#observation spatiale

[itsgerges]

Best regards

 Can The Sun Rays Creation Process Depend On Saturn Motion?

or

or

or

Abstract

Paper Question

Can The Sun Rays Creation Process Depend On Saturn Motion?

The question tells us (If Saturn Is Not Found In The Solar System The Sun Rays Can Not Be Created)- If This is a fact- That proves we understand wrongly (completely) how the sun rays is created!

The question refuses directly The Sun Nuclear Fusion Theory – and tells us – The Sun Rays Is Produced by another Method – and

This another method depends on Saturn motion perfectly and without Saturn motion this method can NOT work and No Sun Rays Can Be Produced

The question answer can be summarized in 3 points

(Point No. 1) The Refutation Of The Sun Nuclear Fusion Theory

(Point No. 2) The Planet Motion Reason And Design

(Point No. 3) Saturn Effect On The Solar System Motion

Let's discuss these points in following…

(Point No. 1) The Refutation Of The Sun Nuclear Fusion Theory

There Are 7 Facts Refute The Sun Nuclear Fusion Theory…

Planet Motion Produces Energy

The gravitational waves are produced by the planets motions energies and NOT by the sun gravitational field (Moreover the sun does Not create a gravitational field)

The Gravitational Waves Can Move By Speed Of Light (C= 300000 km/s)

The Sun Rays Is Created By The Gravitational Waves Motions

The Sun Rays Creation Process Depends on A Relative Motion

The Sun Corona Temperature Is (5 million Kelvin) and the sun surface is 5800 Kelvin because the energy is NOT produced by The Sun Nuclear Fusion.

The Sun Data Depends On The Planets Data 

Let's summarize these facts in following

(Fact No. 1) Planet Motion Produces Energy

Any moving body produces energy (1/2 mv^2), the planet motion produces energy also, but where's the planet motion energy?

The planet doesn't store the energy in its body because it would raise this planet temperature and no planet temperature is raised by its motion- logically where can the planet motion energy be stored? In the space in waves form-

Means- the planet motion energy creates waves in the space

The space is similar to the sea of water, and the planet is similar to a fish swims through the sea of water- as we know- the fish moves by hitting the water by its body and by this action waves are created in the water- also we conclude the water moves by a velocity equal the fish velocity because of the reaction force-

Similar to that, the planet motion energy creates waves in the space- these waves are similar to the water waves, they move far from their planet and can be reflected- also we conclude the space waves move by a velocity equal the planet velocity-

Also–because the planets revolve around the sun in one direction- the planets motions energies waves move toward Pluto perpendicular on the revolution direction.

In Pluto orbit these waves are unified into one unified wave moves by the planets velocities total (9 planets velocities total is 176 km/s)

Pluto reflected this unified wave toward Venus and this wave revolves around the sun through the Earth moon orbit- because- all planets motion energy is stored finally in the moon orbit-

 And because the wave revolves around the sun through the moon orbit- the moon velocity is added to the total (the moon velocity = the Earth velocity) – by that

The velocities total be (176 +29.8 = 205.8 km/s)

Shortly-

The Planets Motions Energies Are Unified Together And Produce One Unified Wave Revolves Around The Sun Through The Earth Moon Orbit And This Unified Wave Moves By A Velocity 205.8 km/s.

(Fact No. 2) The Gravitational Waves Are Produced By The Planets Motions Energies And Not By The Sun Gravitational Field (Moreover The Sun Does Not Create A Gravitational Field)

I claim the space waves which I have described are the gravitational waves, the scientists called them wrongly supposing that these waves are produced by the sun gravitational field but this is NOT True – on the contrary- these waves are produced by the planets motions energies.

The previous analysis proves clearly that, the planet motion must create waves in the space- by that- I have a reason to claim that (the gravitational waves are produced by the planets motions energies)- and also the sun doesn't create a gravitational field – let's prove that in following to cause a confidence in my conclusion

The Sun Doesn't Produce A Gravitation Field  

The Sun Rotation Period is (25.4 days at equator) and (34.4 days at pole), that proves the sun has NO massive gravity (even it has no gravity equal any planet gravity otherwise it would rotate in one period of time)

No planet moves by the sun gravity (Newton Is Wrong).

The planet moves by its creation force- means-  the planet creation and motion should be done by the same one force because if two forces have effects on the same one planet, this planet would be broken

Mass gravity Can Not Cause any Motion- (Newton is wrong)– let's explain that -Mass gravity is a bond between 2 masses – the Earth and the moon are bond together by the mass gravity- They are similar to a lorry and its trailer– If a force causes the Earth to move the moon will move with the Earth– this is the effect of the mass gravity but the mass gravity can't cause any motion! Why? Suppose the moon moves by the Earth mass gravity- The moon motion produces energy (1/2mv^2)- and– From what source this motion energy will be provided? From the mass itself! means- If the Earth causes the moon to move that necessitates to decrease the Earth and moon masses by the motion energy– it's wrong definition for the mass gravity - the mass gravity creates a bond between two masses- and if a force causes the Earth to move the moon will move with the Earth, in this case, this force will provide the motion energy for the Earth and the moon– but No Motion can be done by the mass gravity.

(Fact No. 3) The Gravitational Waves Move By Speed Of Light (C= 300000 km/s)

This fact I provide by a direct proof – in following –

This Is Extraordinary: Gravity Can Create Light, All on Its Own

https://www.msn.com/en-us/news/technology/this-is-extraordinary-gravity-can-create-light-all-on-its-own/ar-AA19YL5d?ocid=hpmsnHYPERLINK "https://www.msn.com/en-us/news/technology/this-is-extraordinary-gravity-can-create-light-all-on-its-own/ar-AA19YL5d?ocid=hpmsn&cvid=620db4352aa943e2b454919a7b724604&ei=83"&HYPERLINK "https://www.msn.com/en-us/news/technology/this-is-extraordinary-gravity-can-create-light-all-on-its-own/ar-AA19YL5d?ocid=hpmsn&cvid=620db4352aa943e2b454919a7b724604&ei=83"cvid=620db4352aa943e2b454919a7b724604HYPERLINK "https://www.msn.com/en-us/news/technology/this-is-extraordinary-gravity-can-create-light-all-on-its-own/ar-AA19YL5d?ocid=hpmsn&cvid=620db4352aa943e2b454919a7b724604&ei=83"&HYPERLINK "https://www.msn.com/en-us/news/technology/this-is-extraordinary-gravity-can-create-light-all-on-its-own/ar-AA19YL5d?ocid=hpmsn&cvid=620db4352aa943e2b454919a7b724604&ei=83"ei=83

This new article states the gravitational waves can move by high velocity motion and can produce a light beam. 

Notice –

I Claim The Sun Rays Is Created By This Method (The Gravitational Waves Motions) And Not By The Sun Nuclear Fusion

But- I have proved, the gravitational waves are produced by the planets motions energies- how can the gravitational waves move by speed of light if they are produced by the planets motions energies? And If the gravitational waves move by speed of light how they can produce a light beam?

The fact is that

The planets motions use different rates of time- for that – the planets motions energies are produced based on different rates of time and the motion by speed of light is done by using different rates of time – let's explain how the unified wave (205.8 km/s) moves by speed of light relative to the sun point of space

W agreed that

There's one unified wave revolves around the sun through the Earth moon orbit and this wave moves by velocity 205.8 km/s relative to the sun point of space

This is A Relative Motion between two players (the unified wave) and (the sun point of space)

The two players use different rates of time which is

(one second of the sun clock = 1461 seconds of the unified wave clock)

The unified wave (205.8 km/s) moves in 1461 seconds a distance = 300000 km/s

But the sun clock moves only (one second) during these (1461 seconds of the unified wave clock) –means-

The distance 300000 km is passed in (one second) of the sun clock- by that

The different velocity between the unified wave and the sun motions is 300000 km/s = speed of light (C)

This analysis asks a new question (How Can The Planets Motions Use Different Rates Of Time?) this question is answered in Point (No. 2* the planet motion reason)

But there's one more question we left behind- let's remember it  

If the gravitational waves move by speed of light (300000 km/s) how can these waves produce a light beam? Let's answer in the following fact No. (4*)

(Fact No. 4) The Sun Rays Is Created By The Gravitational Waves Motions

The gravitational waves move by speed of light (C=300000 km/s) relative to the sun point of space- this idea is proved by the article states (the gravitational waves move by speed of light) BUT

How Can This Motion Produce A Light Beam?  The energy is reflected in the solar system, and the energy reflection causes to square the velocities, for that, the speed of light (C=300000 km/s) be squared (C^2) by the energy reflection- and the value (C^2) is the source of energy can produce the light beam

The reflection of energy and its effects are proved strongly in my paper   

The sun rays creation process provides three new features which are

The Gravitational Waves Move By Speed Of Light (C)

The Energy Reflection Squares The Velocities (C^2)

The Sun Rays Is Produced From (C^2) That Means The Sun Rays Is Produced By  A Relative Motion

(Fact No. 5) The Sun Rays Creation Process Depends on A Relative Motion

There are three basic critics against The Sun Nuclear Fusion Theory-

(First Critic) The Source Of Energy- while the solar system is so rich in the motion energy- the nuclear fusion theory invented strange source of energy to produce the sun rays and left the stored motion energy without using- logically- the energy can NOT be stored forever and should be used- The sun rays is the very good outlet for the stored energy- means- the sun rays should be produced from the planets motions energies which are stored in the space in waves form (the gravitational waves)       

(Second Critic) The Sun Rays Production Method- The sun rays are produced by the relative motion- means- the used technical method is the relative motion- the motion produces a relative motion with different velocity = speed of light (C= 300000 km/s) and by the reflection of energy this velocity be squared (C^2) and the sun rays is produced from this value (C^2)

The important thing here is (The Relative Motion) why? because this relative motion is found between two players (the unified wave motion 205.8 km/s) and (the sun point of space motion 1 km/s) – the light production process depends on the different velocity between the two motions (C=300000 km/s)- means- if this different velocity is decreased (NO Light Beam Can Be Created)

So the method needs the different velocity to be (C= speed of light =300000 km/s) and that necessitates the unified wave velocity to be (205.8 km/s) and the sun point of space to be (1 km/s) BUT there's NO any other point in the space moves by this velocity (1 km/s)- only – the sun point of space moves by 1 km/s – later I prove that 

Means- the different velocity (C=speed of light =300000 km/s) can be produced only between the unified wave motion (205.8 km/s) and the sun point of space

That tells- the light can be produced only on the sun point of space because this is the only one point in the space moves by velocity 1 km/s –

for that reason- the sun point of space is defined geometrically!

What does that mean (The Sun Point Is Defined Geometrically)?

The designer used many mathematical calculations and geometrical rules to define the sun position in the sky and the sun creation data- let's give one example

(The sun diameter / the moon diameter) = (Earth orbital distance/ Earth moon dist)

The previous equation enables us to see the sun disc = the moon disc and that causes the total solar eclipse to be occurred- but– why the diameters rate = the distances rate? 

Because the designer made all mathematical calculations to guarantee the velocity of the sun point of space to be only (1 km/s) and Never be faster

Let's see more data behind the total solar eclipse

4900 mkm (Jupiter orbital circumference) = 1.39 mkm (the sun diameter) x 3475 km =12104 km x 406000 km = 12756 km x 384000 km = 6792 km x 2 x 363000 km

3475 km      = the moon diameter                 12104 km    = Venus diameter

12756 km    = The Earth diameter                6792 km      = Mars diameter

 363000 km, 384000 km and 406000 km are the distances between the Earth and its moon in perigee, orbital distance and apogee radiuses respectively

We see how the data is designed geometrically accurately- why the data is created by this accurate system? because the designer aimed by all means to make the velocity of the sun point of space to be 1 km/s and never moves by any faster velocity

We remember (Neptune diameter is 49528 km because Neptune velocity is 5.4 km/s) this fact is proved by my planet diameter equation-

Here also- the sun diameter is defined geometrically in proportionality with many planets to guarantee the velocity of the sun point of space be only (1 km/s)

This argument is so powerful against the nuclear fusion theory, because

The Sun Data Proves The Sun Rays Is Produced By (A Relative Motion) and not by nuclear fusion- the designer had a necessity to create these proportionalities between the sun position and data on one side with the planets data on the other side- the required task was (to create a system guarantee the velocity of the sun point of space to be 1 km/s and never moves by faster velocity) – this is the cornerstone in the sun rays creation process because the rays is created by A Relative Motion- based on different velocity = 300000 km/s

This velocity is the method by which the sun rays is created and If This Velocity Is Decreased No Light Beam Can Be Produced.

Notice

The sun circumference =4.37 million km and the sun rotation period at equator is 25.4 days – if we calculate the velocity of this motion (4.37 million km /25.4 days) the velocity be = 2 km /sec

This is a strong proof for my theory- and we note that- the machine uses the velocity 1 km/s and the sun velocity (2 km/s) forced the machine to make (double for all values) means- for example- the sun rays is created not by (90000 million km) but created by (180000 million km) as I explain later- means – this change in velocity from (1 km/s) to (2 km/s) has great effect on the data but the machine can still produce the light beam- shortly- the sun rays is created by this relative motion with different velocity = C= speed of light = 300000 km/s

(Third Critic)

The sun corona temperature is (5 million Kelvin) but the sun surface is 5800 Kelvin

This data proves strongly my theory – where

The sun rays is NOT produced by the sun nuclear fusion – means – the energy is NOT produced from the sun body – BUT

The energy is produced by the planets motions energies and for that the corona has energy more than the sun body- because the energy comes from out of the sun into the sun- shortly- the energy out of the sun is greater than the energy inside the sun because the sun does NOT produce this energy- this energy is produced by the planets motions energies.

(Fact No. 6) The Sun Corona Temperature Is (5 million Kelvin) and the sun surface is 5800 Kelvin because the energy is NOT produced by The Sun Nuclear Fusion.

This fact is told just before – the sun corona temperature is a strong proof supports my theory tells (the sun rays is created by the planets motions energies total and not by the nuclear fusion)

(Fact No. 7) The Sun Data Depends On The Planets Data 

As We Have Seen In The Total Solar Eclipse Data, the sun data is in proportionality with the planets data proves the sun rays is created by the planets motions energies- But – not only this data

The sun all data is created depending on the planets data – let's see one more example

243/224.7= 29.53/27.3 = 27.3/25.4 = 1.0725

243 and 224.7 days Venus rotation and orbital periods respectively

29.53 and 27.3 days The moon day and rotation periods respectively

25.4 days = the sun rotation period at equator

The data shows clear harmony as if the sun data very similar to the planets data

(Point No. 2) The Planet Motion Reason And Design

A- The Solar System Creation Theory

The solar system is created from one energy- this energy is provided by one light beam its velocity is 1.16 million km per second

From this energy the space is created firstly and the light energy is consumed in the space creation and the rest energy is found in One Wave moves by speed of light (C=300000 km/s) – from this one wave the planets are created-

The creation is done in 2 stages

(First stage The Space Creation)

The original light beam (its velocity 1.16 million km per second) creates the planets orbits before any planet creation, starting from Mercury to Pluto, because of the orbits creation, the light energy is consumed and its velocity be 300000 km/s

We understand this is one light beam- its velocity was 1.16 million km per second and after the space creation this light velocity be 300000 km/s

(Second stage The Planets Creation)

The planets are created from this one wave moves by speed of light (C=300000 km/s)

NOTICE

There are strong proves prove a coherence of light is done between the light 1.16 million km per second and the light 300000 km/s- let's see this idea deeply

The original light beam its speed (1.16 million km per second) started its motion from Mercury orbit to Pluto orbit (Mercury orbit is the light motion origin point) – and this light beam created all orbits before any planet creation- and the light lost its energy in the space creation and the rest energy is one light beam move by the known speed of light is (C=300000 km/s)

The other light beam is the rest energy- it moves by the known speed of light (C=300000 km/s) and it moves in the reflected direction from Pluto toward Venus and Mercury-

Now –there's a coherence of light between these two light beams- the coherence is proved BUT we should ask (how can this coherence be occurred)? Because the original light (1.16 million km/s) is consumed and its energy is used already and the rest energy be this light its speed is (300000 km/s) - HOW can the light (1.16 million km/s) meet the light (300000 km/s)??

Imagine we have (116 dollars) and we spent all money except (30 dollars)- how can this (30 dollars) meet the original money (116 dollars)??

Let's try to answer

Suppose the light beam (300000 km/s) moves in the reflected direction (in the space) and also (in the time) – that can enable the light (300000 km/s) to move into its past and meet the original one (1.16 million km/s) in the past and the coherence can be done there in the past- and we see the coherence results and effects on the solar system-

Means – the light (300000 km/s) moves into its past and found the original light (1.16 million km/s) in the past and the coherence could be done there in the past

Please note- this analysis tells us the light can move on the time axis means can move into the future and into the past- but the matter can Not do that- I explain the reason in my paper (No. I-6)

Shortly- we have a proof for the motion on the time axis and we can create the time machine by this method and the light will be our tool which can move into the past to get pictures and data from the past to us-  

Now

Let's see how the planets are created

B- The Solar Planets Creation

We know- The solar system is one wave moves by speed of light (C=300000 km/s)

Through the space- (till now NO any planet is created)  

Now -The Solar System needs To Create A Stationary Point Its velocity Zero relative to the moving wave its velocity is 300000 km/s

This is the basic information in the solar system design-

The solar system needs to create a stationary point relative to the wave motion- by that – two velocities will be found which are (v1= the wave velocity 300000 km/s) and (v2= Zero= the stationary point relative to the wave motion)–these two velocities produce a relative motion with different velocity 300000 km/s–

Notice – the stationary point velocity is 1 km/s (= Zero approximately)

Notice– The solar system is one wave moves by speed of light (C=300000 km/s), or the solar system is carried on light beam moves by speed of light (C=300000 km/s),

Everything in the solar system is carried on this one light beam motion- and nothing is static- No stationary point can be found here-

This is similar to ships are found on the sea- nothing is stopped- all ships move and can't stop- because the motion is done forcedly by the sea waves.

The stationary point will be similar to the whirlpool (vortex) found on the sea page- 

We see the whirlpool doesn't move with the sea waves- for that the whirlpool can be considered as a stationary point relative to the sea waves.  

But

The solar system needs to create the stationary point

Now – let's try to create this stationary point in following

The solar system uses two procedures to do that,  

The first procedure

The wave its velocity 300000 km/s revolves around a point in space (any point in space), the revolution motion creates 2 equal velocities on both sides of the revolution- the two velocities are equal in value and opposite in direction- their total be equal Zero-means- the revolution motion creates One Stationary Point in the center of the revolution. 

The second procedure

The previous idea is correct- but –the velocity 300000 km/s is a huge one and to decrease it to Zero velocity this is a complex process– for that- the wave (300000 km/s) created small waves with low velocities to use them as steps to decrease the velocity to Zero- the small waves are The Planets- (The planet is a small wave moves by low velocity relative to the mother wave its velocity 300000 km/s) 

Why Are These Small Waves Required?

Because the velocity 300000 km/s is decreased to Zero by using these small waves and their low velocities- the low velocities are used as steps to decrease the wave velocity (300000 km/s) to be (Zero)- this process decreases the velocity gradually from 300000 km/s to Zero depending on these small waves velocities (the planets velocities)  

Means- the planets are created for this process to decrease the wave velocity from 300000 km/s to Zero- and The Planet Is A Small Wave Moves By Low Velocity  

Shortly – the solar system has one complete system of velocities, Starting from Zero to 300000 km/s where the planets velocities are the steps between the two velocities –

Please note clearly this idea- because-

The solar system has one motor for all motions which is the wave motion by speed of light (300000 km/s) No any other motor is found in the solar system

The planets are similar to carriages in one train but the train engine is the light motion by that the only motor under all motions in the solar system is the wave motion (speed of light 300000 km/s)

So, we have to ask- how can any planet move by a velocity Less than (300000 km/s)?

