#Instant Torque

[sockopower]

Revolution on Wheels: 2024 Hyundai Ioniq 6 and Kia EV9 Review

The streamlined design considering aerodynamic coefficient, aesthetic beauty, and functional efficiency. New Standards for SUV EV Design in the New Mobility Era The future of driving has arrived, and it’s wearing a German badge with Korean flair. In 2024, Hyundai and Kia have teamed up to unleash a dynamic duo of electric vehicles, the Hyundai Ioniq 6 and the Kia EV9, onto the world stage.…

[greentechspot]

Beyond the Hype: Debunking Five Common Myths About Electric Motorcycles

As electric motorcycles gain popularity as a sustainable and efficient mode of transportation, misconceptions and myths surrounding them also abound. In this article, we aim to debunk some of the most common myths about electric motorcycles, separating fact from fiction. By dispelling these misconceptions, we hope to provide a clearer understanding of the benefits and capabilities of electric…

[carsthatnevermadeitetc]

 Isuzu D-Max EV Concept, 2024. A prototype for a fully electric version of the D-Max pick-up was revealed at the 45th Bangkok International Motor Show. With a lithium-ion battery capacity of 66.9kWh and a maximum output of 130kW, the electric D-Max delivers instant torque and a maximum speed of 130km/h (81mph).  The company plans to launch the D-Max BEV in select mainland European markets in 2025, with further expansion to the UK, Australia, Thailand, and other countries based on market demand and the development of Electric Vehicle (EV) charging infrastructure.

[daisychainsandbowties]

actually (i’m not sorry) let’s talk about force-bonded jedi knights Shannon and Mary.

“A Force-bond was a powerful connection between two Force-sensitive individuals that bridged their minds, allowing them to communicate through the Force both visually and emotionally.

The range of the bond was vast; it could span the galaxy, keeping two beings united in a psychic link despite the physical distance between them. As a result, both parties would manifest in each other's location at the same time, making it possible for them to see, hear and feel each other through their bond.”

thinking of Shannon standing in the hallway watching death approach and reaching out, finding that familiar hand, half-memory and half-desire. clutching it even as she raises her saber in the last extreme defense of Ava.

burning her life because she used to dream of holding a blue saber, of going out in glory, but love taught her to long for balance, for harmony, for peace. for green.

and she would have lived in peace, with Mary on some far-flung planet. tinkering with ships and growing too old, too fast. fixing up droids and complaining about the weather and painting the shutters in spring.

but she’s a jedi, so what she has is only an instant of that peace as she feels Mary come awake in a distant place. one last prayer on her lips. “let it be safe. let it be safe and very far away.”

whispering, “i’m sorry. i couldn’t face this part alone.”

distance had never stopped them and it doesn’t stop Shannon from dying with Mary’s arms around her.

they grow up hand-in-hand, youngling Shannon missing a piece of herself until she finds Mary. this odd, thoughtful girl from incredibly far away, who knows about engine specs and torque but not the laws of physics.

telekinetically passing her notes in class, sending them adrift like little white birds. Mary initially dumps them all in the wastepaper bin at the end of their classes, head spinning with physics and math and chemistry and kinetics and protocol and all the myriad things a jedi must know.

but eventually she unfolds them, hiding her blush with her binder of notes. chickenscratch handwriting and little diagrams of a cartoon Shannon (labelled) bonking a cartoon Mary on the head with a saber.

back when Shannon thought hers would be blue.

Mary most at home with a practice blade in her hand, trying to get used to the airy spaces in the jedi temple, quiet courtyards and the soft shuffle of pages in the archives. she sneaks into the hanger bay (as Ava will, in another decade) to look at the ships, to touch them, remembering the desert and the podracers kicking up sand. storms sweeping in to eat the sun.

scowling when Shannon takes her lunch tray over to sit at the far end of Mary’s table, so she can wink at her.

and then, one day, looking up and finding her beautiful.

after that they sit next to each other. binary stars slipping into orbit, trading from tray-to-tray; blue milk for the strawberry one. Mary eating Shannon’s greens when the jedi look away.

Mary growing closer almost against her will to this whirlwind of a girl. how she spars in the early morning with the empty air. she wakes up early to watch, pretending it's the dawn that draws her down, peering around a pillar, stunned at the grace of Shannon pivoting through the air, flipping over imaginary opponents.

asking her, as they perch on a balcony to watch the sunset over the endless cityscape, “why did you bother with me?”

Shannon has her face pressed sleepily into Mary’s shoulder. she plays with the hem of her tank top, “what d’you mean?”

“it just… seemed like you wanted to know me before you even knew me.”

“i did.”

Mary, turns her head, looking at the profile of Shannon curled up against her. warm. “yeah, but why?”

“i don’t know. i just had a feeling.”

they go together to Ilum, to get their kyber crystals, running through the icy cave systems. Shannon helps Mary when they climb and Mary clutches a half-conscious Shannon to her chest when they fall into freezing water. “i got you.”

“i k-k-know.” through chattering teeth, Mary letting Shannon slip her cold hands under her shirt for warmth. a wicked smile in the ice-warped dimness. "s-s-score."

saber fights late at night with blue offshoots of light dancing around their bodies. green sparks shattering against the stars. laying there tangled in their exhaustion, always drawing even. Mary kissing Shannon’s forehead, looking at their lightsabers sitting side-by-side. blue and green.

“we should kiss.” Shannon says this out of nowhere with the air of someone who has been thinking about it for a long time.

she’s half-draped over Mary’s chest, head on her ribs. “i can hear your heart,” she adds, when Mary loses the ability to speak.

Shannon sits up, turns. she’s about to say something when Mary lurches up, takes her by the jaw.

they kiss, and nothing is ever the same again.

[diabolus1exmachina]

Maybach Exelero 

Have you ever wondered what happens when a trusted tire brand doesn’t find the right car to test one of its high-performing products? Fulda, a leading German tire manufacturer, solved this problem by going directly to Maybach and commissioning a sports car on which they could test their high-performance Carat Exelero wheels that were adapted for automobiles speeding up to over 350 km/h (217.48 miles per hour).

To be fair, this wasn’t the first time that Fulda turned to Maybach with a similar request. In 1938, the two companies collaborated for the first time when a Maybach model dubbed W38 Stromlinienfahrzeug was constructed as a test car for the tire company. The W38 Stromlinienfahrzeug was the inspiration for the 2004 inaugurated Exelero, so it is hardly surprising that the two automobiles have complementary styles.

The design for the absolutely mind-blowing concept car was sketched by Fredrik Burchhardt, a student at Pforzheim Design Academy. Without a doubt, that’s a pretty impressive way to start your career!

