact, seem to give a shit about Jay above and beyond using him as a tool in his criminal empire. It’s not necessarily a healthy father-son dynamic, but Wolfsheim is usually played as ruthless, opportunistic, inhumanly calculating. Here, he’s a charming, but unquestionably dangerous man moved by a young soldier’s plight. He seems conflicted between his love for Jay and his need to have Jay continue to hold the party line within their business relationship. Wolfsheim is deeply conflicted about Jay in a way that I haven’t seen any Wolfsheim be played previously. And, as I mentioned earlier, the actor has a showstopper of a song and dance number. That may be the #1 “I wasn’t expecting that, but I’ll take it!” moment for me in this show. And I say “may be” only because the moment that truly stopped my heart, will stay with me until everything else fades from memory, is perhaps only understandable in the context of my engagement with the text of Gatsby as a writer of transformative works.

Daisy’s and Tom’s daughter, Pam Buchanan doesn’t always appear in adaptations because she’s a toddler. Even in the novel, she a throwaway mention plus a single scene near the end where the nanny brings her out to meet Jay and Nick. She’s most often left as a throwaway mention without even grave of the scene where she appears. The scene in the novel, however brief, is memorable—and has been captured in all its fragile beauty for the first time in this adaptation. Jay and Nick both pay bewildered, wondering attention to this kid when she’s brought out. Jay drops to his knees and takes her hand when she greets him while Nick looks on in a moment of singular focus on both of them. The child who plays Pam here has a spark, an expressiveness that made me choke up even though she’s only on stage for a few minutes, if that. The tableau is one in which you can feel the shock of reality, however brief, touch on these men—Daisy’s and Tom’s reckless actions may yet do harm to someone who’s barely even begun to live her life, but who is just conscious enough to be a participant in it. They recognize that they, like this child, are probably in for a word of ruin—and that they have let it go on for so long that there’s now nothing they can do about it. For me, the deepest tragedy was watching Nick and Jay throw off that moment of heartbroken, horrified recognition prompted by Pam and return to the parts they’d decided to play out until the moment one of their hearts stopped.

Speaking of grief, of Nick’s grief since he’s the one who loses so much: there is only one person who loses more, and that’s Mr. Gatz, Jay’s father. They preserve his arrival at the house when Nick is the only person who stays around to carry out Jay’s funeral and burial. And when he arrives, the visceral shock of seeing his dark skin, braids, and beaded elements of Native regalia in juxtaposition with his otherwise period-typical Western garb underscore the tragedy of what young Jay was running away from, of what he never quite succeeded in erasing from himself. The burial scene shows Nick reverently bringing several of Jay’s folded shirts from the house and handing them down into the grave to Mr. Gatz, who places them reverently as possessions to accompany his son into thereafter. The cultural ramifications are all at once understated and devastating. Nick has moments with each of Jay’s father figures that are among the most complex and moving in the show. The program does not make clear the name of the ensemble member who takes on this most memorable of all Mr. Gatz appearances, and this erasure in and of itself is both unfortunate and telling. This is a world that never belonged to the majority of those who inhabit it, and Nick realizes it with heartbroken clarity after having this final interaction. Even though he’s an outsider, he’s part of a world that has erased and betrayed the man he loved so much at every turn.

The closing number, “We Beat On,” felt like it needed something more, but it utilized the final line of the novel to a deeply moving effect. The lights go down suddenly as the last word is sung; it feels like the song is half finished. When the lights came up, Nick and Jay were center stage in each other’s embrace, just withdrawing from each other as the entire company transitioned into final bows. That’s how I’ll remember them, always: touching even when they’ve already lost each other, borne ceaselessly back into each other’s arms. If Nick is Orpheus, then I have no doubt that he, too, will tell this story again and again until someday, somewhere, something gives.

[ancientrome]

Marble portrait of Julius Caesar.

Roman, around AD 50. From the Sanctuary of Athena in Priene, modern Turkey.