Because – The Planets Use Different Rates Of Time-

The rates of time is created based on the velocities rates –

For example-

Mercury velocity =1.6 Earth velocity, for that, one hour of Mercury clock= 1.6 hours of the Earth clock and by that Mercury and the Earth move equal distances in equal periods of time. 

This is very important fact because – the light moves carrying all planets with it- Now the light moves (one motion) and passes (one distance) in (one period of time)

All planets will move (this same motion) and pass (this same distance) in (this same period of time)- but

We need different velocities for the planets to work as steps to decrease the velocity (300000 km/s) to Zero (Stationary point)- means- it's essential to have (different velocities) and that causes the using of the rates of time inevitable and essential method to enable the solar system to do its motion.

C- The Rate Of Time Use

(i)

The Rate Of Time Effect

The rate of time controls the moving energy rate-

For example (One Hour Of Mercury Clock = 24 Hours Of Pluto Clock)

What does that mean?

It means, Pluto motion energy (for 24 hours) can be used by Mercury in (one hour)

Here - the solar system is similar to a river of water moves from a point to another and the rate of time defines the amount of the transported water (energy)

In more details

The energy is transported among the planets and the amount of energy is defined by the rates of time- because- the energy transportation necessitates to transport the motion among the planets and the motion transportation caused to transport the rates of time among the planets-

(ii)

The Rate Of Time Use

We agreed that, the solar system has one motor only which is the wave moves by speed of light (C=300000 km/s)- means- no velocity can be less than speed of light unless it depends on a rate of time –

Means- all planets velocities are created based on rates of time- that causes the rates of time to be used in all motions in the solar system  

Let's remember,

Planet motion energy creates waves in the space- we remember the accurate vision- we observed one swimming fish, the fish hits the water by its tail and swims, that creates a wave in the sea and this wave moves by the fish velocity because of the reaction-

Similar to that, Mercury (47.4 km/s) moves and its motion energy waves are created and these waves move by Mercury velocity (47.4 km/s) –BUT- Mercury velocity is created based on a rate of time- that causes the waves motions use rates of time-   

I try to show how the gravitational waves motions depend on rates of time

For more clear vision

We have to consider that the solar system has one motor only and this motor is the wave moves by speed of light (C=300000 km/s) for that any motion in the solar system with velocity less than speed of light (must depend on rates of time)  

The rates of time = the velocities rate –

Let's remember out example

Mercury velocity =1.6 Earth velocity by that (One second of Mercury clock = 1.6 seconds of the Earth clock)– by this rate of time Mercury and the Earth move equal distances in equal periods of time -

We understand the reason- where

The planets are geometrical points on the same one light beam- and this light beam moves carrying all planets with it- and

The light moves one motion, passes one distance in one period of time, for that, all planets move this same motion, pass this same distance in this same period of time

(iii)

The Solar Planets Basic Rates Of Time

Let's remember the basic rates of time

(one hour of Mercury clock = 24 hours of any planet clock) and

(one hour of Mercury clock = 576 hours of Saturn clock)

That causes

(one hour of any planet clock = 24 hours of Saturn clock)

This rate of time is defined by Mercury motion effect And

The major rate of time between the planet and light motion is

(one second of light clock = one solar day of the planet clock)

This rate is a complex one because there are 2 velocities of the light (as I proved) 

The original velocity 1.16 million km per second and the known velocity 300000 km/s

Means

(one second of light 1.16 mkm/s   = one solar day of the planet clock) and

(one second of light 300000 km/s = one solar day of the planet clock)

That causes the rate of time (1=24) to be so necessary to create the harmony between the planets and light motions- for that this rate (1=24) is used by Mercury motion 

Notice

The rate of time is defined basically by the planets velocities as explained before – for example - Mercury velocity = 1.6 the Earth velocity- means – one hour of Mercury clock = 1.6 hours of the Earth clock

But the solar system energy is reflected three times in the solar system, and each reflection causes to square the velocity, by that, the rate of time (v1/v2) be growing to be (v1/v2)^3

That explains why the planets orbital periods rate = (their velocities rate)^3

Also all other planets data is worked as rates of time-

D- The Unified Wave Moves By Speed Of Light

Let's remember out equation

300000 km = 7.1 x (205.8)^2 where

7.1 is Lorentz length contraction effect for velocity 297000 km/s (= 0.99 C)

205.8 km/s = the 9 planets velocities total (176 km/s) + the Earth moon velocity

(The moon velocity =29.8 km/s = the Earth velocity because they revolve together)

Why does the data use the squared value (205.8)^2?

We know the answer- but - Let's remember it

The planets are geometrical points on the same light beam and move with its motion- for that- the planets velocities rates creates rates of time– for example-  Mercury velocity = 1.6 the Earth velocity- that means – one hour of Mercury clock = 1.6 hours of the Earth clock- as I have explained before 

Now- the velocity (205.8 km/s) move relative to the stationary point its velocity Zero (The Sun) and creates a rate of time (1 second = 205.8 seconds) –

(One Second Of The Unified Wave Clock = 205.8 Seconds Of The Sun Clock)

But – the energy is reflected in the solar system (I proved in the paper),

The energy reflection reflects the players – means

(one second of the Sun clock = 205.8 seconds of the unified wave clock)

means (one second of the sun clock = 205.8 seconds of any planet clock) –

Now during one second of the sun clock, the wave clock needs 205.8 seconds while the wave moves by a velocity 205.8 km/s- means –

During one second of the sun clock, the wave moves 42253 km = 300000 km /7.1

By that the velocity is 42253 km/s which is equivalent to the speed of light

Notice

The velocity 42253 km/s is equivalent to the speed of light 300000 km/s because of the length contraction effect rate (7.1) – because

The reflection of energy causes to reflect the geometrical effects and the rate 7.1 which caused (length contraction) will cause (length increasing)

The length contraction and increasing both effects are produced by the same one motion but the reflection of energy causes to reflect the geometrical effects.

E- Planet Velocity Analysis

DATA

My 5th equation (v1v2=322)- the planets velocities prove it–let's see that in following  

322 = 47.4 km/s (Mercury velocities)  x 6.8 km/s  (Uranus velocities)                    

322 = 35 km/s  (Venus velocity) x 4.7 km/s (Pluto velocity) x 2             

322 = 29.8 km/s (the Earth velocity) x 5.4 km/s (Neptune velocities) x 2      

322 = 24.1 km/s (Mars velocity) x 13.1 km/s (Jupiter velocity)               

322 = (17.9 km/s)^2 (Ceres velocity) (Max error 2%)

DATA ANALYSIS

The previous data tells the planets velocities are defined by two features

(1st Feature)

The planets velocities are complementary one another –means - each planet velocity is complementary with another planet – means– The planets velocities are defined in pairs and not in single planets. 

(Notice, the inner planets orbital inclinations are defined by the rule (v1/v2), for example, Mercury orbital inclination 7 deg = Mercury velocity 47.4/ Uranus velocity 6.8- that proves the effect of the rule (v1v2=322) on the planet motion)

(2nd Feature)

Why the constant is 322 because

1160000 seconds = 322 hours – means- there's a light velocity = 1.16 million km /s and this light moves for one second passes 1160000 km but we see this distance as a period (1160000 seconds =322 hours)- and - the planets velocities are defined based on this velocity 1.16 million km /s

Discussion

Ceres velocity tells the idea - Ceres is used as the origin point - as a result the outer planets be complementary with the inner planets – for that the rule (v1v2=322) controls the planets velocities.

(a)

The planets velocities are created based on one design- Ceres velocity is used as the origin point for this design

(b)

Shortly

Mercury (47.4 km/s) moves during 6.8 hours a distance             = 1160000 km 

Uranus (6.8 km/s) moves during 47.4 hours a distance               = 1160000 km 

And

Mars (24.1 km/s) moves during 13.1 hours a distance                = 1160000 km 

Jupiter (13.1 km/s) moves during 24.1 hours a distance             = 1160000 km 

(error 2%) - And

Earth (29.8 km/s) moves during 2 x 5.4 hours a distance             = 1160000 km 

Neptune (5.4 km/s) moves during 2 x 29.8 hours a distance        = 1160000 km 

And

Venus (35 km/s) moves during 2 x 4.7 hours a distance             = 1160000 km 

Pluto (4.7 km/s) moves during 2 x 35 hours a distance               = 1160000 km 

(error 2%)

Notice - Saturn (9.7 km/s) moves during 33.2 hours a distance = 1160000 km 

(between 33.2 and Venus velocity 35 km/s the error 5%) 

(c)

The planets velocities definition depend on the speed of light 300000 km/s

As we have seen before in the equation

300000 km = 7.1 x (205.8)^2

Here we see the planets velocities are defined based on two velocities which are – the speed 1.16 million km per second and the light speed 300000 km/s- that's one proof among many others which prove the coherence of light is done between the light 1.16 million km per second and the light 300000 km/s

Why is it necessary to review the planet velocity analysis here? 

Because the planet velocity analysis proves the sun is created after all planets creation and motion -Let's see that in the next point

F- The Sun Is Created After All Planets Creation And Motion (Proves)

We analyzed the planet velocity definition before, let's remember its basic feature  

DATA

We remember the rule (v1v2=322) (my 5th equation)– let's prove it

322 = 47.4 km/s (Mercury velocities)  x 6.8 km/s  (Uranus velocities)                    

322 = 35 km/s  (Venus velocity) x 4.7 km/s (Pluto velocity) x 2             

322 = 29.8 km/s (the Earth velocity) x 5.4 km/s (Neptune velocities) x 2      

322 = 24.1 km/s (Mars velocity) x 13.1 km/s (Jupiter velocity)               

322 = (17.9 km/s)^2 (Ceres velocity) (Max error 2%)

DISCUSSION

The data tells

The Planets Velocities Are Defined Based On One Design

The planets are added in pairs in the solar group- means- No single planet can be added to the solar group

Now we have to ask

Can We Add A New Planet To The Solar Group?

Let's answer in following

I add a new planet after Pluto

I suppose the new planet orbital distance to be =7000 million km

This new planet velocity will be 4.3 km/s (We can define it by kepler law)

Now we need the complementary planet because of the rule (v1v2 =322)

(322 =4.3 x 75), means, the complementary planet velocity is 75 km/s   

Where can we find a planet its velocity 75 km/s? this planet must be in the distance between the Sun and Mercury –

This planet orbital distance should be 23.2 million km

(57.9/23.2) = (75/47.4)^2  where

(57.9 million km = Mercury Orbital Distance) and (47.4 km/s) Mercury velocity

Shortly –

It's hard to add any planet in the distance between Mercury and the Sun- means- we can't add any new planet to the solar group because of the Sun existence.

But-

How Could The Found Planets Be Added To The Solar System?

The Sun is created after all planets creation and motion- means – after all planets be in their orbits the Sun is created- In details-The planets were created in their orbits and revolve around a point of space, before the sun creation, and later the sun is created in this point of space around which the planets revolve

Because - technically-  the Sun existence prevents to add any new planet to the solar system and also the Sun existence prevents any planet to change its orbit

(For example- Mars original orbit was between Mercury and Venus and Mars had migrated to its current orbit before the Sun creation And Mars couldn't return to its original orbit because of the Sun existence ) (Mars Migration is proved in the paper) 

Notice

This analysis is another proof for my theory tells (The Sun Rays Is Created By The Planets Motions Energies And Nut By The Sun Nuclear Fusion)

Shortly

The sun rays can NOT be created without the solar planets because the sun rays are created from the planets motions energies – logically the planets are found and moving before the sun creation-

(Point No. 3) Saturn Motion Effect On The Solar System Motion

Let's remember our question

Can The Sun Rays Creation Process Depend On Saturn Motion?

The question tells us (If Saturn Is Not Found In The Solar System The Sun Rays Can Not Be Created)- Let's ask (what's Saturn role in the solar system motion?)

The main rates of time are

(one hour of Mercury clock = 24 hours of any planet clock = 576 h of Saturn clock)

That causes (one hour of any planet clock = 24 h of Saturn clock)

This rate of time is changed slightly by the velocities effect to produce the nest rate

205.8 km/s = 9.7 km/s (Saturn velocity) x 21.4 second

205.8 km/s = the planets velocities total

The data tells

(one hour of any planet clock = 21.4 h of Saturn clock)

And Saturn created its rotation period (10.7 h) based on this rate (21.4 = 2 x 10.7 h)

The data shows- Saturn has the smallest rate of time in the solar system and by that Saturn moves more than any other planet- in fact

In the same period - Saturn moves a distance = all planets motions distances total 

Shortly -the Sun rays is created by the planets motions energies BUT Saturn motion alone provides (50%) of all this energy – that makes Saturn the most important planet in the solar system -and because of that- Saturn motion provides the greatest rate of time in the solar system and based on this rate of time the sun rays is created

Shortly

The Sun rays creation depends directly on Saturn motion because Saturn provides (50%) of all provided energy for the sun rays and because Saturn motion creates the rate of time based on which the energy can be stored to produce the sun rays

Saturn is the motor behind the sun rays creation process – I analyze Saturn data in details in point no. (3) of the paper because Saturn data proves that – the planets motions causes to create the sun rays clearly

The Paper hypotheses

The paper provides 4 hypotheses with their explanations and proves – let's provide them in following

Hypothesis No. (1)

The space is created from one energy and this energy is provided by a light beam moves by a speed 1.16 million km per second – the speed is registered in the created space proves the speed is a fact.

Hypothesis No. (2)

The Gravitational Waves Are Produced By The Planets Motions Energies And Not By The Sun Gravitational Field– Moreover- The Sun Does NOT Produce A Gravitational Field And It Has No Massive Gravity- 

Hypothesis No. (3)

Mars original orbit was between Mercury and Venus and Pluto was The Mercury Moon (Pluto size was equal Mercury size) But these two planets had migrated from their original orbits as a result for a collision- the planets migration caused a risk for the solar system geometrical design- Uranus and Jupiter the Two planets worked to repair the solar system design– that caused Jupiter orbit to be the main orbit in the solar system design- Jupiter orbit proves the speed 1.16 million km per second is a fact.   

Hypothesis No. (4)

The Sun Is a phenomenon created by the planets motions

The sun rays is created from the gravitational waves motions energies and the gravitational waves are produced by the planets motions energies-

Based on that 

The Sun Is A Phenomenon Created By The Planets Motions

And

The Sun Is NOT Doing Nuclear Fusion To Produce Its Rays- instead- The Planets Motions Energies Total Is Used To Produce The Sun Rays

The Sun Is Created After All Planets Creation And Motion –

Means

The Planets Are Created And Moving In Their Orbits Around A Point Of Space Before The Sun Creation- And The Sun Is Created On This Point Of Space around which the planets revolve –

And

No Planet moves by The Sun Gravity (Newton is Wrong) –

And

The Sun Doesn't Produce A Gravitational Field (Einstein Is Wrong)

And

The Sun Is A Phenomenon Created By The Planets Motions– means-The Sun creation and death depends on a cycle – means – after this current sun death another sun will be created for the solar system.

The Hypotheses Explanation

The abstract provides the hypotheses explanation and the paper provides their proves and discussions- In following the hypotheses will be explained in details 

NOTICE –

The creatures and all matters on the Earth are created from the sun light energy and the sun light speed is 300000 km/s, because of that, the creature realization is limited to the speed 300000 km/s and can't realize the original speed (1.16 million km per second) that means the speed 300000 km/s is a limit for the creatures realization and not for the universe design.   

Hypothesis No. (1)

The space is created from an energy and this energy is provided by a light beam moves by a speed 1.16 million km per second – the speed is registered in the created space which proves the speed is a fact

The Hypothesis Explanation

I- The Space Is Created By One Light Beam Energy- And This Light Beam Speed Is 1.16 million km per second

I-1 Preface (the main idea)

I-2 The Space Creation Method (the distances are one network)

I-3 Light Coherence between light (1.16 million km /s) and light (300000 km/s)

I-4 The Matter definition (based on my planet diameter equation)

I-5 The Planets Creation

I-6 Can The Time Machine Be A Fact?

The Hypothesis Proves

I-7 The Proves Logic Analysis

I-8 Planet Velocity Is A Function In A Speed = (1.16 million km /s)

I-9 Planets Orbits Are Defined By A Motion Its Speed = (1.16 million km /s)

I-10 Jupiter distances are defined by a motion by a speed = (1.16 million km /s)

I-11 The Solar System Geometrical Design Proves The Hypothesis

I-12 The Solar System Distances Analysis Prove The Hypothesis

I-13 Deep Analysis For The Planets Orbits

1-14 Light defines each planet orbital period

I-15 Can Planet Diameter Be Used As A Period Of Time

I-16 Mercury Orbit Analysis

I-17 The Planets Data Is Created By The Light Motion Directly

I-18 Light Defines Each Planet Rotation Period

I-1 Preface (The Main Idea)

The solar system (planets and distances) is created from one energy and this energy is provided by one light beam and this light beam moves by speed (1.16 million km/s)

The space is created before the planets creation-

Let's write the whole story in following

The light beam (1.16 million km per second) started its motion from Mercury orbit moves toward Pluto orbit– by that– we consider Mercury orbit is the origin point-

Now- we should notice- No planet is created yet- the motion from Mercury orbit to Pluto orbit defines the motion direction- and No planet is created before this motion end nor during this motion- the planets will be created after this motion is finished means when the light 1.16 million km per second reaches to Pluto (orbit)- after this event – the planets will be created –as I will explain later  

Notice

The light (1.16 million km per second) creates the distances by its motion- means- the light moves from Mercury point to Venus point– the distance from Mercury to Venus was not found and is created only by the light motion through it for first time- means – before the light motion this distance was NOT found- It's found after the light moves through this distance for first time-    

This is similar to the blood motion through the arteries, the blood creates these arteries and the blood moves through these arteries, but the blood created these arteries with its first motion and that needed energy- but – after the arteries creation the blood move through them without any energy is required- means- the first motion is the most important one because by it the arteries are created

Shortly- The space is created from the energy of this light beam its speed 1.16 million km per second – NOW- after the Space creation- the light beam energy is decreased because of the energy consumption in the space creation process- and the rest energy is one light beam its speed is (C=300000 km/s =the light known speed) – But - We understand that- it's the same one light beam- its speed was 1.16 million km /s before the space creation- and the light created the space and that caused to consume the light energy and that caused to decrease the light speed to be 300000 km/s

Shortly- the light beam started its motion from Mercury (orbit) with speed 1.16 million km /s and reaches to Pluto (orbit) with a speed 300000 km/s because of the energy consumption in the space creation process  

Let's give example to explain this idea

Imagine we create A Sea Of Water- we use energy to create this sea of water- now we have some energy and we use this energy to create this sea of water- BUT- our energy is NOT spent completely But there's a small part still rest with us – this small part of energy is used to create one wave moves through this sea and this wave speed is 300000 km/s (I suppose the space is similar to the sea of water)

Now – the rest energy is found in one light beam its speed 300000 km/s and this light beam is found NOW in Pluto Orbit – and this light beam will be reflected from Pluto orbit toward the inner planets– means- the rest energy will move in the reflected direction to the original light motion direction.

This idea will be explained in details in the next point- shortly

The light beam (300000 km/s) will be reflected from Pluto toward the inner planets

AND  the light 300000 km/s will meet the original light beam (1.16 million km per second) in the origin point (in fact – beside the origin point) and there's a coherence of light is done between the light beam (300000 km/s) and the light beam (1.16 million km per second) – this coherence of light is proved strongly- we have to ask (how can that be possible while the light beam 1.16 million km /s is consumed and the new light beam 300000 km/s is the rest energy? how this light beam (300000 km/s) can meet the original one (1.16 million km per second)? in points no. (I-3) and no.(I-6) I answer this question.

