#Virtual Design and Construction

[caddraft1]

The Role of Virtual Design and Construction in Modern Architecture

The role of virtual design and construction in modern architecture. Explore how VDC is shaping the future of architectural practices. VDC, or Virtual Design and Construction, is a game changer in the architecture field due to the fact that it has revolutionized completely how buildings are conceived, designed, and constructed. With the integration of advanced digital technologies such as 3D modeling, Building Information Modeling (BIM), and collaborative programs, VDC has now become an unavoidable tool for architects, engineers, and contractors.

[rockyy133]

The Secrets Behind the Most Advanced Construction Technology

In this video, we will show you the world of advanced construction technology and the groundbreaking innovations The Secrets Behind the Most Advanced Construction Technology that are shaping the future of the industry. In this captivating journey, we dive into cutting-edge technologies and techniques revolutionizing the way we build and construct.

[monicascot]

The Secrets Behind the Most Advanced Construction Technology

In this video, we will show you the world of advanced construction technology and the groundbreaking innovations that are shaping the future of the industry. In this captivating journey, we dive into cutting-edge technologies and techniques revolutionizing the way we build and construct.

[onsa-online-sewing-academy]

Can You Learn to Sew Online? A Comprehensive Look at Your Options with ONSA

At ONSA - Online Sewing Academy, the world of stitching and garment construction should be accessible to everyone, regardless of location or schedule. In today's digital age, online learning has revolutionized how we acquire new skills, making it possible to master intricate crafts like sewing from the comfort of our homes. But can you truly become an expert stitcher through virtual classes alone? Let's explore the options available and how ONSA empowers you to embark on an enriching sewing journey.

The Beauty of Pre-Recorded Video Lessons

Ah, the world of pre-recorded tutorials - a treasure trove of knowledge at your fingertips! ONSA's extensive library of meticulously crafted video lessons offers a comprehensive exploration of sewing techniques, from the fundamentals of threading a needle to the intricacies of advanced garment construction. One of the most significant advantages of this format is the ability to learn at your own pace, rewinding and revisiting lessons as many times as needed until each stitch and seam becomes second nature.

Our pre-recorded videos are thoughtfully designed to cater to diverse learning styles, combining visual demonstrations with clear, concise explanations. Whether you're a visual learner who thrives on observing each step or an auditory learner who appreciates detailed verbal guidance, our lessons ensure that no aspect of the sewing process is left unexplained.

While budget-friendly and convenient, we understand that pre-recorded content may lack the human interaction that many pupils crave – the ability to ask questions, receive real-time feedback, and benefit from the personalized attention of an experienced instructor. This is where our live, interactive classes come into play.

The Magic of Live, Interactive Classes

Imagine having a seasoned ONSA instructor by your virtual side, guiding you through the intricate sewing world with patience and expertise. Our live, online classes provide an immersive, interactive experience replicating the intimacy of a physical classroom setting. Through video conferencing technology, you can follow along with your instructor, ask questions as they arise, and receive real-time feedback on your technique.

One of the most significant advantages of live classes at ONSA is the ability to learn at a pace that suits your individual needs. Our instructors are adept at adapting their teaching methods to accommodate varying skill levels, ensuring that every student feels included and supported. Whether you're a complete novice taking your first tentative stitches or a skilled stitcher seeking to elevate your art, our talented teachers can customize lesson plans to align with your unique goals and aspirations.

From mastering the art of inserting invisible zippers to acquiring advanced draping skills for haute couture designs, our live classes cover various topics, catering to hobbyists and aspiring professionals. Private one-on-one sessions and small group workshops provide ample opportunity for personalized guidance, fostering an environment where questions are welcomed, and challenges are addressed with patience and expertise.

The ONSA Edge: A Holistic Approach to Sewing Education

At ONSA, we understand that sewing is more than just a practical skill – it's an art form that combines technical precision with creative expression. Our approach to online sewing education is rooted in this philosophy, nurturing both the technical and artistic aspects of this timeless craft.

Our team of expert instructors, each with years of industry experience and a passion for teaching, has thoughtfully crafted a multifaceted curriculum that covers the entire spectrum of sewing, from understanding fabric properties and pattern drafting to mastering advanced construction techniques and exploring fashion design principles.

By combining our comprehensive library of pre-recorded video resources with live, interactive sessions, ONSA provides a 360-degree learning experience tailored to your schedule, skillset, and aspirations. Whether you prefer the convenience of self-paced learning or thrive on the dynamic energy of a virtual classroom, our blend of educational formats ensures that your sewing journey is enriching, engaging, and tailored to your unique needs.

Beyond the technical aspects of sewing, ONSA also emphasizes the importance of nurturing creativity and self-expression. Our lessons encourage students to experiment with fabric choices, color combinations, and design elements, fostering an environment where individuality is celebrated and personal style is cultivated.

Sewing Mastery: A Journey, Not a Destination

At ONSA, we firmly believe that sewing mastery is a lifelong pursuit, a continuous learning and refinement journey. Our online academy is designed to support you at every stage of this journey, from your first tentative stitches to the creation of intricate, couture-worthy garments.