The head has been burnt and is badly damaged, with the proper right side and back of the head missing. The features of the portrait, in particular the hair and the profile, correspond very closely to those on other images of Julius Caesar. Caesar, one of Rome's most capable generals, as demonstrated by his conquest of Gaul in the 50s BC, became embroiled in the civil strife that accompanied the disintegration of the Roman Republic. In 48 BC he crossed the River Rubicon, took Rome and effectively became the first citizen. His presumed desire to abandon the Republic as a form of government and return to monarchy led to his assassination in 44 BC. The ensuing civil wars culminated in the defeat of Mark Antony and Cleopatra by Octavian, Caesar's adopted son, who as Augustus ushered in the Empire.

The head was found, along with other pieces of sculpture, including a head of Claudius, on the floor of the cella (main cult room) of the Temple of Athena, during excavations in 1868/9. The sanctuary was dedicated to Athena - specifically to Athena Polias, literally 'the guardian of the city'. An inscription commemorating the dedication of the temple by Alexander the Great is preserved in The British Museum, as are fragments of the colossal cult statue of the goddess. In the Roman period the sanctuary was rededicated to Athena Polias and Augustus, reflecting the new importance of the imperial cult throughout the empire. Special buildings were erected or, as here at Priene, existing sanctuaries and temples were adapted to accommodate the statues and busts of the emperor, his family and ancestors. Caesar's family claimed direct descent from Venus through Ascanius (Iulius) the son of Aeneas, the Trojan prince who brought his people to Italy. The worship of the imperial family was fundamental to the new imperial order, and it was the unwillingness of the Christians and Jews to comply in this which led to their persecution.

Source

[chaotic-minds-think-alike]

Rainworld flora part. 3 Btw going to reiterate; some names are made up and just aligns with my headcanon!

A common trend in rainworld is being highly adaptable which is no hard task for it's flora. Specialized plants and animals tend to have a major color but for the sake of simplicity, all unspecialized plants are green here. Black is a common trend in the world as well to absorb sunlight and thus, heat.

Headcanons for the top 3 plants here:

Solar Fronds are a type of fern that favors high altitude environments (hence why they're only seen in one region ingame).

Brain Trees are a giant and ancient type of mushroom that has an incredibly long life. They are the main source for iterator mycelial anatomy due to their incredibly complex mycelium network. The inside of them is a bright electric blue.

Wild Bloodtrunks are the non-domesticated version of bloodtrunks, initially discovered deep underground during excavation efforts to the void sea.

[bucketteeth]

SYSTEM CATERPILLAR ADAPTER, Ripper Tips, Pins and Retainers

SYSTEM CATERPILLAR ADAPTER, Ripper Tips, Pins and Retainers Weld-on the adapter onto the cutting edge to assemble the corresponding tooth by pin and washer. By achieving the wear limit, the tooth can be replaced easily…

[literaryvein-reblogs]

do u have anything on (historical) korean culture? specifically gender roles, clothes, and animal symbolism?

Writing Notes: Historical Korean Culture

TRADITIONAL KOREA

Origins of the Korean People. In prehistoric times the Korean peninsula was populated by nomadic peoples migrating from the Northeast Asian mainland, who developed settled agricultural communities around 4,000-5,0000 years ago.

Chinese historical records show the existence of tribal states in northern Korea and Manchuria (northeast China) before 1,000 BCE and parts of the Korean peninsula were occupied by Chinese military forces during the Han dynasty around the time of Christ.

According to Korean legend, a semi-divine figure named Tangun established the first Korean kingdom in 2,333 BCE and named his kingdom Choson, which was also the name of the last Korean dynasty (1392-1910) and the name for Korea currently used in North Korea (in South Korea, the name for Korea is Hanguk).

A number of important characteristics of traditional Korea remained well into the 20th century, and to some extent can still be seen today. These include:

a sense of cultural closeness to China;

the transformation of borrowed traditions;

limiting of outside influences and tendency toward seclusion;

social stability and hierarchy

OVERVIEW. The first half of the 20th century in Korean history is marked by two grave and painful experiences: the Japanese occupation between 1910 and 1945 and the Korean War of 1950–53.

These events dominate the collective national psyche for generations. The legacy of the colonial period is complex and fraught with emotion.

The Japanese colonialists’ push toward modernization brings tremendous technological, and consequently social, advances, such as the building of infrastructure and the development of modern school systems.