Notice (1) I suppose the rest energy is a light beam its speed is (C=300000 km/s) but this idea is for simplicity- the rest energy can be in any wave form its speed (C=300000 km/s) – no necessity to be in visible light beam form

It's simply energy moves by the known speed of light (C=300000 km/s)

Notice (2)

All Planets Orbits Are Defined Before Any Planet Creation-

The light used the distance from the sun to Pluto as one area and create one geometrical design for this area before any planet creation 

Notice (3)

The planets are created from the rest energy its speed (300000 km/s) – means- the space is created by the light 1.16 million km per second and the energy is consumed in the space creation and the rest energy is one light beam its speed 300000 km/s (or one wave moves by the known speed of light C=300000 km/s) – the solar planets are created from this one wave its speed 300000 km/s and that means all planets orbit are created and defined before any planet creation

Notice (4)

The Sun Is Created After All Planets Creations And Motions

The sun is a phenomenon created by the planets motions energies total

The sun doesn't produce a gravitational field and doesn't have massive gravity

Logically – No planet moves by the sun gravity

(The Planet Moves With The Energy From Which The Planet Is Created – Newton is wrong- later we discuss the proves)

Notice (5)

The child (fetus) inside his mother is created by the blood motion- the blood motion creates arteries for this child and through these arteries the blood moves also but the arteries themselves are created by this same blood motion- Similar to that- the distances are created by the light motion energy and the light moves through these distances also but originally these distances themselves are created by the light motion energy-  means the distances creation is done with the first time of the light motion through them - that required energy- but after the distances are created no more energy is required- the light (or planet) can pass simply through these distances

I-2 The Space Creation Method (the distances are one network)

Data

778.6 = 1.16 x 671

721    = 1.16 x 621

629    = 1.16 x 543

543    = 1.16 x 468

5906  = 1.16 x 5127

These numbers are distances in (million km)

778.6, 721, 671, 629, 551 are Jupiter distances to the sun, Mercury, Venus, Earth and Mars respectively- 5906 and 5127 Pluto distances to the sun and Jupiter respectively     

468 = 936 /2 where (940 million km = the Earth orbital circumference)

Discussion

(1)

The previous data tells us how the light beam motion creates the distances-

Simply the light uses a distance as (a period of time) and travels through this period another distance- that can be understood clearly from Jupiter distances- let's look deeply as possible

The light beam (1.16 million km per second) uses the period 629 seconds to pass a new distance = 729 million km (Mercury Jupiter distance is 721 million km error 1%) – where 629 million km = Jupiter Earth distance

Also  

The light beam (1.16 million km per second) uses the period 671 seconds to pas a new distance =778.6 million km (Jupiter orbital distance) 

where 671 million km = Jupiter Venus distance

by this method the light creates the distances based on each other- and that makes all distances to be created depends on one another and that makes all distances in the solar system to be One Network where all distances are created based on the same One Geometrical Design

(2)

The data shows the creation method- and we understand that- the distance 551 million km (Jupiter Mars Distance) is created firstly and the light (1.16 mkm/s) used this distance as a period of time (551 sec) and the light travels during this period a distance =(639 million km where 629 million km is Jupiter Earth distance error 1.5%) and then the light uses the new distance (629 mkm) as a period of time (629 sec) and the light travels during this period a distance = (729 million km – where 721 million km = Mercury Jupiter distance – error 1%)

The data shows the method clearly and we understand the light original motion started from Mercury orbit to Pluto orbit because the distances are created based on one another in that direction of motion as explained clearly

(3)

New data NO. (1)

2723 sec x 2 x 300000 km/s = 1622 million km – where

2723 million km = Uranus Earth Distance

1622 million km = Uranus Neptune Distance

The data shows- the light beam its speed (C=300000 km/s) is in proportionality also with the created distances but this proportionally is found in Reflected Direction

Logically, The light can NOT move from Uranus to Neptune and after that the light returns to move from Uranus to the Earth- it's simply reflected direction  

The distances are NOT created by the motion of this light beam (300000 km/s) – but the distances are created by the motion of the original light beam (1.16 million km per second) but the proportionality between the distances with the light (300000 km/s) is found because there's a proportionality between the original one (1.16 million km per second) and this light beam (300000 km/s) – AND 

Because the light (300000 km/s) moves in the reflected direction of the original light beam (1.16 million km per second) that causes the proportionality between the distances and the light (300000 km/s) be in a reflected form

New data NO. (2)

2094 sec x 300000 km/s = 629 million km

2094 million km = Uranus Jupiter distance

629 million km   = Earth Jupiter distance

The light (300000 km/s) moves in reflected direction- for that- the distance 2094 million km is used as a period of time to pass a new distance (629 mkm)

The data proves the idea clearly

Notice (1)

The proportionality between the light (1.16 million km/s) and the light (300000km/s) will be discussed in point no. (I-3)

Notice (2)

In Point (**) I prove the gravitational waves are produced by the planets motions energies- and I prove that – the planets motions energies move toward Pluto and this energy is reflected from Pluto toward Venus- this fact is proved by powerful data and proves- for that – I don't explain in details the light motion trajectory from Pluto toward the inner planets because this motion trajectory is studied in details in the hypothesis No. (2) of this discussion- understandable that- the planets motions energy trajectory is the same trajectory the light moves through it – means this trajectory is studied in details and powerful proves in point no. (**)

Notice (3)

Jupiter Distances Analysis shows that Jupiter orbit is the central orbit for the light (1.16 million km per second) based on which all planets orbits are defined.

But – this is not the first creation case –

The light (1.16 million km per second) created the planets orbits based on each other starting from Mercury orbit moves toward Pluto orbit – this is the fist creation case – and this fact is proved strongly in point no. (I-9*)

BUT

Mars had migrated from its original orbit (Mars original orbit was between Mercury and Venus) and Pluto had migrated also (Pluto Was The Mercury Moon revolves around Mercury and Pluto size was equal Mercury size)

The planets migration caused a serious risk for the solar system geometrical design- Uranus was the first planet tried to repair the solar system geometrical design and to save it- by that

Uranus created a vertical effect on Jupiter orbit to fix Jupiter in its orbit and prevent it to migrate with the migrant planets- and based on Jupiter orbit the other planets orbits are modified – that supported the solar system original design and saved it which causes to protect the geometrical design from the destruction.  

As a result

That causes Jupiter orbit to be the most important orbit in the solar system- the paper third hypothesis explains the planets migration and Jupiter orbit analysis is done with the solar system design analysis (I-11*)

I-3 Light Coherence between light (1.16 million km /s) and light (300000 km/s)

(1)

The Coherence Of Light

The previous explanation told us that we have 2 light beams-

The original light beam its speed (1.16 million km per second) and it started its motion from Mercury orbit to Pluto orbit (where Mercury orbit is the light motion origin point) – and this light beam created all distances in the solar system and lost its energy in the space creation process and the rest energy is one light beam its speed is (C=300000 km/s)

The other light beam is the rest energy- its speed is (C=300000 km/s) and it moves in a reflected direction from Pluto toward Venus and Mercury-

Now – we have a coherence of light between these two light beams- the coherence is proved by powerful proves BUT firstly we have to ask (how can this coherence be occurred)? Because the original light (1.16 million km/s) is consumed and its energy is used already and the rest energy is this light its speed is (300000 km/s) - HOW can the light (1.16 million km/s) meet the light (300000 km/s)??

Imagine we have (116 dollars) and we spent all money except (30 dollars)- how can this (30 dollars) meet the original money (116 dollars)??

Let's write the answer

Suppose the light beam (300000 km/s) moves in the reflected direction (in the space) and also (in the time) – that can enable the light (300000 km/s) to meet the original one (1.16 million km/s) in the past and the coherence will be done there in the past- and we see the coherence results and effects on the solar system -

Means – the light (300000 km/s) moves into the past and found the original light (1.16 million km/s) in the past

Notice No. (1)

The original light beam (1.16 million km/s) can NOT move toward the future to meet the light (300000 km/s) because in the future the original light beam (1.16 million km/s) is NOT found –by that – the coherence can't be occurred in the future - But – the light (300000 km/s) can move into the past because this light beam (300000 km/s) was found in the past because it's a part of the original light beam (1.16 million km/s)

Notice no. (2)

I prove the coherence is done by powerful proves- that tells- this idea is a fact–means- there's a strong proof tells (in fact the light beam 300000 km/s moved into the past) and if we can use this feature practically we can get photos from the past events and by that we can have photos from the catastrophe which killed the dinosaurs and know much better about what had happened really in that time - This can be a real machine of time – the light motion into the past is a strong method to perform this invention. 

Notice no. (3)

Why Can NOT We Move Into The Past As We Move Into The Future?

This question is answered in point no. (**)

(2)

The Light Coherence Proves

First Proof

The planets order is typical to the interference of Young –

In the double slits experiment, Young Interference is consisted of bright fringes and dark fringes - If we consider planet diameter is equivalent to bright fringe – we will see that- the planets order is typically to Young interference because

Jupiter (the greatest fringe) is in the middle and the fringes width is decreased gradually on both sides – typically to the planets order

Notice / I have proved that (Mars original orbit was between Mercury and Venus) if we restore Mars to its original orbit the order will be typical to the Young Interference

(I prove this fact in point no. **)

Second Proof

The planets velocities are defined based on the speed (1.16 million km per second) and the planets velocities analysis shows the speed (300000 km/s) is the planets motions limit- means- the planets velocities are defined based on both velocities (1.16 million km per second) and (300000 km/s) I prove this fact in point No. (**)  

Third Proof

The light coherence defines the solar day period (24 hours) which is the solar system design cornerstone 

(1.16 /0.3) x 2π = 24.3

By this equation the space and time are created- the equation tells–the space is created in curves (2π) and the time is created in units each unit is (24 hours) 

Please note – the solar system geometrical design depends on the light motion in a solar day (24 hours = 86400 seconds) 

The light (1.16 million km per second) moves in a solar day (86400 seconds) a distance  = 100733 million km (= the planets orbital circumferences total)

Fourth Proof

The planets data prove there's a speed (1.16 million km per second) found in the solar system but the sun light beam moves by speed (300000 km/s) that tells the two speeds are facts and found in the solar system and the coherence between them is a logical result

The hypothesis proves discuss many powerful proves for this fact-

Notice- the coherence of light is a very important fact because it tells the light (300000 km/s) moved into the past and by that gives us a proof for the motion on the time axis- for that – many powerful proves support this fact.

I-4 The Matter definition (Based On My Planet Diameter Equation)

(1)

Let's remember my planet diameter equation

Planet Diameter Equation (v1/v2)= (s/r)= I

v = Planet Velocity                                                          

r = Planet Diameter

s= Planet Rotation Periods Number In Its Orbital Period

I= Planet Orbital Inclination        (example, 1.8 degrees be produced as a rate 1.8)

v2, s, r and I are belonged to one planet and v1 is belonged to another planet

The planet (v1) is defined by test the minimum error 

Earth Equation uses Neptune velocity

Mars Equation uses Pluto velocity

Jupiter Equation uses the Earth moon velocity

Saturn Equation uses Mars velocity

Uranus Equation uses Neptune velocity (As Earth)

Neptune Equation uses Saturn velocity

Pluto Equation uses the Earth moon velocity (As Jupiter)

(The Equation works from The Earth To Pluto) (the discussion explains the reason)

Example

Neptune Equation (89143 /49528) = 9.7/ 5.4 =1.8         

89143          = Neptune rotation periods number in Neptune orbital period

49528 km    = Neptune diameter

9.7 km/s      = Saturn velocity

5.4 km/s      = Neptune velocity

59800 days = Neptune orbital period (and Neptune rotation period =16.1 hours)

1.8 degrees = Neptune Orbital Inclination

(the equation is proved and discussed in details in point no. **)

(2)

Can We Define The Matter Nature Based On My Planet Diameter Equation?

The equation tells, the matter is created based on its motion! means Neptune diameter is 49528 km because Neptune velocity is 5.4 km/s!!

That tells the motion with velocity 5.4 km/s is defined before Neptune diameter is created! Can we understand such definition for the matter nature? let's try

(A)

The Matter Nature

The space and matter are created from the same original energy and they move with this original energy motion- BUT the matter has a distinguish picture and different velocity from the space picture and velocity (notice- The Gravitational Waves Prove That The Space Has A Motion)  

If we suppose the space is similar to the sea of water, the matter be similar to a whirlpool or a vortex found on the sea page- means- the matter is a geometrical design has a distinguish picture from the space- as the whirlpool, it's created from the sea water but it has a distinguish picture from the sea waves picture

Means

The whirlpool is carried by the waves motion- and- the matter is carried by its original energy and moves with it- No Mass gravity is required for the matter motion- means- the matter is MOVABLE by nature.

Also

The whirlpool dimensions are defined by the water motion - for example- we have a whirlpool its diameter is (2 meters)- this diameter is defined by the sea water motion features (velocity, pressure and other motion features) by that- the water motion analysis explains how the whirlpool dimensions are created

Also- the whirlpool is created but the creation requirements are needed every day- means- even if this whirlpool is found since years it can be changed immediately if the water motion features are changed- means- the whirlpool creation process is NOT a historical one.

Also- the matter is similar to a creature muscle, the muscle is found based on the blood motion and without this motion the muscle can be changed or removed.

Shortly

The Original Energy Was Found In Motion By Itself (As Moving Light Beam)

From This Moving Energy The Planet Matter Is Created

The Created matter dimensions are defined by the features of this original energy motion (means the planet creation data is defined by the energy motion features)

After the planet creation- The Planet Moves With This Original Energy – means- the created planet moves a motion depending on the motion of this original energy because the planet moves with this original energy motion- and – the planet moves by this original energy motion (No mass gravity is required to cause the matter motion)

The planet creation data is in full harmony with its motion features- this fact is produced logically because the planet data is defined by the original energy motion features.

This explanation tells (Neptune diameter is 49528 km because Neptune velocity is 5.4 km/s)

Example For Explanation

We agreed that the space is similar to the sea of water and the planet (matter) is similar to a whirlpool found on the sea page-  this picture explains the idea clearly- because

We see the whirlpool doesn't move by the sea water waves velocity but by another velocity and that shows a distinguish in form and motion between the whirlpool (the planet) and the sea waves (the space)- BUT- the whirlpool dimensions are defined based on the sea water motion features- and if the motion features are changed the whirlpool dimensions will be changed also- also the whirlpool moves by the sea water motion even with a different velocity relative to the sea waves velocity but the whirlpool motion still is  caused by the sea water motion- based on this picture we can say (because the water motion velocity is 80 km/h that causes this whirlpool diameter to be 2 meters "for example') – this is perfectly our sentence – let's remember it     

(because Neptune velocity is 5.4 km/s that causes Neptune diameter to be 49528 km)

This idea is proved by my planet diameter equation (my fourth equation) (point No.**)  

(B)

Now The velocity is a motion in (A Defined Direction)

Means– the matter is created because it depends on a motion in a defined direction- as we have seen- Neptune diameter is 49528 km because Neptune velocity is 5.4 km/s but this velocity is a motion in defined direction- and that tells Neptune creation depends on a motion in the direction of the (x axis positive "+x ") (for example)

That tells, if this motion moves in (x axis negative "-x ") that will cause Neptune diameter to be changed or perished

Means- the matter creation needs a motion in A Defined Direction

Now let's ask our question

Why Can't The matter (creature) Moves Toward Its Past?

Because the matter depends on a motion in one defined direction- that causes the matter moves into (the future) always and can't move into (the past) let's discuss this question more deeply in point no (I-6)

Notice

No Planet Moves By The Sun Gravity (Newton is wrong) – logically because- the planet moves by its creation force- means- the planet creation and motion should be done by one force only (one energy only) because if two forces have effects on the same one planet- this planet will be broken- this fact is proved strongly with the gravitational waves source discussion (Point no.**)  

I-5 The Planets Creation

I summarize the main idea in following and the idea proves and discussions are found in point no. (**)

(i)

We know, the solar system is created from energy of one light beam its speed is 1.16 million km per second- and – the light created the space (the planets orbits) firstly and the energy is consumed in the space creation- and for that- the rest energy is found in one light beam its speed is 300000 km/s - And

From this light beam 300000 km/s the solar planets are created

Shortly

before the solar planets creation

The solar system was one light beam (or one wave moves by speed of light (300000 km/s)- by that – the solar system is One Wave moves by speed of light (300000 km/s)

Now

The Solar System needs To Create A Stationary Point Its velocity Zero relative to the moving one wave (300000 km/s)

This is the basic information in the solar system design-

The solar system needs to create a stationary point relative to the wave motion- by that – two velocities will be found which are (v1= the wave its speed 300000 km/s) and (v2= Zero= the stationary point velocity relative to the wave motion)–these two velocities produce a relative motion with different velocity 300000 km/s– this relative motion is the solar system design cornerstone.

Shortly – the solar system needs to create A Stationary Point 

Notice– The solar system is carried by the light beam motion, NO stationary point can be found here – it's similar to a ship on the sea water- Nothing can stop- because the motion is done forcedly by the sea water –

The stationary point will be similar to the whirlpool (vortex) on the sea page-  BUT

The solar system needs to create this stationary point - Now – let's try to create this stationary point in following - The solar system uses two procedures to do that,  

(ii)

The first procedure

The wave its velocity 300000 km/s revolves around a point in space (any point in space), the revolution motion creates 2 equal velocities on both sides of the revolution- the two velocities are equal in value and opposite in direction- their total be equal Zero-means- the revolution motion creates A Stationary Point in the center of the revolution. 

The second procedure

The previous idea is correct- but –the velocity 300000 km/s is a huge one and to decrease it to Zero velocity this is a complex process– for that- the wave (300000 km/s) created small waves with low velocities to use them as steps to decrease the velocity to Zero- the small waves are The Planets- (The planet is a small wave moves by low velocity relative to the original wave its velocity 300000 km/s) 

Why Are These Small Waves Required?

Because the velocity 300000 km/s is decreased to Zero by using these small waves and their low velocities- the low velocities are used as steps to decrease the unified wave velocity (300000 km/s) to be (Zero)- this process decreases the velocity gradually from 300000 km/s to Zero depending on these small waves velocities (the planets velocities)  

Means- the planets are created for this process to decrease the wave velocity from 300000 km/s to Zero- and The Planet Is A Small Wave Moves By Low Velocity 

Shortly – the solar system has one complete system of velocities, Starting from Zero to 300000 km/s where the planets velocities are the steps between the two velocities – let's prove that here

(iii)

300000 km = 7.1 x (205.8)^2 where

7.1 is Lorentz length contraction effect for speed 297000 km/s (99% of speed of light)

205.8 km/s = the 9 planets velocities total (176 km/s) + the Earth moon velocity

(The moon velocity =29.8 km/s = the Earth velocity because they revolve together)

Why does the data use the squared value (205.8)^2?

We know the answer- but - Let's remember it

The planets are geometrical points on the same light beam and move with its motion- for that- the planets velocities rates creates rates of time– for example-  Mercury velocity = 1.6 the Earth velocity- that means – one hour of Mercury clock = 1.6 hours of the Earth clock- Why??

Because Mercury and the Earth are carried by the same one light beam- the light moves one motion and passes one distance in one period of time- by that Mercury and the Earth have to move this same motion and to pass this same distance in this same period of time- but the two planets velocities are different- for that- the planets use different rates of time based on their velocities rates and by that the planets move equal distances in the same period of time –

Now- the velocity (205.8 km/s) moves relative to the stationary point (Zero) and creates a rate of time (1 second = 205.8 seconds) –

(one second of the unified wave clock = 205.8 seconds of the stationary point clock)

But – the energy is reflected in the solar system (I prove that in point no.**),

The energy reflection reflects the players – means

(one second of the stationary point clock = 205.8 seconds of the unified wave clock)

The stationary point will be THE SUN – by that

(one second of the sun clock = 205.8 seconds of the unified wave clock) – means

(one second of the sun clock = 205.8 seconds of any planet clock) –

Now during one second of the sun clock, the wave clock needs 205.8 seconds while the wave moves by a velocity 205.8 km/s- means –

During one second of the sun clock, the wave moves 42253 km = 300000 km /7.1

That creates the different velocity 300000 km/s between the sun motion and the wave motion-

Notice 1

The wave (205.8 km/s) moves during 1461 seconds a distance = 300000 km, and we know the Earth cycle (1461 days = 365 +365 +365 +366)

That tells, the speed of light (300000 km/s) is performed by the rate of time and that causes to create the Earth cycle-    

Notice 2

Planet velocity is created by the rate of time- means- if no rate of time can be used – No planet velocity can be created – instead- all motions will be only by speed of light (300000 km/s)- the planet can create a small velocity because it can use rate of time

We realize that clearly because

The planets motions depend on the light motion- by that – the motion is done by One Motor only which moves by speed of light (300000 km/s), the planets can only move by speed of light or create a rate of time for their smaller velocities - No more options are provided.  