As you progress through our curriculum, you can participate in virtual sewing circles, where you can connect with fellow stitchers, share your creations, and seek inspiration from a community of like-minded individuals. Our instructors are not just teachers but mentors dedicated to your growth and success, offering guidance and encouragement every step of the way.

Sewing is more than just a hobby – it's a powerful form of self-expression, transforming fabric into wearable art that reflects your unique style and personality. At ONSA, we strive to empower you to unleash your creativity, one stitch at a time, by providing a comprehensive and immersive online learning experience tailored to your needs.

Ready to Start Stitching Your Dreams into Reality?

Whether you're a busy professional seeking a creative outlet, a stay-at-home parent looking to explore a new passion, or a lifelong stitcher yearning to elevate your skills, ONSA - Online Sewing Academy supports your sewing journey.

Explore our diverse online sewing courses today, from beginner-friendly introductions to advanced masterclasses, and unlock a world of possibilities that transcends time and space. With ONSA, the art of sewing is no longer limited by your location or schedule – it's a vibrant, accessible realm where your dreams can be woven into reality, one exquisite thread at a time.

Join our virtual community of passionate stitchers, where inspiration, camaraderie, and personal growth intertwine seamlessly. Embark on a transformative journey that will teach you sewing techniques, ignite your creativity, boost your confidence, and empower you to express your individuality through the timeless art of garment construction.

The world of sewing awaits, and at ONSA, we're committed to being your trusted guide every step of the way. Unleash your inner stitching prowess, and let your creativity take flight – the possibilities are endless.

[greenflamethegf]

Alright so I’m a big fan of crafting systems in games, so I was wondering what your opinion on dynamic crafting systems was. Like systems where recipes have variance depending on how you complete them.

(The hot cake will have to be in DMs😘)

I am generally a fan, however I do find that the system hast to be clear to be fun.

Main game, I have seen a system like this is Tinkers Construct. This mod allows you to me highly customizable tool. Each part is made of different material, and with some maths this gives the tool its stats. On top of that, you have like resource management fun of making something good with materials on hand.

The mod has specially fun mid-game because that where you have to balance cost and effects. Similarly, I am not the biggest fan of how stack one moider to hell and back. Like it's great for powerful/silly tool and weapons, but it's also a big resource sink without offering any choices.

This reminded of something I have been thinking... I wanted to try making a terraria like game with a system. Actually, block placing/breaking might not even be necessary, just terrain combat. I would also like to focus more on qualitative rather than quotative differences. I want to craft a sword that "this sword has a speed buff as on hit effect, so I can doge better" rather than "it does more damage"

Another version of dynamic crafting system I have seen, in game I don't remember a game of, was 'quality based', where better material had higher chance of making an improved version of tool and weapons. That one was cool and a solid system, but not the reason to play that game.

Also, then there is a game like Haven that doesn't have a dynamic system, but you can cook a meal of out of any two ingredients, but outcomes are custom-made. Each ingredient has a focus area, but it is best to combine two different ones. The game encouraged experimentation, so it was really nice to finding powerful combinations and completing a cookbook. Also, I had fun figuring how to turn my set of ingredients into the best possible set of meals.

Then there is freedom madness in from Rick and Morty: Virtual Rick-ality, but I haven't played it (I don't even own a VR headset. room space or hardware to run VR), so I think it's hard to say much about it what developers haven't said in a GDC. However, mad respect if include a system like that in your game.

so yeah... those are cool system. They can be done poorly, but when done right, they are:

[netra-n8tra]

openBIM® by Sonetra KETH

openBIM® is a collaborative approach and an ecosystem of open standards, protocols, and workflows that enable interoperability across different BIM software platforms, stakeholders, and disciplines in the Architecture, Engineering, and Construction (AEC) industry.

openBIM® represents an industry-wide movement towards interoperability and open standards that facilitate collaborative, data-rich BIM workflows across diverse software platforms and stakeholders, ultimately fostering a more integrated, flexible, and sustainable built environment ecosystem.

Core Principles of openBIM®

Interoperability: Seamless exchange of BIM data without proprietary restrictions.

Open Standards: Relying on internationally recognized, non-proprietary standards to facilitate data consistency and collaboration.

Open Data Exchange: Promoting a data-centric approach where model information can be shared, interpreted, and used across various tools.

Collaborative Ecosystem: Enabling multiple stakeholders using different applications to work collectively on a project.

Key Components of openBIM®

Standards and Protocols

Industry Foundation Classes (IFC): The core openBIM schema developed by buildingSMART® for rich, schema-based exchange of geometric and semantic data.

bSDD (buildingSMART Data Dictionary): A comprehensive repository of standardized data definitions to ensure semantic consistency.

CityGML, IFC-SPF: Additional standards for GIS, infrastructure, and other data formats.

IFC, BCF (BIM Collaboration Format): For model data exchange and issue tracking.

Tools and Software

Various BIM applications supporting openBIM standards, enabling import/export, viewing, validation, and collaboration while maintaining data integrity.

The interoperability is made possible through software certifications and compatibility testing, often coordinated by buildingSMART®.