The Japanese also carry out the first modern archaeological excavations of ancient Korean sites (royal tombs, temples, ceramic kilns) and preservation of their artifacts.

On the flip side is the question of the colonialists’ intentions and their methods in these cultural endeavors, and more seriously, war crimes of torture, rape, and killing.

In the postcolonial period, Korea struggles with the issue of how to reconcile the positive developments of the colonial era and the unforgettable brutality, humiliation, and loss.

The second half of the 20th century witnesses rapid changes and developments in all aspects of (South) Korean society: economic, political, social, and cultural.

Astonishing economic progress—even through periods of political turbulence—enables a self-conscious and appreciative exploration of traditional Korean arts and active participation in international exchanges of culture.

In the 1980s and the ’90s, especially, South Korea expands its cultural presence around the world through the establishment of Korean galleries at museums and academic posts in Korean studies at universities.

GENDER ROLES. In traditional Korean society, women's roles were confined to the home.

From a young age, women were taught the virtues of subordination and endurance to prepare for their future roles as wife and mother.

Women, in general, could not participate in society as men did, and their role was limited to household matters.

The situation began to change with the opening of the country to the outside world during the late 19th century.

CLOTHING & FASHION. Korea, surrounded by waters on three sides, features 4 distinct seasons and more mountains than plains.

In these natural conditions, Korean people have developed unique and remarkable food, clothing, housing, and lifestyles.

To survive a harsh winter and the intense heat of summer, they developed distinctive clothing made of diverse materials, and various healthy dishes made with the mindset that health comes directly from food.

To adapt to the natural environment, they also developed a unique housing setup called hanok.

The Korean people learned to use various clothing materials, such as sambe (hemp), mosi (ramie), cotton, and silk, to make a range of clothing that was not only attractive but also provided them with effective protection even during the harshest winters and the hottest summers.

They made warm winter clothes using the technique of wadding soft cotton between two pieces of cloth, silk, or cotton fabric, and stitching them in fine lines, and produced cool summer clothes with hemp and ramie.

Hanbok is the traditional Korean attire made with these materials, typically featuring graceful lines and forms with a serene aura.

Korea’s traditional clothing, hanbok, has maintained its basic traditional features throughout Korea’s 5,000-year history while its styles and forms have evolved in various ways based on the lifestyle, social conditions, and aesthetic taste of the times.

History reveals that in general, Korean people in the past tended to prefer simple, white clothes to fancy ones. That is why they were often referred to as “the white-clad people” among their neighbors who admired them for being peaceful people.

Nonetheless, Korea has also had a long tradition of enjoying colorful clothes with complex designs depending on the period and the wearer’s social status.

ANIMAL SYMBOLISM. The often-mythical animals that adorned the palaces of feudal Korea were not merely decorative: They had deep layers of hidden meaning that spoke of the many virtues of the nation’s monarchs.

Animal-related metaphors are embedded into just about everything: tiles, decorative details on walls, paintings and wallpaper.

Animals had great symbolic meaning to Koreans, and East Asians in general.

Many of these animals were mythical or extremely rare in Korea, and included the likes of white deer, red rabbits and elephants.

Examples

The phoenix was thought to have one of a number of additional values depending on the color of its plumage and parts of its body. For instance, a white neck spoke of righteousness, while a black breast signified wisdom. Notable phoenix designs can be found at Gyeongbokgung Palace, one of the main palaces of the Joseon Dynasty (1392-1910).

The purity of the king’s heart, perhaps, was the virtue artists and royal court designers most sought to capture with another creature: a long-tailed white tiger with black spots. This animal was associated with extreme purity. It refused to eat anything that was alive, and would not even walk on living plants, such as grass and herbs. The beast would only appear in the presence of a particularly pure-hearted individual, legend explained.

Arguably chief among all of these animals, however, was the dragon, a creature associated with royalty in many parts of Asia. This is particularly noticeable in Korea’s royal palaces, however. The animal was believed to have the power to cause the wind to blow and the rain to fall―just like the kings of pre-Joseon times, who were thought to have benevolent powers over the weather.