Burchhardt’s design is an ode to the original W38; thus, several style elements are shared or related. But this is not the only interesting aspect about the Maybach Exelero, so here are the features that made this limousine an unprecedented icon of elegance and power. Fulda wanted a fast, powerful vehicle, and that’s exactly what they got. The Exelero was built on the base of the Maybach 57, but the twelve-cylinder engine used in the Maybach 57 was replaced with a more powerful one. Accordingly, capacity was expanded from 5.6-liter to 5.9-liter, and turbocharging was improved. In the end, the Exelero had under the hood a 5.9-liter twin-turbo V12 engine with three valves per each cylinder. This powerful engine could generate 700 horsepower (515 kilowatts) and 752 lb-ft of torque. This could push the gigantic car to the desired maximum speed of 217 miles per hour (350 kilometers per hour).

If you have millions of dollars lying around the house, and you are into very expensive big boys’ toys, the Exelero is the perfect car for you. Without a doubt, all the executives and rappers that bought this automobile in the past expected to get the best and most innovative technology and design features for their buck. And that’s exactly what they got!

When it was inaugurated, the Exelero was the quintessence of luxury and opulence. From the impressive dimensions, nearly 7 feet wide, 20 feet long, and 5 feet tall, to the weight of 2.66 tons, everything about the Exelero screamed supercar made for massive wealth. Accordingly, the vehicle's silhouette had a mesmerizing shape that resembled the cars of comic-book villains. The rounded edges, elongated silhouette and smooth lines recalled the W38, which served as inspiration. Meanwhile, the long doors made quite a statement thanks to their impressive sizing.

The cabin was as impressive as one would expect from a car that was initially retailed for $5,000,000. Black and bright red dominated, and they were the colors selected for the dash, doors and leather upholstery on the seats. The glossy black carbon fiber inserts were a pleasant touch. Elsewhere, the sport seats had bright red accents, while the harness-style four-point seat belts were red.

Presented in Berlin in 2005, the Maybach Exelero was an instant success. Interestingly enough, 18 years later, this car is still associated with immense affluence and privilege. It’s worth noting that the price of the Exelero only increased in the past years, boosted not only by the performance aspect but also by scarcity.

As a one-off built vehicle, the Maybach Exelero is truly one of the rarest automobiles in the world.

[energy-5]

From Classic to Electric: The Transformation of Iconic Car Models

Electric Revolution in the Automotive Industry

The automotive industry is undergoing a monumental shift, transitioning from the roar of gasoline engines to the hum of electric motors. This transformation is not just about the emergence of new electric vehicle (EV) brands, but also about the electrification of some of the world's most iconic car models. This transition to electric power is driven by a combination of environmental concerns, advancements in battery technology, and changing consumer preferences. The journey from classic internal combustion engines to electric powertrains has been both challenging and exciting, reshaping the automotive landscape as we know it.

The Resurgence of the Volkswagen Beetle

One of the most beloved car models in history, the Volkswagen Beetle, has made a comeback in an electric avatar. Originally launched in the 1930s, the Beetle became a symbol of simplicity and reliability. In recent years, Volkswagen announced plans to revive the Beetle as an electric car, part of its broader strategy to introduce more electric models. This new electric Beetle aims to combine nostalgia with modern EV technology, appealing to both classic Beetle lovers and new-age environmentalists. While retaining its iconic shape, the electric Beetle is expected to feature advanced technology like fast charging and a substantial range, catering to the needs of today's EV market.

The Electric Transition of the Ford Mustang

The Ford Mustang, an emblem of American muscle cars, has also embraced electrification. The Mustang Mach-E, an all-electric crossover, marks a significant departure from the classic Mustang's V8 engine tradition. Launched in 2020, the Mach-E combines the Mustang's legendary performance with the benefits of electric propulsion. It offers a range of up to 300 miles on a single charge and accelerates from 0 to 60 mph in just 3.5 seconds. The Mach-E has been well-received, signifying a successful blend of an iconic legacy with futuristic technology.

MINI Cooper's Electric Makeover

The MINI Cooper, known for its distinctive design and agile handling, has also joined the electric wave. The launch of the MINI Electric brings a new dimension to this British icon, maintaining its classic aesthetics while integrating cutting-edge EV technology. With a range of around 145 miles per charge and a 0 to 60 mph time of around 7 seconds, the MINI Electric retains the brand's fun-to-drive character. This transition reflects the brand's commitment to sustainability while preserving the essence that has made the MINI a popular choice for decades.

Porsche's Electrification with the Taycan

Porsche, synonymous with high-performance sports cars, has made a bold entry into the EV market with the Taycan. The Taycan is not just Porsche's first fully electric car but also a powerful statement in the luxury EV segment. With its exceptional performance, delivering up to 750 horsepower in the Turbo S model, and a range of up to 227 miles, the Taycan has set new standards for electric sports cars. It represents how traditional sports car manufacturers are adapting to the electric era without compromising on performance and luxury.

The Transition of Supercars to Electric Power

The shift to electric is not limited to mass-market models; even supercars are getting electric makeovers. Brands like Ferrari and Lamborghini, known for their powerful engines and exhilarating performance, are exploring electric and hybrid models. The move towards electrification in supercars is particularly significant, as it challenges the traditional notion that electric vehicles can't match the performance of gasoline-powered sports cars. This transition is a testament to the advancements in EV technology, where electric motors can deliver instant torque and unmatched acceleration.

Challenges and Future Prospects

Despite the excitement, the transition from classic to electric models poses significant challenges. These include maintaining brand identity, meeting consumer expectations for performance and range, and managing the higher production costs of EVs. However, the future looks promising as battery technology continues to improve, charging infrastructure expands, and public acceptance of EVs grows. The transformation of these iconic car models into electric versions is not just a trend but a glimpse into the future of transportation, where sustainability meets style and performance.

[failed-highnotes-singing]

Hatching this idea while I was at work, but then my mind's gone blank again. Hence this is me doing what truest to my Sagittarius Moon and just solely portrait the scene I was building without (over)thinking through the entire plot.

Good luck future me. You're gonna need a lot if you want to finish this. And inspirations. And time. Aaaannnd probably iced coffee!?

So, instead of taking a five hour bus to the hospital where Katara is, Sokka sits behind Jet with his arms around his waist as the two of them take the short cuts through 2 cities.

Because of course Jet would have a super duper cool motorbike laying around in his garage. Why the fuck not.

"Holy-! If you're trying to kill me, Jet, you're not doing a fantastic job of it!" He yells against the roaring engine and sharp winds. Jet's palm, warm, comes to pat on Sokka's own which was forcingly clutching at his belly. "No way. At least not right now." The grin is there, he knows it. Just as he knows Jet would immediately twist the throttle to mess with him. In refex, Sokka hugs him tightly anyway.