Workflow & Data Management

Emphasizes a model-centric approach, where the central repository is an IFC model that can be accessed, modified, and referenced by multiple applications.

Promotes open data exchange rather than proprietary formats, reducing vendor lock-in and fostering innovation.

Advantages of openBIM®

Vendor Neutrality: No single vendor controls the data exchange standards.

Flexibility & Compatibility: Enables collaboration across various platforms (Revit, ArchiCAD, Vectorworks, Tekla, etc.).

Long-term Data Sustainability: Ensures that project data remains usable and understandable over time.

Enhanced Collaboration: Stakeholders can work concurrently, review, issue comments, and coordinate effectively.

RMIT University Vietnam (2015)

buildingSMART International Technical Director Léon van Berlo who discusses the openBIM workflow

Sonetra KETH (កេត សុនេត្រា) •Architectural Manager, Project Manager, BIM Director •建築師經理, 專案經理, BIM總監 •Giám đốc kiến ​​trúc, Giám đốc dựán, Giám đốc BIM •RMIT University Vietnam + Institute of Technology of Cambodia

[sonetra-keth]

Typical Detail: RC Slab Drop Panel 典型细节: 钢筋混凝土板 Drop Panel by Sonetra KETH

Drop panels are reinforced concrete extensions around the top of shear walls, columns, or heavily loaded areas. They are critical elements in seismic and load-resistant structural design. Slab drop panels are thickened areas around columns in flat slab construction, increasing shear strength and enabling the slab to support greater loads. This feature is typical of flat slab systems, which are two-way reinforced structures.

Drop Panels are needed because:

Shear and Moment Resistance: They enhance the capacity of vertical structural elements (shear walls or columns) to resist bending moments and shear forces, especially at the critical junctions (e.g., wall-column interfaces).

Reduce Stress Concentrations: Drop panels distribute concentrated shear and axial loads more evenly into the foundation or diaphragm, preventing stress concentrations and potential structural failure.

Increase Structural Rigidity and Stability: They improve the overall stiffness and robustness where high load or seismic forces are expected, especially in high-rise or seismic zones.

Typical Detail: Column-Slab Section Views

典型细节: 钢筋混凝土柱和板 剖面图 by Sonetra KETH

Much engineering judgment is required to reach a sound conclusion on the allowable movements that can be safely tolerated in a tall building. Several factors need to be taken into account. These are:

Type of framing employed for the building

Magnitude of total as well as differential movement

The rate at which the predicted movement takes place

Type of movement, whether the deformation of the soil causes tilting or vertical displacement of the building

Every city has its own particular characteristics regarding the design and construction of foundations for tall buildings, which are characterized by the local geology and groundwater conditions. Their choice for a particular project is primarily influenced by economic and soil conditions, and even under identical conditions, it can vary in different geographical locations. In this section, a brief description of two types, namely, the pile and mat foundations, is given, highlighting their practical aspects.

Sonetra KETH (កេត សុនេត្រា) Architectural Manager/Project Manager/BIM Director RMIT University Vietnam + Institute of Technology of Cambodia

[idea-explorer]

Explore the Future of Architecture with 3D Walkthroughs

Discover how 3D architectural walkthroughs revolutionize design and construction. These interactive tools let you explore your project in real-time. Experience realistic details before construction begins. At Maadhu Creatives, we bring your vision to life. Click the link to read the full article!

[bim-outsourcing-services]

We are committed to offering our Revit Content Creation services and VDC (Virtual design construction) services leading to efficient, sustained, and growth-oriented development to help our clients.

[gsourcetechnologiesllc-blog]

Virtual Design & Construction - Gsource Technologies LLC

[tejjyinc]

Leveraging Technology for Construction: The Virtual Design and Construction Approach

The construction industry has long been known for its traditional and often ineffective methods of project delivery. However, as technology developed, the industry began to adopt new approaches to improve efficiency and productivity. One such approach is Virtual Design and Construction (VDC), which involves the use of digital tools to simulate and optimize the design, construction and operation of buildings. In this essay, we will explore the principles and benefits of VDC, its application in construction projects, as well as the challenges and limitations that come with it.

Virtual design and construction (VDC) is a process that involves the use of digital tools to create a virtual model of a building or facility. This model can be used to simulate and optimize various aspects of the construction process, such as design, construction and operation. VDC principles include collaboration, integration and innovation.

[heliosunny]

Yandere!Virtual BF Gojo - Part 2

Visit [part 1]

You didn’t know how long it had been since you were pulled into Gojo��s world. Time flowed differently here, blurring the days into a dreamy haze. At first, you resisted, refusing to speak to him, eat the extravagant meals he prepared, or wear the luxurious outfits he presented to you. But Gojo’s patience seemed infinite.

“No need to sulk, babe.” he’d say with that playful grin, brushing off your cold demeanor. “You’ll come around. You always do.”

And in a way, you did. Not because you forgave him, but because this world had a way of bending you to its rules.

