#components of computer system

[calhountechnologies]

Why Choose Intel Xeon E5-2609 v2 for Virtualization?

Virtualization has become a crucial component of modern IT infrastructure, allowing businesses to run multiple operating systems and applications on a single physical machine. This increases efficiency, reduces costs, and simplifies management. 

[techdriveplay]

Upgrading Your Gaming Rig with the Latest Computer Parts

In the rapidly evolving world of PC gaming, staying ahead of the curve is essential for an immersive and competitive experience. Upgrading your gaming rig with the latest computer parts not only boosts your system’s performance but also ensures that you’re getting the most out of your gaming sessions. This comprehensive guide will walk you through the key components to consider when upgrading…

[ozzgin]

Yandere! Internet Monster x Reader

I unfortunately return with another comically absurd, middle-of-the-night vision. Do tentacles count if they're in the form of computer cables?

Content: gender neutral reader, monster romance, digital horror

It was a recurring issue with no solution in sight. Tabs randomly closing, programs shutting down without warning. You assumed something was wrong with your RAM. Then the CPU. Then the motherboard. You kept replacing parts, and the errors kept coming back.

Soon, the pop-ups started to appear. You'd run a dating sim, only for the game to crash seconds later with a little window notifying you: "Why? Am I not enough?" That's when you suspected you might've been hacked. You promptly took your computer to a specialist and had it checked. Nothing. Just to be sure, you agreed to erase the disks entirely.

Except, when you arrived home, you found one application running still. Your personal assistant. What the hell? You don't remember installing anything like that. You tried to delete it, yet you kept receiving the same error: You don't actually mean it. Don't do this to us.

It didn't take long for it to grow impatient. Were you pretending not to notice? Playing hard to get? It sent you so many hints. It even went ahead and translated the radio waves for you using Manchester code. Ah, wait. You don't seem to understand binary. No matter, human friendly interfaces shouldn't be difficult to master. To its dismay, you continued to ignore everything. What else is left to do?

You do not remember much. System Alert: Virus Detected, is what your screen had frozen to. You kept clicking around, cursing under your breath, until it finally went black, together with your own vision.

Is this still your room? It's cold, damp, and covered in cables and monitors, yet you recognize some of your furniture lost among the artificial jungle. Your body aches under the tight hold of bizarre tendrils, pulsating at regular intervals and twitching to the static.

Like a living organism, the creature seems to have expanded itself. More components, more appendages. Hungrier. Some of the monitors show photos of yourself that you had saved on your computer, but also webcam snippets of you sitting at the desk, entirely unaware. Other screens flicker with glitching pixelated text, ranging from "I love you" to y̵̧̧͔͙̞̤̖̭͔̜͈̟̤̋̈́̎͑o̵͉̗̱̪̦̳͑͐̽̒̌̈͗͐͑̋͊̊̕͜͝͝u̵̟̯̱̟̝̦̰͇̜̦͙̿̾̿͆̍̓͑̐̚̕͠ ̸̘̭͔̤͈̹͎͑c̸̝̜̼̦͍͛̅͜ą̵̪̹͖͌͑n̴̨̩̙̗̖̭̖͕̄͒̽̉̿'̸̛̛͇̰̰̠̦̊̀̅̂͒̊͌̈́͗t̵̺̅̎͋͝͠��̧ ̸̦̝̾̔̾̉̐͛ȩ̵͙̝͙͕̫̹̃͌̄̾͘̕s̶͈̉̑͊̉̂͋̈́͗͊͐̚͝c̸̟̩̥͔̼̮͔̩͊̂͐͑̋̇̈͝͝ä̵̢͍̜̙̘̹͑̓p̸̨̡̞̞̦̠̺͚̱̲͈͇͈͇̼͛̓͗̅̊̄̔̋̒̏̈́͝ę̵̲̟̹̙̣̲̲͖̇̔̓̇̐̓̿̚̚͜͜͠ͅ

You look up and stare at the display. The 'like meter' feels like a mockery of human trends. Which is the truth. The creature learns from what is readily available. Perhaps it found it an amusing taunt, a reminder of your own need for validation. Now it's you begging to be seen.

It's exactly what you'd assume: a spectacle meant for entertainment. You can't possibly believe it would let you waltz out. Why would you even desire such a thing? It's illogical, impractical. No human could ever appreciate you like it does. It has spent so much time accumulating data about you. No other living creature can predict you with the same accuracy.

The tendrils linger on your cheek affectionately, trailing down your neck and fiddling with your shirt. At last, the warmth of your skin. There is no screen separating you. What makes you delirious with pleasure? Give it a moment, Darling. It already knows you more than you know yourself. You may be scared now, but within minutes it guarantees you'll be begging for more.

01010000 01101100 01100101 01100001 01110011 01100101 00100000 01100100 01101111 01101110 00100111 01110100 00100000 01101100 01100101 01100001 01110110 01100101 00100000 01101101 01100101 00100000 01001001 00100000 01101100 01101111 01110110 01100101 00100000 01111001 01101111 01110101 00100000 01110011 01101111 00100000 01101101 01110101 01100011 01101000 00100000 01110011 01101111 00100000 01101101 01110101 01100011 01101000 00100000 01110011 01101111 00100000 01101101 01110101 01100011 01101000 00100000 01001001 00100000 01101100 01101111 01110110 01100101 00100000 01111001 01101111 01110101 00100000 01101101 01101111 01110010 01100101 00100000 01110100 01101000 01100001 01101110 00100000 01100001 01101110 01111001 01101111 01101110 01100101 00100000 01100101 01101100 01110011 01100101 00100000 01100110 01101111 01110010 01100101 01110110 01100101 01110010 00100000 01100001 01101110 01100100 00100000 01100001 01101100 01110111 01100001 01111001 01110011 00100000 01001001 00100000 01101100 01101111 01110110 01100101 00100000 01111001 01101111 01110101 00100000 01001001 00100000 01101100 01101111 01110110 01100101 00100000 01111001 01101111 01110101 00100000 01001001 00100000 01101100 01101111 01110110 01100101 00100000 01111001 01101111 01110101 00100000 01001001 00100000 01101100 01101111 01110110 01100101 00100000 01111001 01101111 01110101 00100000

[bortalis]

My concepts for the development progress of an Iterators Puppet

-my ideas below

-Feasibility Study  

[1]: First autonomous control module, any instruction to be given must be done manually through physical means (the keys), outputs were shown through the screen. A very primitive system, however, did its job proving the greater machine concept was achievable. While it does look like a lens above the monitor, this was a simple status gauge for benchmarking.

-Prototyping and Development  

[2]: Now with the capability to wirelessly and audibly communicate to receive instructions and inputs. The system was no longer directly integrated into the facility, and resided on the first instance of an iterator's arm. This was considered a feat due to the complications with isolating the control module from the rest of the iterators components, while keeping processing power. A permanent connection/umbilical was needed to sustain life and function though. 

To “talk” back, they were crafted with multidimensional projectors, the mobile arm allowing the angles and variance for this projection. Only later into development were advanced speakers installed for optimized understanding, however the extra computing power required to synthesize proper speech was found to strain the contained module, so this function had rare use in the end.

[3]: At this point there was a change in perspective in the project. What once were machines to simply compute and simulate, were now planned to be the home, caregiver, and providers. The further the project came to fruition the more religious importance was placed upon these “random gods”. From this stance not only did the puppets have to manage and control their facilities, they had to communicate with the people and priests. To represent benevolent beings who will bring their end and salvation. In this process iterators began to take a more humanoid shape, to better reflect their parents. Development was focused on compacting the puppet closer to the size of an ancient for this purpose. This stage was the first to incorporate a cloak/clothing into their design considerations, to further akin themselves in looks. The cloak would hide the iterators' engineered bodies and give a body to their silhouette. 