Notice 3

We understand that, the planets are geometrical points on the same light beam, means

The planets are similar to carriages in one train and the light motion is the train engine  means the planets are carried on the light beam and move with this light motion

I-6 Can The Time Machine Be A Fact?

To answer this question we need to review basics facts we have studied – let's do that in following

(1)

The solar system is created from one energy and this energy is provided by one light beam

(2)

The light moves simply and freely in any direction (for space) and (for time)- means- the light can move into the future (as matter does) or into the past (which the matter can Not do)

(3)

We know, the solar system is created from one light beam, and this light moves by a speed (1.16 million km per second) - And

We know, the light (1.16 million km per second) created the planets orbits firstly before any planet creation and the energy is consumed in the space creation and because of the energy consumption the light speed is decreased from  (1.16 million km per second) to the known speed of light 300000 km/s – also

We know, the light (1.16 million km per second) started its motion from Mercury orbit moves toward Pluto- that means- the light (1.16 million km per second) started from Mercury orbit with speed (1.16 million km per second) and the light created all planets orbits till Pluto orbit- before any planet creation- and by that- the light lost its energy and the light beam in Pluto orbit reduced its speed to be 300000 km/s as a result for the energy consumption in the space creation process

(4)

Also we know the energy is reflected from Pluto toward Venus (the inner planets)

By that the light beam (300000 km/s) moves in the reflected direction to the original light beam (its speed 1.16 million km per second) 

And – we know-

The light beam (300000 km/s) reaches to the original point (Mercury Orbit) from which the light (1.16 million km per second)  started its motion 

And we know that

A coherence of light is done between the original light beam (1.16 million km per second) and the light beam (300000 km/s)

BUT  we don't know how such coherence can be occurred? Let's analyze that deeply in following

(5)

The produced light beam (300000 km/s) moves in (the reflected direction) to the direction of the original light beam (1.16 million km per second) (In Space)  and reaches to Mercury orbit (the origin point)

But– logically – the produced light beam (300000 km/s) can NOT find the original light beam (1.16 million km per second) there because the original light beam is consumed already in the space creation process and the rest energy is this produced light beam (300000 km/s) – based on that –

How Can This Coherence Be Occurred? Means-

How can the produced light beam (300000 km/s) meet the original light beam (1.16 million km per second)?  The answer is

The produced light beam (300000 km/s) moves (in the reflected direction) to the motion direction of the original light beam (1.16 million km per second) (In Space) and (In Time) Means- the produced light beam moves into (Its Own Past) and in the past this produced light beam (300000 km/s) was (A Part of the original light beam 1.16 million km per second) and because of that the produced light beam (300000 km/s) can meet the original light beam (1.16 million km per second),

And

The two light beams create a coherence (in the past) and we see the results of this coherence in our present time-

The idea is very important because – the coherence of the two light beams (1.16 mkm/s and 0.3 mkm/s) is proved strongly and with powerful proves and any explanation for this coherence will prove that the produced light beam (300000 km/s) must move Into The Past to enable this coherence occurrence- and that tells clearly- the travel through the time is possible and fact

BUT

Can the matter moves into its past as the light does? NO

Why?? Because

We know the light can move simply in any direction (+ x, + y, + z, + t) by that the light can move into the future and can move into the past BUT

The matter creation depends on A Motion In A Defined Direction-

let's remember this idea

Neptune diameter =49528 km because Neptune velocity is 5.4 km/s

(This Fact Is Proved By My Planet Diameter Equation)

Now, Neptune velocity is a motion in a defined direction

(for example a motion in +x direction)

The energy moves in this direction (+x direction) and because of this motion Neptune matter is created and Neptune diameter is defined- now if the energy moves in (opposite direction "–x direction") that will change Neptune diameter or cause to perish its matter at all

Means- as long as – Neptune is found- that means – the energy moves in one direction (and not two directions) – for that Neptune can move into the future but can NOT move into the past.    

Notice

The matter can not move into the past but the light can do that-

Means- we have the time machine already- we need to know how to send the light into the past and by that we can have photos from the past events- and this will be The Time Machine

The Hypothesis Proves

I-7 The Proves Logic Analysis

I-8 Planet Velocity Is A Function In A Speed = (1.16 million km /s)

I-9 Planets Orbits Are Defined By A Motion Its Speed = (1.16 million km /s)

I-10 Jupiter distances are defined by a motion by a speed = (1.16 million km /s)

I-11 The Solar System Geometrical Design Proves The Hypothesis

I-12 The Solar System Distances Analysis Prove The Hypothesis

I-13 Deep Analysis For The Planets Orbits

1-14 Light defines each planet orbital period

I-15 Can Planet Diameter Be Used As A Period Of Time?

I-16 Mercury Orbit Analysis

I-17 The Planets Data Is Created By The Light Motion Directly

I-18 Light Defines Each Planet Rotation Period

I-7 The Proves Logic Analysis

Why can we prove that, a light beam its speed 1.16 million km per second is found in the solar system? also, the theory tells this light beam energy is consumed and the rest energy is found in one light beam its speed 300000 km/s (the known speed of light), if this light energy is consumed, how can we prove its existence?

There are two major reasons, which are

The Planets Orbits Are Created Before Any Planet Creation- And These Orbits Are Created Based On One Motion- And This One Motion Is Done By A Speed 1.16 Million Km Per Second.

The Planets Matters Are Created Based On Their Orbits – means- the planet is similar to a tree and the orbit is similar to a ground and the tree is planted in the ground-

NOTICE

after the planet creation, the planet can migrate from its original orbit to any other orbit - as Mars and Pluto did and that will not cause to destroy the planet. 

Shortly-

the planet matter and data is created based on this planet orbit- the orbit is defined before any planet creation and based on the orbit the planet matter and data is created (we remember- the space is similar to the sea of water and the planet matter is similar to a whirlpool found on this sea page- that tells the whirlpool is created based on its place in the sea of water)

Shortly- The Planet Matter Is Created Depends On This Planet Orbit

The speed 1.16 million km per second is registered in the planets orbits because the orbits are created from the energy of the light beam (1.16 million km per second), and the planet matter is created from this planet orbit (energy)

Shortly

The light beam (1.16 million km per second) is the source of energy for (everything) in the solar system-

All orbits are defined by its energy, all matters are created by its energy, and all motions are done by its motion-

Can we prove this light beam is a fact? YES we can

The analysis for any data or any motion will discover this light beam because it's the source of energy for everything

Shortly

the light beam (1.16 million km per second) is The Source Energy of the solar system

The mother of all children can be discovered by analysis these children data  

A QUESTION

Can the solar system design uses a rate 1.16 and I can't understand that but wrongly consider this rate (1.16) as a speed of light 1.16 million km per second?

NO- this can't be possible – Because

The light beam (1.16 million km per second) behaves typically to the known light beam (300000 km/s) – as we will see in the data discussion

I-8 Planet Velocity Is A Function In A Speed = (1.16 million km /s)

DATA

My 5th equation (v1v2=322)- the planets velocities prove it–let's see that in following  

322 = 47.4 km/s (Mercury velocities)  x 6.8 km/s  (Uranus velocities)                    

322 = 35 km/s  (Venus velocity) x 4.7 km/s (Pluto velocity) x 2             

322 = 29.8 km/s (the Earth velocity) x 5.4 km/s (Neptune velocities) x 2      

322 = 24.1 km/s (Mars velocity) x 13.1 km/s (Jupiter velocity)               

322 = (17.9 km/s)^2 (Ceres velocity) (Max error 2%)

DATA ANALYSIS

The previous data tells the planets velocities are defined by three features

(1st Feature)

The planets velocities are complementary one another –means - each planet velocity is complementary with another planet velocity– means– The planets velocities are defined in pairs and not in single planets. 

(Notice, the inner planets orbital inclinations are defined by the rule (v1/v2), for example, Mercury orbital inclination 7 deg = Mercury velocity 47.4/ Uranus velocity 6.8 that proves the effect of the rule (v1v2=322) on the planet motion)

Ceres velocity tells the idea - Ceres is used as the main point - as a result the outer planets be complementary with the inner planets – for that the rule (v1v2=322) controls the planets velocities- that means- The planets velocities are created based on One Design- Ceres velocity is used as the main point for this design

(2nd Feature)

Why the constant is 322? because 1160000 seconds = 322 hours – means- there's speed of light = 1.16 million km /s - Shortly

Mercury (47.4 km/s) moves during 6.8 hours a distance             = 1160000 km 

Uranus (6.8 km/s) moves during 47.4 hours a distance               = 1160000 km  And

Venus (35 km/s) moves during 2 x 4.7 hours a distance             = 1160000 km 

Pluto (4.7 km/s) moves during 2 x 35 hours a distance               = 1160000 km 

Earth (29.8 km/s) moves during 2 x 5.4 hours a distance             = 1160000 km 

Neptune (5.4 km/s) moves during 2 x 29.8 hours a distance        = 1160000 km  And

Mars (24.1 km/s) moves during 13.1 hours a distance                = 1160000 km 

Jupiter (13.1 km/s) moves during 24.1 hours a distance             = 1160000 km  And

(Notice - Saturn (9.7 km/s) moves during 33.2 hours a distance = 1160000 km  - (between 33.2 and Venus velocity 35 km/s the error 5%)) (Data Max error 2%)

The Data Proves, The Planets Velocities Are Functions In The Speed 1.16 Million Km Per Second. That proves the speed (1.16 million km per second) is A Fact

(notice the planets velocities are complementary one another also based on the known speed of light 300000 km/s, the paper provides this data) 

(3rd Feature)

The planets velocities limit depend on the known speed of light 300000 km/s

Let's explain that in following

The 9 planets velocities total is 176 km/s (I add the Earth moon velocity 29.8 km/s)

The 10 planets velocities total is 205.8 km/s

300000 km = 7.1 x (205.8)^2

The speed 297000 km/s (99% speed of light) causes Lorentz length contraction effect with the rate 7.1

The velocity (205.8 km/s) moves during 205.8 seconds a distance 42253 km

Where 300000 = 7.1 x 42253 km BUT 42253 = (205.8)^2

The squared value (205.8)^2 is found because of the used rate of time

We have studied this equation in point (I-5**) -the data shows, the planets velocities are defined as parts of a complete system of velocities starts from (Zero = stationary point) and reaches to the speed of light 300000 km/s and between these two values the planets velocities are defined to support this same system- that tells- the planets velocities are defined with limit to the speed of light (300000 km/s) - The data proves the speed (1.16 million km per second) is a fact -and also the data proves the coherence is done between the light (1.16 million km per second) and the light (300000 km/s)

(CONT)

Gerges Francis Tawdrous +201022532292

Physics Department-  Physics & Mathematics  Faculty 

Peoples' Friendship university of Russia – Moscow   (2010-2013)

Curriculum Vitae                  https://www.academia.edu/s/b88b0ecb7c

E-mail                            mrwaheid@gmail.com, mrwaheid1@yahoo.com

                                      gergesgerges@yandex.ru                   

ORCID                          https://orcid.org/0000-0002-1041-7147

Facebook                        https://www.facebook.com/gergis.tawadrous

VK                                 https://vk.com/id696655587

Tumblr                           https://www.tumblr.com/blog/itsgerges 

Researcherid                   https://publons.com/researcher/3510834/gerges-tawadrous/

Google                                https://scholar.google.com/citations?user=2Y4ZdTUAAAAJ&hl=en

Livejournal                     https://gerges2022.livejournal.com/profile

Pocket                                                                     https://getpocket.com/@646g8dZ0p3aX5Ad1bsTr4d9THjA5p6a5b2fX99zd54g221E4bs76eBdtf6aJw5d0?src=navbar

PUBLICATIONS

box                                 https://app.box.com/s/47fwd0gshir636xt0i3wpso8lvvl8vnv

Academia                       https://rudn.academia.edu/GergesTawadrous

List of publications         http://vixra.org/author/gerges_francis_tawdrous

Slideshare                            https://www.slideshare.net/Gergesfrancis

[april-azista-space]

AFR Satellite from APRIL

This stunning AFR satellite image showcases the diverse landscape of Al Kibrit, Egypt. Natural color composite image is overlaid with NDVI (Normalized Difference Vegetation Index) and NDWI (Normalized Difference Water Index) masks. The image reveals a captivating story of vegetation health, water bodies, and potential flooding.

The vibrant green hues of the NDVI highlight the lush vegetation, particularly the circular or semi-circular patterns indicative of central pivot irrigation systems. Meanwhile, the deep blue shades of the NDWI reveal the expanse of the Great Bitter Lake and other water bodies, potentially indicating areas affected by flooding.

By combining NDVI and NDWI, we gain a deeper understanding of the region's agricultural practices, water resources, and vulnerability to flooding. This analysis can be used to assess vegetation health, monitor water quality, and support sustainable land management.

Stay tuned for more breathtaking informative images from across the globe every week!

For more information contact us : https://www.april.azista.space/

[russellmoreton]

Celestial Sphere : Stars and Dust Particles 5 by Russell Moreton Via Flickr: russellmoreton.blogspot.com Astronomical archive Hawking understood black holes because he could stare at them. Black holes mean oblivion. Mean death. And Hawking has been staring at death all his adult life. Hawking could see. Martin Amis, Night Train, 1997. For Baudrilland the actual photographs are beside the point. It is what precedes them that counts in his eyes- the mental event of taking a picture. Sylvere Lotringer, The Piracy of Art, 2008.

[tallandsad]

Major con of passing as a guy when I’m a butch enby - somehow got dragged into a conversation over balls scratching technique

[alullinchaos]

people say become the kind of person you wish you had in your life and like yeah you can do that and you can fill a void in other people's lives but it still doesn't mean someone else will come along and do the same things for you. and if you put in all the effort to be what you want and it doesn't fix it you can get bitter. nothing wrong with making other people happy but sometimes the greatest fantasy of "person you wish you knew" is someone who wants to make you happy and who isn't you. that's all.

[discoknack]

Why *is* drawing so hard?

[ozzgin]

Santa baby are you really there?!

*hears a voice in my backyard*

FUCK SKIN WALKER

- you make Yan skinwalker i’ll do anything to get a skin walker to love me … yes I am 100% mentally stable

I'm not sure if you had something horror-esque in mind, because my immediate idea was Reader accidentally getting cursed and continuing her life completely unaware with a ""dog"" everyone is freaked out by, but she finds it cute. So more like dark comedy vibes. You be the judge. :D

Disclaimer: I have changed the name to Shapeshifter as to not delve into potentially offensive takes on native folklore. Thank you for informing my European ass.

Yandere!Monster x Reader [Shapeshifter]

On your last hiking trip, you've stumbled upon a helpless, lost dog. Or rather, it stalked you down to your cabin and spent the night in front of your window. You didn't have the heart to abandon the poor soul and so you brought it home with you. Strange things have been happening ever since and no one knows how to tell you that the monstrous coyote-like creature might be to blame. You're oblivious to everything.

Content: female reader, dark comedy, monster romance, reader is cursed and proud

It wasn't your intention to return home with a new pet. Some might say it was written in the stars, this fateful encounter of yours. You had finished packing your supplies for a day-long hike, vehemently refusing to join your group of friends that would be guided around by a native. They’d warned you many areas of the mountainous forest were supposedly cursed or haunted, so you just scribbled the limits on your makeshift map and promised to stay on the main trails. After all, this was your chance to commune with nature. As the sun begun to set, you wondered if going by yourself was indeed a smart idea, given your lack of spatial awareness and difficulty to navigate maps. You flipped the piece of paper several times, deep in contemplation. Could it be that you’ve reached the forbidden lands? You quickly surveyed the area: based on the stuffed rag dolls hanging from old branches, and the animal skulls arranged in patterns among patches of burnt grass, it was very much a possibility. Perhaps the improvised slab that said “Stay away” in dripping crimson letters should’ve been enough of a warning, but you assumed they’d just been creative with trail markers.

You didn’t have the time to panic. Just as you were furrowing your eyebrows in a final attempt to decipher the map (at the time upside-down), your ears picked up a faint shuffle of leaves. Further away stood a dog, its glossy eyes fixated on your form. A lost puppy? It seemed to be on the larger side, but then again some breeds grow rather fast. You lowered yourself and patted your knees, whispering diminutives in an effort to call the animal over. It remained in place, staring quietly. Alright, then. You focused on finding your way back instead. Every now and then you'd turn back and see the dog, motionlessly eyeing you at a constant distance. Oh, dear. Was it lost? Frightening affair.

Back at the cabin you told the others about your discovery, with a hint of worry in your voice. You hoped the little pup had found proper shelter. You'd expected a similar reaction coming from your friends, but one of them suggested: "What if it was some shapeshifting monster? There's many legends and stories from the area." Everyone laughed and you joined hesitantly, mildly annoyed by the lack of empathy. That night you barely slept, twisting and turning under the heavy feeling of being watched. You woke up tired and nervous, dragging your feet towards the window for some fresh air. That's when you saw the same forest creature, fully awake and tall in its glory, positioned before your room. This was no coincidence. You had been plagued by the guilt of abandoning a vulnerable quadruped and you weren't about to continue as a passive observer. You strode out without a word and lifted the large dog with a huff, carrying it back in to figure out the transport logistics.

Thus started the unexpected companionship. To you, it's a lovely tale of two lost souls finding one another. Most people seem to disagree. Can you blame them? The rescued puppy you often speak of is, in the eyes of everyone else, a monstrous beast by all definitions. It resembles a coyote more than a dog, but even this description is too gentle. The fur is always raised threateningly and the protruding clusters of fangs remind one of the anatomical anomalies displayed in museums. The eyes, oh, the worst of all perhaps, bottomless depths that pull you in until you run out of air. The creature stares with the all-knowing gaze of a human. "Don't be rude", you snap at whoever dares to point these details out. "It must be a mixed breed or something."

Their persistence is truly ridiculous. You've even had guests run out in panic, claiming the dog stood on its back legs and whispered in a language unknown. Or that its shadow would morph into a grotesque man with claws and crooked antlers. Or that they've found it hunched over your sleeping form, its spine twisted outwards with jagged peaks breaking through the wild fur. Rubbish, all of it.

Strange things have been happening, no doubt, but your adopted fur-child has no blame to carry. You've been trying to distract yourself, going on dates and occasionally bringing potential suitors over. They all vanish overnight, nonchalantly leaving an empty, ruffled bed for you to wake up to. "Am I just unlucky?" You sigh, running your fingers through the coarse fur of your dog. It lowers itself under your touch, visibly enjoying the affection. For a split second, it glances out the window. By the time you come out of your depressed slump, the birds should've finished feeding on the remains. He made sure to tear and grind everything fine enough to not leave any marks behind.

That's how curses work, after all. He didn't expect, however, that you'd be utterly unaware of it. He has to give you the credit, not many people become stalked by an ancient curse and continue their life in blissful ignorance. Even more, for them to just casually pick up the haunting entity and bring it inside their home willingly...You're, uh, certainly a special one. Hence the change of plans. He was supposed to torment you into an early grave, but he's grown rather attached to your bizarre antics. And you do provide some damn good chin scratches. He's therefore satisfied with causing anguish and destruction to anything and anyone in your immediate vicinity instead. Since you've been complaining about the resulting isolation...

You wake up with a gasp, wiping your drenched forehead and checking the sheets. The dog is curled next to you, although its head is now tilted in your direction. "O-oh. It might be the loneliness talking...but I had the strangest dream." How troubling and embarrassing. Your beloved pet had turned into a deformed, monstrous man instead, pinning you down and hungrily grazing your skin with his sharp teeth. Your fearful protests eventually turned into shameless moans, your frail body at the mercy of the mysterious beast. It unfolded so vividly that your core feels sore. You stretch a sheepish hand towards your pet and abruptly stop halfway, noticing the marks diffused into your wrist, like violet smudges of watercolor. What the hell did you do last night?