Because "either that or you'll get whiplashed with the wind, your choice buddy". Sure, he'll trust the dude he has having beef with since middle school to take him to his sister on the high speed, instant torque vehicle through, oh did he mention, an abandoned tunnel!? The two, as awkward as it may sound, shut quiet when after a bump on the road causing them to shift more closely. The heat of Jet's body creeps up through his jacket, trapped between the man's back and Sokka's chest and somehow make his heart beats alter . Sokka finds himself reluctantly leaning into him. Jet freezes. One hours that-seems-kinda-short later, he lifts his head from Jet's shoulder, uh-, when did they get close like this and why didn't he say anything, after realizing he's been stretching his neck staring at the endless wall of trees flashing by. "Hey, 【help! nickname!】. You up? We're gonna stop for a gas fill." "I never sleep on your watch, thank you." Sokka throws back at him. Then, it's: "You tired?" "Yeah, a little. I can almost imagine a shoulder massage waiting for me at home... ?" "Is that your way of asking from me?" He replies with ridiculous silence. So, as Jet slows down, Sokka brings his hands to use, copying the way Katara used to give massages to their mother, and his thumbs press hard. Jet lets out a sound that luckily Sokka doesn't catch, mixed between a surprise exhale and a laugh. Huh. Definitely not planning scenarios to get Sokka's hands on him again at all.

[hirocimacruiser]

Impul 932S based on the Z32 300ZX 2by2

Translation of article first pic from RevSpeed issue number 1.

IMPUL 932S FAIRLADY Z 300ZX 2by2

Photos/Tatsuo Sakurai Text/Hitoshi Sezai

Beautifully shape the silhouette of a normal car. This Impul 932S perfectly embodies the important elements of a complete tune. Bring your own Z and order your favorite tune-up kit. That's the system in this case. What kind of running are you interested in?

The concept is "street + α"

As expected, the fastest man in Japan, “Kazuyoshi Hoshino,” produced it. Cool anyway. A body with a full aero kit usually has different tastes, but most people must have the same impression about this Impul 932S. However, you may feel a little resistance to the rear wing, which is on par with the F40, but this is also completely invisible when viewed from directly behind. The style seen from the back is too flashy, and it's frustrating, but as long as you're in the same lane, it'll overlap with the body, so you can rest assured.

In addition to the rear spoiler, there are four body parts: a rear bumper kit, a side step kit, and a front bumper kit. It's good that it hasn't collapsed. The fit is so high that it makes you think it's an original body. I was worried that there would be a lot of unnecessary lines around the front bumper if it was normal, but with this part, all of them have been eliminated and put together neatly. The difference between a complete car and a tuning car is the difference in product characteristics. Just like the manufacturer's off-line model, you should be able to get along with it without worry.

Naturally, the interior is also original, and the leather seats remain normal. The degree of perfection is still high enough, so the pedals, steering, etc. have been changed to Impul originals. Other than that, there is no noticeable difference. A 300km/h full-scale meter has been adopted for the meter, which matches the potential increase, but it is also so neat that it can be mistaken for normal.

The concept of the Impul 932S is “street + α”. Circuit champ, Japan's fastest man's theme is street priority. Rather than blazingly fast on the circuit, it's faster than anything else as a regular foot and as a means of transportation. The image of the car that Hoshino actually wants must be included in the 932S.

Smooth acceleration up to 200km/h, driving normally on normal roads. An engine tuned according to such a specific concept is very rational. The base is VG30DET, and only the computer has been modified. The engine remains normal, the boost is increased to 0.9 to 0.95, and the limiters are cut to bring out the full potential of the VG30DET. This alone increases power by 70ps, and power is 350ps.

has been upgraded. Attraction that users can choose

The engine is completely normal. Even the muffler shouldn't have been touched, but you can definitely feel the power increase. Because the sound is so natural, if you open the throttle as usual, the torque will suddenly appear from slightly over 2500 rpm. Beyond 3000 rpm, it shows acceleration that makes you forget that it is an AT.

It shifts to a sharp dash system. If you continue to step on the throttle, the range from 4000 to 6000 rpm will pass in an instant, and at the same time your back will be pressed against the seat back with intense force. In this rev range, it shows a sharp boost that is comparable to any NA, and the boost-up effect is maximized. An engine with good materials is compressed by a boost of nearly 1 bar and it is a momentum that rushes up. The pick-up is also excellent, and the running on winding roads is truly unbeatable.

Power peaks at just over 6500 rpm, and the power curve is gentle at the top end. However, the good matching with AT could be realized only if there was a sense of torque in the low and medium speed range. It can be said that not being overly constrained by peak power has, on the contrary, improved acceleration performance without sacrificing everyday performance.

The suspension uses original parts for all shock absorbers, coil springs, and stabilizers. Tires are a combination of Impul original wheels and Potenza RE11. 235/45ZR17 front and rear 255/40ZR17 is a very wide setting. The appearance is completely along the line of the wheel arch, and the fit is extremely high. The height of the car has been lowered a lot, so the power is unparalleled.

However, when it comes to running, it feels a bit oversized in terms of ride comfort and sweet steering feel, but this also becomes visibly thinner as the speed range increases. In other words, it can be said that it is perfect if the theme is only running in the high speed range rather than everyday life, and it demonstrates its power only when it is at full power.

According to Impul's comments, the 16-inch model is close to the concept, but the 17-inch model is a challenge to the possibilities in the sense of pursuing performance. It has already been confirmed that 16 inches is the best in terms of everyday use as the concept. Therefore, arrange the tire size

Since the attractiveness changes greatly depending on the user, it would be good for the user to make a choice. The 932S, which combines many possibilities and charms, is sure to be accepted by millions of users, and it feels like Kazuyoshi Hoshino's proud product.

PIC CAPTIONS

The difference from normal is the 300km/h full scale speedometer and Impul stering wheel

There are two types of wheels, Impul R1 and Impul R-70I. The photo is R1.

It's nice to know that just replacing the computer will change the way you drive.

A rear wing that greatly enhances the appearance of the Impul 932S.

The aero parts show a very beautiful finish

[battmobileequipment]

5 Reasons to Buy a Fully Electric Wheel Loader

If you're in the construction or mining business, or perhaps looking to take your farm up a notch, you've most likely come across a wheel loader or two. Now, imagine a fully electric version of this massive machinery. Too futuristic, you reckon? Well, not anymore. Fully electric wheel loaders are the future, and here’s why you should be excited about them.

Environmentally Friendly Operation

With electric wheel loaders, say goodbye to all those nasty exhaust fumes. These beasts come emission-free, which means:

Cleaner air for you and your workers.

A massive reduction in carbon footprint.

Contributing to a sustainable and greener planet.

2. Quiet as a Wallaby at Dawn

Electric machinery, unlike their diesel counterparts, are far quieter. What does this mean for you?

Less noise pollution – a bonus for worksites near residential areas.

Happier, less stressed-out neighbours.

Workers can communicate easily without yelling over a roaring engine.

3. Significant Cost Savings in the Long Run

Though the initial investment might be higher, electric wheel loaders can lead to significant savings in the long run.

No more pouring dollars into diesel.

Reduced maintenance costs. Electric motors have fewer moving parts, meaning fewer things can go wrong.

Potential for government incentives for going green.