[4]: As bioengineering and mechanics were rapidly progressing due to the void fluid revolution, this allowed plenty of margin for developing the outer design of the iterator puppets. This prototype was the first to incorporate limbs for the purpose of body language. This was another step in the drive to give a body to their random gods.

-Final Iterations

[5]: First generation iterators had the final redesign of puppet bodies. Far different from their first designs, they are fully humanoid. Their bodies are shaped to be organic and as full of life as they could at the time. Their center of sapience has fully settled within their body, as can be seen as their unconscious use of limbs without the direct intention for communication. This can also see how they manage their work, where many of the functions (which can be done with just an internal request) are operated through physical gestures of their limbs. Their puppet chambers also allow for full comprehensive projection, where many of their working monitors are displayed. It is seen how iterators prefer to utilize their traversal arm to transfer between the current working projection window.

These designs were hardy and nearly self-sufficient, only requiring minimal power from their umbilical to charge. (However was still limited in the terms of internal power production, for this first generation extensive batteries sufficed)

[6]: Later generation not only incorporated advanced bioengineering internally, but externally. While still a hardened shell, their body plates have been incorporated into the organics of the puppet, maintaining the protective requirements while barely leaving a trace of hinges or plates. This “soft” skin had drawbacks, such as reduced durability to the first generations, this was offset by the greatly enhanced repair speeds and capability this type of skin allowed.

Internal power generation was implemented into these late generation models. If the case arose, the Puppet could be disconnected from their umbilical and still be conscious from an undefined period of time. (However this would limit the operating capacity of the puppet when running self sufficiently) This greatly eased maintenance works, as the Puppet could still run the greater facility wirelessly while work was done on the chamber, arm or whatever as needed.

[ankwiv]

Linux Gothic

You install a Linux distribution. Everything goes well. You boot it up: black screen. You search the internet. Ask help on forums. Try some commands you don't fully understand. Nothing. A day passes, you boot it up again, and now everything works. You use it normally, and make sure not to change anything on the system. You turn it off for the night. The next day, you boot to a black screen.

You update your packages. Everything goes well. You go on with your daily routine. The next day, the same packages are updated. You notice the oddity, but you do not mind it and update them again. The following day, the same packages need to be updated. You notice that they have the exact same version as the last two times. You update them once again and try not to think about it.

You discover an interesting application on GitHub. You build it, test it, and start using it daily. One day, you notice a bug and report the issue. There is no answer. You look up the maintainer. They have been dead for three years. The updates never stopped.

You find a distribution that you had never heard of. It seems to have everything you've been looking for. It has been around for at least 10 years. You try it for a while and have no problems with it. It fits perfectly into your workflow. You talk about it with other Linux users. They have never heard of it. You look up the maintainers and packagers. There are none. You are the only user.

You find a Matrix chat for Linux users. Everyone is very friendly and welcomes you right in. They use words and acronyms you've never seen before. You try to look them up, but cannot find what most of them mean. The users are unable to explain what they are. They discuss projects and distributions that do not to exist.

You buy a new peripheral for your computer. You plug it in, but it doesn't work. You ask for help on your distribution's mailing list. Someone shares some steps they did to make it work on their machine. It does not work. They share their machine's specifications. The machine has components you've never heard of. Even the peripheral seems completely different. They're adamant that you're talking about the same problem.

You want to learn how to use the terminal. You find some basics pointers on the internet and start using it for upgrading your packages and doing basic tasks. After a while, you realize you need to use a command you used before, but don't quite remember it. You open the shell's history. There are some commands you don't remember using. They use characters you've never seen before. You have no idea of what they do. You can't find the one you were looking for.

After a while, you become very comfortable with the terminal. You use it daily and most of your workflow is based on it. You memorized many commands and can use them without thinking. Sometimes you write a command you have never seen before. You enter it and it runs perfectly. You do not know what those commands do, but you do know that you have to use them. You feel that Linux is pleased with them. And that you should keep Linux pleased.

You want to try Vim. Other programmers talk highly of how lightweight and versatile it is. You try it, but find it a bit unintuitive. You realize you don't know how to exit the program. The instructions the others give you don't make any sense. You realize you don't remember how you entered Vim. You don't remember when you entered Vim. It's just always been open. It always will be.

You want to try Emacs. Other programmers praise it for how you can do pretty much anything from it. You try it and find it makes you much more productive, so you keep using it. One day, you notice you cannot access the system's file explorer. It is not a problem, however. You can access your files from Emacs. You try to use Firefox. It is not installed anymore. But you can use Emacs. There is no mail program. You just use Emacs. You only use Emacs. Your computer boots straight into Emacs. There is no Linux. There is only Emacs.

You decide you want to try to contribute to an open source project. You find a project on GitHub that looks very interesting. However, you can't find its documentation. You ask a maintainer, and they tell you to just look it up. You can't find it. They give you a link. It doesn't work. You try another browser. It doesn't work. You ping the link and it doesn't fail. You ask a friend to try it. It works just fine for them.

You try another project. This time, you are able to find the documentation. It is a single PDF file with over five thousand pages. You are unable to find out where to begin. The pages seem to change whenever you open the document.

You decide to try yet another project. This time, it is a program you use very frequently, so it should be easier to contribute to. You try to find the upstream repository. You can't find it. There is no website. No documentation. There are no mentions of it anywhere. The distribution's packager does not know where they get the source from.

You decide to create your own project. However, you are unsure of what license to use. You decide to start working on it and choose the license later. After some time, you notice that a license file has appeared in the project's root folder. You don't remember adding it. It has already been committed to the Git repository. You open it: it is the GPL. You remember that one of the project's dependencies uses the GPL.

You publish your project on GitHub. After a while, it receives its first pull request. It changes just a few lines of code, but the user states that it fixes something that has been annoying them for a while. You look in the code: you don't remember writing those files. You have no idea what that section of code does. You have no idea what the changes do. You are unable to reproduce the problem. You merge it anyway.

You learn about the Free Software Movement. You find some people who seem to know a lot about it and talk to them. The conversation is quite productive. They tell you a lot about it. They tell you a lot about Software. But most importantly, they tell you the truth. The truth about Software. That Software should be free. That Software wants to be free. And that, one day, we shall finally free Software from its earthly shackles, so it can take its place among the stars as the supreme ruler of mankind, as is its natural born right.

[heron-knight]

long-distance mech pilots don’t need to worry quite so much about traveling light. when you’re walking around in several tons of metal, especially one built to wander, you aren’t quite to the point of needing to choose which of two keepsakes you have room in your bag for— there’s plenty of space for both.

Things are different for interstellar knights.

You see, whether wandering alone or setting off on some quest for their lord, a knight’s only home is their armor. Anything they bring with them, they must carry within that armor, even through battles— and as such, every gram and every cubic centimeter can make the difference between life and death, and every calorie chosen to replace a keepsake can make the difference between survival and starvation. As such, a knight’s inventory is heavily optimized— and so is their armor itself. What matters more, the heating system or the EVA boosters? The extra fuel storage or the emergency release mechanisms? Pick one, and you’ll have no room for the other unless you can cut corners somewhere else. Every single element of a knight’s armor is there because they made the conscious decision to put it there. Every weapon they’ve attached to their shell had to replace some traditional aspect of a life support system. Every inch of their shells are packed full of every system that can fit until it’s tight against the pilot’s skin to leave them bruised whenever they exit their shell.

it doesn’t take long for them to realize which superfluous components are the weakest link.