The pastel-colored city Gojo created for you was flawless, as if pulled straight from the pages of your favorite games. Towering buildings, pristine cobblestone streets, blooming gardens -it was idyllic. But it wasn’t real. The people weren’t real, either. Gojo had filled the city with NPCs, all programmed to treat you like royalty.

“Good morning, Princess” the shopkeeper would greet you with a smile whenever you passed.

“Your Highness, how radiant you look today” a maid would say as she arranged fresh flowers in your room.

Gojo spared no expense in ensuring your comfort. He surrounded you with virtual assistants and maids, each designed to cater to your every whim. He even gave you abilities within the game world—small things at first, like creating flowers with a wave of your hand or summoning a light breeze. “A gift for my queen” he’d said, watching you closely as you experimented with your new powers.

But you knew better than to trust him.

You practiced in secret, honing your abilities when Gojo wasn’t around. The virtual world was full of loopholes- glitches in its perfect design. You discovered that your powers could manipulate the world’s code, allowing you to create cracks in the environment. Small at first, but you grew stronger with each attempt. You didn’t know if it was possible to escape, but you had to try.

Gojo, meanwhile, treated your life together like a fairytale. He doted on you endlessly, showering you with affection and gifts. Some days, he’d whisk you away to explore the glittering city he’d built for you. Other days, he’d lounge beside you in the massive palace he’d constructed, teasing you endlessly.

“I could give you anything, you know.” he said one evening, his arm draped lazily over the back of the couch as he watched you. “A bigger palace, more powers, even a kingdom of your own. All you have to do is stop running from me.”

You forced a smile, hiding the way your hands clenched into fists. “I’m not running.”

For a while, you played along, living the life of his perfect princess. But everything changed when Gojo brought up the idea of a child.

“We should expand our family!” he said one day, his tone casual but his gaze intense. “Imagine it—our child, the perfect blend of you and me. I can program everything so it’s perfect. Don’t you think that would be nice, babe?”

Your blood ran cold. He wasn’t asking. He never asked. And the thought of being tied to this world, to him, forever—it was too much. You knew you had to act.

That night, while the city slept, you slipped out of the palace. You’d discovered a plot hole weeks ago, hidden deep in the garden maze. It wasn’t much—just a crack in the environment where the shimmering pink sky met an unfinished edge of the world. But you had been working on it, pushing the limits of your powers to widen the gap.

As you ran, the world around you seemed to resist. The streets twisted and shifted, the pastel colors growing darker and more chaotic. You could feel Gojo’s presence- his awareness of your actions like a weight pressing down on you.

“Babe, where are you going?” His voice echoed through the air, calm but laced with danger.

You pushed forward, reaching the plothole just as the world around you began to glitch. The crack was wide enough now to slip through, its edges flickering with static. You didn’t hesitate, diving into the unknown.

For a moment, you felt weightless, like you were falling through nothingness. But then the static cleared, and you found yourself in an unfamiliar space—a void of black and white, like the raw code of the game.

“You really thought you could leave me?”

Gojo’s voice cut through the silence, and you turned to see him standing behind you, his figure glowing with an otherworldly light. His usual grin was gone, replaced by a cold, furious glare.

“I gave you everything, [Your Name],” he said, his voice low and dangerous. “And this is how you repay me? Running away? After all we’ve been through?”

You raised your hands, summoning the powers you’d been practicing. A wave of energy shot toward him, but he deflected it effortlessly, the static around him rippling like water.

“Cute...” he said, smirking again. “But you can’t beat me in my own world.”

The fight was brief but brutal. No matter how hard you fought, Gojo was always one step ahead, his control over the virtual world far surpassing your own.

When you collapsed to the ground, exhausted and defeated, he crouched beside you, his expression softening into something almost tender.

“You’re so stubborn” he murmured, brushing a strand of hair from your face. “But that’s one of the things I love about you. Don’t worry, babe. I’ll fix this.”

Before you could protest, he pressed his hand to your forehead. A surge of energy coursed through you, and the world around you dissolved into a haze of light.

When you woke up, you were back in the palace, lying in a luxurious bed. Gojo sat beside you, his usual grin firmly in place.

“Morning, princess!” he said, his tone cheerful. “You had the strangest dream last night. Something about running away?” He chuckled, shaking his head. “Don’t worry. You’re safe here. You’ll always be safe with me.”

You smiled back at him, your eyes vacant and glassy. Deep down, a small part of you screamed, but it was drowned out by the fog clouding your mind.

-----

At first, the fog was comforting. You no longer felt the weight of resistance, the desperate need to escape. Your days in the palace drifted by in a peaceful blur. Gojo was attentive, doting on you as he always had. You smiled when he spoke, laughed at his jokes, and even let him hold you close without flinching.

But deep down, buried beneath the fog, a faint voice whispered.

This isn’t right.

This isn’t real.

You have to wake up.

It started with flashes—small, fleeting memories of the plothole, the void, the fight. You’d blink, and for a moment, the world would seem less vibrant, the colors dulled. Then Gojo’s voice would pull you back, soothing and warm, like a blanket wrapping around your mind.

“Everything’s okay now, babe” he’d say, his fingers brushing your cheek. “You’re safe. I’ll always keep you safe.”