The dog buries its head under the sheets and nuzzles its snout into your soft flesh. Heh. How many more disappearing guests will be needed for you to figure out your situation? He does find your obliviousness terribly amusing, as well as your willingness to clutch onto him despite his unsightly appearance. He was feeling particularly cheeky and thought of giving you a little scare, only to be once again taken aback by your neediness. He has to wonder who exactly is trapped in this situation, because your reactions to everything he does are frighteningly tempting. Maybe tonight he'll finally let you know, just as you're about to come undone beneath his heaving body. Something like, hmmm. "By the way, love, this isn't a dream." He could even add a little "woof" to tease you more.

[novlr]

Any tips on how to describe indoor spaces so they feel real and match the vibe of the story without throwing in too much detail?

Getting interior scenes just right is all about finding the balance between setting the mood, showing the unique personality of your story world, and keeping the plot moving. There are lots of ways you can use senses, action, and background to set a scene, all of which can work seamlessly with the type of story you want to tell. Here are some tips on how you can achieve that:

How does it look?

Lighting: does your space contain the soft glow of lamps, harsh fluorescent lights, or natural light?

Use colour and textures like peeling paint, plush velvet, or sleek marble.

Size and scale: is it claustrophobically small or impressively grand?

Architectural features: does the space have high ceilings, crown mouldings, or exposed beams?

Furnishings: are they modern, sparse, antique, or cluttered?

Style and decor: what style is represented, and how does it affect the atmosphere?

State of repair: is the space well-kept, neglected, or under renovation?

Perspective and layout: how do spaces flow into each other?

Unique design features: describe sculptural elements, or things that stand out.

Spatial relationships: describe how objects are arranged—what’s next to, across from, or underneath something else?

How does it sound?

Describe echoes in large spaces or the muffled quality of sound in carpeted or furnished rooms.

Note background noises; is there a persistent hum of an air conditioner, or the tick of a clock?

Describe the sound of footsteps; do they click, scuff, or are they inaudible?

Include voices; are they loud and echoing or soft and absorbed?

Is there music? Is it piped in, coming from a live source, or perhaps drifting in from outside?

Capture the sounds of activity; typing, machinery, kitchen noises, etc.

Describe natural sounds; birds outside the window, or the rustle of trees.

Consider sound dynamics; is the space acoustically lively or deadened?

Include unexpected noises that might be unique to the building.

Consider silence as a sound quality. What does the absence of noise convey?

How does it smell?

Identify cleaning products or air fresheners. Do they create a sterile or inviting smell?

Describe cooking smells if near a kitchen; can you identify specific foods?

Mention natural scents; does the room smell of wood, plants, or stone?

Are there musty or stale smells in less ventilated spaces?

Note the smell of new materials; fresh paint, new carpet, or upholstery.

Point out if there’s an absence of smell, which can be as notable as a powerful scent.

Consider personal scents; perfume, sweat, or the hint of someone’s presence.

Include scents from outside that find their way in; ocean air, city smells, etc.

Use metaphors and similes to relate unfamiliar smells to common experiences.

Describe intensity and layering of scents; is there a primary scent supported by subtler ones?

What can you do there?

Describe people’s actions; are they relaxing, working, hurried, or leisurely?

Does the space have a traditional use? What do people come there to do?

Note mechanical activity; elevators moving, printers printing, etc.

Include interactions; are people talking, arguing, or collaborating?

Mention solitary activities; someone reading, writing, or involved in a hobby.

Capture movements; are there servers bustling about, or a janitor sweeping?

Observe routines and rituals; opening blinds in the morning, locking doors at night.

Include energetic activities; perhaps children playing or a bustling trade floor.

Note restful moments; spaces where people come to unwind or reflect.

Describe cultural or community activities that might be unique to the space.

How is it decorated?

Describe the overall style; is it minimalist, baroque, industrial, or something else?

Note period influences; does the decor reflect a specific era or design movement?

Include colour schemes and how they play with or against each other.

Mention patterns; on wallpaper, upholstery, or tiles.

Describe textural contrasts; rough against smooth, shiny against matte.

Observe symmetry or asymmetry in design.

Note the presence of signature pieces; a chandelier, an antique desk, or a modern art installation.

Mention thematic elements; nautical, floral, astronomical, etc.

Describe homemade or bespoke items that add character.

Include repetitive elements; motifs that appear throughout the space.

What is its history?

Mention historical usage; was the building repurposed, and does it keep its original function?

Describe architectural time periods; identify features that pinpoint the era of construction.

Note changes over time; upgrades, downgrades, or restorations.

Include historical events that took place within or affected the building.

Mention local or regional history that influenced the building’s design or function.

Describe preservation efforts; are there plaques, restored areas, or visible signs of aging?

Describing indoor spaces doesn’t have to feel like a chore. Focus on the details that matter most, tie them to the mood or characters, and let your readers fill in the blanks. A well-crafted space not only sets the scene but builds your character's relationship to it. Use sensory language, background, and action beats to tie it into your narrative, and don’t be afraid to play around with motifs and contradictions, depending on who is experiencing it!

[jungkoode]

THE 25TH HOUR | O9

“𝐓𝐑���𝐒𝐓 𝐅𝐀𝐋𝐋”

“We’re designed to fit,” he says, and you don’t know if he means your powers, your patterns, or the way your hand doesn’t shake in his.

next | index

— chapter details

word count: 6,7k

content: reality anchors, the quantum physics are quaking, yoongi being bossy again (and hot about it), elevator scene tension 10/10, jumping across buildings like it's casual (it is NOT), spatial distortion flirty edition, golden tendrils 2.0 (they touched... physically and emotionally??), temporal signature matching (yes it’s hot), someone finally says “we’re designed to fit” and i screamed, drone murder attempt ig, jungkook makes a dramatic entrance and is so annoying about it, team regroup ft. unexplained powers and too many secrets, portal time but make it traumatic.

— author’s note

KAY. LISTEN.

I know I say this every chapter but THIS ONE. this one fried several neurons and may have permanently altered the molecular structure of my spine. I started with “hm what if they walked through a reality anchor” and ended with “what if they synchronized their temporal signatures mid-freefall and touched tendrils in public like absolute whores.” I don’t know what to tell you. I blacked out. This is between me and my caffeine addiction now.

Let’s talk about the jump scene. Yes. You clocked it. That moment where Noma is calculating the distance and Yoongi says “don’t think, just need” and then she LAUNCHES HERSELF INTO THE VOID? Yeah. That may or may not have been deeply inspired by Neo’s rooftop jump in The Matrix (1999, my beloved). I am a massive Matrix nerd. That whole visual of someone standing on the edge of a building, trying to defy the physics they were born into, and being told “your mind is the thing in your way”? It’s been living rent-free in my frontal lobe since I was 13 and thought trench coats were peak fashion.

Because this chapter is, like, extremely about trust. And control. And the horror of not understanding what’s happening inside your own body. It’s about Noma confronting the fact that her mind—her beautiful, precise, analytical mind—is what’s limiting her. And Yoongi, who already knows, who’s BEEN like this longer, who knows what it’s like to break through that threshold and feel the laws of reality tilt around your perception, he’s just THERE. Guiding her. Softly threatening to reset time like a feral little guardian angel.

Also… let’s not ignore the fact that she destroys a drone with her brain and he’s like “cool. moving on.” Sir?? She just folded metal into origami. But okay go off I guess.

AND THEN THEY SYNCH TEMPORAL SIGNATURES. don’t even look at me. I wrote that and sat there like “huh. interesting. so that’s what soulmates sound like in science fiction.” I had to go walk around the block. I made them fit on a molecular level. I made their body chemistry harmonize. Why? Because I am unwell and this is my therapy.

Anyway. Thanks for reading I love you all. Scientifically.

— read on

ao3

wattpad

Reality Anchors are alive.

No one ever told you that part. No briefing, no memo, no research paper had ever mentioned that these imposing structures breathe.

The anchor in front of you rises 37.2 meters from ground to apex, its surface composed of quantum-stabilized alloy that shouldn't—couldn't—pulse like that.

Yet it does. Every 7 seconds, a wave of molecular adjustment ripples from base to tip, disturbing air molecules in concentric patterns that register against your skin at precisely 0.3 pascals of pressure.

Fascinating.

Your retinas register the faint blue luminescence emanating from seams in the structure-temporal energy bleeding through containment fields. 

It feels like reality itself is being compressed into a more efficient configuration.

"Mesmerizing," you murmur, cataloging the observable data. "The quantum-stabilized glass panels are oriented at exactly 73 degrees to maximize temporal field distribution. And the energy consumption must be—”

"No."

You blink, neural processes stuttering at the interruption.

Agent Min has stopped walking and turned to face you fully, his stance registering as 37% more rigid than his baseline.

"I didn't say anything," you point out, tilting your head 12 degrees in genuine confusion.

"Didn't have to." His eyes narrow by approximately 0.3 centimeters.

"Then what are you saying no to?"

"You know what."

"I genuinely don't." Your brow furrows, creating a 0.4-centimeter depression between your eyebrows. "It seems statistically improbable that you could accurately predict my thought patterns without established baseline data."

His mouth twitches—suppressed micro-expression, 0.7 seconds in duration.

"Were you or were you not thinking of using a little detour to satiate that insane curiosity of yours?"

Your silence registers at approximately 3.2 seconds. 

Longer than optimal for casual conversation.

"Exactly. No."

"I find your anticipation of my mental processes presumptuous," you counter, eyes returning to the reality anchor when the uppermost floors shimmer slightly—a temporal distortion effect that standard human vision would filter out. “And I do not appreciate it.”

"Get used to it," he says, resuming walking at a pace 7% faster than before. "You will."

You match his stride automatically.

"The probability of you developing accurate predictive models of my cognitive patterns seems—”

"Already developed," he interrupts, checking his modified Chrono-Sync Watch with a quick glance. "Seventh time you've tried to investigate a reality anchor. Always the same pattern."

This statement contains multiple logical inconsistencies. You've never attempted to investigate a reality anchor before. Your security clearance wouldn't permit it.

Yet your temporal analysis centers don't flag it as a falsehood.

"How would you know that?" 

He doesn't answer, instead gesturing toward the adjacent tower—a colossal structure of similar materials that rises at least 100 floors into the artificially blue sky.

"Travel spot is somewhere in the upper levels," he says, eyes scanning the building's facade. "We need to access it through the anchor first."

You process this information, calculating optimal routes.

"Why can't you pinpoint the exact location?" you ask, question emerging from your analytical centers. "Your previous statements implied familiarity with the network."

His jaw tightens by approximately 4.3 newtons.

"Travel spots shift position by 0.7 meters every 73 minutes," he explains, voice roughened. "Quantum uncertainty principle applied to spatial coordinates. Prevents CHRONOS from establishing fixed monitoring."

"That seems inefficient for a resistance network," you observe.

"That's the point." He checks his watch again—third time in 7.3 minutes. "Inefficiency creates unpredictability. CHRONOS systems are designed for pattern recognition."

You approach the base of the reality anchor, where a standard-looking entrance is monitored by temporal signature scanners disguised as decorative elements.

"How do we bypass security?" you ask, noting at least three visible monitoring devices and calculating a 94.7% probability of additional concealed systems.

"We don't," he says, reaching into his jacket and extracting what appears to be a standard CHRONOS identification card. "We walk in like we belong."

The card in his hand triggers your pattern recognition— holographic security features match authorized maintenance personnel credentials.

"Falsified identification carries a minimum penalty of 73 days in temporal isolation," you note automatically.

He almost smiles—left corner of his mouth lifting 0.2 centimeters.

"Only if you get caught."

He approaches the entrance with casual gait, and you follow—still processing the anchor's structure. 

The quantum equations rippling across its surface follow a pattern that suggests...

"I told you to stop analyzing," he murmurs, voice barely audible at 17 decibels. "Your temporal signature fluctuates when you're thinking too hard. Makes you detectable."

You attempt to modulate your thought patterns, an unusual exercise that creates a 0.3-second lag in your cognitive processing.

He swipes the identification card through the scanner, which responds with a soft tone at exactly 432 Hz—the standard confirmation frequency.

The interior of the reality anchor is even more fascinating than its exterior.

The lobby appears standard-neo-minimalist design, temporal-stabilized plants arranged at mathematically significant intervals—but your enhanced perception detects the subtle wrongness of the space.

The air pressure is precisely 0.7 kPa higher than standard atmospheric conditions. 

The lighting pulses at a frequency of 7 Hz, which is imperceptible to normal human vision but clearly designed to reinforce temporal compliance in visitors.

"Maintenance elevator is on the left," Agent Min says, guiding you with a subtle gesture. "Don't look at the central column."

Naturally, your eyes immediately flick toward the center of the lobby.

The sight momentarily overloads your visual processing. 

A column of pure temporal energy rises from floor to ceiling, contained within quantum-stabilized glass. The energy moves in patterns that defy standard physical laws—simultaneously flowing upward and downward, existing in multiple states… at once?

"I said don't look," he hisses, fingers closing around your wrist to redirect; not enough to cause discomfort.

"What is that?" you ask, unable to fully suppress your curiosity despite his warning.

"The anchor point," he says, voice tightening as he guides you toward the maintenance elevator. "Direct connection to the Master Clock. Looking at it too long causes temporal vertigo in most humans."

You save this information, filing it under high-priority data.

"And in non-humans?"

His steps falter—0.3-second hesitation.

"In Outliers," he corrects quietly, "it can trigger awakening."

The maintenance elevator requires another scan of his falsified credentials. 

As the doors close, enclosing you in a space of approximately 2.3 cubic meters, you notice the absence of standard temporal monitoring devices.

"Why aren't there cameras?" you ask, scanning the ceiling corners where monitoring equipment would typically be installed.

"Reality anchors generate too much temporal interference for standard surveillance," he explains, pressing the button for floor 30. "Creates blind spots in their system."

"That seems like a significant security vulnerability," you observe.

His mouth quirks again.

You don’t know why you’re starting to find the gesture attractive.

"Why do you think we're using it?"

The elevator ascends at precisely 3.7 meters per second, which you note is faster than standard civilian elevators but slower than executive transport. Your inner ear registers the acceleration, adjusting automatically.

"The travel spot," you begin, mind working through the problem. "You said it's in the upper levels of the adjacent tower. Why can't we access it directly?"

He leans against the elevator wall, posture relaxing by approximately 7%.

"Security protocols," he says. "The tower has standard monitoring. The anchor doesn't. We cross through the anchor's 30th floor-maintenance level, and then we use the connecting bridge to access the tower."

"And after that?"

"After that, we find the travel spot." He checks his watch again—fourth time in 12.7 minutes. "It should be somewhere between floors 90 and 97."

You calculate the search parameters.

"That's approximately 7,432 square meters of potential location space," you note. "Seems inefficient."

"I'll narrow it down once we're closer," he says. "My temporal sense can detect the quantum fluctuations at closer proximity."

The elevator slows as it approaches floor 30, and Agent Min straightens, resuming his alert posture.

"When we exit, walk like you're supposed to be here," he instructs. "Maintenance personnel check this level every 73 minutes. Current interval gives us approximately 47 minutes before the next sweep."

"Understood," you confirm, automatically adjusting your posture to match standard CHRONOS maintenance staff parameters—shoulders back, gaze forward, movements economic and purposeful.

The elevator doors open to reveal a stark corridor illuminated by temporal-stabilized lighting. 

Walls are lined with quantum-reinforced panels marked with mathematical equations that your pattern recognition identifies as temporal field calculations.

Agent Min steps out first, fluid and confident. 

You follow, checking every detail of this restricted environment that few civilians ever see.

"Don't touch anything," he warns, leading you down the corridor. "Some of these panels are directly connected to the temporal field generators."

You resist the urge to examine the equations more closely, focusing instead on maintaining the appropriate walking pace and posture.

"The connecting bridge is 23 meters ahead," he says, voice low. "Once we cross, we'll need to take the service stairs. The tower's elevators are monitored."

"Stairs?" you query, calculating the energy expenditure required to ascend approximately 60 floors. "That seems—"

"Necessary," he interrupts. "Unless you'd prefer to explain to CHRONOS why we're accessing restricted floors."

You concede the point with a slight nod.

15 degrees downward, 15 degrees upward.

As you walk, your mind continues processing the reality anchor's structure, the equations on the walls, the subtle vibration beneath your feet that suggests massive energy manipulation occurring somewhere below.

"You're thinking too loud again," Agent Min murmurs, not turning to look at you.

"That's not physically possible," you counter automatically.

"Your temporal signature disagrees," he says, tapping his temple with his index finger. "I can feel it fluctuating."

This statement contains another logical inconsistency. 

Standard humans cannot detect temporal signatures without specialized equipment.

Yet once again, your temporal analysis centers don't flag it as a falsehood.

"How—" you begin.

"Bridge is just ahead. Stay close."

But the bridge…

It’s not offline. It’s gone.  

You stare at the empty space where reinforced glass and temporal alloys should’ve formed a secure pathway. 

Only support beams remain, jagged edges still glowing from whatever energy weapon severed them.  

Agent Min’s eyebrows do something statistically improbable—contracting inward by 0.9 centimeters while the skin between them folds into three distinct creases. 

You’ve never seen his face execute this particular combination of micro-expressions before.  

“They altered this sector’s infrastructure,” he mutters, more to himself than you. 

His left hand twitches toward his Chrono-Sync Watch, aborting the movement halfway.  

You pivot toward the window, retinal sensors catching a faint outline-maintenance door, 3.2 meters left of the destroyed bridge. 

Beyond it: a sheer drop, then the adjacent tower’s western face. 

Your mind calculates the distance before your ethics committee can veto the idea.  

“We could jump.”  

He doesn’t immediately dismiss it. 

That’s how you know things are bad.  

“Distance?” he asks, joining you at the window.  

“14.7 meters horizontally, 3.3 meters vertical elevation differential.” You tap the glass, triggering a subconscious visualization overlay. “Structural analysis indicates the target building’s exterior has adequate grip points for—”  

“For me,” he interrupts. His breath fogs the glass near your fingertip. “Not for you.”  

You tilt your head, analyzing his profile. “You’re suggesting I remain here while you—”  

“I’m suggesting you stop suggesting suicide vectors.” His jaw works, a muscle ticking at 2.7-second intervals. “There’s another route. Has to be.”  

You let him pace—eight steps toward the elevator, twelve back—before interrupting.  

“Average human long jump record is 8.95 meters. My enhanced musculature could theoretically—”  

“Theoretically splatter across sixty floors of neo-Brutalist architecture.” 

You frown. “We’re only thirty floors up.”

“From the anchor,” he says. “The tower’s foundation sits two levels below base-grade. It drops into a full infrastructure pit—ventilation shafts, temporal gridwork, CHRONOS substation access. You fall here, you don’t just hit pavement. You keep falling.”

He gestures down through the glass.

“Sixty floors straight into the sector’s hollowed-out gut. Like getting thrown down a well lined with concrete and death.”

How does he even know all that?

But before you can let curiosity get the best of you again, he stops mid-stride, pinning you with that look again. The one that makes your internal processors skip. 

“But—”

“No.”  

You frown, press your palm against the window, feeling the tower’s vibration through the glass. 

“Then you go first. Anchor a line. I’ll follow.”  

He’s already shaking his head. “Temporal energy doesn’t work like that. Can’t manifest solid constructs without—”  

“Without triggering every sensor in the sector. Yes.” You turn from the window, meeting his glare. “So, again, that leaves one option.”  

For three seconds, the only sound is the reality anchor’s low-frequency hum. 

Then he swears—a creative combination of English and technical jargon your language centers can’t fully parse.  

The maintenance door handle feels colder than ambient temperature suggests. You’re calculating wind shear variables when his gloved hand covers yours, halting the motion.  