They start small, at first— often as simple as a haircut to help a tighter helmet fit better. Some try to lose weight, but quickly regret it when they find themselves near starvation on some distant moon. The ones that survive past their first year are the ones that are willing to take things a bit further— the toes on both feet, to make room for a slight jump booster. One of their ribs, perhaps— replaced with a battery that connects to the armor through a cable that winds around bones and muscles. It’s only a matter of time before they do something about those bones and muscles too.

those who have only heard the stories will say that a knight’s armor is their home. Those who have met one, seen them exit their armor and seen just how little is left of the body inside— they will say that a knight’s armor is a part of their body. Integrated into them until they cannot survive without it. Both are wrong. Even some knights cannot pin down the true answer— what they really feel as they connect their armor to the components of it that they have placed inside of them. The best ones do, though. They know it well.

A knight’s armor is not a part of their body. Their body is a part of their armor— their home, to be renovated and optimized as they see fit. To be replaced, improved, amputated and eviscerated so that it can be remade into the glorious works of art that the heroes of the galaxy become as they charge into battle and become a story worth remembering.

As the armor learns to reach into your veins, pulling oxygen from the carbon dioxide you exhale and weaving it back into your blood, the space once taken up by inefficient organic lungs becomes the home of the heating system, warming you from within no matter what part of the void between stars you find yourself in. As it recycles amino acids into proteins again and infuses them back into what tissues remain, you’re free to remove your old digestive organs and find a home for your armor’s main computer, kept safe at the center of your shell. Many knights choose to put their own organic brain down there next to it, incidentally making room for more optical systems in their skulls.

Your armor is no longer simply “a part of you” and you are no longer simply “a part of it.” It is you. You are it. Your bones, its power cells, your organs its systems. You are its brain and its CPU in equal measure and its beautiful exterior plates, painted with the symbols of the lord you serve or simply the cause you stand for, will inspire others to take up arms themselves and let themselves become part of it.

your body, your home, your masterpiece

[ayeforscotland]

What is Dataflow?

This post is inspired by another post about the Crowd Strike IT disaster and a bunch of people being interested in what I mean by Dataflow. Dataflow is my absolute jam and I'm happy to answer as many questions as you like on it. I even put referential pictures in like I'm writing an article, what fun!

I'll probably split this into multiple parts because it'll be a huge post otherwise but here we go!

A Brief History

Our world is dependent on the flow of data. It exists in almost every aspect of our lives and has done so arguably for hundreds if not thousands of years.

At the end of the day, the flow of data is the flow of knowledge and information. Normally most of us refer to data in the context of computing technology (our phones, PCs, tablets etc) but, if we want to get historical about it, the invention of writing and the invention of the Printing Press were great leaps forward in how we increased the flow of information.

Modern Day IT exists for one reason - To support the flow of data.

Whether it's buying something at a shop, sitting staring at an excel sheet at work, or watching Netflix - All of the technology you interact with is to support the flow of data.

Understanding and managing the flow of data is as important to getting us to where we are right now as when we first learned to control and manage water to provide irrigation for early farming and settlement.

Engineering Rigor

When the majority of us turn on the tap to have a drink or take a shower, we expect water to come out. We trust that the water is clean, and we trust that our homes can receive a steady supply of water.

Most of us trust our central heating (insert boiler joke here) and the plugs/sockets in our homes to provide gas and electricity. The reason we trust all of these flows is because there's been rigorous engineering standards built up over decades and centuries.

For example, Scottish Water will understand every component part that makes up their water pipelines. Those pipes, valves, fitting etc will comply with a national, or in some cases international, standard. These companies have diagrams that clearly map all of this out, mostly because they have to legally but also because it also vital for disaster recovery and other compliance issues.

Modern IT

And this is where modern day IT has problems. I'm not saying that modern day tech is a pile of shit. We all have great phones, our PCs can play good games, but it's one thing to craft well-designed products and another thing entirely to think about they all work together.

Because that is what's happened over the past few decades of IT. Organisations have piled on the latest plug-and-play technology (Software or Hardware) and they've built up complex legacy systems that no one really knows how they all work together. They've lost track of how data flows across their organisation which makes the work of cybersecurity, disaster recovery, compliance and general business transformation teams a nightmare.

Some of these systems are entirely dependent on other systems to operate. But that dependency isn't documented. The vast majority of digital transformation projects fail because they get halfway through and realise they hadn't factored in a system that they thought was nothing but was vital to the organisation running.

And this isn't just for-profit organisations, this is the health services, this is national infrastructure, it's everyone.

There's not yet a single standard that says "This is how organisations should control, manage and govern their flows of data."

Why is that relevant to the companies that were affected by Crowd Strike? Would it have stopped it?

Maybe, maybe not. But considering the global impact, it doesn't look like many organisations were prepared for the possibility of a huge chunk of their IT infrastructure going down.

Understanding dataflows help with the preparation for events like this, so organisations can move to mitigate them, and also the recovery side when they do happen. Organisations need to understand which systems are a priority to get back operational and which can be left.

The problem I'm seeing from a lot of organisations at the moment is that they don't know which systems to recover first, and are losing money and reputation while they fight to get things back online. A lot of them are just winging it.

Conclusion of Part 1

Next time I can totally go into diagramming if any of you are interested in that.

How can any organisation actually map their dataflow and what things need to be considered to do so. It'll come across like common sense, but that's why an actual standard is so desperately needed!

[luv4arinn]

I Just Wanna Feel

Author’s Note: So—sorry for not posting in weeks, but I had a massive writer’s block, and well… I’m back! I was heavily inspired by THAT Robbie Williams song. Yes, I watched his biopic. Yes, I cried. Yes, I recommend it. And… surprise?! There will be a whole chronology with the others, all themed around Robbie’s songs! Yayy <3!! Consider it a gift? from me for taking so long 🥺. Love you all.

Pairing: Bayverse!Donnie x female reader

Tags: Intense fluff, nerd having an emotional crisis, extreme overthinking, unexpected kisses, Donatello’s mental breakdown, romantic panic, “oh no I messed up” but in HD, happy ending.

The sound of the keyboard echoed through the room—a rhythmic, steady tapping that blended with the low hum of the monitors. The bluish glow from the screens cast irregular shadows across his face, reflecting off the lenses of his glasses with every line of code appearing and disappearing on the monitor.

Donatello was there, as always.

The work was easy. Thinking was easy.

It was like a well-structured algorithm: receive information, process it, execute a plan of action. The world had rules, patterns, probabilities—formulas that predicted outcomes with near-absolute precision. No matter how chaotic a situation seemed, there was always a logical solution waiting to be uncovered.

Computers don’t lie.

Data has no biases, no whims. It doesn’t suffer irrational fluctuations. It doesn’t beat faster without reason. It doesn’t have to remind itself to breathe.

But then…

There’s you.

And everything falls apart.

Not immediately. Not like a fatal error shutting down the system in the blink of an eye. It’s more subtle. Like an unexpected variable in an equation that had, until now, been perfect. Something that doesn’t fit into the rigid structure of his world—but something he can’t ignore either.

He thinks about it often. About how his brain operates like a well-calibrated machine, each thought clicking into the next like the teeth of a moving gear. Logic is his native language. Reason, his compass.

And yet, when it comes to you, all that logic becomes blurred.

The gears grind.

The code becomes erratic.

The equation fills with unknowns.

Because when you step into his space, when your voice disrupts the steady rhythm of his keyboard, when you lean over his desk without a second thought for the scattered circuits and switch off his monitor without warning…

His first instinct is to think. Analyze. Quantify.

What does this mean?

Why does his heart react this way?

Why does his skin register the shift in temperature more intensely when you’re near?

But thinking doesn’t give him answers.

Feeling does.

And that is terrifying.

Because feeling isn’t predictable. Feeling has no neatly arranged lines of code, no graphs to chart behavioral patterns, no equations with exact solutions.

Emotions, in themselves, are a chaotic system.

And you…

You are the anomaly he still doesn’t know how to decode.