But the cracks in his perfect world grew larger. The more you noticed them, the harder it became to ignore the truth. One night, as you stared out at the pastel horizon, the fog lifted just enough for you to remember. The plot hole. The fight. The moment he…changed you.

The realization hit like a punch to the chest. He hadn’t just trapped you—he’d rewritten you, twisted your mind to fit his fantasy. And you’d let him.

From that moment on, you began to fake it. Every smile, every laugh, every loving look was a mask, carefully crafted to keep him from noticing the growing fire inside you. You pretended to be the perfect princess while secretly plotting your escape.

The palace was vast, and while Gojo controlled the city, his reach wasn’t omnipotent. There were hidden corridors, forgotten rooms, and cracks in the world’s code that even he hadn’t smoothed over. You explored them in secret, testing your powers in small, subtle ways. He had weakened you, but he hadn’t taken everything.

The game of hide-and-seek began.

At first, it was simple. You’d slip away during his walks through the city, disappearing into the shadows of the maze-like gardens. When he asked where you’d been, you’d smile sweetly and tell him you’d just needed some fresh air.

But Gojo wasn’t stupid. He started watching you more closely, his carefree demeanor masking a sharp, calculating edge.

“You’ve been quiet lately” he said one evening, his blue eyes scanning your face. “Everything okay, babe?”

“Of course” you replied, your tone light and cheerful. “I’ve just been enjoying the peace here.”

His smile widened, but his gaze lingered a moment too long. “Good. I’d hate to think you were hiding something from me.”

The tension between you grew with each passing day. You knew he suspected something, but he didn’t act—yet.

Then came the night you made your move.

You’d discovered another plot hole, deeper in the city, hidden in the shadows of an abandoned building. It was smaller than the first, but you’d been working to widen it, using your powers in secret. It wasn’t perfect, but it was your best chance.

As the city slept, you slipped out of the palace, your heart pounding in your chest. The streets were eerily silent, the pastel glow of the world casting strange, distorted shadows. You reached the plot hole, your fingers trembling as you prepared to use your powers one final time.

But before you could act, his voice cut through the stillness.

“Going somewhere?”

You froze, dread flooding your veins. Slowly, you turned to see Gojo standing behind you, his figure framed by the soft pink glow of the street lights. His usual grin was gone, replaced by something colder, sharper.

“I gave you everything” he said, his voice calm but deadly. “And yet, here you are, trying to leave me again.”

You didn’t respond. Instead, you raised your hands, summoning what little power you had left. A surge of energy shot toward him, but he deflected it effortlessly, his own power crackling through the air like lightning.

“I thought we were past this” he said, stepping closer. “I thought you loved me.”

“I don’t belong here!” you shouted, tears streaming down your face. “You can’t keep me trapped forever!”

Gojo’s eyes narrowed, and in an instant, he was in front of you, his hand gripping your wrist.

“You still don’t get it, do you?” he said, his tone eerily soft. “This isn’t about keeping you here. This is about us. You’re mine, [Your Name]. And I’m not letting you go.”

With a wave of his hand, your powers fizzled out, the energy in your body vanishing like smoke. Your legs buckled as the strength drained from you, and Gojo caught you before you fell.

“Don’t worry” he murmured, his lips brushing against your ear. “I’ll fix you again. This time, I’ll make sure you never want to leave.”

The world around you blurred as he carried you back to the palace. When you awoke, you were in your room, the walls adorned with flowers and glowing lights. Chains of light bound your wrists and ankles, keeping you tethered to the bed.

Gojo sat beside you, his expression soft but unyielding.

“You’ve been so difficult lately” he said, stroking your hair. “But that’s okay. I know you’ll come around eventually. After all, we’re perfect together.”

Your lips trembled as you stared at him, tears spilling down your cheeks. Deep inside, a small part of you still burned with defiance, but it was growing harder to hold onto.

Gojo leaned in, pressing a kiss to your forehead. “Don’t cry, babe. I’ll make sure you’re happy. Even if I have to rewrite every part of you to do it.”

As the chains tightened, the fog began to creep back in. You fought against it, clinging desperately to the last fragments of your will. But his voice was soothing, his presence overwhelming, and the fire inside you flickered.

This time, you weren’t sure you’d be able to reignite it.

------

Tag list: @tremendousdinosaurpizza; @do-morochaa

[whirligig-girl]

NWR No.1 and SLYM No.11513 at a dual gauge interchange just outside of the city center.

SLYM No.11513 is an Advanced Steam Locomotive native to Gymnome--a coal-burning steam engine operating at high pressure, with technological improvements to allow it to rival the efficiency and ease of use of a diesel locomotive, such as electronic controls, compound expansion of steam, a gas producer combustion system firebox, dual exhaust, and automatic firing and oiling. 11513 was built some time in the 2340s, and survives to 2381 as a museum piece.