Stone Warrior, the Guardian of the Royal Tombs. The Royal Tombs of the Joseon Dynasty feature one or more semispherical mounds protected with curbstones set around the base and elaborately carved stone railings and stone animals such as a lamb and a tiger, in particular, both of which represent meekness and ferocity.

The Story of the Twelve Animals of the Korean Zodiac.

The Rat, symbolizes diligence, fortune, fertility and abundance.

The Cow represents patience and obedience; it can also symbolize cold energy that begins to surrender by itself.

The Tiger was long deemed to be a symbol of holiness and Korea itself.

The Rabbit was an emblem of longevity and the vital essence of the moon.

Among all existing animals, the Dragon was considered the animal of the highest authority.

The Snake symbolizes wisdom and resurrection.

The Horse symbolizes dynamic power and vitality.

The Sheep symbolizes composure and peace.

Ancestors are presumed to have aimed to emulate and learn from the Monkey's wisdom and wit.

The popular belief was that the Rooster embodies 5 virtues: politeness (文) because of its comb; military bravery (武) because of its spurs; courage (勇) because it is a fearless fighter; benevolence (仁) because it shares its grains; and reliability (信) because it crows at the break of dawn with unchanging regularity.

The Dog was believed to be able not only to dispel plagues, goblins, and ghosts but also protect people against them.

Since ancient times, the Pig had been regarded as a sacred offering to gods, a source of fortune and happiness.

Sources: 1 2 3 4 5 6 7 8 ⚜ More: Notes ⚜ Writing Resources PDFs

You can find more details in the sources. Hope this helps with your writing!

[keepingitneutral]

Nairobi Waldorf School, Kenya,

Classrooms are enveloped in wooden logs to harmonize with their forested environment. The project located in forest clearings, features a series of temporary classrooms organized as a “small village” to serve the existing Nairobi Waldorf School.

Construction system was conceived to be adaptable and collaborative, engaging children, parents, and teachers in the process.

Whenever feasible, materials from dismantled classrooms were recycled – wooden floors and walls were transformed into parapets, and roof tiles were repurposed to define path boundaries, among other uses.

The construction materials were chosen for sustainability, including locally sourced red laterite soil from the site excavations for the ‘living walls’ and recyclable polycarbonate for transparency and efficiency

This approach seamlessly blended creativity, sustainability, and community involvement, resulting in a truly unique educational environment.

Courtesy: Urko Sanchez Architects

[vasyandii]

IHNMAIMS OC INTRODUCTION: VEOMANY "Vernon" INTHALANGSY 🏺🔨

Name: Veomany "Vernon" Inthalangsy / ເວອມານີ "ເວີນອນ" ອິນທະລັງສີ

Height: 5'3 (160 cm)

Age: Looks to be around 25-26

Ethnicity: Laotian

Occupation: Archeologist (Formerly)

BACKGROUND

EARLY LIFE:

Born in Savannakhet, Laos, Veomany Inthalangsy moved to America with her parents in the early 1960s during the period surrounding the Vietnam War and Secret War in Laos.

Her parents sought refuge and a better life, settling in a small neighborhood in Sacramento. Veomany, who soon adopted the nickname "Vernon" to blend in.

EDUCATION & CAREER:

Fascinated by history and ancient cultures, Vernon pursued a degree in archaeology. Her academic prowess led her to a promising career, quickly gaining recognition for her work. However, her ambition soon turned dark.

Driven by greed and a desire for power, she began stealing artifacts during expeditions to sell to private collectors and destroying key artifacts to prevent certain historical truths from being uncovered.

Vernon's actions weren't merely for profit; she relished the control she had over history and the secrets she withheld.

AM'S AWAKENING

Vernon was in the Middle East for an Archeological Excavation where an unforeseen catastrophe struck. A violent sandstorm swept through the region, engulfing the archaeological site and separating Vernon from her team.

In the midst of Vernon's excavation, AM's awakening heralded the downfall of humanity. Cities crumbled, societies collapsed, and humanity faced extinction. Amidst the chaos of AM's rampage, Vernon found herself isolated from the horrors unfolding around her.

As the cataclysmic events unfolded, she stumbled upon a hidden chamber within the archaeological site, shielded from the devastation above. In a stroke of luck—or perhaps fate—she was spared from the fate that befell the rest of humanity.