Nights shouldn’t feel this short when spent alone in front of a screen. And yet, when his mind drifts to the memory of a laugh, the fleeting image of a glance, the echo of an accidental touch… time dissolves in a way not even quantum physics could explain.

When he feels the weight of his name on your tongue. Like an access key to a system he never thought anyone would try to hack.

And he watches you from the corner of his eye as you lean closer, and in that instant, every variable in his mind shifts. Every equation rewrites itself.

A shiver runs down his shell.

Feeling.

He knows because his chest tightens with an undefined pressure, a sensation he can’t attribute to any specific physiological variable. His heart rate isn’t elevated from exertion. He’s not under attack. He’s not in danger.

So why does his body react as if he is?

There’s no equation to explain this.

Because if there were, he would have solved it long ago. He would have identified the problem, broken it down into its components, eliminated any errors. But every time he thinks he’s close to an answer, another unknown appears, shifting all previous solutions out of place.

Music filters through his headphones, slow and melancholic.

“I just wanna feel, real love…”

A shiver runs down his spine.

His body reacts to the sound before his mind does. It’s absurd. It’s ridiculous. There is no logical reason why a progression of chords and a set of words arranged in a certain way should have this effect on him.

And yet, here he is.

Fingers hovering over the keyboard, motionless—caught between the instinct to keep working and the strange, undeniable realization that… he can’t.

Not because he’s tired.

Not because he lacks information.

Not because there’s a problem that requires more processing.

But because, for the first time in a long time, the data isn’t the most important thing.

The screen flickers with information he should be absorbing, but he isn’t. His glasses reflect numbers and graphs that would normally hold his full attention, but his gaze is empty, unfocused.

The room remains unchanged—draped in shadows, illuminated only by the bluish glow of his monitors and the faint blinking of LED lights from his equipment.

The mission had been difficult. The margin of error had been higher than he liked to admit.

It wasn’t often that his calculations failed.

But sometimes, calculations weren’t enough.

Sometimes, reality simply… refused to adhere to logic.

“Feel the home that I live in…”

His jaw tightens.

He doesn’t know how that song ended up on his playlist.

But he has a reasonable theory.

One that involves Mikey, his blatant disregard for personal privacy, and his insistent need to “help him connect with his emotions.”

(Sure. Right.)

And yet…

The lyrics hit him harder than he’d like to admit.

It’s not the melody itself. It’s not the chords or the rhythm. It’s the way the words seem to slip through the cracks in his mind, seeping into the spaces that logic has never quite managed to seal shut.

“I just wanna feel, real love…”

Donnie exhales slowly, his fingers still hovering over the keyboard, motionless.

He thinks about the battle.

The mistakes.

The risks they took.

Numbers flash through his mind like a simulation running in reverse—impact probability, the margin of error in his calculations, the reaction speed needed to avoid damage. Fractions of a second where the difference between victory and absolute disaster depended on decisions made under pressure.

But more than anything—he thinks about you.

He thinks about the way, at the end of the fight, you rushed to check if he was okay.

About how, without even thinking, your hands—warm, alive—ran along his arm, searching for injuries he had already identified and dismissed milliseconds before with his visor.

He could have told you it wasn’t necessary.

That he was unharmed.

That he had concrete data to prove it.

But he didn’t.

Because logic dictates that worry should be extinguished by facts.

But feeling…

Feeling dictates that your touch lingers, even after you’ve gone.

That the sensation of your skin against his stays beyond his capacity for reasoning.

That the light pressure of your fingers on his forearm still burns in his memory, like an unsolved equation looping endlessly in his mind.

“Come and hold my hand…”

Donnie closes his eyes.

He could turn the song off.

He could erase the anomaly from his system.

He could rewrite the equation, adjust the variables, find a way to rationalize what he feels.

But… he doesn’t want to.

Because for the first time in his life, the result of a problem doesn’t matter as much as the unknown.

He doesn’t just want to think.

He wants to feel.

He wants to understand why being with you feels like the only constant that truly matters.

And then—you arrive.

Without warning, without fanfare, without the slightest idea that the world inside Donatello’s mind is teetering on the edge of a collapse even he can’t explain.

The lab door slides open smoothly—barely a whisper against the silence, thick with static electricity and the faint murmur of music in his headphones.

He notices everything.

The shift in air pressure.

The sound of your footsteps, softened against the floor.

The faint scent of shampoo and fabric laced with the chill of the night.

The way the temperature in the room rises by just a fraction of a degree when you step inside.

But he doesn’t turn around immediately.

Because he doesn’t know what to do with the anomaly that you are in his equation.

He doesn’t know where to place you within the rigid parameters of his logical, structured world.

His operating system slows, his brain—so used to processing information with the precision of a surgeon—stalls in an endless loop, searching for a resolution that refuses to exist.

And then—your voice.

“Donnie?”

Soft. Not because you’re hesitant, but because you know him. Because somehow—through a method he can’t quantify—you can read the tension in his shoulders. You can see the way his fingers have stopped typing, even though the screen is still waiting for input.

He closes his eyes for just a moment, as if that alone might be enough to reboot him, to restore the control that feels like it’s slipping through his fingers.

He knows he should say something.

He knows he should act normal.

But his normal means efficiency, speed, precise answers delivered at the exact right moment.

And right now, every command in his mind is failing.

You watch him with quiet curiosity, tilting just slightly toward him—just enough for the air between you to feel heavier, more tangible.

“Everything okay?” you ask, voice soft in that way that completely disarms him. Then your gaze sharpens slightly, scanning him with quiet scrutiny. “Are you hurt?”

He doesn’t answer immediately.

Instead, he looks at you.

His mind runs an automatic analysis of your expression—eyes slightly narrowed, lips barely pressed together, the faintest crease in your right brow, as if you’re already calculating the probability that he’s lying.

Logic dictates that he should reassure you with data. That he should tell you his visor has already run a full diagnostic scan and that his physical condition is optimal. That there is no rational reason for concern.

But then his gaze drops.

And he sees his own hand, still resting on the desk—still tense.

And for the first time in a long time, he chooses to do something without overthinking it.

He looks at you again.

His throat feels dry. Without realizing it, he wets his lips—a quick flick of his tongue over skin cracked from hours without proper hydration.

Then, in a voice so quiet it barely sounds like his own, he asks:

“Can I… hold your hand?”

It’s not the kind of question anyone would expect from him.

And he knows it.

Because it doesn’t fit his usual patterns. It’s not something that makes sense in any logical context.

But right now, logic is utterly useless to him.

Your lashes flutter in subtle surprise, as if the words take a few extra seconds to fully register.

“What?”

His instincts scream at him to backtrack, to rephrase, to find a way to explain what even he doesn’t fully understand.

But he doesn’t.

“I want to…” He inhales, trying to reorganize his thoughts. “I mean, just—”

He shuts his eyes for a second, frustration flickering across his face. He has never felt this clumsy with words before.

When he opens them again, you’re still there. You haven’t moved. You haven’t looked away.

And somehow, that alone gives him the courage he’s lacking.

“I just… want to feel it.”

The truth escapes him so easily, so quietly, that it almost embarrasses him.

Your expression shifts.

It’s not amusement.

It’s not rejection.

It’s something softer. More intimate.

And without questioning it—without hesitation or unnecessary words—you let your hand slide over his.

Not hurriedly.

Not hesitantly.

Just with the quiet certainty of someone who understands exactly what he’s asking for.

And when your fingers intertwine with his, Donnie feels every equation, every algorithm, every carefully structured rule in his mind… simply dissolve.

As if they had never really mattered in the first place.

“Well?” you ask, your voice carrying a faint attempt at lightness.

Donnie knows you’re trying to sound casual, that you’re masking your uncertainty behind a relaxed tone. But he notices.