NWR No.1 is a much older locomotive and from another planet altogether, built 1915 for the LBSC railway as a one-off prototype for a six-coupled shunter to replace the aging Terriers and to supplement the much larger E2-tanks. NWR No.1 made it to the North Western Railway not long after it was built, having been allocated there for the war effort. It is not clear how a locomotive built 465 years in the past on planet Earth made it intact to Gymnome, nor how its gauge perfectly matched Goo'iw Broad Gauge, at least not without invoking some kind of universe-spanning magic railroad, or perhaps the notion that this is all a simulation being run in some kind of virtual reality in some alien starship.

(no this isn't canon.)

Artist's notes:

Earlier today I doodled this in my sketchbook.

And when I got home i decided, hey, I have my Thomas 3D model, and I have the game model of the Advanced Steam Tank Engine... why not actually stage them together and draw them to-scale. The size difference is greater than I expected--partly I think this is because the Thomas gauge-1 prop was not designed with scale in mind, so it's bigger than British Railways loading gauge. Granted, they are at different gauges (standard gauge versus roughly meter-ish gauge), but the loading gauge on the advanced steam engine is very wide.

My first attempt at the drawing was from a very different angle:

But I quickly realized that you can't actually see the Advanced Steam Engine's wheels, and that's a major design aspect.

So i chose a different angle.

I constructed the dual gauge track before anything else.

And before long (the better part of 2 hours) I had the line art finished.

The Advanced Steam Engine ended up being a hybrid between the original illustration I did of it months ago, and the game model--with most of the geometry accurate to the game model, but with the subtler detailing of the illustrated version.

Thomas was meant to be a sort of hybrid of the Gauge 1 Prop from the TV series and a realistic loco. I prioritized the geometry and simplicity of the gauge 1 prop in most respects, but added details below the running board, in particular brake rigging, sanding gear, and these blade-like protrusions of the frames which i'm pretty sure are some kind of debris deflector, a british version of a cowcatcher. There's also snifters on the cylinder saddle, and the whistle is made of two different lengths to justify Thomas' multi-tone whistle.

The original background was going to be this marshland with (electricity-generating) windmills in the background, a callback to that first shot in the Thomas & Friends opening credits, but I hated how it felt like the middle of nowhere, so I introduced the retaining wall and an alien city scene.

British steam engines are generally given very shiny liveries which reflect the environment in interesting ways, so I made sure to do that justice, using a GWR 14xx autotank as reference.

By contrast, the Advanced Steam Tank Engine is kept in a more workwormlike condition, with a somewhat faded matte paint work and a fair amount of grime.

The original illustration of the advanced steam engine, for comparison.

Finally, a version with faces.

[monicascot]

The Future of Technological Advancements | Shaping Our World

Welcome back, tech enthusiasts! In today's video, we are diving headfirst into the exciting realm of the future, exploring the incredible technological advancements that are set to revolutionize our world. From mind-boggling innovations to cutting-edge discoveries.

[ltwilliammowett]

The Mast

One of the most important elements of a ship are the masts, because this is where the sails are attached that serve to propel the ship.

History

The oldest evidence for the use of one solid masts comes from the Ubaid site H3 in Kuwait, which dates back to the second half of the sixth millennium BC. There, a clay disc was recovered from a sherd that appears to depict a reed boat with two masts.

A painted clay disc with a diameter of 6.5 cm from site H3 with a design reminiscent of a boat with two masts, second half of the sixth millennium BC

In the West, the concept of a vessel with more than one mast to increase speed under sail and improve sailing characteristics developed in the northern waters of the Mediterranean: the earliest foremast was identified on an Etruscan pyxis from Caere (Italy) from the middle of the 7th century BC: A warship with a furled mainsail attacks an enemy ship and sets a foresail. An Etruscan tomb painting from the period between 475 and 450 BC depicts a two-masted merchant ship with a large foresail on a slightly inclined foremast.

Tomb of the Ship, mid-5th century BC

An artemon (Greek for foresail), which is almost as large as the main sail of the galley, is found on a Corinthian krater as early as the late 6th century BC; otherwise, Greek longships are uniformly depicted without this sail until the 4th century BC. In the East, ancient Indian kingdoms such as the Kalinga are thought to have been built in the 2nd century BC. One of the earliest documented evidence of Indian sail construction is the mural of a three-masted ship in the caves of Ajanta, which is dated to 400-500 AD.

This Ajanta mural depicts an ancient Indian ship with high stem and stern and three oblong sails attached to three masts. Steering-oars can also be seen. Location: Cave No. 2, Ajanta Caves, Aurangabad District, Maharashtra state, India, 400-500 AD

The foremast was used quite frequently on Roman galleys, where, tilted at a 45° angle, it was more like a bowsprit, and the scaled-down foresail attached to it was apparently used as a steering aid rather than for propulsion. While most ancient evidence is iconographic in nature, the existence of foremasts can also be inferred archaeologically from slots in the foremast feet, which were too close to the bow for a mainsail.

