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alasse-earfalas · 7 months

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Some ideas I have about some of the Links and their brains.

This will not include all of the boys, as most of them (Time, Wind, Twilight, Four, and Hyrule) I see as being in the same basic camp when it comes to smarts and stuff, so there's nothing really for me to address there. I'm just going to point out some interesting quirks I've noticed / hc with the other four.

Warriors

It's easy to jump to the conclusion that Wars is the stupidest Link, since his game has no puzzles. I disagree. While yes, he is laughably terrible with puzzles, he is a strategic and tactical genius with a powerhouse, rapid-fire brain that can parse out an entire battle's worth of information in an instant and come to a decision in a flash. Traditional puzzles may not be his thing, sure, but that is not where his genius lies. His brain thrives on cutting through chaos with decisive action, and that is where he shines.

Sky

Has ADHD (inattentive type). Like, really, really bad inattention. Constantly spaces out and forgets things. There's a reason Fi pops up like, every half-second to remind him what he's supposed to be doing. Hylia knew what she was dealing with and planned accordingly. He is the most space-cadety of space-cadets. He'll be going along like a normal person with a normal train of thought and then he'll see a leaf floating by and completely forget what he's doing because the leaf is pretty and isn't it interesting how it moves with the wind like that and I wonder where it's going hey wait get back here—

But. Sky's mental superpower is that he is the fastest dang learner in the entire Chain. Not just with weapons or items or music like the rest of 'em, but everything. Wild's unable to cook but has all the ingredients for something he's made before? Sky watched how he did it once while helping him dice the veggies, so he'll just throw that meal together real quick. Wild let him flip through the "Ingredients" section of the compendium once, and now Sky can identify all the edible plants it listed by sight. He learned how to carve by watching Jakamar repair a couple of wooden structures one day. Sky may be a space cadet, but he's also the most potently absorbent practical-knowledge and information sponge you ever did meet.

Wild

Also has ADHD (combined type). There are literal "ooo shiny" mechanics in the freaking game. Koroks? ooo shiny. Shrine quests? ooo shiny. Every single item that Wild can pick up in the game literally sparkles. Everything about the Sheikah Slate is designed to account for this: scope pins, map stamps, inventory organization, Hyrule Compendium, Sheikah Sensor, photo album, a journal which he uses to take fastidious detailed notes of all the crap he needs to remember because he knows he'll forget all of it otherwise. He struggles to sit still for extended periods unless he is asleep or gazing into a pretty fire.

Wild is also the creative genius out of the bunch. He has the most robust understanding of fundamental physics out of the entire Chain. His visual thinking and creative problem-solving skills are off the charts. The rest of the Chain may be able to navigate with maps and compasses, but Wild can navigate foreign terrain using nothing but the environment itself. Present him with a problem and he'll think of fifty different ways to address it and all of them will usually work. He is an all-around genius problem solver and astoundingly creative thinker.

Legend

Mind like a freaking. Steel. Trap. Nothing slips past his awareness or gets forgotten. Ever. Journals are pointless because his brain is an information vault. Oh, and any puzzle he's handed better say goodby to its loved ones and make sure its will is in order because this lad will solve it before it has a chance to defend itself.

Let me just, give you an example. Just one. You see this here?

How long do you think you could remember this random character vomit without writing it down? A few minutes, maybe? Maybe a couple hours, or a day or two if you took the time to memorize it?

Try an entire journey to another country after hearing it only once.

Oh, but that's not even the most impressive part! You see, Legend didn't just hang onto one of these memorization nightmares for an entire extended trip to another land, oh no—he remembered several of them. Perfectly. As if that wasn't enough, y'all remember the item swap quests? Yeah, without notes of any kind, this Link remembered who needed what in every single one of those convoluted trading chains. All while he was busy saving the world.

The downside is that Legend's thinking is not very flexible. He operates best when there is a single correct solution to a given problem. He much prefers having concrete information to work with, rather than a vague scenario with a shrug and a, "idk, figure something out". Being dropped into a massive open world with no information other than, "alright here ya go, here's some basic abilities and a light dusting of backstory, now get out there and save the Princess!" would be an overwhelming, anxiety-riddled nightmare for this dude.