4. No Worries about Fuel Supply

Are you sick of those days when there's a sudden spike in diesel prices or there's an unpredictable shortage? With electric wheel loaders:

You can charge them up using renewable energy sources, like solar or wind.

No need to fret about the fluctuating fuel market.

Your operations won't be halted by external fuel issues.

5. Improves Work Efficiency

A fully electric wheel loader isn't just about environmental benefits or savings. It can seriously boost your work efficiency. How, you ask?

Instant torque from electric motors ensures rapid and smooth operations.

Consistent power delivery without the lag often experienced in diesel engines.

Less downtime, thanks to reduced maintenance needs.

In Conclusion

Navigating our way into the future, it's clear that our choices now have lasting impacts. Machines like the fully electric wheel loader don't just signify progress in tech but also our commitment to a greener tomorrow. Batt Mobile Equipment has got your back. Because it's not just about moving forward, it's about making sure we're heading in the right direction. Cheers to a sustainable journey ahead!

[late-to-the-magnus-archives]

Misstep - a Malevolent Fanfic

Hastur comes back from a failed mission in a terrible mood.

Arthur and John playing jazz make it worse.

Written with @sepiabandensis

(Part of the Surrogate series. Takes place after Futile.)

AO3

--------

There is something terrifying about an empty universe.

Matter without life, minimal heat, barely enough vibration to keep it all from drifting to disconnected atoms. There aren’t many places like this. Hastur only knows of six; timelines where the worst thing went wrong, the ultimate thing went sour, and through volition or happenstance, that universe met its end.

These are places Outer Gods did not go. If there is the barest hope, the smallest reason that keeps them away, he has to try to find it.

This particular timeline is… tricky. It was ended by choice, not chance, and it is not empty. That which ate all things still is.

There is some thing which dwells among these stars, vast and dark and desolate. Some thing which follows an unknowable web as it moves from empty world to empty world, seeing everything, seeing nothing.

Some thing that hungers and hunts, some thing that slew and spiraled and shriveled all until the circus that is life went out.

Everyone avoids this universe. This last thing, this final thing, could be neither comprehended nor fought.

But it can also only be in one place at a time, and Hastur is desperate.

It could have left something of value behind.

Hastur is very quiet. As quiet as he can be, investigating dead planets, digging through rubble of ancient life. He eyes an umbrella with disgust (the fuck was even the point of that thing), finding bones buried so deep they’d been compressed, and in spite of his own will and wards, grows achingly and chillingly aware of how alone he is.

There isn’t anything here he can use, after all.

His hopes fade, and his fear for Faroe grows. There is nothing to wield, or solder into armor, or waft like hideous incense to keep Kayne away.

Faroe. He must keep looking. He has five more years. He must not lose hope—though every failed attempt to find some solution grows that fear like wildfire.

He will check other timelines next, but he is done with this one. With relief, Hastur goes to leave.

With shock, he finds he’s not alone.

The some thing that ate it all is tiny, and quiet, and so sudden and so much that he has no chance to comprehend his looming end.

He gasps, and is consumed.

#

Not consumed

Held

Floating

In terror

Let him go, Jon. Can’t you see why he’s here?

I see. I’m hungry.

You still won’t eat me, though.

How, how can there be fondness in a nonplace like this, in an ocean of horror, in—

Never. I will never eat you.

I know. Let him go. He’s here for love. Even I can see that.

All right, all right. For you.

Thank you.

The things I do for you…

And Hastur is spat out.

#

He comes to in his own domain with no memory of crawling there, sprawled in his magic field like a dropped cloak.

He is in absolute shock that he’s alive. Absolute shock that he’s sane. Absolute horror that he was unconscious.

He has never been unconscious.

How the fuck do mortals handle it? It’s terrible. Darkness, being unaware, the incomprehensible loss of memory. It scares him as much as that sea of fear he’d been caught in, like a trap. It was…

Not too different from feeling Kayne’s ire, actually.

Who the fuck had that been in there, anyway? People? Consciousness? In the eaten timeline?

This throws all theories about that timeline into chaos, torquing them into unrecognizable tangles. He has no idea what this means. What the shape even is of this new and tortured knot.

He decides in an instant that he won’t be the one to unravel it.

Maybe he was eaten a little. His torn edges, the places where John was ripped away, feel worse than ever tonight—freshly sore and harried, burned and reddened anew. Hastur is shaky, ill; he feels his incompleteness sharply as he enters his palace late at night.

He needs…

He needs to advance the plan with John. He needs—

(To hold Arthur.)

—to find John and see how the seeds he’s planted fare. He needs to be whole. He needs to spend time with them, whether they’re awake or not, and—

Instead, he finds his Composer and his Piece have not gone to bed, but, inexplicably, they are busy at the keys.

#

The sound that floats from the music room is suspiciously unlike one of his jubilees, unlike any of the smaller compositions his Composer has put together for Faroe, and unlike any music Hastur has ever heard. Piano notes dance in the air, playing back and forth with an enthusiasm that makes him go still and silent to listen.

What was this? It was wild. Enrapturing. Unpredictable. It felt like life.

He’s so engaged that he nearly startles when the piece ends abruptly and chaotically with a run of the piano, and he hears laughter.

John's laughter.

“You’re getting quite good at this!” Arthur says. “I had no idea you’d take to this so well.”

It’s a hidden talent, the Piece says, voice dripping with self-appreciation. Though I had an excellent teacher.

“Oh, stop it,” Arthur says. “I’m serious, though. We’d be one hell of a dueling pianos act, if you had your own body.”

What?

Dueling pianos? The Piece says, questioning. A few notes dance along the piano’s lower register.

“Ah, it’s a type of performance where two pianists work together to improvise a piece,” Arthur says. “One trades off, back and forth, with their partner. Sometimes you wrest control of the melody, others you work together to create something more.”

Heh; like a play-fight for dominance, John purrs. I see.

“I never did one myself,” Arthur says. “The places I frequented only had a single piano.”

The Piece is silent for a moment, leaving Hastur to grapple with this horrific scene.

This isn’t how this is meant to develop. This is not what his Composer is meant to do. This is not how the Piece is meant to act.

…Would we be big, do you think? In Arkham? The Piece says, and Hastur tries to still the rage that rises in him like a tide. No need to lose his temper. This is fixable. He could—

“Arkham?” The Composer laughs. “We’d be big in New York City, John!”

You mean that?

“You’re really bloody good.” Arthur says. “If we were back home, we’d take it by storm. We’d be the greatest piano duo—”

Home.

Duo.

Two.

Them.

Hastur snaps.

He surges into the room like boiling oil, bypassing walls and entering like a landslide, his fury scorching the air with the crackle of barely-restrained magic and the reek of ozone. Arthur reacts instinctually, tumbling over the piano bench and staggering backward as the Piece struggles to describe what is happening in time.

He just appeared, Arthur, and he’s—

Even he doesn’t know what he’s reaching for as he lunges. Tentacles out, power flared, roar rattling the sconces on the walls.