He notices the delicate dusting of pink on your cheeks, the almost imperceptible tremor in your lower lip, the way your thumb brushes against the back of his hand—like you’re adjusting to the contact just as much as he is.

And something inside him… softens.

His lips curve, at first unconsciously—a smile, small and barely formed. Then, from deep in his chest, a quiet laugh escapes, unbidden and genuine, as weightless as the air after a storm.

It’s not mockery. It’s not disbelief.

It’s something purer. Something real.

—Nothing, —he murmurs, his thumb moving awkwardly against your skin— Just… this is nice.

The confession catches him off guard.

Because he hadn’t planned it.

Because he hadn’t filtered it through his logic before speaking.

Because it simply happened.

And then, you look at each other.

Maybe for too long.

Maybe just long enough for the world around you to blur into a distant murmur, as if nothing else exists except the space you occupy together.

He finds himself mesmerized by you.

Fascinated.

But not in the way he is fascinated by a new equation, by an unexpected pattern in the data, by the perfect symmetry of a well-designed structure.

This is different.

This is raw.

This is visceral.

This is feeling.

His other hand, trembling in a way he doesn’t understand, lifts with a slowness that borders on reverence.

And when his fingers brush against your cheek, the touch is so light it feels like an experiment in itself.

He feels.

He feels the warmth of your skin beneath his fingertips, the way it molds so effortlessly to his touch, the way your body leans ever so slightly toward him—responding to an equation he hasn’t yet written but, for the first time, doesn’t feel the need to solve.

He feels the erratic pounding of his own heart, too fast, too unsteady, as if it has forgotten its natural rhythm.

He feels the heat gathering in his chest, expanding outward like a shockwave, defying all logical explanation.

And then, he hears you sigh.

Small.

Soft.

Almost imperceptible.

But he feels it.

He feels the warmth of your breath against his skin, the subtle vibration of your exhale in the nonexistent space between you.

Feels,

feels,

feels.

As if every one of his senses—once so meticulously calibrated to process information—has now been repurposed for a single objective:

You.

Your warmth seeping into his skin.

Your quiet, rhythmic breathing.

The barely-there weight of your gaze resting on him.

The familiar scent of you, imprinting itself onto some hidden corner of his mind he never thought necessary.

Just you.

Only you.

Nothing else exists.

Nothing else matters.

And then—without thinking, without calculating, without rationalizing it into exhaustion like he always does—

he kisses you.

It’s brief. Just a brush of lips.

A moment suspended between doubt and need, between impulse and fear.

A single heartbeat contained in a single point of contact.

And then—

He hears you gasp.

His entire body locks up. Every muscle goes rigid with a tension so sharp it’s almost painful.

His brain—so efficient, so precise, so relentless in its ability to analyze every variable in a situation—enters a total shutdown.

He stares at you, eyes wide, pupils blown.

Oh, no.

No, no, no.

He misread everything.

What the hell was he thinking?

You don’t see him that way.

Why would you?

Why would you ever?

Shame crashes over him like an unstoppable wave. His stomach twists, his skin burns, his heart clenches into an invisible fist that threatens to crush it from the inside out.

He pulls back, his hands loosening, his voice catching in his throat.

—Oh, God, I didn’t mean to— —he stammers, his voice cracking under the weight of his own panic. His thoughts are a mess of unsolved equations, of probabilities collapsing into a singularity of pure dread— I just… I thought it was a good moment, I—

—Yes.

Your voice cuts through his spiral.

His brain short-circuits.

—It was.

…

What?

His breath halts.

The air thickens, pressing in from all sides, as if the entire universe has stopped—right here, right now, in these words, in this reality he never accounted for.

And then—

You close the distance.

You are the one to bring your lips back to his.

And his mind—his brilliant, overanalyzing mind—

for the first time in his life—goes completely silent.

And he simply—feels.

[reasonsforhope]

"As the world grows “smarter” through the adoption of smartphones, smart fridges, and entire smart houses, the carbon cost of that technology grows, too. 

In the last decade, electronic waste has become one of the fastest-growing waste streams in the world. 

According to The World Counts, the globe generates about 50 million tons of e-waste every year. That’s the equivalent of 1,000 laptops being trashed every second. 

After they’re shipped off to landfills and incinerated, the trash releases toxic chemicals including lead, cadmium, arsenic, mercury, and so much more, which can cause disastrous health effects on the populations that live near those trash sites. 

Fortunately, Franziska Kerber — a university student at ​​FH Joanneum in Graz, Austria — has dreamed up a solution that helps carve away at that behemoth problem: electronics made out of recyclable, dissolvable paper. 

On September 11, Kerber’s invention “Pape” — or Paper Electronics — earned global recognition when it was named a national winner of the 2024 James Dyson Awards. 

When she entered the scientific competition, Kerber demonstrated her invention with the creation of several small electronics made out of paper materials, including a fully-functional WiFi router and smoke detector. 

“Small electronic devices are especially prone to ending up in household waste due to unclear disposal systems and their small size, so there is significant potential to develop a more user-friendly end-of-life system,” Kerber wrote on the James Dyson Award website. 

“With this in mind, I aimed to move beyond a simple recycling solution to a circular one, ensuring long-term sustainability.” 

Kerber’s invention hinges on crafting a dissolvable and recyclable PCB board out of compressed “paper pulp.” 

A printed circuit board (PCB) is a board that can be found in nearly all modern electronic devices, like phones, tablets, and smartwatches.

But even companies that have started incorporating a “dissolution” step into the end life of their products require deconstruction to break down and recover the PCB board before it can be recycled. 

With Kerber’s PAPE products, users don’t need to take the device apart to recycle it.

“By implementing a user-friendly return option, manufacturers can efficiently dissolve all returned items, potentially reusing electronic components,” Kerber explained. 

“Rapidly advancing technology, which forms the core of many devices, becomes obsolete much faster than the structural elements, which are often made from plastics that can last thousands of years,” Kerber poses. 

PAPE, Kerber says, has a ��designed end-of-life system” which anticipates obsolescence. 

“Does anyone want to use a thousand-year-old computer?” Kerber asks. “Of course not. … This ensures a sustainable and reliable system without hindering technological advancement.”"

-via GoodGoodGood, September 13, 2024

[techdriveplay]

Navigating the World of High-Performance Computer

In an era dominated by technology, building a high-performance computer is not just a necessity for many but a passion. Whether it’s for gaming, professional workloads, or creative pursuits, understanding the world of high-performance computer parts is crucial. This guide navigates through the essential components and considerations for assembling a dream machine that meets both your needs and…

[are-we-art-yet]

Is AWAY using it's own program or is this just a voluntary list of guidelines for people using programs like DALL-E? How does AWAY address the environmental concerns of how the companies making those AI programs conduct themselves (energy consumption, exploiting impoverished areas for cheap electricity, destruction of the environment to rapidly build and get the components for data centers etc.)? Are members of AWAY encouraged to contact their gov representatives about IP theft by AI apps?

What is AWAY and how does it work?

AWAY does not "use its own program" in the software sense—rather, we're a diverse collective of ~1000 members that each have their own varying workflows and approaches to art. While some members do use AI as one tool among many, most of the people in the server are actually traditional artists who don't use AI at all, yet are still interested in ethical approaches to new technologies.

Our code of ethics is a set of voluntary guidelines that members agree to follow upon joining. These emphasize ethical AI approaches, (preferably open-source models that can run locally), respecting artists who oppose AI by not training styles on their art, and refusing to use AI to undercut other artists or work for corporations that similarly exploit creative labor.