“If we do this,” he says, voice stripped to its raw edges, “you follow my instructions exactly. No deviations. No calculations mid-air. Understood?”  

You nod, the movement precise. 

15 degrees down, 15 up.  

He releases your hand to grip both shoulders instead, leaning in until his mint-and-ozone scent overrides the tower’s sterile air. 

“When you jump, you don’t think about falling. You don’t think about distance. You think about needing to be on that ledge. Your entire existence becomes that single purpose.”  

You open your mouth to request clarification on biomechanical feasibility—

“No.” His fingers tighten. “No questions. Your body knows how. You just have to stop overloading it with doubt.”  

The paradox registers immediately. 

“But without understanding the mechanism—”  

“Understanding comes later.” His thumb presses into your collarbone, exactly where that freckle hides beneath synthetic fabric. “Surviving comes now.”  

You glance past him to the abyss. 

He opens the door.

The wind’s howling at 37 knots now, whipping hair into your eyes. 

“Probability of success?”  

He doesn’t sugarcoat it. “Sixty-eight percent. If you focus.”  

“And if I don’t?”  

For the first time, his face contracts—a fractional widening of pupils, a minuscule catch in his breathing rhythm.  

“Then I’ll reset time until you do.”  

The words register as raw, hovering between you for a few seconds before he finally turns toward the void.  

You watch him leap—no hesitation, no visible calculation. Just pure intent translated into motion.  

He makes it look effortless.  

And then it’s your turn.  

The wind screams. The city sprawls below, a mosaic of blue-lit grids and shadow. 

You psych up the variables: air density, potential updrafts, the exact angle of your target ledge.  

Then you stop thinking.  

You launch, and the world narrows to wind and numbers.

For a moment, there’s no sound, no up or down. Just velocity and the impossible distance between you and the ledge. 

Adrenaline floods your system, not sharp but heavy, like a stone pressed to your sternum. 

You’re aware of your own mass, the drag of your body through air, the way your limbs cut a path no algorithm could ever predict.

Agent Min is already there, turned halfway, eyes tracking your arc. His mouth moves—maybe a warning, maybe your ID number—but the rush drowns it out. 

You think of the other side. You need to reach the other side. 

The imperative is simple, absolute. 

Not crossing means plummeting. Not crossing means becoming a data point in a CHRONOS incident report.

You make the mistake of looking down.

Thirty floors up, the city is abstract. 

Cars, people, light—all reduced to static. 

The void is real. 

You feel it in your teeth, in the way your stomach seems to invert, in the cold sweat prickling your palms. 

Your calculations fracture. The ground is coming up fast.

You look up. 

Agent Min’s silhouette sharpens against the skyline, mint hair a streak of color in the blue haze. His eyes widen—first time you’ve seen that particular fear. 

He’s reaching for something, or maybe just reaching.

You’re falling.

The world tilts. Air roars past your ears. Time dilates, then contracts. 

You’re aware of every heartbeat, every useless attempt your muscles make to grab onto empty space. 

The ledge is gone. The city is too close.

Then—discontinuity.

You’re upright. Feet planted on solid ground. Breath caught in your throat. 

Your hands move before your mind does, fingers flexing, checking for fractures, for blood, for any sign of what should have happened. 

Everything responds. No pain. No missing time.

Agent Min spins, posture radiating pure stress and panic. 

His face is a study in shock—mouth open, eyes blown wide, like he’s seen a ghost.

You blink. He blinks.

Your heart is still racing, but your body is whole. You’re here. You made it. The numbers don’t add up, but the outcome is undeniable.

You’re alive.

Agent Min’s gaze darts between your left and right pupils, rapid assessment mode engaged, as if he’s scanning for damage or data.

“Damn it, Noma,” he mutters, voice rough and frayed at the edges. “Holy hell.”

His hands clench into tight fists at his sides, knuckles whitening under the strain. 

You note the micro-tremor in his fingers-2.3 hertz, consistent with suppressed impulse. 

He exhales, a controlled release of 1.7 liters of air over 3.1 seconds, then drags a gloved hand down his face, smearing frustration across his features.

Before you can catalog further, a mechanical whine pierces the air-high-pitched, 17 kHz, consistent with a CHRONOS surveillance drone. 

Agent Min’s posture shifts instantly, weight forward, arm half-raised to shield or shove you aside. 

“Watch—”

You tilt your head back, a reflex, not a decision. 

There’s a sound—metal crumpling, like foil under pressure—and the drone’s frame twists mid-flight, folding inward at impossible angles. 

It drops, a lifeless heap, 4.7 meters below the ledge.

He stares at the wreckage, then at you. 

“Well. Alright then.”

Your mind is already running diagnostics. 

“Did I cause that?”

He lets out a long, resigned breath, shoulders dropping by 1.2 centimeters. 

“Yeah. You did.”

“How?” 

Your spatial awareness logs are blank—no memory of intent, no record of action. Yet the evidence is undeniable: twisted alloy, a perfect collapse. 

You flex your fingers again, searching for a trigger, a mechanism. “Was that a manipulation of spatial configuration? A localized distortion field? I need parameters.”

He steps closer, mint and ozone cutting through the sterile tower air, but his expression is all weariness. 

“We gotta move, Noma. Now.”

You plant your feet, shifting your center of gravity to counter his subtle pull. 

“Explanation required. Did I alter the drone’s physical positioning? Compress its structural integrity via spatial warp? Or—”

He makes a sound full of resignation. 

“Look, Noma, I l—”

He cuts himself off, jaw snapping shut with an audible click. 

A recalibration. 

“I get it. I do. But we don’t have the luxury of a debrief right now.”

Your brow creases, a 0.5-centimeter furrow. 

“Understanding the mechanics of an undocumented ability is not a luxury. It’s a necessity. If I can replicate—”

“You will,” he interrupts, voice low but firm, carrying a weight you can’t parse. “Just not here. Not with drones sniffing our temporal signatures.”

You glance at the wreckage again, mind spinning through theoretical models. 

No data, no precedent. 

Just a gut—deep certainty that you reshaped reality without conscious input. 

The implications are staggering. 

If you can do this instinctively, what else lies dormant? What are the limits? Energy costs? Detection risks?

He’s watching you, reading the cascade of queries behind your eyes. “I know that look. And I’m telling you to shelve it. We’re exposed.”

“Five seconds,” you negotiate, already cross-referencing the drone’s design against known CHRONOS tech. “If I can isolate the method—”

“Zero seconds.” He grumbles, fingers wrapping around your wrist and pulling you behind him. “Survival first. Science later.”

Your logic centers protest, but the risk assessment aligns with his. 

You exhale—petulant, probably, but you do not care. 

Because whatever you did, it’s a piece of the puzzle. A fragment of who—or what—you are. 

And you’ll dissect it, variable by variable, until the equation balances.

You don’t realize you’ve been holding your breath until the air shifts.

Up here, it tastes different. 

Thinner. Filtered, maybe. Like someone cleaned it too well, stripped it of anything real. 

The ground is nothing but blur—washed out in streaks of artificial white and synthetic blue haze. Designed to erase depth perception. To flatten the concept of below into something distant. Forgettable.

CHRONOS engineering at its finest.

You step closer to the edge, boots scraping faintly against the metal grating. 

The city is unrecognizable from this height. Not a city at all, just layers of grids and light. Soft pulses of movement that don’t quite feel alive. No wind reaches this far up, only some sort of hum—low, steady, mechanical. 

You wonder if the workers stationed here can still hear it when they sleep. 

If they ever sleep.

You’ve read the reports. Rotating shifts, twenty-hour cycles, neural stimulants to bypass natural fatigue responses. Cognitive degradation flagged as acceptable collateral. Worker retention rate at 37.2%.

In other words: not sustainable.

But great pay.

You press your fingertips lightly to the edge of the railing. Cool to the touch. Grounding, somehow. 

You scan the skyline, calculating angles, distances, escape vectors you’re not sure you’ll ever need but catalog anyway. 

That’s what you do. 

What you’ve always done.

But the sky pulls at you. Quietly. Persistently.

Dark velvet stretched wide above your head, broken only by the scatter of stars. 

You tip your chin back, gaze locking onto a thousand silent points of light, each one burning impossibly far away. 

Data points you can never reach, but something in you reaches anyway.

And there—framed in that endless black—

The moon.

Not in any model you’ve ever studied. Not filtered through facility-grade optics or distorted by atmospheric interference. 

Just… suspended. Brilliant. Whole. A perfect sphere painted in shades of silver and shadow. 

It’s too much, too big. 

Your breath catches again, chest tightening like something fragile just cracked open inside you.

It escapes before you can stop it. A single word.

“Beautiful.”

Soft. Uncalculated.

You freeze the second it leaves your mouth, pulse stuttering in your throat. 

You didn’t mean to say that. 

You never mean to say things like that.

A breath stirs the space beside you. Not yours.

“…Yeah.”

Quiet. Barely more than air.

“…Beautiful.”

The confirmation scrapes against something unsteady inside you. 

You shouldn’t turn. You know you shouldn’t. But your gaze shifts anyway, slow and reluctant, as if giving your body too much permission might undo you entirely.

He’s already watching.

Agent Min.

Not the skyline. Not the moon. Not the impossible stretch of space yawning above you.

You.

And he doesn’t look away.

For a suspended second, nobody speaks. 

Then his eyes flicker gold. 

It's the seventeenth time you've seen it happen. Seventeenth. You've been keeping count, tracking when it occurs, searching for the pattern. Not random—nothing about him is ever random—but the trigger remains frustratingly elusive. 

Is it emotional response? Memory access? Some kind of power regulation failing?

You step closer until you can detect the subtle heat radiating from him—always running warmer than human baseline. 

His pupils track your movement, dilating slightly.

A measurable response.

His fingers tighten on the railing, leather creaking under pressure. You note this detail, file it away. 

He stares at you.

You stare back.

"I've been meaning to ask," you say, keeping your voice even despite the strange pressure building under your sternum—like something's trying to expand beyond the confines of your ribcage.

His throat shifts as he swallows. Blinks once.

“Ask what?"

"Your eyes." 

His gaze slides away, avoiding yours for exactly 3.2 seconds before returning. Avoidance behavior. 

Why?

The silence grows heavy between you. 

If you were better at social interactions, you might understand why he doesn't respond. 

But you're not, so you elaborate.

"I have noticed they appear to shine at certain moments." You tilt your head slightly. "The same color as your tendrils. But I can't seem to figure out the why."

His focus drops briefly to your mouth before returning to your eyes. Quick. Almost imperceptible. But you catch it—and the flash of gold that accompanies it. 

Interesting correlation.

He looks at your lips = eyes change.

Cause and effect?

Sexual response?

Your gloved hand lifts toward his face, hovering in the space between you. 

Not touching. Not yet. Just... there. Testing a hypothesis.

"Noma," he says, your nickname rough around the edges. "That's... not advisable."

Why does that name feel so familiar when he says it?

"Why not?" The tilt of your head increases, curiosity sharpening. "I'm collecting data. Your ocular anomalies appear to correlate with specific emotional states."

You watch his pupils expand, blackness swallowing the iris except for that gleaming ring of gold.

"It's not a lab experiment." His jaw clenches, muscle rippling beneath skin.

He's restraining something. But what?

"Everything is data," you counter, your hand still suspended between you. "The gold appears when proximity decreases between us. When conversation shifts toward personal topics. When you look at my—"

You stop yourself. Recalibrate.

"When certain visual attention patterns emerge."

His breath changes rhythm—slower in, quicker out. You track this shift automatically. 

"And what conclusion have you reached based on these... observations?" His voice has become unsteady. 

In it, a roughness that wasn't there before.

The scientist in you needs to categorize it.

The rest of you just wants to hear more of it.

"Insufficient evidence for definitive conclusion." Your palm drifts closer to his face. "Hence the need for additional testing parameters."

"Agent." Warning laces his tone, but you note the contradiction in his body language—the slight forward tilt, the micromovement toward your hand. 

Your watch beeps softly. Temporal variance: 0.87%.

Why does your temporal signature fluctuate around him?

Why does your body recognize patterns your brain can't access?

"The gloves provide sufficient barrier protection for initial contact testing," you say, though in the back of your mind, you know that's not why you want to touch him. Not really. 

"It's not about the barrier," he says, still not pulling away.

"Then what is it about?" 

His eyes lock with yours, longer than his usual pattern. Something shifts in them—not just the color, but something deeper. 

Like barriers cracking.

"It's about..." He pauses, searching for words. "Restraint."

"Explain." 

Not a request. A need.

One corner of his mouth quirks up. "Demanding tonight, aren't we?"

Your hand inches closer. 

"Is that why your eyes change?" You push for answers, always pushing. "A failure of restraint?"

A sound catches in his throat, something between amusement and pain.

"They change when I'm..." He stops, recalibrates. "When I feel things too strongly."

"What things?"

"Anger. Fear." 

His gaze drops to your mouth again, longer this time. 

"Want."

The word settles into your chest, makes a home there. 

Your lungs feel suddenly insufficient, breath coming shorter despite oxygen levels remaining constant.

"And now?" Your voice sounds different to your own ears, pitched lower. "Which is it?"

His hand leaves the railing, wraps around your wrist. Not pushing away—just holding. Containing—touch gentle but unmistakably firm.

"What do you think, Noma?" Your nickname sounds different this time. 

Softer. Almost tender.

Why does it affect you when he says it like that?

You mentally catalog his physiological responses: dilated pupils, elevated respiration, muscle tension patterns indicating both arousal and resistance.

"Want," you determine with absolute certainty.

His eyes flare gold again—holding this time, not flickering away.

"Good analysis," he murmurs, still not releasing your wrist.

Your pulse thrums against his fingers. You can feel it jumping, betraying things your clinical mind refuses to name.

"May I?" Your gloved hand moves closer to his cheek.

Why are you pushing this? Why does it matter?

This isn't efficient data collection.

This is... something else.

His throat works as he swallows. 

"We shouldn't," he says, strain evident in every syllable. "That's my professional assessment."

"We're both still wearing gloves," you argue, logic centers frantically constructing justifications. "Barrier intact. Risk parameters acceptable."

"You know it’s not about statistics." His grip loosens slightly. 

He doesn't elaborate. 

Something complicated moves across his face, too fast for even your pattern recognition to decipher.

You need to know. You need to understand.

Why him? Why you? Why now?

Decision made, your hand pushes forward, breaking through his weakened resistance. Your gloved fingers make contact with his cheek.

And—

Oh.

The sensation defies categorization. Despite the barrier of fabric between you, something passes through the touch. 

A current.

An echo. 

Something your scientific vocabulary can't properly name.

His eyes close. He looks suddenly vulnerable in a way that makes your chest ache.

"Your temporal signature," he says quietly, "it just... aligned with mine."

Your eyes drop to your watch. Temporal variance: 0.00%.

Perfect stabilization.

That's impossible.

There's no precedent for this in any temporal physics model.

"How?" The question slips out, unfiltered and raw.

His eyes open slowly, gold filling them completely now. 

Steady and bright and impossibly beautiful.

Beautiful.

"Because," he says simply, "we're designed to fit."

You should process this information. Should file it away with all your other observations about Agent Min and his inexplicable abilities. Should create new theoretical models to explain the perfect temporal alignment currently registered on your watch.

Instead, you just... feel. 

The warmth beneath your fingers. The impossible gold of his eyes. The way your body seems to recognize him on some cellular level your mind can't access.

‘We're designed to fit.’

The implications of that statement should terrify you. 

Instead, they feel like coming home.​​​​​​​​​​​​​​​​

You're staring into his golden eyes when a low whizz cuts through the air. 

Your auditory processing centers register the sound at approximately 17kHz—just within human hearing range, but with a distinct mechanical oscillation pattern consistent with CHRONOS drone propulsion systems.

Before your brain can fully process the threat, Agent Min's head whips around—reaction time approximately 0.3 seconds faster than optimal human baseline. His pupils contract, gold flares brighter, mouth opens to form what appears to be a warning.

Too late.

Something hits you from behind—force vector approximately 47 newtons, angle of impact suggesting deliberate trajectory. The pressure against your back lasts precisely 0.7 seconds.

Then nothing.

Air rushes past your ears at increasing velocity. Your inner ear fluid shifts dramatically, sending conflicting data to your vestibular system. Gravity reasserts its dominance with brutal efficiency.

You're falling.

Again.

Acceleration rate: 9.8 meters per second squared.

Terminal velocity approaching.

Probability of survival without intervention: 0.003%.

The analytical part of your brain calculates these figures automatically while your body experiences what can only be termed as terror—heart rate spike of 73%, adrenal glands flooding your system with cortisol and epinephrine.

"NOMA!"

The sound tears through the rushing air—raw, primal, carrying a frequency range your pattern recognition flags as desperate. 

You twist mid-air, arms instinctively moving to shield your head from inevitable impact.

That's when you see him.

Agent Min. 

Yoongi. 

Falling just above you, body positioned in a perfect diving form that creates maximum aerodynamic efficiency. 

His trajectory indicates purposeful action.

He jumped after you.

He's saying something—lips moving rapidly—but the blood rushing in your ears creates a noise barrier approximately 84 decibels. His words are lost in the chaos of your fall.

Your abilities.

The thought crystallizes with sudden clarity. 

You teleported earlier. Spatial manipulation. If you could replicate that effect now—

Focus. But how? What's the trigger mechanism?

Your thoughts scatter across multiple processing centers, frantically searching for the neural pathway that activated during the previous incident. 

Agent Min never explained the mechanics.

He should have.

You’ll make sure to have that conversation later.

If you survive, that is.

Golden tendrils emerge from his outstretched fingers, extending at velocities that defy standard temporal physics. They reach toward you, pushing against the air itself as if trying to accelerate his fall beyond normal gravitational parameters.

You struggle to replicate whatever neural pathway activated before. Nothing happens. Your fingers flex, your mind focuses, your desperation builds.

What triggered it before? Survival instinct? Specific neural configuration? Direct threat vector?

The golden traces stretch further, now mere centimeters from your reaching hands. Their movement creates visible distortion in the air, like reality itself warping around their influence.

Then—

Something shifts within you. 

Not gradual. 

Not building.

A sudden quantum change in your neural configuration. 

Your cognitive perception splits for exactly 0.7 seconds—awareness operating in multiple states simultaneously.

Tendrils emerge from your own fingertips.

Golden, like his, but fundamentally different. Where his flow like liquid, yours crystallize like faceted gold. Where his move in clockwise patterns, yours rotate counterclockwise.

Opposing rotations. 

Perfect complements.

They reach out—not by your conscious command but through some deeper programming—and intertwine with his traces. The contact creates an immediate energy transfer that registers across your neural receptors as both hot and cold simultaneously.

In the space between one heartbeat and the next, the world blurs. Spatial coordinates shift in ways that violate every physical law you've ever studied. Distance compresses, then expands.

You're in his arms.

The transition happens without intermediate steps—one moment falling separately, the next secured against his chest, his left arm wrapped around your waist with exactly 82% more pressure than necessary for stability.

You register multiple data points simultaneously:

- His elevated body temperature: 39.1°C

- His heartbeat: 172 BPM

- His breathing: rapid, shallow, 24 respirations per minute

- His face: positioned 3.4 centimeters from your cheek, over your shoulder

So close. One small movement would bring skin against skin. 

Your temporal readings spike at the mere possibility.

Before you can process this new configuration, another force vector impacts you both—lateral trajectory, approximately 93 newtons. 

Not from Agent Min. 

External source.

Someone else.

Your coupled bodies are propelled sideways at high velocity. 

The world blurs again as you and Agent Min, still locked together, phase through what appears to be solid matter. 

Glass. Concrete. Steel. 

Your molecular structure should be encountering significant resistance, yet moves through these barriers like they're nothing more than projections.

Quantum tunneling? Spatial displacement? Molecular phasing? Your scientific vocabulary struggles to categorize the experience.

Impact comes suddenly—both of you hitting a solid surface at approximately 37% of terminal velocity. The force disperses through your skeletal structure, joints absorbing kinetic energy at efficiency rates that exceed normal human parameters.

