#precision in engineering

[nnctales]

Unveiling the Distinctions: Architecture vs. Engineering

Introduction: In the vast realm of design and construction, two fields stand out as pillars of creativity and innovation: architecture and engineering. While they often collaborate closely, each discipline carries a unique set of responsibilities, skills, and perspectives. This article aims to delve into the fundamental differences between architecture and engineering, shedding light on the…

[the-most-humble-blog]

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🧠 THE MANNEQUIN WITH POWERS — Why Character Comes Before Plot or Die in the Void A Blacksite Literature™ Transmission (If your protagonist couldn’t grip a reader’s soul in a blank room, you already failed.)

I. THE VOID YOU'RE WRITING INTO

Let’s get this out of the way first:

If your character can’t speak — not literally, but viscerally — to the reader’s insides without the crutch of explosions, lore dumps, or a “cool” outfit…

You are not writing a character. You’re dressing a mannequin. And no one gives a fuck what a mannequin does.

II. IF THEY FEEL NOTHING, YOU BUILT NOTHING

Who cares what city’s under attack? Who cares if they’re the Chosen One? Who cares about your twist, your map, your seven-act structure?

If the protagonist you’ve built:

Has no secret

Carries no weight

Evokes no response from a quiet, tired reader on a Tuesday night—

Then you wrote into the void.

Your reader wasn’t “dumb” or “impatient.” They felt nothing. And they left.

III. THE LIE OF “PLOT FIRST”

You’ve been sold a lie:

“Just make the story exciting and the characters will follow.”

No. Never. Backwards.

Character always precedes plot. Character is the plot.

Because if I don’t care who it’s happening to — Then nothing happening will ever matter.

A reader can forgive:

A slow start

A clunky scene

A cliché trope

But they will never forgive the crime of hollow company.

You gave them someone to follow —

And that someone had no soul.

IV. THE MANNEQUIN WITH POWERS

Let’s define the threat.

The Mannequin:

Has abilities

Has trauma

Has a goal

Has quips

Has a backstory

But no voice.

No contradiction. No shame. No private thing they would die to protect, not because it’s powerful — but because it’s theirs.

This mannequin does things. Big things. High stakes.

And no one cares. Because nothing human is bleeding through the plastic.

V. ESCAPISM ISN’T A LICENSE TO LIE

Yes, readers want to escape. But not from humanity.

They want to escape into:

A place where flawed people matter.

A place where pain has context, not just screen time.

A place where characters don’t just “get better” — they get known.

Escape into fantasy all you want. But if you’re escaping the imperfections of the human condition, then you’re not writing fantasy. You’re writing propaganda for emotional disconnection.

And your reader knows it. Even if they don’t say it. Even if they reblog it. Even if they finish it.

They know.

VI. THE SECRET THEY DON’T BRAG ABOUT

Let me give you the fix.

Give your character one thing:

A secret they don’t brag about.

Something they hide not because it’s cool — but because it’s raw, vulnerable, humiliating, or sacred.

Examples:

She used to believe in God, and now she can’t even say “grace” over her food.

He kept a voicemail from his brother the day before he overdosed.

She has two daughters, and hasn’t seen them since the custody ruling.

He talks shit to villains but goes home and reads old love letters he never responded to.

Do not announce it. Do not reward it. Do not let them monologue it.

Let it live. Quietly. And watch your readers form emotional attachments like animals recognizing kin.

VII. PLOT WILL NEVER SAVE YOU

You can worldbuild forever. You can twist the timelines, deepen the lore, expand the pantheon.

But if your central figure could be replaced by anyone and the story still works?

You didn’t build a character. You built scenery in a cape.

Plot is what happens.

Character is who we blame, who we mourn, who we root for in spite of ourselves.

And if you skip that? You skip the anchor. You leave your reader floating — no matter how pretty the setting is.

VIII. THE READER DOESN’T OWE YOU A DAMN THING

Let’s be brutally honest:

Your reader doesn’t care how much time you spent.

They don’t care how much of your soul you “poured in.” They don’t care how important your themes are.