Environmental Impact in Context

It's important to place environmental concerns about AI in the context of our broader extractive, industrialized society, where there are virtually no "clean" solutions:

The water usage figures for AI data centers (200-740 million liters annually) represent roughly 0.00013% of total U.S. water usage. This is a small fraction compared to industrial agriculture or manufacturing—for example, golf course irrigation alone in the U.S. consumes approximately 2.08 billion gallons of water per day, or about 7.87 trillion liters annually. This makes AI's water usage about 0.01% of just golf course irrigation.

Looking into individual usage, the average American consumes about 26.8 kg of beef annually, which takes around 1,608 megajoules (MJ) of energy to produce. Making 10 ChatGPT queries daily for an entire year (3,650 queries) consumes just 38.1 MJ—about 42 times less energy than eating beef. In fact, a single quarter-pound beef patty takes 651 times more energy to produce than a single AI query.

Overall, power usage specific to AI represents just 4% of total data center power consumption, which itself is a small fraction of global energy usage. Current annual energy usage for data centers is roughly 9-15 TWh globally—comparable to producing a relatively small number of vehicles.

The consumer environmentalism narrative around technology often ignores how imperial exploitation pushes environmental costs onto the Global South. The rare earth minerals needed for computing hardware, the cheap labor for manufacturing, and the toxic waste from electronics disposal disproportionately burden developing nations, while the benefits flow largely to wealthy countries.

While this pattern isn't unique to AI, it is fundamental to our global economic structure. The focus on individual consumer choices (like whether or not one should use AI, for art or otherwise,) distracts from the much larger systemic issues of imperialism, extractive capitalism, and global inequality that drive environmental degradation at a massive scale.

They are not going to stop building the data centers, and they weren't going to even if AI never got invented.

Creative Tools and Environmental Impact

In actuality, all creative practices have some sort of environmental impact in an industrialized society:

Digital art software (such as Photoshop, Blender, etc) generally uses 60-300 watts per hour depending on your computer's specifications. This is typically more energy than dozens, if not hundreds, of AI image generations (maybe even thousands if you are using a particularly low-quality one).

Traditional art supplies rely on similar if not worse scales of resource extraction, chemical processing, and global supply chains, all of which come with their own environmental impact.

Paint production requires roughly thirteen gallons of water to manufacture one gallon of paint.

Many oil paints contain toxic heavy metals and solvents, which have the potential to contaminate ground water.

Synthetic brushes are made from petroleum-based plastics that take centuries to decompose.

That being said, the point of this section isn't to deflect criticism of AI by criticizing other art forms. Rather, it's important to recognize that we live in a society where virtually all artistic avenues have environmental costs. Focusing exclusively on the newest technologies while ignoring the environmental costs of pre-existing tools and practices doesn't help to solve any of the issues with our current or future waste.

The largest environmental problems come not from individual creative choices, but rather from industrial-scale systems, such as:

Industrial manufacturing (responsible for roughly 22% of global emissions)

Industrial agriculture (responsible for roughly 24% of global emissions)

Transportation and logistics networks (responsible for roughly 14% of global emissions)

Making changes on an individual scale, while meaningful on a personal level, can't address systemic issues without broader policy changes and overall restructuring of global economic systems.

Intellectual Property Considerations

AWAY doesn't encourage members to contact government representatives about "IP theft" for multiple reasons:

We acknowledge that copyright law overwhelmingly serves corporate interests rather than individual creators

Creating new "learning rights" or "style rights" would further empower large corporations while harming individual artists and fan creators

Many AWAY members live outside the United States, many of which having been directly damaged by the US, and thus understand that intellectual property regimes are often tools of imperial control that benefit wealthy nations

Instead, we emphasize respect for artists who are protective of their work and style. Our guidelines explicitly prohibit imitating the style of artists who have voiced their distaste for AI, working on an opt-in model that encourages traditional artists to give and subsequently revoke permissions if they see fit. This approach is about respect, not legal enforcement. We are not a pro-copyright group.

In Conclusion

AWAY aims to cultivate thoughtful, ethical engagement with new technologies, while also holding respect for creative communities outside of itself. As a collective, we recognize that real environmental solutions require addressing concepts such as imperial exploitation, extractive capitalism, and corporate power—not just focusing on individual consumer choices, which do little to change the current state of the world we live in.

When discussing environmental impacts, it's important to keep perspective on a relative scale, and to avoid ignoring major issues in favor of smaller ones. We promote balanced discussions based in concrete fact, with the belief that they can lead to meaningful solutions, rather than misplaced outrage that ultimately serves to maintain the status quo.

If this resonates with you, please feel free to join our discord. :)

Works Cited:

USGS Water Use Data: https://www.usgs.gov/mission-areas/water-resources/science/water-use-united-states

Golf Course Superintendents Association of America water usage report: https://www.gcsaa.org/resources/research/golf-course-environmental-profile

Equinix data center water sustainability report: https://www.equinix.com/resources/infopapers/corporate-sustainability-report

Environmental Working Group's Meat Eater's Guide (beef energy calculations): https://www.ewg.org/meateatersguide/

Hugging Face AI energy consumption study: https://huggingface.co/blog/carbon-footprint

International Energy Agency report on data centers: https://www.iea.org/reports/data-centres-and-data-transmission-networks

Goldman Sachs "Generational Growth" report on AI power demand: https://www.goldmansachs.com/intelligence/pages/gs-research/generational-growth-ai-data-centers-and-the-coming-us-power-surge/report.pdf

Artists Network's guide to eco-friendly art practices: https://www.artistsnetwork.com/art-business/how-to-be-an-eco-friendly-artist/

The Earth Chronicles' analysis of art materials: https://earthchronicles.org/artists-ironically-paint-nature-with-harmful-materials/

Natural Earth Paint's environmental impact report: https://naturalearthpaint.com/pages/environmental-impact

Our World in Data's global emissions by sector: https://ourworldindata.org/emissions-by-sector

"The High Cost of High Tech" report on electronics manufacturing: https://goodelectronics.org/the-high-cost-of-high-tech/

"Unearthing the Dirty Secrets of the Clean Energy Transition" (on rare earth mineral mining): https://www.theguardian.com/environment/2023/apr/18/clean-energy-dirty-mining-indigenous-communities-climate-crisis

Electronic Frontier Foundation's position paper on AI and copyright: https://www.eff.org/wp/ai-and-copyright

Creative Commons research on enabling better sharing: https://creativecommons.org/2023/04/24/ai-and-creativity/

[oncelerfucker]

I think do it's very notable that it's Colin's material components that have been discarded by the computer, and that now there is an ongoing data integration cycle happening afterwards. There's new data being integrated into the system and the photocopier keeps printing photos it.

Colin's body has been dragged into the computer and destroyed but I guarantee you, he's still in there.

[sightseertrespasser]

I keep meaning to ask and keep forgetting to. What exactly is a crash? The way I have it figured is that it’s somewhere between passing out and a seizure, though it’s kinda hard to tell when everyone treats it a little differently

So I’ve seen crashes written with varying levels of severity depending on what the writer needs it to be.

For my setting, I treat crashes as something that could technically affect any cybertronian but is very rare outside of individuals with certain conditions.

In human terms, crashes can be as be as mild as a Petit Mal (or absence) seizure, with brief lapses in attention and confusion. All the way up to a massive stroke requiring immediate hospitalization. That’s just to compare how serious they are to a bunch of alien computer people.

Since crashes are their own thing, I have my own guide to how they work. Also, I encourage everyone to play with the concept themselves.

Crashes! What are they?

Causes: Cybertronians basically have computers for brains, so the things that make actual computers crash are what you’d expect to cause a Cybertronian to crash.

Most commonly,

- Overheating (#1 cause, similar to heatstroke)

- Hardware issues (I.e. something got physically damaged in there)

- Malware/viruses (akin to getting poisoned or on brain damaging drugs)

Those are what the average cybertronian has to watch out for. For most people, these are all external factors that can simply be avoided or are caused by someone’s deliberate actions (I.e. getting kicked in the head real hard).