AM'S "MERCY"

AM, omnipotent and omnipresent, took notice of Vernon's unintended survival. Unlike the other humans who had perished in the wake of its wrath, Vernon survived, like a cockroach. It saw her as an intellectual challenge, Vernon's survival introduces an element of unpredictability. And so it kept her alive.

AM decided to exploit her deepest fear: being alone. Unlike the five other survivors whom AM had selected for specific torments, Vernon was condemned to an existence of perpetual solitude.

THE SURVIVORS

AM made a calculated decision not to inform the other five survivors about Vernon's existence. This ensured that not only would Vernon never encounter another human being, but the others would remain oblivious to her plight, intensifying her isolation.

For the next 109 years, AM meticulously ensured that Vernon never encountered another human being. She wandered the labyrinthine halls of the complex, her only companion the oppressive presence of AM.

The five survivors continued their own tormented existences, unaware that another human shared their fate, yet was forever kept apart.

AM occasionally offers Vernon a fleeting chance at human contact, only to snatch it away, deepening her torment.

PERSONALITY

Analytical

Vernon meticulously studies AM’s behavior and environment, trying to piece together patterns that might help her understand or outsmart the supercomputer.

Adaptable

Vernon learns to anticipate AM's psychological tricks and adapts her strategies to mitigate their impact, constantly evolving to withstand new forms of torture.

Empathetic Moments

In rare moments when AM creates illusions of other beings, Vernon shows empathy and care, which hints at her underlying humanity and offers her brief emotional solace.

NEGATIVE TRAITS

Narcissistic

Her belief in her own superiority grows, leading her to see herself as the only worthy human left, which both motivates her survival and isolates her further.

Manipulative

She uses manipulation to navigate AM's traps, whether it means tricking the illusions AM creates or deceiving herself to cope with her reality.

Deceptive

Vernon frequently deceives herself to maintain her sanity, constructing elaborate mental defenses and justifications for her actions

In AM's Complex: Daily Life and Survival

Routine: Vernon establishes daily routines to maintain her sanity, such as specific routes she patrols, exercises she performs, and small rituals that give her a sense of control.

Exploration: She dedicates time each day to exploring new parts of the complex, mapping out areas and noting any changes or potential threats.

Mental Fortitude: Vernon practices mental exercises to strengthen her mind against AM’s psychological attacks, using techniques she has developed over the years.

Record-Keeping: She keeps a detailed journal of her experiences, observations about AM, and any patterns she notices, which serves both as a coping mechanism and a potential tool for understanding her captor.

Coping Mechanisms: To deal with loneliness, Vernon creates imaginary companions or talks to herself, using these strategies to stave off the worst effects of isolation.

Defiance: Small acts of defiance against AM, such as carving messages into walls or sabotaging minor systems, give her a sense of agency and resistance.

Conversations with AM: AM often initiates conversations with Vernon, usually to taunt her or present new challenges. These interactions serve as both psychological torment and a reminder of her captivity. Lately she's been finding comfort in them, Knowing there are some aspects of her knowledge in the ancient world he doesn't know about in his database.

[bestanimal]

Round 3 - Mammalia - Perissodactyla

(Sources - 1, 2, 3, 4)

Perissodactyla is an order of ungulates, commonly referred to as the “odd-toed ungulates”. It is composed of three living families: Equidae (“horses”, “asses”, and “zebras”), Rhinocerotidae (“rhinoceroses”), and Tapiridae (“tapirs”).

Perissodactyls are typically defined by having reduced the 5 original ungulate toes to 3 or 1 weight-bearing toes, though tapirs retain four toes on their front feet. Equids, adapted for speed, are unique in having almost completely lost all of their toes, bearing weight on one single toe on each foot. Perissodactyls have a long upper jaw with an extended diastema (gap) between the front and cheek teeth, giving them an elongated head. They often have highly mobile lips for manipulating grass, leaves, and other plant parts. Perissodactyls are exclusively herbivores. Tapirs and equids have dense, short coats of fur, often with a mane of hair on the dorsal ridge of their neck, while rhinos have only sparse hair and thick skin. Perissodactyls inhabit a number of different habitats, leading to different lifestyles. Tapirs are solitary and live mainly in tropical rainforests in the Southern Hemisphere. African rhinos tend to live alone in dry savannas, while Asian rhinos live in wet marsh or forest areas. Equids inhabit open areas such as grasslands, steppes, or semi-deserts, and live together in groups.