To crush Arthur and hurt him for taking the Piece away.

To crush Arthur and hurt John for being taken away.

To grab them both and not crush but sway and make them love him.

That last thought shocks him so much that he changes direction and smashes the piano instead.

The violence of it is barely satisfying; it’s thin wood, no real substance, lacquer and very little metal, but at least he can snap the piano wires, and that is satisfying, and pulling them between his arms and forcing them to stretch and break gives him something he can feel that is not—

That is not… whatever… that last thought was.

And then all too soon, it’s over, there is no more piano left to smash within reason, and Arthur is huddled against the far wall doing his panicked whimper—the one where he voices every exhale, his arm over his head, resonating absolute terror through the mark on his soul.

Which… is impossible.

Hastur tells himself that he’s the one who reached, that he’s feeling Arthur because Hastur had a rough day, and it was just a subconscious grab for what is his, because Arthur can’t send things through it, so he didn’t, and that’s that, and—

What the fuck is wrong with you? bellows the Piece, and between that and Arthur’s (broadcasted repeated distressing distress), Hastur realizes what he’s done.

He’s just ripped up the plants he spent months tending with his own stupid hands.

There is a moment of precipitous silence.

You fucking asshole, John snarls, left arm gripping Arthur tightly as if it could possibly protect him. You just can’t let us have one fucking thing. One thing that’s not yours.

Arthur is shuddering from the force of John’s yells, now; John still doesn’t understand that of late, his anger hurts.

Calm (Hastur is not calm), he tries to consider the situation.

This plant (to continue the metaphor, because he is fucking calm) sits in his massive hand, roots intact, not yet dead.

He can fix this.

The key to John is Arthur. It’s always Arthur.

And the key to Arthur is always Faroe.

Right. He—the Unspeakable, the Prince of the Great Old Ones, will now foment a plan. “Arthur,” he says, and plays one of his most dangerous gambits. “I’m sorry.”

Sorry? John sounds, if anything, even more offended.

But to get to John, Hastur must focus on Arthur. “Not for this. I am sorry about Faroe.” Hook, line—

“Faroe?” Arthur’s voice is strained as he raises his head above his arm, lured.

—and sinker. “Kayne is going to come for her in five years. Did you not wonder why, at such a crucial time in her formation, I would be gone so often? I am trying to find a way to protect her. I… thought I had found one such means tonight, but it failed. I failed.”

Had he come on too strong? Was it too much? He watches the Piece, watches Arthur.

(Wants to rage and smash and scream.)

(Wants to gather Arthur up like Faroe and hide him completely from sight.)

(Wants to go to war, maybe, though he doesn’t know with whom.)

“You… you were trying to do that?” says Arthur.

He’s a fucking liar, Arthur! The Piece is not on board yet, but that will come soon enough.

“I was trying to do that.” Hastur creates a sound, a sound specifically meant to entice Arthur further: the sound of him taking in a deep, wavering breath. “I am. It is… difficult. Alone, I am attempting a thing that has never been done in all of existence.”

He is damned lucky Arthur is broken. Oh, the man is better, sure; aggravatingly so, some days. But still broken. He still hasn’t really processed everything.

Certainly not Kayne’s words during the mess that started all of this. “He… I thought he was leaving her alone,” says Arthur.

“No,” says Hastur. "She shines too bright. Her safety is not sure."

Arthur is breathing too fast again, but now for different reasons. Hastur knows he’s overwhelmed him; the shock of attack, the risk of danger and adrenaline surge, the grief and horror of the destroyed piano, the fear of harm, all of it—and now, threat against Faroe.

That overwhelmed state is crucial. It’s soft soil, ready for planting. “I will replace your piano,” Hastur says as though struggling to find his pride, to cover it all over. As if he realizes he’s… erred.

(He’s going to have to destroy something tonight. Something bigger than a damned piano.)

(He wants to go after the Piece for daring to think it could be John and Arthur, Arthur and John, off on fucking adventures some day like some… homemaking… human… book series.)

It takes more will than he likes to keep calm.

“Why… why did you… break the piano?” says Arthur.

Damn. He’d been hoping that wouldn’t be asked. All right: truth, weaponized. “Because I ache. I fear for my daughter. And I hurt because I am not whole.” And he abruptly decides he will go for it, and twist the knife even as he replants in fresh soil, never mind mixing metaphors. “And I come here to find you happy and unconcerned, and John happy and unconcerned, and I… I felt…” Abandoned? Too cheesy. Like the only one looking out for Faroe? Too over the top. “Alone.”

John is already bristling. The hell are you talking about? You’re hurting worse? Why?

Now, that was an interesting statement. “You have an artificial system to keep you from fully feeling the loss of yourself. I do not.”

That stuns John briefly silent.

“I…” Hastur pauses (masterfully, he thinks). “I am trying to save my daughter. I understand this is outside your purview. You cannot help me. Not as you are. It is all on me, to find a way to defeat, or defend against, an Outer God. I am…” Like the word hurts: “Sorry. About the piano.” He added that last bit as though trying to cover for something more.

The key to John is Arthur.

And Arthur… has always been a sap for a heartfelt apology.

Arthur is uncurling. His breath wavers still, hitching with the last pulses of adrenaline, but he’s calming, face slowly morphing from the wide-eyed terror to suspicion and, now, to disquietude. He swallows thickly, his Adam's apple bobbing, and Hastur can feel his heart softening.

Such a weak point, that. Even when John hurt him to the point they were hitting each other (quite the show, that had been), Arthur forgave him the moment he apologized. Absurd.

But that growing acceptance feels… very good.

Arthur. The Piece growls. He is full of shit. Listen to me.

“I can… I suppose I can understand, maybe, where you’re coming from,” Arthur says, his voice making a valiant attempt to be firm even in its pathetic (adorable) wavering.

Arthur! A snarl, and Arthur winces. Listen to me!

Oh, ho, a rift? An unexpected benefit. He had to nail the landing on this. “I feel perhaps we have come some way toward understanding one another, at least in regard to… attachment.”

“Love,” Arthur challenges, which is exactly what Hastur hoped he’d do. “The word you mean is love.”

Hastur hesitates magnificently. “If you wish.”

“It’s love.” Arthur can’t quite stand. He’s better, he is, but this was a bad shock, and he feels shaky as hell. “You love her.”

“I do.” No hesitation there.

“I believe you.”

And that, monsters and murderers, is one hell of a step forward.

(Hastur is not calm.)

John is growling now. It’s such a tiny sound, compared to his. What, you’re done? Just like that, you’re done. He fucking smashed the piano, covered you with splinters, and just like that, you’re done?

“John,” Arthur starts.

I don’t believe a syllable of what you just said, John snarls at Hastur now. What are you after here? What are you trying to do?

The Piece thought this whole thing was part of a plan?

Hastur laughs.

He didn’t mean to, but there it is: he’s impressed John with his intelligence and strategizing to the point that John thinks smashing the piano like a lunatic was part of a greater plan.