You roll, momentum carrying you across hard flooring. Pain signals to your central nervous system—data indicating tissue stress but not structural failure.

When you finally stop, every bone in your body aches with the signature of controlled landing trauma. 

Not optimal, certainly not comfortable, but survivable.

Survivable by design.

You inhale sharply—2.1 liters of air in 0.8 seconds—and your eyes search frantically for Agent Min.

Where is he? Was he injured in the landing? Who pushed you? How did you phase through solid matter?

Your golden tendrils have vanished, leaving only lingering warmth on your fingertips where they emerged. 

Your watch beeps an unfamiliar pattern: Temporal-spatial variance detected. Recalibration required.

You blink rapidly, visual processing recalibrating as you scan the environment. 

Sleek walls. Polished concrete floor. 

Location unknown. Sector indeterminate.

Blood drips onto your hand. Your nose is bleeding again—heavier flow than before. Your fingertips come away stained crimson. Your skull throbs in pulses, each one making your vision blur at the edges.

"For fuck's sake, Jungkook, you almost killed them!" 

Taehyung's voice cuts through the fog in your head, sharp with that specific tension you've cataloged as his version of concern.

"I was literally on the clock before they became sidewalk art!" Jungkook shoots back, hands gesturing wildly. "Next time maybe give me more than a seven-second window!"

"Seven seconds is generous considering—"

"Generous?" Jungkook's voice cracks slightly. "Try mimicking two completely different abilities at once! My brain feels like it's been microwaved!"

The argument washes over you in waves as you press your palm to your forehead. 

The pain isn't unbearable, just... insistent. 

Demanding attention like everything else in this mess of a situation.

Your eyes find Agent Min, seated on the floor several meters away. His right hand grips his left shoulder, features tightening in a microexpression of pain he's clearly trying to suppress. 

The joint looks wrong—angled slightly off anatomical baseline.

"We don't have fucking time." His voice slices through the bickering, rough-edged and final. "They're onto us."

Jungkook whips around. 

“No shit? Why do you think we had to pull this stunt?" His hand sweeps through the air. "We couldn't even reach you with Taehyung's interfacing—you were completely out of range! Thank god Y/N's abilities are something else entirely."

Agent Min's eyes narrow, focusing on Jungkook with an intensity that carries clear warning. 

Not a word. 

Just that look. 

The one that stops conversations dead.

Jungkook registers it immediately, jaw snapping shut, body language shifting from confrontational to compliant in under a second.

Interesting.

They're hiding something about your abilities.

What exactly don't they want you to know?

Taehyung clears his throat—a sound designed to redirect attention. 

He points behind him toward what can only be described as a tear in reality itself. A circular formation pulsing with quantum uncertainty, its borders shifting between states of matter in ways that shouldn't be physically possible.

"What about base first, arguing later?" he suggests, voice calm in that way people get when they're trying too hard.

You wipe blood from your upper lip. Your eyes find Agent Min again, seeking his reaction. His gaze meets yours briefly before sliding away, gold still lingering at the edges of his irises.

Why won't he look at you properly?

What does he know that you don't?

"What is that?" The question falls from your lips before you can stop it, analytical systems demanding data despite everything else.

"Travel spot. Portal to headquarters," Taehyung answers, shoulders relaxing slightly at the subject change.

You shift your weight, preparing to stand, when your temporal readings spike without warning. The numbers flash red: 3.17%

That's not good.

"Stabilize her," Agent Min orders, voice clipped. "Temporal cascade imminent."

Jungkook moves fast, crossing the space between you in under a second. 

His fingers press against your temporal monitor, executing adjustments with practiced precision.

"Breathing," he instructs, tone sliding into something steadier. "Seven in, seven out. Match me."

The contact triggers something—a flash of memory that doesn't quite feel like yours:

Different hands.

Same words.

"Breathe with me, Noma. Focus."

Pain spikes behind your eyes as incompatible memory patterns try to align. The room tilts slightly.

"What happened up there?" Taehyung asks, attention on Agent Min.

"Temporal ambush," he answers, face tight. "Drones masked behind a reality field."

Taehyung's eyebrows rise. "That's still in R&D."

"Apparently not anymore." Agent Min pushes himself upright, grimacing as his shoulder shifts. "They're adapting faster this time."

This time.

As opposed to when?

"Your tendrils connected with his," Jungkook says quietly as he monitors your readings. "That's what stabilized you both mid-fall."

You blink, memory fragments of golden light intertwining in freefall. 

The way your body reacted without conscious direction. 

The impossibility of the physics involved.

Agent Min moves toward the portal with measured steps. "We need to move before CHRONOS tracks the spatial distortion."

"She deserves to know what she can do," Jungkook says, voice low but firm.

Agent Min stops, spine stiffening visibly. 

“When she's ready."

"And who decides that?" Jungkook challenges, though his hands remain gentle on your monitor. "You?"

The tension between them feels old somehow. Well-worn. Like terrain they've crossed many times.

"Portal stability dropping," Taehyung interrupts, hand cutting through the air. "Either we go now, or we're stuck here."

Agent Min's eyes flick between you and the portal, calculations running visible behind his eyes.

“We are leaving.” He simply mutters, final.

“Of course we are.” Jungkook replies with a hint of something almost like resignation.

Your temporal readings begin to stabilize: 1.47% and decreasing.

Jungkook's hands withdraw from your monitor. "Stable enough for transit."

Agent Min approaches, movements careful despite his obvious discomfort. His right hand extends toward you, gloved palm up.

"The first transit is... disorienting," he says, voice dropping to something softer. "Holding on helps with the spatial realignment."

You stare at his outstretched hand. The leather creases in familiar patterns. The angle of his fingers seems to match your palm perfectly.

‘We're designed to fit.’

His earlier words echo through your mind, connecting dots you didn't even know existed.

"Noma," he says quietly. "Trust me on this one."

The nickname bypasses all your analytical systems, triggering responses you can't explain or quantify.

Your hand moves before your brain fully catches up, fingers sliding into his with strange, impossible familiarity.

Your watch beeps once more: Temporal variance: 0.73%.

Stabilizing.​​​​​​​​​​​​​​​​

“Let’s go.”

goal: 275 notes

next | index

— taglist

@cannotalwaysbenight @taevanille @itstoastsworld @somehowukook @stutixmaru @chloepiccoliniii @kimnamjoonmiddletoe @ktownshizzle @yoongiiuu93 @billy-jeans23 @annyeongbitch7 @mar-lo-pap @hobis-sprite0218 @mikrokookiex @minniejim @curse-of-art @cristy-101 @mellyyyyyyx

© jungkoode 2025

no reposts, translations, or adaptations

[russellmoreton]

Celestial Sphere : Stars and Dust Particles. 4 by Russell Moreton Via Flickr: Astronomical archive Entanglements of matter and meaning. Karen Barad, Meeting The Universe Halfway, 2007.

[toriaaniin]

Part II: What Rebranding Really Means... and Why It’s Risky

When we talk about rebranding, especially in the entertainment industry, we often picture something loud. A haircut. A viral campaign. A new kind of role that screams “I’m not who you thought I was.” But the truth is: the most effective rebrands often whisper before they shout.

And that’s what we’re seeing with Luke.

This isn’t a radical reinvention. It’s a strategic pivot. A slow exit from the “soft romantic lead” persona into something more sculpted, more stylized, and—at least on the surface—more masculine-coded. The grid is darker. The gaze is cooler. The softness is still there, but buried beneath shadows and sharp tailoring.

But here’s the risk:

When you shift your brand, you risk leaving people behind.

Fans who fell in love with the soft, earnest Luke—the man who made self-deprecating jokes, who looked at Nicola like she was made of starlight, who tap danced his way through press tours—don’t always know what to do with this version. The version with the drink in hand and the unreadable stare. The version who posts a cheek kiss without tagging the woman in the photo. The version who archives his history.

It doesn’t mean this version is fake. It just means it’s different. And difference invites interpretation. Especially when your fanbase is this emotionally invested, this observant, and this good at picking up what’s unspoken.

The Male Gaze and Rebranding Masculinity

One of the most overlooked truths about rebranding male actors is this: they’re not just being repositioned for us. They’re also being positioned for each other.

Luke’s new aesthetic doesn’t just appeal to a fashion-forward, film-savvy audience. It appeals to casting directors, studio execs, and brand reps — many of whom are still operating within systems coded by the male gaze. That doesn’t just mean how men look at women. It means how men are conditioned to see themselves. To aspire. To be perceived.

Softness can be charming. But when it comes to anchoring a franchise, fronting a fashion house, or leading a billion-dollar drama series, the industry still leans toward controlled masculinity — the kind that reads as sexy, stoic, and “in demand.”

Take the photo above from this weekend's Gentleman's Magazine as an example:

Controlled Masculinity - Posture: Relaxed, but not vulnerable. His left arm is fully extended, hand planted — it claims space. Meanwhile, his right hand rests across his lap, subtly pulling your eye toward the centre of the frame. This is deliberate spatial command — it says: I own this table. I own this room. - Suiting: Dark and tailored, but unbuttoned at the top — a deliberate contrast of formality and access. He’s not in a tux; he’s in leading man casual — elegant, but dangerous. - Chest hair and necklace: These signal earthiness and sex — a man comfortable with his body, with just enough aesthetic restraint to keep it high fashion. It reads: I’m sensual, but controlled. - Pool table: Deeply symbolic. Cue associations with strategy, competition, dominance, and old-school masculinity. He's not playing the game — he's waiting for you to join, but he's already won.

Luke's shift from boyish to brooding isn't accidental. It's calculated aspirational masculinity — the kind that makes him relatable to the men who want to be like him and palatable to the brands and studios who want to sell him. He’s being made watchable from a distance, rather than lovable up close.

And that’s uncomfortable. Especially for those of us who fell in love with the closeness. The charm. The silliness. The joy.

Rebranding vs Betrayal

This is where the emotional dissonance lives.

To some fans, this isn’t just a shift. It’s a betrayal.

It feels like Luke is walking away from the version of himself we trusted — the one who felt sincere, open, and maybe even in love. And now that he’s carefully sculpting something more controlled, more aesthetic, more leading-man-adjacent… it’s hard not to wonder if we ever knew him at all.

But what if the two versions aren’t incompatible?

What if the joy was real, and the distance is necessary? What if the softness is still there — just beneath a layer of curated fashion and editorial-style shadows?

And what if… he’s still telling us who he is — just in a new language?

When the Image Doesn’t Match the Man

And here’s the part that keeps catching in the throat for so many of us:

This new version of Luke — calculated, stylized, curated — doesn’t feel like the man we’ve come to know. The man who couldn’t hide his emotions during the World Tour. The man who made awkward jokes, let his heart leak through his eyes, and seemed to lose all sense of self when Nicola laughed beside him. The man who wore softness openly, not because it was strategic, but because it seemed to just spill out of him.

So when we see him now — posting sleek portraits, standing beside someone who feels more like a prop than a partner, it creates whiplash. Not just because we miss what was, but because it doesn’t feel true. Or at least, not true to him.

It’s possible that this is growth. It’s possible that this is strategy. But for those of us who have been watching closely, it also feels like he’s playing a part.

And the heartbreak is: he was most magnetic when he wasn’t playing anything at all.

Next: Strategic Separation (or Part III of Rebranding)

We’ve talked about branding. We’ve talked about perceived betrayal. But what if this new version of Luke — the one that looks so far away from Nicola, so calculated and cool — is part of something deeper?

What if the rebrand isn’t just about him… but about them?

In Part III, we’ll look at the growing theory that Luke and Nicola may be separating on the surface to protect something underneath — a tactic of camouflage, distance, and privacy that says more than it hides.

Because sometimes, the act of pulling apart is the clearest sign of trying to keep something whole.

Aaniin Xxx

P.S. Find a listing of this blog post series along with short summaries of each - including those not yet published - here:

[astrstqr]

MAGIC ͏ ͏ ͏͏ ͏─── ͏ ͏ ͏͏ ͏ ͏ ͏͏ ͏禅 ͏ ͏ ͏͏ ͏ ͏ ͏ ͏͏ ͏[ ͏ ͏ ͏͏ FANTASY DR ͏ ͏͏ ͏]

yoncè: working on my black clover dr

& all my magic is op lmao

part 1 (?)

ABILITIES ! ✩

Spell Mimicry ͏ ͏ ͏✶ ͏ ͏ ͏ ͏ ͏By observing or experiencing other mages' spells, the user can replicate those spells, adapting them to their own style and incorporating them into their magical arsenal

Adaptive Defense ͏ ͏ ͏✶ ͏ ͏ ͏ ͏ ͏The user can form magical barriers and shields using different types of magic, effectively countering a wide range of attacks by switching to the appropriate elemental defense

Infinite Mana Reserve ͏ ͏ ͏✶ ͏ ͏ ͏ ͏ ͏Unlike typical mages who have a finite mana pool, the power of the god within the 6th leaf provides the individual with an almost limitless supply of mana. This allows them to cast spells continuously without the usual constraints of mana depletion

Omni-Magic Mastery ͏ ͏✶ ͏ ͏ ͏ ͏ ͏The grimoire allows the individual to instantly learn and perfectly execute any spell from any magic type, regardless of complexity or rarity. This ability bypasses the need for extensive study or practice, as the knowledge and proficiency are directly conferred by the godly power within the grimoire

Adaptive Resistance ͏ ͏✶ ͏ ͏ ͏ ͏ ͏The individual's body and magic have an adaptive resistance that can counteract and nullify the effects of hostile magic directed at them. This includes immunity to elemental damage, curses, and magical traps, making them exceptionally resilient in combat

Divine Spellcasting ͏ ͏ ͏✶ ͏ ͏ ͏ ͏ ͏The individual can combine different types of magic to create unique and powerful spells. For example, they can merge fire and wind magic to create devastating inferno tornadoes or blend healing and spatial magic to instantly heal allies from a distance

Godly Aura ͏ ͏ ͏✶ ͏ ͏ ͏ ͏ ͏The presence of the god within the grimoire emanates a powerful aura that can enhance the magical abilities of nearby allies and intimidate foes. This aura can boost mana regeneration, increase spell potency, and provide a morale lift to comrades in battle

SPELLS ! ✩

✶ Divine Aegis: Summon a protective shield of holy light that grants temporary invulnerability and rapidly regenerates health for all allies within its radius.

✶ Rebirth Flame: A healing spell that engulfs a target in purifying flames, curing all ailments and restoring them to full health. It can even revive the recently fallen.

✶ Celestial Beacon: Summons a pillar of divine light that heals allies and damages enemies within its radius. It also dispels darkness and purifies corrupt magic.

✶ Sanctuary Field: Create a large, sacred area that nullifies all enemy magic and continuously heals and protects allies within its bounds.

✶ Eternal Spring: Summon a fountain of rejuvenating water that continuously heals and invigorates allies, curing even the most severe wounds and ailments over time.

✶ Luminous Halo: Create a halo of light above allies that continuously heals and shields them from harm, reflecting damage back at attackers.

✶ Phoenix Rebirth: Summon a phoenix that heals and revives fallen allies while attacking enemies with flames that purify and incinerate.

✶ Guardian Spirit: Call forth a spectral guardian that protects and fights alongside allies, boosting their defenses and morale.

✶ Equilibrium Beam: Fire a beam of balanced energy that neutralizes both dark and light magic. It can dispel enchantments, curses, and other magical effects, restoring balance to the battlefield.

✶ Harmonic Resonance: Create a resonating wave of magic that harmonizes with the spells of your allies, amplifying their effects and combining them into even more powerful versions.

✶ Harmonic Surge: Emit a resonant wave of balanced magic that harmonizes with and amplifies the effects of all nearby spells, boosting their power and efficiency.

✶ Mirage Army: Create an army of illusionary clones that can attack and distract enemies. These clones can mimic any spell you cast, confusing opponents and creating opportunities for real attacks.

✶ Mind’s Eye: Enter the mind of an enemy, gaining insight into their plans and temporarily controlling their actions. This spell requires intense focus and can be resisted by those with strong wills.

✶ Phantom Echoes: Conjures illusory duplicates of the caster that mimic their movements and actions, confusing enemies and making it difficult to target the real caster.

✶ Phantom Reality: Envelop the battlefield in an illusionary realm where you control all perceptions. Enemies are disoriented, seeing allies as foes and vice versa, creating chaos.

✶ Psychic Dominion: Extend your consciousness to control multiple enemies simultaneously, turning them against each other with precision and coordination.

✶ Arcane Eye: Summons a magical eye that can be sent to scout distant locations, relaying visual information back to the caster. The eye can move invisibly and pass through narrow openings.

✶ Chrono Lock: Temporarily freeze time around a target, rendering them immobile and unable to act. This can be used for strategic advantages in battle or to halt dangerous attacks.

✶ Dimensional Rift: Open a portal to transport yourself and allies across great distances instantly. This can also be used to trap enemies in a pocket dimension temporarily.

✶ Astral Projection: Separates the caster's spirit from their body, allowing them to explore the astral plane. The caster can move through walls and observe distant places, but their body is left vulnerable.

✶ Arcane Mark: Places a magical sigil on a surface or object, which can be used to track, identify, or communicate with the caster. The mark is invisible to all except those with magical sight.

✶ Chrono Blade: Create a sword that slices through time, allowing you to cut through defenses and create temporal distortions that slow down or speed up targets.

✶ Ethereal Warp: Instantly teleport to any location, leaving behind a decoy that explodes with magical energy when struck.

✶ Time Echo: Leave a temporal afterimage that repeats your previous actions, doubling your attack and defensive capabilities for a short period.

✶ Temporal Anchor: Fixes a point in time as an anchor, allowing the caster to return to that moment if needed. This spell can undo mistakes or evade dangerous outcomes but has a limited duration.

yoncè speaks: honestly i just be giving stuff i scripted for myself lol

[headspace-hotel]

current progress in theories of ecological succession!!!!!! This paper lists 19 different ecological succession theories and their perspectives and limitations

Before I knew its name, I knew succession....I still remember the exact moment of realizing the endless flow of change moving through the ecosystem around me. Looking at weeds, shrubby woods, gardens, and fields, I was seeing this unfolding and expanding web of trajectories and possibilities, and it was like peering into the secrets of the universe.

And ever since I've paid attention to it. Constantly observing the movement in ecosystems and its patterns.

All of these theories are partially correct but incomplete. How could we ever come up with a complete theory of succession? It's like studying the convergence of order and chaos itself. Some of the important tensions of succession brought up in this paper are:

Does the environment determine which plants survive, or do the plants that survive determine the environment? (both)

Does the plant community before disturbance determine post-disturbance regeneration, or does dispersal of new plants determine it? (both)

Are communities at different successional stages formed by whatever random assemblage of plants happens to exist at that stage, or are plant communities adapted to form certain stages of succession? (both)

Is succession a process of maturity of one big thing, or cycles of death and life of a bunch of smaller things? (both)

Do plants exclude other plants from niches as succession progresses or do they open up new niches? (both)

Is succession cyclical or linear? (both)

and like ok. this topic will get me sounding like some kind of deeply unscientific weirdo because I will be like Yes, The Weeds Taught Me The Secrets of Order and Chaos. but also this is a topic in science where all the literature written for non-layperson specialist audience makes Sense.