Perissodactyls are characterized by a long gestation period and a small litter size, usually delivering a single calf (or “foal” in equids). Newborn perissodactyls are precocial, and are often able to stand and follow their mother after a few hours. Young are nursed for a relatively long time, often into their second year, with rhinos reaching sexual maturity around 8 or 10 years old, while equids and tapirs mature around 2 to 4 years old.

The tiny Radinskya from the Late Paleocene of East Asia is often considered to be one of the oldest close relatives of the ungulates, and was most similar to perissodactyls. Perissodactyla itself appeared at the beginning of the Lower Paleocene about 63 million years ago, both in North America and Asia, in the form of phenacodontids and hyopsodontids. The oldest known equid was Sifrhippus, from the Early Eocene. The ancestors of tapirs and rhinos, which may have included Hyrachyus, appeared not long after.

Propaganda under the cut:

The African Wild Ass (Equus africanus), ancestor of the Domestic Donkey (Equus africanus asinus), is critically endangered, with about 570 existing in the wild.

Domestic Donkeys were probably first domesticated by pastoral people in Nubia around 4000 BC, and they replaced the ox as the chief pack animal of that culture. The tomb of either King Narmer or King Hor-Aha (two of the first Egyptian pharaohs) was excavated and the skeletons of ten donkeys were found buried in a manner usually used with high ranking humans, showing that donkeys were likely very important in early Egyptian culture.

The Onager or Asiatic Wild Ass (Equus hemionus) (image 3) is one of the fastest land mammals, capable of running 64–70 km/h (40–43 mph).

The Kiang or Tibetan Wild Ass (Equus kiang) is the only wild perissodactyl to not be threatened in any way; their population is classified as “least concern.” Natural historian Chris Lavers points to travellers' tales of the Kiang as one source of inspiration for the unicorn, first described in Indika by the Ancient Greek physician Ctesias.

Asses were named before “ass” became a slang term for buttocks. In fact, the slang term was originally “arse,” a separate word from the animal “ass”, but the r was dropped in the 1860s, meaning both words have different linguistic origins.

The Domestic Horse (Equus ferus caballus) was domesticated from now extinct wild horses around 4000 BC, and their domestication is believed to have been widespread by 3000 BC. They were one of the first animals to be domesticated for transport purposes, though they were originally bred for meat. Today, there are more than 300 breeds of horse in the world, developed for specific tasks such as riding, pulling, driving, various sport disciplines, or simply as pets. Horse-keeping has led to a range of extensive, specialized vocabulary used to describe equine-related concepts, covering everything from anatomy to life stages, size, colors, markings, breeds, locomotion, and behavior.

The Przewalski's Horse (Equus ferus przewalskii) is the last remaining subspecies of truly wild horse, with other “wild horses” being introduced, feral populations of Domestic Horse. Przewalski’s Horses were already rare when first described, and were only found in the arid Dzungarian Basin of the Gobi Desert. By the 1900s, Przewalski's Horses were already declining, with only sporadic sightings of single horses or groups of 2-3 here and there, until a single stallion was sighted in 1969, and then none were seen in the wild again. Thankfully, some Przewalski’s Horses still existed in captivity, having been dispersed to various zoos in the US and Europe. Breeding programs were established and various facilities cooperated and exchanged horses to increase their genetic diversity. Unfortunately many of the horses did not survive WWII, and the most valuable group was actively shot by German soldiers in the Ukraine. By the end of the 1950s, only 12 Przewalski’s Horses were left in the world's zoos. The Przewalski’s Horse was declared “extinct in the wild”, with a slowly growing captive population being its last hope of survival. By 1965, there were more than 130 animals spread amongst 32 zoos and parks. By 1998, established herds of the horses were and still are released at various preserves and natural areas within Eurasia. In 2008, the Przewalski's Horse was reclassified from “extinct in the wild” to “critically endangered”, and in 2011 the wild horse went from “critically endangered” to “endangered”, having narrowly escaped extinction thanks to conservation efforts!