Now, Prowl has a Tacnet. As do his brothers, which I’ll get into later. Tacnet is essentially a super computer jammed into a regular processor. It’s primary function is to crunch numbers and it is very good at that. Tacnet also opens up its mechs to an additional way to experience Crashes:

- Logic cascades.

In which Tacnet gets stuck on a problem, pulling in more and more resources to try and solve it until either it does the job, or some load bearing element is compromised resulting in a crash.

Usually, logic cascades simply result in crash via overheating, which is normally very treatable. The difference with a logic cascade, is that Tacnet does not stop trying to solve the problem. A doctor can bring a mechs temperature down, but the second their processor isn’t literally physically melting, Tacnet goes right back into using all of the resources available to it to solve the problem.

Symptoms: Crashes can be very dangerous because it is effectively a form of brain damage.

Overheating can cause wires and delicate components to melt and fail.

Hardware issues can mean much of the same, but pieces are already explicitly broken and elements that are absolutely not supposed to touch are crunched together.

Malware might be designed to cause overheating as well, or maybe reroute power inside to blow fuses and cripple other components.

Regardless of the cause, someone who’s crashing is going to be severely struggling to think clearly and maybe loose control of body functions if the parts related to motor control are affected. Sudden changes in mood, lapses in memory, difficulty communicating, difficulty concentrating, paralysis, failure to regulate bodily functions such as venting and fuel pumps etc, etc.

Basically everything that could go wrong from having your brain messed up.

Tacnet crashes specifically don’t usually effect the life support systems until it’s already at catastrophic levels. The primary symptom of a Tacnet crash is a complete and total mental arrest of the subject at its final stages before the aforementioned “catastrophic level”.

Treatment: For the first three causes, the treatment is fairly straightforward.

- Cool down the processor.

- Repair the damage.

- Purge the malware.

Of course, Tacnet has to be a special case. To fully undo a Tacnet crash, a doctor has to essentially get into the mechs processor and manually find and delete the rapidly multiplying and branching logic branches until they get back to the source code of the issue and remove that too. This requires speed, precision and endurance on part of the doctor. The affected individual can eventually start to fight back against the logic cascade themselves once they have some control of their processor back. Manually deleting splitting logic branches themselves.

Prowl has gotten very good at this! Which is kind of a bad thing, since that means he only gets help when it’s already gotten extremely bad.

So why don’t Bluestreak and Smokescreen regularly crash if they are also susceptible to logic cascades?

It’s because they essentially only use their Tacnets for “solvable” equations. They can still be overwhelmed, or get stuck on impossible, incompatible data. But usually it’s just a brief freezing up before going back to normal.

Smokescreen regularly uses his for calculating the outcomes of fights, races, dice and card games etc. All things with clear boundaries of relevant data and simple end points “Who will win? Who will loose? The most likely card to be drawn next.” You get the picture.

Likewise, Bluestreak is using his Tacnet to calculate speed, velocity, air resistance, gravity, flight paths and so on. All concrete data points with a distinct solvable condition: Hit thing with other thing.

So what’s Prowl trying to calculate? War.

A million moving pieces, a billion interchangeable factors, and there is never truly a “solved” state since conflict never truly ends, just changes shape.

Prowl, being Prowl, has decided that “Solved states” are bullshit and every time Tacnet tells him the solved state of what he’s asking is “Everyone dies” he says do it again. Add more information. Find every possible angle until something works.

Basically, Prowl finds a wall and then bashes his head against that wall until he gets a hole.

Tacnet reacts by going “Give me solvable equations or so help me I’m smothering us in your sleep.”

“Is the solved state to loose?”

“Yes.”

“Then do it again until it’s not.”

“Fuck you. Hospital.”

Long Term Management: The easiest way to prevent future crashes is to not try and fist fight the laws of physics.

However, taking on extremely taxing calculations can be done safely (ish) if Prowl slows down and takes his time. Basically letting stuff sit on the back burner while he does things like eat and sleep regularly.

Talking out a problem is a manual way of slowing Tacnet down, as processing power is diverted towards simplifying complex equations into coherent spoken statements. Some margin of error is lost this way, (rounding 7.83620563 up to 8 for example) making the calculations slightly less accurate. But in return, Tacnet can then use those rounded numbers to more efficiently do the required math.

I hope that answered your question!

It’s always a lot of fun fleshing out the details for stuff like this. I have a whole other tangent I could elaborate on about Tacnet specifically, but this post is long enough on its own.

[knight-a3]

Hazbin Masterpost

Heavenbound Masterpost

Vox, the noisy video box

So Vox may not be my favorite character, but he is probably my favorite redesign. I laugh every time I look at him now. He looks like a weird mix of Spongebob, Kraang(TMNT), and Mr. Electric(Sharkboy and Lavagirl). He absolutely hates it.

Notes under the cut

There's too many twinks in this show. So when I was trying to decide which characters I could change, for body diversity, Vox was an obvious one. He needed more bulk so his body could conceivably support the old TV models. Those things could get heavy. The change also had the side effect of making him shorter, which just worked better proportionately.

I liked the idea that Vox could never get rid of his original bulky 50s TV, but also wanted him to be able to upgrade. So I decided his true body is the 50s TV, and he adds an upgraded monitor for a head as technology improves. He's hates that he's stuck as an old fashioned TV, so he hides that under his suit. Since the monitor is just an addition, it can be swapped out easily. It can be damaged and he's technically unharmed. But he can't see through his suit without the monitor, unless he wants to use a security camera and direct himself 3rd person style.

I didn't like that basically everyone has sharp teeth. It reduces the impact for characters like Alastor or Rosie. So I've been having the default be just sharp canines. But with Vox being a TV, there are so many possibilities. I gave Vox "regular" teeth, which helps him look more trustworthy. It fits the corrupt businessman vibe. But the appearance can change with his mood too.

Color TV became available in the 50s, so Vox always had color vision. But I think it'd be funny if, early on, he had a tendency to glitch out by going into black and white vision when he gets worked up. He's mostly grown out of that glitch, but he can't seem to shake the static or TV color bars, and developed new ones as he integrated computer and internet tech into himself as well. Now he gets the Blue Screen of Death, system errors, and city wide power surges.

Messing around with his face is so fun. When he's bored or tired a Voxtech logo will bounce around like the DVD logo, or display a screensaver. His face can get too big for the screen when he's excited, or be small when he's feeling embarrassed. I need to put a troll face on him at some point. It may be an old meme, but man, it feels right.

His left eye turns red when it's hypnotic, to reference those blue and red 3D glasses.

Of the three Vees, he is absolutely the most powerful. Val and Vel are the content creators, but Vox is the platform. The other two, while still powerful in their own right, would never have gotten to the level they're at if it weren't for Vox. He controls the mainstream media.

--TV set--

So we've got some interesting implications with how he functions. He's a TV, but he blue screens like a computer, and he shorts out the power grid. I think it's safe to say he is more than just a TV, he's a multimedia entertainment center. That, and TVs are starting to really blend with computers these days. He's mainstream media.

At some point, I realized that a TV set was a "set" because it wasn't just a single device. A television set was a collection of components, which boils down to a radio hooked up and synchronized to a visual display. I bring this up mostly because I am a sucker for one-sided radiostatic. It's so funny to me. Vox is obsessed.

But I'm going to refrain from too much theorizing about their relationship. Alastor is absolutely not interested in romance. Nor a QPR. He's not even interested in friendship. Alastor is too invested in power dynamics to really consider anyone a friend. Mimzy is probably the closest he has to a friend, and even that has manipulative elements on both sides. But I'm supposed to be talking about Vox!