Hastur!

“No, no, I’m invested now, John—what, exactly, do you think I was trying to accomplish? I lost myself in fear, took it out on an inanimate object, and you happened to be the catalyst. Where is the grand plan in that? Hm?”

John stammers.

“How would you use this situation to your benefit, then?”

“Stop it.” Arthur stands, finally. “Both of you.”

Arthur! You are covered… in… splinters!

Hastur reaches through the mark. It’s true. How odd. Arthur’s distress, he’d felt, but surely, if Hastur had been subconsciously reaching to know what Arthur was feeling, he’d have picked up on the physical pain, as well?

Hastur shakes that thought off. “Let me see.”

Don’t you touch him! John snarls like a child.

“Very mature,” Hastur says, dry, and picks his composer off the ground.

Arthur flinches.

Hastur sighs. “Why are humans so fragile?”

“Fuck if I know,” Arthur quips, a single frond of attitude poking up from the soil.

Well. That was probably a good sign. To someone else. “Be still.” He will use magic to get the wood out.

“Ow. Ow!”

“Be still.”

John smacks a tentacle with his left hand. Be careful!

(He still wants to… to…)

(Maybe not start a war, after all. Hastur feels better.)

(And it is not because he is holding Arthur.)

It should not be peaceful, extracting wood from a human. It should be annoying, mending a thousand tiny wounds as small as the tips of his tentacles.

It is not annoying. It is peaceful. In spite of stupid human skin, which seems to serve very little purpose beyond keeping their organs demurely from view. His hide took no damage, thank you very much.

No one says another word about the ruined piano.

The jazz.

The duo.

But Hastur is thinking it.

John is thinking it.

Arthur… is thinking about Faroe.

Unexpected, this benefit: he’s got them on two different trains of thought, and he could use that… but not now. A plant could only handle being ripped out of the soil so many times before it died.

The plan to be whole is still on track. It is.

It had to be.

“Concert grand next time,” Arthur says.

“What?”

“That was only a medium grand. You’ve been adding more instruments. I need a concert grand to be heard over everybody.”

Hastur sighs. “Very well. The spring rite is in two weeks, anyway. Perhaps it is time for an upgrade.”

“Spring rite?”

“Yes. I have specific requests for that night. We’ll talk about it tomorrow.”

“Faroe’s birthday is in two weeks.”

“The day after the rite. It will not interfere.”

Arthur is tired. “Sure.” He’s worried for Faroe. He hadn’t realized she was in danger now.

Maybe Hastur exaggerated the situation. Maybe it was worth it.

Fucker. You could’ve killed him. John is still fixated on Hastur’s misstep.

“I would not have. I dare not harm him. You would never forgive me.” Except he almost had. If not for the mark’s pull, he would have. What a close call this had been.

I hate you, John mutters, and it is a lie.

“Rinse the blood off. Your piano will be restored tomorrow.”

“Can we…” Arthur hesitates.

“Speak, child.”

“We… we’re doing that again. So you know.”

It’s barely audible.

“Playing your… music?”

“Jazz. Yes. We are.” Barely even a whisper.

Arthur…

No. “I see.” No.

Fuck. Hastur’s not sure where his stab of envy is pointed. At which of them.

John, of course it’s John, it has to be pointed at John—

It’s not. Fuck.

John growls again. Fucker.

He puts them down in Arthur’s room, gently, though despite himself his grip… lingers. “It was good. Your music. You have my permission to continue.”

We don’t NEED your FUCKING permission to MAKE MUSIC TOGETHER!

Arthur winces, hurt by that bellow. He takes a moment to recover, then rests one hand on the tentacle around his waist. “Good.”

And John sees that touch, and can’t feel that touch, and groans like he’s been stabbed.

Arthur does not know why. “John?”

And it feels—

Hastur’s exhale is slow. Measured.

He no longer feels like he has to smash anything tonight.

Fine. I’m fine.

Arthur’s brow knits.

Hastur decides they can work that one out on their own. “Rest well.” He leaves.

Tenses once he’s out of sight.

Curses himself out. Because this should not have happened at all.

He resolves never, ever to go near that particular creepy timeline again.

And he crosses off yet another potential way to protect Faroe from danger.

Thank hell Kayne didn’t care about her now. They still had time. They had time. He could do this.

He will keep her safe.

And he will get John back.

He is going to have it all. It’s just going to take more patience.

---

NOTES

Okay, it's sort of a weird Magnus Archives crossover, but not really?

Hush. My brain did the thing, and I said yes.

[arthist0rian]

Galata morente

If you are a fan of the secret history you'll love this scolpture.

The dying Galata we know today is a Roman marble copy of a Greek work. The original, probably bronze, was part, with suicidal Galata, of the grandiose donary that, in 223 a. C., the sovereign Attalus I commissioned to celebrate his victory over the Galatians (the name that the Greeks attributed to the Celts), invaders of Asia Minor, to be placed on the Acropolis of Pergamon and precisely in the sanctuary of Athena Nikephòros. The realization of the work is probably to be attributed to the Greek sculptor Epigonos, during the excavations inside the sanctuary fragments of inscriptions were found including one with the signature of the sculptor.

The dying Galata was and is one of the best-known sculptural works of antiquity and, for this reason, was often taken up and cited by many artists of later periods. This version was discovered at the beginning of the seventeenth century, during the excavations of Villa Ludovisi. The first evidence of the discovery dates back to 1623, when the work was registered as part of the collection of the family.

The artist's mastery and the pathos of sculpture aroused great admiration among art lovers of the seventeenth and eighteenth centuries, many nobles commissioned a copy for their private collections. Many believed it was a dying gladiator, an interpretation that caused many incorrect names (including the dying Gladiator, the wounded Caradiator, the dying Mirmidone).

Elements that characterize the Celtic origin are mainly the torques, the typical necklace in vogue among the warriors, the mustache, the shaggy hair kept together with a mix of plaster and water, and the nudity, characteristic that strongly identify the fighting methods of this people.

The warrior awaits the imminent death caused by a wound on the lower part of the chest, caused by a slit. From the wound blood is coming out.

The Galata is half-lying on an oval-shaped plinth on which appear some decidedly and culturally connotative armaments of Gallic origin: a sword, a sheath with a lower relief, a ribbon belt with a square buckle, a broken horn and part of another horn. The left leg is slightly elongated, while the right one is flexed. Only the support of the right arm ensures the balance of the sculpture. The left arm is, in fact, bent and the hand rests on the right thigh. The torso is flexed and rotated to the right, photographed in the preparatory instant that precedes a last desperate attack, an element that accentuates its realistic suggestion, also underlined by the rounded back.

The statue has been considered in the past centuries one of the masterpieces of the so-called ''baroque,', Hellenistic. The right arm, sometimes considered to be of sixteenth-century restoration, is instead ancient, of the same Asian marble of the whole statue.

We think we have so many copies because Iulius Ceasar wanted copies of the same statues of the donary after his victory on the Galli after 50ac ca.