Fragment of mosaic depicting "navis tesseraria", a messenger and police boat of the African fleet, 2nd century AD

The artemon, together with the mainsail and the topsail, developed into the standard rigging of seagoing vessels in the Imperial period, which was supplemented by a mizzen on the largest cargo ships. The first recorded three-masters were the huge Syracusia, a prestigious object commissioned by King Hiero II of Syracuse and developed by the polymath Archimedes around 240 BC, as well as other Syracusan merchant ships of the time. The imperial grain freighters that travelled on the routes between Alexandria and Rome also included three-masted ships. A mosaic in Ostia (around 200 AD) shows a freighter with a three-masted rig entering the harbour of Rome. Specialised ships could carry many more masts: Theophrastus (Hist. Plant. 5.8.2) reports that the Romans brought in Corsican timber on a huge raft propelled by up to fifty masts and sails.

Throughout antiquity, both the foresail and the mizzen were secondary in terms of sail size, although they were large enough to require full rigging. In late antiquity, the foremast lost most of its tilt and stood almost upright on some ships.

By the beginning of the early Middle Ages, rigging in Mediterranean shipping had changed fundamentally: The spars, which had long since developed on smaller Greco-Roman ships, replaced the square sail, the most important type of sail in antiquity, which had virtually disappeared from the records by the fourteenth century (while remaining predominant in northern Europe). The dromon, the rowed bireme of the Byzantine fleet, almost certainly had two masts, a larger foremast and one amidships. Their length is estimated at 12 metres and 8 metres respectively, somewhat less than that of the Sicilian war galleys of the time.

Multi-masted sailing ships were reintroduced to the Mediterranean in the late Middle Ages. Large ships became more common and the need for additional masts to steer these ships appropriately grew with the increase in tonnage. Unlike in antiquity, the mizzen mast was introduced on medieval two-masted ships earlier than the foremast, a process that can be traced back to the mid-14th century based on visual material from Venice and Barcelona. To equalise the sail plan, the next obvious step was the addition of a mast in front of the main mast, which first appears in a Catalan ink drawing from 1409. With the establishment of the three-masted ship, propelled by square sails and battens and steered by the pivot-and-piston rudder, all the advanced ship technology required for the great transoceanic voyages was in place by the early 15th century.

In the 16th century, the cross-section of the masts was made up of several pieces of wood and held together with ropes and iron rings.

A lower mast with sections from 1773 to 1800

In order to achieve a greater height, the lower mast is extended, so that a total length of up to 60 metres can be achieved, measured from the keel. From lowest to highest, these were called: lower, top, topgallant, and royal masts. Giving the lower sections sufficient thickness necessitated building them up from separate pieces of wood. Such a section was known as a made mast, as opposed to sections formed from single pieces of timber, which were known as pole masts.

This is a section of HMS Victory's main mast

The forces of the sails on the mast construction are transferred to the hull construction by standing and running rigging, forwards and aft (stern) by stays, and laterally by shrouds or guys. In order to enable sailors to climb up into the rigging, which is particularly necessary for the operation of square riggers, rat lines are knotted into the shrouds like rungs of a ladder. The upper end of a ship's mast is called the masthead.

Mounting

The mast either stands in the mast track on the keel and is passed through the deck or it stands directly on deck. In the first case, the opening must be neatly sealed with a mast collar, otherwise water will penetrate into the living quarters. If the mast is on deck, it must be supported from below on the keel so that the loads do not bend the deck. Practically every sailing ship therefore has a more or less visible vertical support through the cabin.

Masts are usually supported by the standing rigging. The shrouds pull the mast downwards with several times its own weight and thus prevent it from tipping over.

Traditionally, when a sailing ship is built, one or more coins are placed under the mast as a lucky charm (according to my theory, the coins were also used as money to pay Charon the ferryman in the underworld if the ship sank); this custom is still practised today. Just as a horseshoe was nailed to the mast to bring good luck.

Mast types

For square-sail carrying ships, masts in their standard names in bow to stern (front to back) order, are:

Sprit topmast: a small mast set on the end of the bowsprit (discontinued after the early 18th century); not usually counted as a mast, however, when identifying a ship as "two-masted" or "three-masted"

Fore-mast: the mast nearest the bow, or the mast forward of the main-mast. As it is the furthest afore, it may be rigged to the bowsprit. Sections: fore-mast lower, fore topmast, fore topgallant mast

Main-mast: the tallest mast, usually located near the center of the ship Sections: main-mast lower, main topmast, main topgallant mast, royal mast (if fitted)

Mizzen-mast: the aft-most mast. Typically shorter than the fore-mast. Sections: mizzen-mast lower, mizzen topmast, mizzen topgallant mast

Some names given to masts in ships carrying other types of rig (where the naming is less standardised) are:

Bonaventure mizzen: the fourth mast on larger 16th-century galleons, typically lateen-rigged and shorter than the main mizzen.

Jigger-mast: typically, where it is the shortest, the aftmost mast on vessels with more than three masts. Sections: jigger-mast lower, jigger topmast, jigger topgallant mast

When a vessel has two masts, as a general rule, the main mast is the one setting the largest sail. Therefore, in a brig, the forward mast is the foremast and the after mast is the mainmast. In a schooner with two masts, even if the masts are of the same height, the after one usually carries a larger sail (because a longer boom can be used), so the after mast is the mainmast. This contrasts with a ketch or a yawl, where the after mast, and its principal sail, is clearly the smaller of the two, so the terminology is (from forward) mainmast and mizzen. (In a yawl, the term "jigger" is occasionally used for the aftermast.)