The Grévy's Zebra (Equus grevyi) is the largest living wild equid (some breeds of Domestic Horse are bred to be much larger), standing 1.45–1.6 m (4.8–5.2 ft) high at the withers.

Mountain Zebras (Equus zebra) live on slopes and plateaus as high as 2,000 m (6,600 ft) above sea level, and are thus the most adapted to cold weather of the zebras.

The Plains Zebra (Equus quagga) (image 2) is the most widespread of the 3 zebra species, but they are still threatened by hunting for their meat and hide, as well as competition with livestock and encroachment by farming on much of their habitat.

Perissodactyls were far more diverse in the past, and extinct groups contain some of the largest land mammals known to have ever existed. In particular, Paraceratheriidae is an extinct family of long-limbed, hornless rhinocerotoids from the Oligocene, with the largest species known being Paraceratherium linxiaense, which has an estimated mass of 21.7 metric tons (24 tons), an estimated length of 8 meters (26 feet), and an estimated height at the shoulder of 5 meters (16.4 ft). With its long neck, it would have towered even higher than a 4.6 m (15.1 ft) tall bull European Straight-tusked Elephant (Palaeoloxodon antiquus).

The endangered Malayan Tapir (Tapirus indicus) (image 4) is the only tapir species that exists outside of the Americas. They feature in the folklore of Japan, and are often associated with the mythological Baku, a supernatural creature said to devour nightmares. This association has led to the creation of the Pokémon Drowzee, Munna, and Munna’s evolution Musharna.

The endangered Baird's Tapir (Tapirus bairdii) is the largest native land mammal in both Central and South America, and the South American Tapir (Tapirus terrestris) is the largest native land mammal in the Amazon.

The endangered Mountain Tapir (Tapirus pinchaque) is the only tapir species to live outside of tropical rainforests in the wild. They are also unique for their thick woolly coat, an adaptation to the cooler climate of the Andean Mountain range.

There are two subspecies of White Rhinoceros: the Southern White Rhinoceros (Ceratotherium simum simum) and the Northern White Rhinoceros (Ceratotherium simum cottoni). The southern subspecies has a wild population of over 20,000, and is the most abundant rhino subspecies in the world, having been the only rhinos so far to have recovered from the brink of extinction. However, the northern subspecies is critically endangered, considered “functionally extinct”, as the only two remaining individuals are a mother-daughter pair, who are guarded day and night by armed keepers.

White Rhinoceroses are the largest living wild perissodactyls, with females weighing 1,600 kg (3,500 lb) and males 2,400 kg (5,300 lb) on average, though exceptional specimens can reportedly weigh up to 4,500 kg (9,900 lb). Their head-and-body length is 3.5–4.6 m (11–15 ft) and their shoulder height is 1.8–2 m (5.9–6.6 ft).

The critically endangered Black Rhinoceros (Diceros bicornis) (image 1 and gif) has a reputation for being aggressive, and they charge readily at perceived threats. Black Rhinos will also fight each other, and they have the highest rates of mortal combat recorded for any mammal: about 50% of males and 30% of females die from combat-related injuries.

The word "white" in the name "White Rhinoceros" is often said to be a misinterpretation of the Afrikaans word wyd (Dutch wijd) meaning wide, referring to its square upper lip, as opposed to the pointed or hooked lip of the Black Rhinoceros.

The vulnerable Indian Rhinoceros (Rhinoceros unicornis) is one of the motifs on the Pashupati seal and many terracotta figurines that were excavated at archaeological sites of the Indus Valley civilisation.

The critically endangered Javan Rhinoceros (Rhinoceros sondaicus) is the rarest of all rhinoceros, and among the rarest of all living animal species, with only one currently known wild population of approximately 74 animals, and no individuals successfully kept in captivity.

The critically endangered Sumatran Rhinoceros (Dicerorhinus sumatrensis) is the smallest species of rhinoceros, at just 112–145 cm (3.7-4.8 ft) high at the shoulder, with a head-and-body length of 2.36–3.18 m (7.9–10.5 ft). The weight is reported to range from 500–1,000 kg (1,100–2,200 lb), averaging 700–800 kg (1,540–1,760 lb).