I was really excited reading this paper because this is like, the stuff I think about randomly all the time. like the other day I just basically blacked out and wrote like 2000 words about The Nature of Disturbance and Temporal and Spatial Dimensions of Ecosystem Change not even thinking about how I was writing about succession, and almost made my brain blow up.

like each successional theory developed so far has highlighted part of the big picture but there are several pieces of the puzzle that have barely been articulated yet. my questions:

Disturbance: What Does It Mean. When talking about something alive and changing, there is no stable state of being, so what does it mean to "disturb" an ecosystem? Every ecosystem is maintained by disturbance, like in an old-growth forest animals will graze and trample and trees will occasionally die and fall and there will be storms and fires and that is part of what a forest is. So like...where is the line between a disturbance that maintains an ecosystem at "climax," and a disturbance that makes the ecosystem no longer "climax."

disturbance, even the most severe and devastating disturbance with near 100% mortality of all plants, does not fully erase the previous plant community. so like, early-successional communities aren't a blank slate, but there is a such thing as an "early-successional community" in the sense that weed species not visible in the pre-disturbance community will pop up. Now, a lot of the theories assume that long-distance seed dispersal (and the availability of seed sources and dispersers) influences the arrival of weeds, but I think the soil seed bank is just as important if not MORE important. Do all soil seed banks have plenty of weeds? Do they have different weeds or the same weeds? Do those weeds match what was there the last time there was a weed community on that site?

disturbance is usually distributed over the land SUPER unevenly except in cases of lawns, logging and industrialized farming. at what spatial scale do edge effects irretrievably muddle the concept of discrete early-successional or late-successional communities. Like if you go into the forest and bulldoze a patch of forest down to bare dirt, that patch is fundamentally different from the bare dirt in a huge housing development, just because of being directly adjacent to a forest. Even completely disregarding seed dispersal- it's shaded, it is affected by the leaf litter and fine woody debris, etc.

I would tentatively state that linear processes of change occur in most man-made environments that are disturbed cyclically, for example, lawns- intensively managed monoculture lawns seem to persist in a lush state for a short time before the grass starts to die. most tilled agricultural fields are losing topsoil and fertility in a linear fashion. so like, the land has an accumulative legacy of tens or hundreds of disturbance cycles. Isn't this likely to be true on a much larger temporal scale? Like, is a forest ecosystem now affected by the fact that it was a prairie 1,500 years ago?

likewise, might this accumulative legacy be necessary for certain ecosystems to reach a "climax" state? e.g. prairie will overgrow into woodland in a few decades absent any disturbance, but cyclic disturbance by fire allows the cumulative progression of a larger successional process

[fatehbaz]

In just eight blocks of sidewalk in quiet neighborhood, walking through the not-quite-rain of a sunshower, today I encountered four missing shoe soles. Little pieces of plastic and rubber, detached from pedestrians' shoes, now lonely on the concrete, with the weeds.

No such thing, really, as a "weed", though. "Weed" is not a botanical term. Instead, describes perceived pests, at the discretion of the observer. At the discretion of the authority. Designated as weed by the one with power over that land. The agronomist, the rancher, the plantation manager. The weed wastes space that could otherwise be given to a monoculture cash crop, an "economically significant" plant. The weed interferes with the productivity of the plot of land. The weed interrupts the extraction. The weed diminishes the value. The weed doesn't belong in this place.

People are made to be weeds, too.

Some cities will designate you as a weed, and then they'll take action to pull you out. They'll uproot you. But it's not always explicit, like "we're outlawing loitering" or "we're outlawing taking a nap in the park" or "we're defunding the library". Sometimes it's quite clever, it's written into the physical landscape. Self-congratulatory "progressive" cities learn to co-opt language, to obscure the violence, to use and abuse space.

Thinking about things you might encounter, you might perceive, after you've been destitute, broken, lived at a homeless shelter, for years. Little signs of other peoples' misery. Indicators of desperation that some might overlook. And the way that environment shapes, and is shaped by, these miseries.

A friend asks "why is there always an unusual amount of scuffed detached missing shoe soles on this particular stretch of sidewalk? There are hardly any homes around here, it's all asphalt and empty lots, so where are all these be-shoed people coming from?" Because even though this is a wide expanse without either home residences or any kind of commercial or recreation space someone would want to visit, these blocks are the straight-line direct path between a low-income apartment complex and the cluster of corporate big box stores, and there's no bus line that runs between the two areas. "But don't the vast majority of customers of shopping malls and box stores drive vehicles, hence the obscenely massive parking lots?" Sure, customers drive, but guess who actually has to work at those places? An underclass of people living at that apartment complex with harsh restrictions and cheap amenities, who can't afford car insurance or who might be too physically disabled to bike. And so that apartment complex is a de facto "company town", the residents are essentially in confinement. It is written into that landscape. It can be read. "Why is there always debris, wrappers, coins, etc. in this particular quiet couple of blocks of the boulevard?" Because these blocks are between a thrift store and a same-day drop-in clinic, so many impoverished people will routinely be walking between these two locations. They attend their appointment, and then have forty-five minutes to kill before the bus comes back around, so why not check out the thrift store? The city and county collaborated and placed all the low-income assistance offices on the far side of town, which conveniently forces the poor and disabled to both stay away from the luxurious downtown district and also to waste their time making a four-hour commute, catching various connecting buses or else riding the bikepath, across the city just to attend a ten-minute-long appointment.

Then this spatial layout, this city's physical environment, will shape the physical body. This violence writes itself into the flesh. The way the denim is chafed and discolored on the left shoulder of someone's jacket from carrying a small backpack around by foot, day after day after day. The way someone's heart rate increases when they see a white and black vehicle in the periphery of their vision, subconsciously recollecting institutionalization and institutional abuse, or fearing what a ticket fee would mean for their budget (they might not be able to afford rent). The way someone develops a painful limp, maybe occasionally depends on a cane, because they had to walk great distances every day to get to work and their shoe sole fell off on the sidewalk, but they can't replace the shoes because their employer is underpaying them, and they're forced to stand all day at work anyway, and they already had some modest nerve damage in their foot because they've been rationing their insulin and can't afford their prescriptions, and federal medical insurance keeps denying them because their physical letters in the mail always show up too late or not at all, and groceries are too expensive so it's hard to get good nutrition to heal, but the diabetic nerve damage has by now damaged their digestive tract too so they have a strictly limited bland diet and can't enjoy the simple pleasure of a home-cooked meal (if they can even afford a home, at this point), and all those "little" miseries add up, and now they're hungry, and in pain, because they were forced to walk kinda funny for a long time over all those decaying sidewalks with all those other weeds.

[covid-safer-hotties]

Also preserved in our archive

Every infection, no matter how mild, has a cumulative effect on your brain, reducing gray matter and altering function. Mask up. Keep yourself and others safe from a disease that can and will cause many varied lingering issues.

by Denis Storey

Clinical relevance: New research shows that even mild COVID-19 cases in young adults can lead to changes in brain structure and function.

Researchers found reduced connectivity in key brain regions, including the left hippocampus and amygdala. These changes were linked to deficits in spatial working memory and cognitive performance. The study highlights the need for further research into long-term neurological effects of COVID-19, even in mild cases. For all the damage the pandemic’s done, it seems as if the youngest generations will pay the steepest price. The latest proof of that has emerged in new research that’s discovered that even the mildest of COVID cases among young adults can lead to changes in brain structure and function. As a result, it could pose a threat to long-term cognitive performance.

The research provides new insight into the potential neurological impact of SARS-CoV-2 in populations that avoided severe illness. The study focused on adolescents and young adults since it’s a group that’s remained relatively understudied.

Methodology The study, part of the Public Health Impact of Metal Exposure (PHIME) cohort, included 40 participants. More than a dozen of them – 13 – tested positive for COVID-19, while 27 served as controls.

The researchers enrolled the participants in a longitudinal study, which offered pre-pandemic baseline data through MRI scans and cognitive assessments. This allowed the team a unique look into pre- and post-pandemic neural outcomes.

The researchers relied on the latest neuroimaging technology, such as resting-state functional MRI (fMRI) and structural MRI, to examine shifts in brain connectivity and cortical volume.

The researchers also subjected the participants to cognitive testing focused on spatial working memory. The team conducted the assessments both before the COVID-19 pandemic and after recovery from mild COVID-19 cases. These parallel evaluations allowed for a direct comparison of brain and cognitive changes.

COVID Affected Multiple Brain Regions The study exposed notable differences between COVID-19-positive and healthy participants in five critical brain regions:

The right intracalcarine cortex. The right lingual gyrus. The left hippocampus. The left amygdala. And the left frontal orbital cortex. Perhaps most notably, the left hippocampus revealed a significant drop in cortical volume among those who’d tested positive for COVID.

Researchers also found that the left amygdala showed much lower connectivity in participants who’d contracted COVID-19. This lack of connectivity appeared to be linked to deficits in spatial working memory. From this, the researchers inferred that even mild COVID-19 infection could impair one’s ability to perform tasks that rely on short-term memory.

Backing Up Previous Research The study results echo a mounting body of literature that suggests that COVID-19, despite its nature as a respiratory virus, appears to have far-reaching neurological implications. Earlier research has linked more serious cases of the virus with reduced gray matter thickness and cerebral volume loss, particularly in the hippocampus and amygdala.

The researchers add that the brain changes they observed could be related to the neurotoxic effects of SARS-CoV-2, which could have a lingering influence even among milder caes of infection. The paper’s authors theorize that it could be because the virus might be invading the brain through the olfactory system. That could cause inflammation and damage in important neural regions.

On the other hand, the authors also posit that the social and psychological stressors of the pandemic – whether its the social isolation or the lingering uncertainties – could be a factor in the changes appearing in the brains of the COVID-positive participants.

These results underscore the necessity for more research into the long-term neurological effects of the pandemic, especially among its younger survivors.

Moving Forward Finally, the research team hints that further investigation could clarify whether these neurological changes are permanent, and – if not – how long they might last.

The authors conclude by insisting that this study offers crucial new insight into the potentially long-term ramifications of COVID on the brain, even in mild cases. As we struggle with life in the shadow of the pandemic, a better grasp of what it means for everyone who’s been infected could help us develop more effective treatments.

[ozzgin]

Yandere! Android x Reader (I)

It is the future and you have been tasked to solve a mysterious murder that could jeopardize political ties. Your assigned partner is the newest android model meant to assimilate human customs. You must keep his identity a secret and teach him the ways of earthlings, although his curiosity seems to be reaching inappropriate extents.

Yes, this is based on Asimov’s “Caves of Steel” because Daneel Olivaw was my first ever robot crush. I also wanted a protagonist that embraces technology. :)

Content: female reader, AI yandere, 50's futurism

[Part 2] | [More original works]

You follow after the little assistant robot, a rudimentary machine invested with basic dialogue and spatial navigation. It had caused quite the ruckus when first introduced. One intern - well liked despite being somewhat clumsy at his job - was sadly let go as a result. Not even the Police is safe from the threat of AI, is what they chanted outside the premises.

"The Commissioner has summoned you, (Y/N)." 

That's how it greeted you earlier, clacking its appendage against the open door in an attempt to simulate a knock. 

"Do you know why my presence is needed?" You inquire and wait for the miniature AI to scan the audio message. 

"I am not allowed to mention anything right now." It finally responds after agonizing seconds.

 It's an alright performance. You might've been more impressed by it, had you not witnessed first hand the Spacer technology that could put any modern invention here on Earth to shame. Sadly the people down here are very much against artificial intelligence. There have been multiple protests recently, like the one in front of your building, condemning the latest government suggestion regarding automation. People fear for their jobs and safety and you don't necessarily blame them for having self preservation. On the other hand, you've always been a supporter of progress. As a child you devoured any science fiction book you could get your hands on, and now, as a high ranked police detective you still manage to sneak away and scan over articles and news involving the race for a most efficient computer.

You close the door behind you and the Commissioner puts his fat cigarette out, twisting the remains into the ashtray with monotonous movements as if searching for the right words.

 "There's been a murder." Is all he settles on saying, throwing a heavy folder in your direction. A hologram or tablet might've been easier to catch, but the man, like many of his coworkers, shares a deep nostalgia for the old days. 

 You flip through the pages and eventually furrow your eyebrows. 

"This would be a disaster if it made it to the news." You mumble and look up at the older man. "Shouldn't this go to someone more experienced?" 

He twiddles with his grey mustache and glances out the fake window. 

"It's a sensitive case. The Spacers are sending their own agent to collaborate with us. What stands out to you?" 

You narrow your eyes and focus on the personnel sheet. What's there to cause such controversy? Right before giving up, departing from the page, you finally notice it: next to the Spacer officer's name, printed clearly in black ink, is a little "R." which is a commonly used abbreviation to indicate something is a robot. The chief must've noticed your startled reaction and continues, satisfied: 

"You understand, yes? They're sending an android. Supposedly it replicates a human perfectly in terms of appearance, but it does not possess enough observational data. Their request is that whoever partners up with him will also house him and let him follow along for the entirety of the mission. You're the only one here openly supporting those tin boxes. I can't possibly ask one of your higher ups, men with wives and children, to...you know...bring that thing in their house."

You're still not sure whether to be offended by the fact that your comfort seems to be of less priority compared to other officers. Regardless of the semantics, you're presently standing at the border between Earth and the Spacer colony, awaiting your case partner. A man emerges from behind a security gate. He's tall, with handsome features and an elegant walk. He approaches you and you reach for a handshake. 

"Is the android with you?" You ask, a little confused. 

"Is this your first time seeing a Spacer model?" He responds, relaxed. "I am the agent in your care. There is no one else." 

You take a moment to process the information, similar to the primitive machine back at your office. Could it be? You've always known that Spacer technology is years ahead, but this surpasses your wildest dreams. There is not a single detail hinting at his mechanical fundament. The movement is fluid, the speech is natural, the design is impenetrable. He lifts the warm hand he'd used for the handshake and gently presses a finger against your chin in an upwards motion. You find yourself involuntarily blushing. 

"Your mouth was open. I assumed you'd want it discreetly corrected." He states, factually, with a faint smile on his lips. Is he amused? Is such a feeling even possible? You try your best to regain some composure, adjusting the collar of your shirt and clearing your throat. 

"Thank you and please excuse my rudeness. I was not expecting such a flawless replica. Our assistants are...easily recognizable as AI."

"So I've been told." His smile widens and he checks his watch. You follow his gesture, still mesmerized, trying to find a single indicator that the man standing before you is indeed a machine, a synthetic product.

Nothing.

"Shall we?" He eyes the exit path and you quickly lead him outside and towards public transport. 

He patiently waits for your fingerprint scan to be complete. You almost turn around and apologize for the old, lagging device. As a senior detective, you have the privilege of living in the more spacious, secured quarters of the city. And, since you don't have a family, the apartment intended for multiple people looks more like a luxury adobe. Still, compared to the advanced way of the Spacers, this must feel like poverty to the android.

At last, the scanner beeps and the door unlocks. 

"Heh...It's a finicky model." You mumble and invite him in.

"Yes, I'm familiar with these systems." He agrees with you and steps inside, unbuttoning his coat.

"Oh, you've seen this before?"

"In history books."

You scratch your cheek and laugh awkwardly, wondering how much of his knowledge about the current life on Earth is presented as a museum exhibit when compared to Spacer society. 

"I'm going to need a coffee. I guess you don't...?" Your words trail as you await confirmation. 

"I would enjoy one as well, if it is not too much to ask. I've been told it's a social custom to 'get coffee' as a way to have small talk." The synthetic straightens his shirt and looks at you expectantly. 

"Of course. I somehow assumed you can't drink, but if you're meant to blend in with humans...it does make sense you'd have all the obvious requirements built in."

He drags a chair out and sits at the small table, legs crossed.

"Indeed. I have been constructed to have all the functions of a human, down to every detail." 

You chuckle lightly. Well, not like you can verify it firsthand. The engineers back at the Spacer colony most likely didn't prepare him for matters considered unnecessary. 

"I do mean every detail." He adds, as if reading your mind. "You are free to see for yourself."

You nearly drop the cup in your flustered state. You hurry to wipe the coffee that spilled onto the counter and glance back at the android, noticing a smirk on his face. What the hell? Are they playing a prank on you and this is actually a regular guy? Some sort of social experiment? 

"I can see they included a sense of humor." You manage to blurt out, glaring at him suspiciously. 

"I apologize if I offended you in any way. I'm still adjusting to different contexts." The android concludes, a hint of mischief remaining on his face. "Aren't rowdy jokes common in your field of work?"

"Uh huh. Spot on." You hesitantly place the hot drink before him.

Robots on Earth have always been built for the purpose of efficiency. Whether or not a computer passes the Turing Test is irrelevant as long as it performs its task in the most optimal, rational way. There have been attempts, naturally, to create something indistinguishable from a human, but utility has always taken precedence. It seems that Spacers think differently. Or perhaps they have reached their desired level of performance a long time ago, and all that was left was fiddling with aesthetics. Whatever the case is, you're struggling not to gawk in amazement at the man sitting in your kitchen, stirring his coffee with a bored expression.

"I always thought - if you don't mind my honesty - that human emotions would be something to avoid when building AI. Hard to implement, even harder to control and it doesn't bring much use."

"I can understand your concerns. However, let me reassure you, I have a strict code of ethics installed in my neural networks and thus my emotions will never lead to any destructive behavior. All safety concerns have been taken into consideration.

As for why...How familiar are you with our colony?" The android takes a sip of his coffee and nods, expressing his satisfaction. "Perhaps you might be aware, Spacers have a declining population. Automated assistants have been part of our society for a long time now. What's lacking is humans. If the issue isn't fixed, artificial humans will have to do."

You scoff.

"What, us Earth men aren't good enough to fix the birth rates? They need robots?"

You suddenly remember the recipient of your complaint and mutter an apology. 

"Well, I'm sure you'd make a fine contender. Sadly I can't speak for everyone else on Earth." The man smiles in amusement upon seeing the pale red that's now dusting your cheeks, then continues: "But the issue lies somewhere else. Spacers have left Earth a long time ago and lived in isolation until now. Once an organism has lost its immune responses to otherwise common pathogens, it cannot be reintegrated."

True. Very few Earth citizens are allowed to enter the colony, and only do so after thorough disinfection stages, proving they are disease free as to not endanger the fragile health of the Spacers living in a sterile environment. You can only imagine the disastrous outcome if the two species were to abruptly mingle. In that case, equally sterile machinery might be their only hope.

Your mind wanders to the idea. Dating a robot...How's that? You sheepishly gaze at the android and study his features. His neatly combed copper hair, the washed out blue eyes, the pale skin. Probably meant to resemble the Spacers. You shake your head.

"A-anyways, I'll go and gather all the case files I have. Then we can discuss our first steps. Do feel at home."

You rush out and head for your office. Focus, you tell yourself mildly annoyed.

While you search for the required paperwork - what a funny thing to say in this day and age - he will certainly take up on your generous offer to make himself comfortable. The redhaired man enters the living room, scanning everything with curious eyes. He stops in front of a digital frame and slides through the photos. Ah, this must be your Police Academy graduation. The year matches with the data he's received on you. Data files he might've read one too many times in his unexplained enthusiasm. This should be you and the Commissioner; Doesn't match the description of your father, and he seems too old to be a spouse or boyfriend. Additionally, the android distinctly recalls the empty 'Relationship' field.

"Old photos are always a tad embarrassing. I suppose you skipped that stage."

He jolts almost imperceptibly and faces you. You have returned with a thin stack of papers and a hologram projector.

"I've digitalized most files I received, so you don't have to shuffle a bunch of paper around." You explain.

"That is very useful, thank you." He gently retrieves the small device from your hand, but takes a moment before removing his fingers from yours. "I predict this will be a successful partnership."

You flash him a friendly smile and gesture towards the seating area.

"Let's get to work, then. Unless you want to go through more boring albums." You joke as you lower yourself onto the plush sofa. 

The synthetic human joins you at an unexpectedly close proximity. You wonder if proper distance differs among Spacers or if he has received slightly erroneous information about what makes a comfortable rapport. 

"Nothing boring about it. In fact, I'd say you and I are very similar from this point of view." He tells you, placing the projector on the table.

"Oh?"

"Your interest in technology and artificial intelligence is rather easy to infer." The man continues, pointing vaguely towards the opposing library. "Aside from the briefing I've already received about you, that is."

"And that is similar to...the interest in humans you've been programmed to have?" You interject, unsure where this conversation is meant to lead. 

"Almost."

His head turns fully towards you and you stare back into his eyes. From this distance you can finally discern the first hints of his nature: the thin disks shading the iris - possibly CCD sensors - are moving in a jagged, mechanical manner. Actively analyzing and processing the environment. 

"I wouldn't go as far as to generalize it to all humans. 

Just you."