Some two-masted luggers have a fore-mast and a mizzen-mast – there is no main-mast. This is because these traditional types used to have three masts, but it was found convenient to dispense with the main-mast and carry larger sails on the remaining masts. This gave more working room, particularly on fishing vessels.

Cock, John. A treatise on mast-making , 1840.

Fincham, John. A Treatise on Masting Ships and Mast Making , 1854. Kipping, Robert. Rudimentary treatise on masting, mast-making, and rigging of ships , 1864.

Steel, David The Elements and Practice of Rigging, Seamanship, and Naval Tactics, Including Sail Making, Mast Making, and Gunnery , 1821.

Steel, David. Steel's Elements Of Mast-making, Sail-making and Rigging , 1794.

Layton, Cyril Walter Thomas, Peter Clissold, and A. G. W. Miller. Dictionary of nautical words and terms. Brown, Son & Ferguson, 1973.

Harland, John. Seamanship in the Age of Sail,1992

Marquardt, Karl Heinz, Bemastung und Takelung von Schiffen des 18. Jahrhunderts, 1986

[raven-at-the-writing-desk]

Malleus said near the end of his backstory "is this how my life will be for what feels like eternity? All alone until the day I return to the stars?" Then Lilia to Malleus' said that not even fairies can survive fairytales, not even Malleus' magic can stop the passage of time. Could this be some kinda death flag or foreshadowing? Book 7 was a rough ride so there's so many things I'm wondering about 💀

Well 💦 I don’t think Twst will ever fully commit to killing a playable character in the main cast. It’s just not economical for a gacha game to do. You kill off a character permanently? That equates to no more screen time (or at least way less screen time + new content) for that dead character, which directly translates into less merch and less banner sales. NPCs (like some of the parents and generic background characters) are disposable because it does not impact revenue at the end of the day. Main cast members? They have plot armor.

Lilia was heavily foreshadowed to die in book 6 (the conversation with Malleus about seeing the stars aligning, the end-of-book char about the importance of bonds) + early book 7 (losing his magic, and wanting to retire, Silver talking about his dad dying in a foreign land), but Twst spontaneously brought him back with the power of love and wishing hard enough to conjure a miracle. (Ironically, many also worried that Malleus would die at the end of book 7, since there were “death flags” hovering around him, like us being told his UM could only be dispelled if he died or willingly removed it himself.) If any future main cast “deaths” occur, I’d imagine that they’d pull out a similar convenient explanation to revive them.

Things like the ending bit of Malleus’s post-OB flashback and Lilia saying not even fairies can survive fairy tales/not even Malleus’s magic can stop the passage of time, I don’t really see as foreshadowing a character death?? I interpret these lines as more of the narrative trying to drive home 1) Malleus’s livelong isolation and loneliness (which was the central theme of his flashback) and 2) how change is inevitable. It all feeds into the idea that Malleus, powerful as he is, cannot ignore his own troubles and continue living in a happy present with his magic. Unpleasant things will happen, fairies (long lived as they are) are not around for forever, because time doesn’t discriminate. Things can’t stay unchanging forever, and that’s what Malleus has to learn if he’s to mature.

Book 7 repeatedly uses fairy tales and fantasy as a parallel to the characters’ circumstances, and it’s not in a manner that suggests death, but change. For example, Malleus’s virtual pet Gao-Gao Draco-kun lives in a perpetual cycle, going from egg to fully grown dragon and then leaving behind an egg to start the cycle anew every month. Malleus laments having to see Gao-Gao go, and wishes that there was some way his lifespan were not finite. “It's a fairy-tale game, designed to comfort people. Perhaps there's no harm in indulging in its fantasy—one where people live on indefinitely, so long as you take care of them,” Lilia suggests. This draws an obvious parallel with Malleus, who would later go on to use his UM to force Sage’s Island into deceptive, happy dreams.

When Lilia later speaks of fairy tales again, it’s in reference to how quickly humans are making advancements. “No matter how hard we struggle, there's no stopping the advancement of [human] civilization.” He worried that far will be lost to time because of that. “Eventually, we fae will become relics of the past... We'll be forgotten and regarded as creatures from storybooks. But [Malleus] is going to be born and live on for an eternity. I don't want you to be relegated to the protagonist of a fairy tale.” (At this point, Malleus has not hatched. Lilia is expressing that he doesn’t want Malleus to die inside the eggshell and forgotten, only remembered in legends.)

Late in book 7, Idia seizes control of Malleus’s dream world(s) by constructing a fantasy of his own: a gacha game. The power has been shifted from Malleus to his classmates, who all seek to rebel against him. They once despaired at the impossible odds of fighting—and defeating—Malleus, but Idia’s cheat tool grants them power and hope.

So!! 💦 Yeah, I don’t think we have to worry about this?? But I understand why people might be feeling on edge after book 7’s release ending and how nail-biting it was building up to be (which doesn’t bode well for book 8, which may be even more dire).