[dysphoriaposting]

Toria's Pokemon Journey!

The gym with Katy was actually sorta strange, because I never realized she was the first one until I looked it up. I maaayyyybe accidentally was almost in Artazon when I checked a list and realized I was the wrong way, then I had to trek all the way back 😅 I had a complete Vivillon to sweep her with 😭

My first Titan with himbo wife was smooth as silk, as I was using the Ultimate Swamp Killer Clodsire 👌

After almost accidentally doing the gyms in the wrong order, I was sorta left permanently stronger than I should've been. So I personally blame the Internet that I cleaved through Grass Grimsley's Pokemon with a Vespiquen I in no way should've had.

Call me crazy, but does literally anybody not following the level guide do the Sky Titan fourth? It's so out of the way and, personally, I was flabbergasted that you're supposed to journey so far out from a relatively close-knit area you were given otherwise. That being said, two Lycanroc and Bombirdier felt more like a roast turkey.

I won't lie, I'm surprised it took this long to include a Team Star base in here, especially since you usually find out about the Villains in most games around the first gym. I want to say I had an easy time with Guillermo del Toro, but I'm pretty sure the Segin Squad car had Wicked Torqued my Hariyama into the sticks. Don't worry though, Echo (Floragato) was obscenely overpowered and then killed him in a single Razor Leaf.

Swept her with but a single Dugtrio (turns out you can Sucker Punch Mismagius effortlessly).

After my traumatic run-in with an extrovert, I was then thrown on the opposite side of the scale, where I was now fighting an introvert that would much rather run me over than speak to me. It's poetic, however, that these two extremes in human nature can be found in small white women.

At the pace I was going at, I was surprised I'd even made it here. I think I made finding Orthworm the most difficult possible, as I'm pretty sure I ran everywhere except the specific pit that red fuck lived in. But that's fine honestly, my Gigachad Garganacl fucking WALLOPED his ass, sent him with a heap of salt. And, to honor him, I then caught an Orthworm so as to not hurt its feelings.

I was really surprised to find that this was only the fourth gym. Was I really only halfway through the game?? This thing was DENSE. And I was HAPPY WITH IT. Poor old man though, I'm pretty sure I crunched him up pretty hard with my Pom Pom Oricorio.

Beating up theater kids has never been easier! Watch as I employ the use of one (1) Orthworm and wipe up all this toxic sludge in an instant! Call now, and I'll throw in the Hypno and Palossand that helped send all of this gayboy's entourage packing!

[photog-crafty]

The Verus was given out for free sometime after the release of Cocoa Paprika. That's about all I remember about it. I wasn't really into quads, because you couldn't do tricks with them the way you could with a motorcycle, but a free vehicle was a free vehicle.

For the longest time, I regarded the PCJ 600 as the Ruffian's wimpier sibling, but I snagged one out of boredom for its unobtainable paint color and found that it's actually a nice little bike with a bit of tricking capability. I'd have no problems recommending one as a starter bike.

Manchez Scouts will always haunt me as imperfect oddities. It wasn't an an ugly bike, it had tons of cool mods, and it had excellent performance, but for the life of me I could never settle on a satisfying setup for one. I must have given this bike four or five paint and livery combos before settling on plain white because it was hard to screw that up.

The Carbon RS was a fun gimmick bike in the launch era. It was close to the level of the Bati and it had the ability to launch itself into orbit by doing a wheelie into a curb. Ultimately its complete lack of customization meant that the only paint job it would be getting was a layer of dust in the garage. At least later on you could change the headlights, I guess.

BF400s were amazing trick bikes and I knew a lot of friends who rode them religiously. Once you paid its exorbitant upgrade costs, it offered chart-topping speed and could do flips across entire city blocks. Even though I was more into parkour-style "city" bikes, I can't deny that having a BF400 was a damn fun time.

It made me deeply sad that the Thrust was the closest thing we'd get to a luxury touring motorcycle like a Goldwing. Comfy as it was, it was mostly a garage queen until years later when I had honed my skills enough to discover its potential as a wall climber.

After seeing what the Thrust could do, I took my chances on another long wheelbase bike, the Vindicator. It was a little heavier and not quite as capable, but it was neat-looking and the boost was fun to toy around with. The added torque made it a little better for hopping barriers and getting around town.

Everyone ought to have owned a Sanchez. It was the precursor to all GTA stunt bikes, and it aged like wine, being able to do a little bit of everything. The instant free CEO Sanchezes were my go-to backup vehicles for this reason when personal vehicles were unavailable. About the only criticism I could lay on it was that we shouldn't have had to jump through so many hoops to put street tires on one.

The Shotaro was a bike with many layers. Sure, it topped the racing leaderboards, but did you know that you could turn off its lights with a chrome secondary color or #000000 crew paint? Or that its stock wheels were paintable with a common trick? Or that it was a much more capable trick bike than it seemed, despite its infamy for not being able to wheelie at speed? Its strong engine meant that it could rip massive wheelies from a standstill, and its extremely long wheelbase let it devour highway dividers and tall barriers. It always had a reputation as a good inner city bike, and once you got to know it, there was nowhere it couldn't go.

The pursuit of raw speed has always been my motivator in GTA games. The Reever, being a bike with the Gargoyle's speed quirk no matter what wheels it had, made my wishes come true. But you can believe that once a glitch appeared to put low grip tires on non-Tuner vehicles, I slapped those puppies on to go even further beyond. Amusingly, the Reever was already so blisteringly fast that it didn't make much of a difference.

[relogioserelogios]

Théo Auffret presents today the new "Tourbillon Grand Sport". The new watch displays hours, minutes and seconds on a sapphire crystal dial with titanium markers. The dial at 4 o'clock indicates the instant torque of the tourbillon movement. Four "Tourbillon Grand Sport" will be produced to end the 20 subscription series timepieces. . Théo Auffret apresenta hoje o novo "Tourbillon Grand Sport". O relógio exibe horas, minutos e segundos em um mostrador de cristal de safira com marcadores de titânio. O mostrador às 4 horas indica o torque instantâneo do movimento com turbilhão. Quatro "Tourbillon Grand Sport" serão produzidos para encerrar os 20 relógios da série de assinatura. 📷 @antoinedelagedeluget • • #theoauffret #auffretparis #independentwatchmaking #tourbillongrandsport #hautehorlogerie #watchesofinstagram #wristshot #tourbillonwatch #tourbillonwatches #handmadewatches #watchaddict #watchoftheday #independantwatchmaker #watchcollector #watchuseek #watchnerd #dailywatch #puristpro #orologio #uniquewatches #hodinkee #handmade #paris #equationdutemps #quillandpad #revolutionmagazine #relogioserelogios (em Paris, France) https://www.instagram.com/p/Cf_ihkmuZhf/?igshid=NGJjMDIxMWI=

[wildcatofgreen]

 ‘►►’

Send me ‘►►’ to see what my muse would be like if an important event in their life didn’t happen.