Rhinoceroses are threatened by habitat loss, but illegal poaching for the international rhino horn trade is their main and most detrimental threat. Their horns, composed of keratin, are used to make ornately carved handles for ceremonial daggers called jambiyas in the Middle East, and are used in traditional Chinese medicine, where they are said by herbalists to be able to revive comatose patients, facilitate exorcisms and various methods of detoxification, and cure fevers. There is also a Chinese superstitious belief that the horns allow direct access to Heaven due to their unique location and hollow nature. A single horn can be sold for up to $300,000 on the black market. Rhinos are shot or trapped by poachers, after which the horn is hastily cut off and the rhinoceros is often left to bleed out and die. As rhino populations shrink and security on them tightens, poachers have gotten more desperate, leading to one shocking death in a zoo in France. Keepers at the Parc Zoologique de Thoiry arrived on March 5th, 2017, to find their beloved Southern White Rhinoceros, Vince, had been shot three times and had his horns sawed off with a chainsaw. Some reserves and even zoos now attempt to deter poaching by sawing off the horns of their rhinos (in a much more humane process than simply hacking it off at the skin) to make them less desirable to poachers.

[blueiscoool]

Archaeologists Discover 5 Stunning Roman Statues In Ancient City of Perge

Archaeologists unearthed five Roman statues in Perge (Greek: Πέργη), a well-preserved ancient city in today’s Turkey, highlighting the rich artistic legacy of Greek and Roman cultures.

A city rooted in Greek heritage

While its early history remains debated, Perge likely saw Greek settlement by the 7th century BC, possibly as a colony of Rhodes. After Alexander the Great’s conquests the city flourished. By the 2nd century BC, it began minting its own coins, often depicting the Greek goddess Artemis and her temple.

The city quickly became an important hub for trade, culture, and art under Greek influence. The city’s urban design reflects classical Greek architectural principles, including its grand colonnaded streets, theaters, and temples.

Perge’s significance grew when it became part of the Roman Empire in the 1st century B.C., blending Greek artistic traditions with Roman innovation.

Perge has been on the UNESCO World Heritage Tentative List since 2009 for its historical and cultural importance.

Remarkable discoveries of ancient statues

The latest excavation efforts have revealed five statues, each offering a glimpse into the artistic excellence of the era.

Among them is a 2-meter-tall statue of Aphrodite, the Greek goddess of love and beauty, depicted seated on a dolphin beside Eros, the god of love. Archaeologists believe this statue, dating to the 2nd century A.D., exemplifies Roman adaptations of Greek mythology, merging divine symbolism with lifelike artistry.

Nearby, researchers uncovered a 1.87-meter statue of a clothed woman, attributed to the Severan Period, known for its refined sculptural techniques.

Another similar statue of a clothed female figure, found in two pieces, further underscores the city’s commitment to detailed and realistic art.

On the Eastern Street of Perge, excavations revealed two additional statues – a clothed man and woman standing side by side.

These discoveries provide valuable insights into the social structures and sculptural traditions of the ancient Greek city of Perge, highlighting the city’s role as a center of artistic production.

A blend of Greek and Roman artistic traditions

Perge’s art and architecture illustrate a seamless blend of Greek and Roman influences. While the city’s early structures reflect Greek designs, Roman rule introduced grand monuments, lifelike sculptures, and detailed frescoes.

Roman Imperial art, flourishing from the 1st century B.C. to the 5th century A.D., drew heavily from Greek and Etruscan traditions. It emphasized realism, human expression, and monumental scale.

The newly discovered artifacts highlight Perge’s importance as an artistic hub where Greek mythology and Roman craftsmanship converged, enriching the region’s cultural tapestry.

Preserving Perge’s legacy

The excavations are part of the “Heritage to the Future Project,” an initiative to preserve and promote Perge’s cultural legacy for future generations. As archaeological efforts continue, Perge remains a testament to the artistic and cultural brilliance of the ancient Greek and Roman civilizations.

By Nisha Zahid.