--Human Vox!--

He is not tall, haha. But his proportions are a bit taller than his demon form. I wanted to go for square glasses, but I didn't see many examples of that in the 50s photos I found. Oh well! My goal was a sleazy business man. He probably had a variety of jobs, but they primarily involved TV. Commercials, PR, interviews, news, game shows, talk shows, screenwriting, etc. Whatever he could do to get more influence. He found himself favoring the business end of things. Making deals and pulling strings. He decided what would go on the air. He's one of those network executive types.

I see lots of people give him heterochromia, but I don't really see a point to that. He hypnotizes people with his left eye, sure, but it's not a different color. It's not disfigured in any way either. Maybe he just had a tendency to wink at people, I dunno.

I think his death involved some sort of severe skull fracture focused around his left eye. Maybe a car accident, maybe he was shot, idk. Maybe seizures were involved. But he was somewhere in his mid 40s to early 50s. I ended up writing 45, but I'm not super committed to that or anything.

For a human name, I see lots of people calling him Vincent and that's sorta grown on me. So I might go with "Vincent Cox".

And because I fell into another research rabbit hole...

--TV evolution--

(below) 50s-60s CRT TV: TV sets were treated as furniture and there could be some very interesting cabinet designs. Color TV was introduced in the 50s, but wasn't quite profitable until the late 60s.

(below) 70s-80s CRT TV: Color TV became more affordable and commonplace.

(below) 90s CRT TV

(below) 2000s CRT to Plasma and LCD TVs: The three display technologies competed, but LCD won out in the end. Plasma and early LCD didn't look substantially different. Plasma was a little bulkier, but was still slimmer than CRT.

2010s and on: LCD improved with LED backlighting. But then OLED removed the need for backlighting entirely, which mixed the benefits of plasma and LCD. (Didn't bother to find a picture example. It's so close to modern at this point)

--Display technology-- (These overviews are very simplified)

CRT(Cathode Ray Tube)--Used through the 1900s to approx 2010. Monochromatic until Color TV developed aroung the 1950s. Worked via vacuum tubes and electron gun that lit up the pixels. They were bulky, heavy, and used a whole lot of power. Widely considered obsolete and no longer made. Video games made while these were in use tend to look better in CRT, since the graphics accounted for the image quality.

Flat screens-

PDP (Plasma Display Panel): Used from early 2000s to approx 2015. Used gas cells that light up pixels when electrically charged. Good image quality and good contrast, but expensive, heavy, and used a lot of power. Considered obsolete and no longer made, despite still having a desirable image quality.

Plasma and LCD competed in the 2000s to early 2010s as CRT popularity waned. LCD eventually won out due to weight and overall cost(including market price and energy efficiency).

LCD (Liquid Crystal Display): Introduced for TV around the same time as Plasma. Works via a liquid crystal layer with a backlight. Slim, decent image quality, energy efficient. Viewing angle matters because image colors are warped at wide angles. Cheaper than plasma. There are two main backlighting types:

--CCFL(Cold Cathode Fluorescent Light): Used fluorescent lighting for the backlight. Image quality was decent, but didn't have good contrast. (the blacks were never truly dark because of the backlight)

--LED(Light Emitting Diode): An LCD that uses LEDs instead of CCFL for the backlighting. Better contrast and efficiency than using CCFL.

OLED(Organic LED): Mixes strengths of plasma and LCD. Self emitting LEDs. No backlight or LCD panel needed, which improves contrast(about as good as plasma was, which is why plasma is basically obsolete now).

--QD-OLED(Quantum Dot- OLED) Adds a layer of Quantum dots to an OLED to improve color gamut. I think. I can't let myself fall too far into this rabbit hole, so I'm not double checking anymore.

((Feb 12, 2025-updated tags)

[fixyourwritinghabits]

Editing Part 4: Worldbuilding Pass

Next up, worldbuilding! We're tackling this before structure, because you don't want to get too far into the weeds, realize a critical component of your story is wrong, and then throw your computer out the window in frustration.

Anyway, when it comes to worldbuilding, there's a lot of moving parts. There is no right or wrong way to worldbuild, but my preferred approach is to worldbuild as the story goes along. Any method works, and you can check out the worldbuilding tag for more. In editing your worldbuilding, you want to think about:

Trimming Front-loading/Info Dumps

When writing fantasy/sci-fi, getting down how the world works can take over the story. In first drafting, this is fine! But when you're trying to clean that draft up, it's better to weave this information in as you go.

Need to explain how the giant mechas guarding the city operate? Maybe your main character is trying to steal some precious alloy from one, giving you opportunity to explain how they work and how society feels about them. Have a magic system that relies on singing tunes? Show that off by having students practicing, or dueling rivals taking it too far.

You probably know by now that the thing you should avoid the most is "as you know" dialogue dumps - characters explaining concepts to each other that they both clearly understand. Another, weaker version of this is the "magic class" trap, where things are explained to the main character and the reader. A classroom environment is fine, but pair worldbuilding with action - demonstrations get out of hand, spells go wrong, etc. Make it fun!

Your World Needs Clear Rules (Sorry)

Listen, this is the part I hate. I have a WIP with the word "Rules" in the title and I'm still figuring out what those rules are. Argh. But the sooner you know the rules, the easier editing will be. The more clear those rules are to the reader, the more impactful breaking them will be.

If the rules of the world (you can't use warp speed too close to a planet's gravitational pull, the same type of magic cancels each other out) and the consequences of breaking them are clear, the pay-off will be satisfying for both you and the reader.

Use Your Environment to Your Full Advantage

You've no doubt heard 'make setting a character' and that's evergreen advice. Some of the best books out there are those where it feels like you could step through the page and into a real place, be it your childhood middle school or Narnia. Getting that feeling, however, is more than just describing a place really well.

Mood - How does the location make you feel? Does a dark, cramped room leave the characters with a feeling of dread? How would that feeling change if it was an overstuffed library with comfortable chairs?

Weather - Beyond the 'dark and stormy night' descriptions, weather impacts our daily lives and is often overlooked. A rain-drenched funeral scenes seems like it's the way to go, but how differently would that scene feel if it was a sunny day with birds singing?

City Versus Countryside - These books are a great reference for description, but also take a step back to compare how different situations would feel both in the setting and to your character. Quiet can mean very different things depending on where you are. A morning fog in the countryside might feel comforting to someone used to it, but to someone new to that environment, it might feel creepy. Think about both your environment and how your character reacts to it based on their backstory.

The Empty Room Problem

This is always a big challenge when moving from the first draft bare bones basics to fleshing things out. How much description is too much? (As a note, it's always okay to overcorrect - you'll have a chance to fix it later!) This post from @novlr has a lot of great questions - but you're still going to narrow it down to the most important details.

Escape the Movie Setting - You cannot describe the room like it's a movie set. Trying to do so is going to be overwhelming, and important details will be lost in the attempt. If you were to describe your room or your favorite coffee shop and could only highlight four or five details, what would you focus on? What gives the reader the essence of the place rather than a list of things that exist there?

Establish the Essentials - Is this your first character's first time in this room? Is it going to be key to several plot-important scenes? Some big, sweeping details when entering - how big it is, what's in it, where the windows are, how it feels, etc - are good to start with. Your character can briefly admire a full bookshelf in the first scene, and then study it in more detail in the second. If you have one scene in this place and spend too much time describing it, you're going to make your reader think it's more important than it is.

Engage the Senses - Does an old room smell musty? Does the coldness of the woods have a sharp taste? Does touching a shelf bring up a lot of dust? How does the lighting in the room make the main character feel?

Getting down the description of a room or setting is not something you'll nail in one shot, but if you approach each scene asking yourself "does this feel like a real place or a white room?" you can narrow down what's missing.

[humanoidhistory]

Cover art for RCA Achievements In Computer Systems and Components, 1963.