If they can’t connect to a being — not a puppet — then they leave.

Because they’re not in your head. They’re alone. Reading. Tired. Wanting to feel something.

And if your protagonist doesn’t show up with emotional currency in hand?

They’re gone.

IX. THE ONLY TEST THAT MATTERS

Write this down:

If your main character was in a blank white room for five pages — with no plot, no action, no powers — would I want to hear what they think?

If the answer is no?

Start over.

Not from page one. From soul one. You didn’t give them a person. You gave them a vessel to carry your story — and no one wants to be ferried by a stranger.

X. THE REALITY YOU’RE TOO SCARED TO ADMIT

You’re not scared of writing bad plots.

You’re scared of putting real, flawed, mirrored, shameful, holy you into your character — because if it fails, it’ll feel like you failed.

So you keep them clean. You keep them plastic. You keep them “relatable” in all the ways that mean nothing.

But the only thing that ever makes a reader stay?

Is the feeling that this character was carved from a place they weren’t supposed to see.

That’s what creates emotional loyalty. That’s what earns tears. That’s what builds cult followings, not just fandoms.

XI. SO FIX IT.

Kill the mannequin.

Bury the empty badass. Silence the sarcastic automaton. Throw the trauma plot in the fire.

Build a person. A person with shame. A person with weight. A person who reminds the reader of a truth they’ve never told anyone.

Then throw that person into your plot.

And watch the story ignite.

XII. CONCLUSION: YOU'RE NOT WRITING STORIES. YOU'RE WRITING PEOPLE.

You think you’re writing entertainment. You think you’re building scenes. You think you’re plotting arcs.

But you’re not.

You’re introducing human souls to strangers. And the ones who do it well? They become immortal.

Every good story is just a person you didn’t want to say goodbye to.

If you don’t have that?

Then what the fuck are we doing here. </div>

📌 If this made your spine straighten mid-sentence — reblog it. 🧠 If it exposed a hollow character you once thought was “done” — save it. ✍️ If it reminded you why we write at all — read it again.

And if it hurt? That means it’s time to start over.

Bonus:

🧠 FREE WRITING LESSON — THE MOST POWERFUL CHARACTER DEPTH TRICK YOU’LL EVER READ.

[kaiserouo]

(prev)

FYI:

sudo shutdown now: Shut down immediately.

for i in $(seq 1000); do yes & done: Open 1000 "yes" process at the background. Each of them alone can throttle your CPU usage at 100%.

:(){ :|:& };:: Fork bomb, eats all your resources.

sudo rm -rf /: Erase the system and all your disks.

Don't run any of this if you don't know what you're doing.

[guzhufuren]

so i'm beefing it out with our internet providing company right? cause the prices are fuckass insane, but the internet connection works terribly. a worker came today to check the router and do a few operations that could help fix the issues, and at one point he asked for my phone and to open google search engine on it so he can find the usual website for checking internet speed on a device. well thank god i live in a country where being fluent in english is a rarity rather than common thing because

this was what he saw when he clicked on the search bar

[ef-1]

Can you please explain to me how "mclaren expertly manufactured an guaranteed lose-lose scenario" 🙏🏾

by pitting Lando first, they undercut Oscar and made it so that everyone involved lost which is genuinely an achievement given that they got a 1-2.

1. By panicking and pitting Lando first (who was second) they they made sure Oscar comes out behind him.

2. They promised Oscar that they'd swap them back and that he shouldn't worry about it. (Before they got confirmation from Lando, but more on that later)

3. Much has been made of Lando's attitude (that I don't even necessarily disagree with) but the reality is, McLaren handed him the race lead then asked him to give it back, this is not something he'd agreed to when they pitted him. Now they have a disgruntled Lando who feels like he's owed something.

4. The hostage negotiation scene. Like Nico Rosberg said: everything McLaren said to Lando was phrased as, AT BEST, a pleading suggestion. The team was begging Lando. They weren't asking him to do anything really "lando at your convenience", " lando try saving turns 4 and 6 ", "lando I'll get bored", "lando im just trying to protect you 👉👈" "lando please think about sunday mornings 🥹🫰", it was such a spectacular breakdown in the chain of command.