#linkeduniverse #linked universe #lu warriors #lu sky #lu wild #lu legend #sorry that ended so abruptly #I didn't really know what else to say #so there you go #those are my thoughts

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hi-sierra · 29 days

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Biologics, chapter 0.5

Hello, hello! I finally have added a significant amount to my story, Biologics, resulting in a total of ~4400 words. Not a whole ton, I know, but unfortunately life gets to ya. It isn't quite where I want it to be to consider a proper chapter one, but I feel like there's enough written for me to post. General warning that this is intended to heavily lean into the theme of "eroticism of the machine", so if that doesn't appeal to you, you've been warned. It does, however, have many general sci fi worldbuilding elements, so I hope it has a somewhat broad appeal!

So yes, if you already read the first snippet, that's going to be mostly a one to one repeat with some grammatical adjustments. Feel free to scroll down until you get to the new stuff. Flow-wise, there just wasn't a good place to break between the two sections.

Look at me rambling. And I wonder why I can't get any of this stuff done. Anyways, here it is!

Biologics

Pappy always said that manufacturing biological transportation was nothing knew. I mean, shit, humanity's been breeding horses for how long? To him, not much was novel about what was going on in the shipyards way out by Neptune when I was a kid.

But Pappy didn't know a lot of things. And he certainly didn't meet Roseanna.

The Federation Navy had experimented with Biologics for decades. The idea was to create self regenerating ships- organic matter that interfaced with the hull, moving new titanium plates and patches into place down to microscopic precision. If you had a living, growing mass interfacing with steel, a ship didn't have to head all the way back to the yards to patch up after every dogfight.

The first generation... worked. With a full time crew, that is. Full time people on deck jabbin the rigid, chitonous matrix full of growth hormones to get them to set just right. Full time onboard bioengineers to compute what signaling cocktail ya need to hit 'em with to get it to grow back right. Skilled onboard technicians to shave back the chitin when it tried to overgrow the titanium, and slap some new cells in to seed the process in heavily damaged areas. Less input material, less time in the yards, but far more manpower. Great for a Federation cruiser on deep space peacekeeping missions. Far too complex for small craft. Right?

Until some bastard put brains in 'em.

Well. A lotta suits would say that they weren't brains. They were a diffuse network of sensory neurons and ganglia, living inside the body of the ship, integrating signals from a skin of alloyed metal and fibrous protein, calculating power draw too and from various components, integrated with the mechanical and electrical components of the ship to precisely manage the "wound healing" process of the vessel. And of course, it just so happened that one of those ganglia was larger and more complex than the rest of them, and it just so happened that the computer interfaces with this ganglia exhibit complex, thinking behaviors on the level of human cognition, and it just so happens that most pilots and navigators reported them developing their own personalities.....

But of course, the Navy didn't want anyone to have some kind of pesky empathy in the way of their operations. And they certainly didn't want anyone side eyeing the rate at which they disposed of the damn things, just to let them suffer and rot. So as far as the official record was concerned, they weren't brains. But I knew different.

Like most people in the belt, I found Rosie on an... unsponsored field trip to the Neptune scrap yards. She wasn't a ship then. She wasn't much of anything. Not much more than a vat with the central ganglia and just barely enough of the stem cells needed to regrow a network. But I took her all the same. Brains were valuable. Few pilots outside the Navy had them back then. Nowadays, a black market for "brain seeds", a cocktail of neuronal stem cells and enough structural stem cells to grow your own into the chassis of your ship, was thriving. The Navy was pumpin' em out, and leaving them to die. It was cruel. Sometimes, being scavenged and resold was a kinder fate. But more often, some nasty piece of work would pick them up eventually, and treat them like just another goddamn ship. They may be vehicles, but they're a livin' being too.

I digress. I'd never do that to Roseanna. I make sure she gets proper care. And for a good, proper, working ship? That includes some good, proper work.

The asteroid we were docked in was one of my usuals- good bars, nice temp quarters, nice views of the rock's orbiting twin, and a spacious hanger for Rosie to rest in. The chassis I had imprinted Roseanna to was a 40-meter light skipper, with some adjustments for handling deep space trips, as well as some... personal touches. It was pretty much the smallest thing you could actually use to live in and work for long periods of time, but it got the job done. The angular design made the entire ship look like a wedge, or the blade of a bulky dagger. It didn't hurt that each bottom edge was fortified with a sharpened titanium blade, turning the entire sides of the ship into axe-like rams.