If she didn't live the torture

"LILAC!!!"

She rushed over to the glass tube, pushing into the glass casing, trying something--anything to get her out of there.

She overheard Torque push a keycard into the machine. She saw the glass rise, and so, she'd back up. Wait for Lilac to be set free, wait for all of this horror to be over. She didn't want to be apart of this crazy mission anymore, not if it meant she'd get hurt again. Not if it meant that she'd--

The dragon fell from the chamber's holdings.

She... she didn't even try to move. Is... is she okay?

"L-Lilac?"

She crouched down and shook her body. She... she must of been knocked unconscious. That's the only answer that makes sense.

"C-C'mon, Lilac. We gotta get outta here! Y-You can't just sleep through this!!!"

"Is there a pulse? Is she breathing?"

"Yeah, of course she--"

Her hand reached over to her wrist, pressing on to her veins.

...

She was never good at doing it that way, Lilac was always better at it. She reached her hand to the back of her neck--try it that way, there'll be a pulse there!

...

Why's she doing these stupid fancy ways of checking for a pulse when her chest was right there??? She laid a hand over where her heart should be--

...

What?

What's she doing wrong? Why can't she feel her heart beat? Why can't she feel anything?

The door opened, but she... she couldn't pay attention to that now. What was she doing wrong? What was she doing wrong?

She put her ear to her heart, she put her hands on next to her nose, she shook her a couple times, she did chest compressions on her for stone's sake!

But nothing. Nothing! Nothing!!!

She shook her again. "Lilac, Lilac this isn't funny!!! C'mon on, get up!!!"

She started to pound at the dragon's chest. She'd give her mouth to mouth, she's... she's trying everything can think of!!!!

"Oh? Has the feline figured it out?"

She's ignoring him.

She can hear Torque say something in reply but she's ignoring him.

She's trying everything everything everything. Slapping her, shaking her, chest compressions, taking her earpods off, anything!!!!

"...Dead, commander. She was no longer of any use to me."

"Take it back."

"What was that? I couldn't quite hear you--"

"I SAID TAKE IT BACK!!!"

The wildcat stood, claws unsheathed, tears staining her face.

"LYLI'S NOT DEAD!!! SHE WOULD NEVER DIE, NOT TO THE LIKES OF YOU, YOU LIAR!!!!!"

"Now, what reason would I have to lie? To make you ''feel better''? And besides, is there not enough proof sitting right in front of you? Is her lifeless body surely not ''proof'' enoug--"

"GRAAAAAAAAAAAAAAH!!!!!!"

She pounces for him, but is pulled back by Torque. He's yelling something in her ears, but she can't hear it. She's too busy trying to struggle, trying to get free of his holdings. She'll kill him, she'll kill him, SHE'LL END THIS MISERABLE WORM'S LIFE BEFORE HE CAN TAKE ANOTHER BREATHE--

In a near instant, the four heroes disappeared.

---

How long has it been since that day?

Days? Weeks? Months? Years?

Milla would remind her it happened around three years back. It gets hard to keep track of days, these days. Everything seems to blend together now.

She's been living with Milla ever since it all ended. When she spilled his blood, when he almost took someone else away from her. Milla was lucky to make it over alive, she'd never forgive herself if she couldn't save Milla, too.

Yet, now? Now that it was all over?

...

Nothing felt the same after it all.

The adrenaline of everything happening almost all at once kept her mind off it, at the time. She didn't care about the bigger stuff anymore--saving the Kingdom Stone or whatever. None of it mattered.

All she wanted to do was make sure he paid for his crimes.

The only one on that dreadnaught, it felt like. The only one who could do anything worth it's salt. Milla got captured almost immediately. Turned into this monster, almost killed the feline. The feline almost killed her, as well.

Suppose it's a fair enough trade off.

Living in the tree house was hard, at first.

Everything reminded Carol of her.

From the little cracks and dents in the floor, to the magnets put on the fridge, to the bed she slept on.

It hurt.

Milla got a deal, luckily. A couple months after it all happened, they were able to move into a small bunny's house. It even had lab equipment Milla was free to use at any time--free of charge.

It was great for her! She was happy about it when the hound told her.

Happy to get out of this tree house.

Happy Milla had something to do in her life.

Everything felt so empty after it happened. There was nothing she wanted to do anymore.

Milla would pull her out of bed sometimes, to show her a new experiment or to try and get her to do something.

But nothing worked.

Nothing ever worked.

It pained her to look at herself, look at her friend, look outside.

It pained her to experience it all, to be such a burden on Milla, to even attempt to live in the same house she did. But what could the cat even do? Go back? Back to that constant reminder? She couldn't do it--she could never do it.

...

Damn it.

So, she would just sit there.

Idly eating on whatever snacks they had.

Idly wasting away, as the days went by.

What else was there to do? What else could she do?

[diabolus1exmachina]

Lamborghini Sián Roadster 

Just 19 examples of the Sián Roadster will be built and all have been sold already. Like the striking hard-top Sian revealed at  Frankfurt Motor Show, the Roadster takes the bulk of its power – some 774bhp – from an uprated version of the Aventador’s naturally aspirated 6.5-litre V12 and features a 34bhp 48V electric motor integrated into the gearbox for zero-emission low-speed manoeuvres. The electric motor is also used to flatten the Sián’s acceleration curve, kicking in to provide torque fill that mitigates the effects of deceleration during gearchanges. An added benefit of this, Lamborghini says, is that “the pilot will feel only the pull backward of acceleration, eliminating uncomfortable jerking movements”.As a result, the Sián Roadster is claimed to dispatch the 0-62mph sprint quicker than the conventionally powered Aventador SVJ Roadster’s 2.9sec and its top speed is pegged at more than 217mph. A weight figure of under 1650kg is claimed, although we have no indication yet of how much heavier the hard-top is for comparison.At the reveal of the hard-top, Lamborghini claimed that the addition of an electric element to the V12 motor has not affected the powertrain’s trademark sound. Both versions of the Sián can call upon a supercapacitor power storage unit - said to store 10 times more power than a conventional lithium ion battery - to provide instant torque boosts at will while travelling at speeds of up to 81mph. The device, evolved from that used to power the Aventador’s starter motor, weighs just 34kg, giving a power-to-weight ratio of 1bhp per 1kg and ensuring minimal impact on performance. Symmetric power flow means it charges using energy recovered under braking at the same rate as discharging, providing maximum efficiency.

The Sián’s trademark design features are carried over unaltered, including the six Countach-inspired brake lights, hexagonal exhaust exits, Y-shaped headlights and gaping air intakes at the front and side.

Also featured are heat-sensitive cooling vanes on the rear deck that rotate according to the engine temperature, aerodynamic ‘airstreamers’ at the rear and a retractable spoiler that sits flush with the engine lid while the car is stationary. According to Lamborghini, removing the roof has had no effect on the Sián’s aerodynamic efficiency.