5. Hostage negotiation scene sequel: As McLaren are begging Lando, Will Joseph says the most damning thing he could possibly say as Lando builds a 6 second gap to Oscar "you've made your point Lando" which is tantamount to saying 'you've proved you deserve this win, you've proved that without your cooperation that he will not win this' this genuinely tarnishes the win and it was such a desperate and unnecessary thing to say EVEN if it's true but obviously the truth of that statement cannot be verified because Lando could have been too fast for Oscar to catch or it was just the undercut at work and he become un-catchable because he had clean air.

6. this all culiminates in Oscar seemingly apologising to the team as he crosses the line first. His first interview in the media pen asks him to contend with the fact that he wouldn't be here if Lando didn't hand it to him. This is not a nice way to celebrate your first win and it is now the popular narrative.

Oscar lost. Lando lost. McLaren deserve the fallout.

[6-30am]

The driver might be alone in the cockpit, the astronaut sitting in a tin can, but it takes a team on the ground to lift him into orbit. And when things don't go to plan, that solitary individual requires support more than ever before to get the mission back on course — Inside Mercedes F1: Life in the Fast Lane by Matt Whyman

[marsmarvel02]

Why is “kids turning into vehicles” a genre?

[masterj]

First screenshots from the Chug pilot get revealed...

And now this???

We are being fed so good this week

[lindahall]

Richard Roberts – Scientist of the Day

Richard Roberts, a Welsh mechanical engineer, toolmaker, and inventor, was born in Llanymynech, Powys, on Apr. 22, 1789, and died on this date, Mar. 11, 1864.

learn more

[fauvester]

uncle professor obrien is trying his best, god damn it

[scattergoriesofevil]

Ally Beardsley : Kipperlilly Copperkettle :: D20 Fans : Bobby Dawn

[harrowharkwife]

"but nona couldn't shoot or fight or think. all she had was a good nature" tamsyn please for the love of jod. lower your voice.

[anjalitprecision]

Best CNC Machining in Pune — ANJALI T. PRECISION

ANJALI T. PRECISION – Leading provider of CNC machining in Pune, delivering high-precision, reliable & cost-effective solutions for various industries.

[ro-botany]

Thinking about Awakening and how weird it actually is that the Premonition shows robin and chrom facing off vs validar at the dragon's table specifically

I know that is the way it is because of Foreshadowing and having a cool mirrored moment and making you go "oh shiiiit" when you get to chapter 23 and see that same battle set up again and make your heart stop and wonder if fighting fate was a doomed effort and shit when the cutscene goes off again.

But. See. The thing is. The way this goes in main timeline is. Validar invites the protags to Castle Plegia under the pretense he'll hand over Sable, and then he reveals his mind control powers, steals the fire emblem + gemstones, and then absconds to the Dragon's Table without even trying to capture Robin or Chrom or anyone to bring with him; presumably he intends to go feed the hierophant a bunch of sacrifices, as the hierophant's presence means Robin's participation is not required.

In original timeline though. Validar already has the fire emblem at that point, and presumably all five gemstones. And a lot of the context besides that is very different, like a LOT.

It makes the most sense to me that, if a diplomatic gesture remains the tactic for getting the relevant protags into Plegia, a king would invite another ruler to meet at his castle. Not at some ominous old temple in the middle of nowhere. Inviting the ruler of a country you have tense relations with to meet you at an ominous old temple in the middle of nowhere would stink of trap.

But if they meet in Castle first in OT... I have a hard time inventing circumstances where the protags would have to go to the Dragon's Table, either willingly or in chasing after Validar or whatever, and both be alive and fighting together at that point.

So perhaps it wasn't diplomatic meetings that were the lure, in OT? Because if it were I would expect Chrom might have got killed in Castle Plegia... But if not that, what would get the doomed protags to the Table?

Much to ponder...

[june-gdprototyping]

CNC machining precision components