Those would probably come in handy today.

I approached Roseanna on the catwalk above her, marveling her alloyed scales. I could almost see her shudder in anticipation as my footsteps vibrated through the air above her. I took the steps down, and hit the trigger to open her top hatch.

When the news got out of the Navy scuffling with a rebelling mining station, an electric air raced across the station. Some went about their day as normal. Some resigned themselves to picking at the leftovers after the dust had settled. And some, like me, knew that they could get the finest pickings.

I slipped into the pilot's seat like it was an old boot.

"Welcome, Captain Victoria."

Rosie could talk, but more often than not, she chose not to. But she understood me just fine. Most of our communication took place using her three prerecorded lines- her welcome statement, affirmative, and negative- as well as a tiny screen showing a small, emoticon face. Many pilots chose to give their ships an elaborate render, but Rosie preferred it this way. It was the first face I gave her, from somewhere out of the scrap heaps, and she refused any offer I made to upgrade. Hell, she even had a hi-res screen for external cameras and comms, but she refused to interface directly with it. Secretly, I was overjoyed. To me, the little pixelated screen was her face. That was her voice. And it was beautiful to see her true self through them.

I brushed my hands across her paneling. Across the switches, the hydraulic controls for the plasma fuel, the steering, the boosts, the comms channels. The thing with Biologics was that you were still the pilot. For whatever reason, they hadn't quite gotten to the point where the brains could take over their own piloting. My personal opinion was just that their personalities lacked the ambition to. Cuz they certainly could take over some ships functions directly, and had the skill to do complex mechanical and electrical tasks. The Navy never let 'em drive, though, and most pilots didn't even know they could give them the ability to control any of the ships functions directly. But with a little help, a little bit of solid engineering, and a pilot that knew their ship... well, you could do a lot. And me and Rosie? We knew each other well. Over the years, I'd added some nice things for her, and she loved using them to help me out.

As my fingers touched the brushed aluminum controls, rimmed with chitinous layers affixing them to the ship, I could feel the walls around me holding their invisible breath. "Do you know what we're doing today, Rosie?"

Her tiny panel flickered on.

[...?]

"We got a scrap run."

[ ^_^]

[ :) ]

[ ^_^ ]

Her panel flicked between various expressions of excitement. My finger quivered on the main power, holding for a moment before flicking it on. The primary electronics of the ship hummed to life, and the parts Rosie controlled pulsed with it. My hands moved across the main functional panels- main hydraulic plasma valve, exhaust ports open, and finally, flicking the switch the start the plasma burner.

My hands gripped the steering. The hanger's airlock doors opened in front of me. My neck length hair started to float as the station's gravity shut off. I hit the switch to unlatch from the supports above. For a moment, we hang there. The dull crackle of the idling plasma burner is the only sound that resonates through Rosie's hull.

Go time. I punch the boost.

The station shakes. Rosie was never a subtle one.

The mechanics are deafened.

The crowd of spectators are deafened.

The other pilots in the hanger are deafened.

But me? The vibrations of Rosie's hull shuddering under me was the sweetest symphony my ears ever had the pleasure of hearing. As we shot out of that hanger, I found myself involuntarily humming a high note, harmonizing with the sweet rumble of my baby's acceleration as we shoot out into the inky, black expanse of space. The twin asteroids shot by us as we disappeared, leaving only the faint blue plasma trail from our engines.

My hand is firm on the boost, weathered hands tightly gripping the bar of the accelerator. I remember installing this thing in her- it was an aftermarket adjustment, not included in the usual light skipper chassis. Gently stripping away the back of her chassis, caressing her insides as I rooted the paneling, firmly attaching the tanks and burners on her insides... these hands had taken great pleasure in that. Bested only, of course, by the first time I had felt the thing roar to life.

And what a feeling it was. Rosie's entire chassis, biological and mechanical, shuddering under my grasp. The grip of my calloused hands on the boost controls, tight and sweaty around the ridged grip of the horizontal bar. The noises she made, as if to shout in glee and wild abandon at being unchained and let loose into the eternal field of space, as she was made to do. The gentle touch of her skin on my back, my body pressed in contact with the small fraction of hers that was my seat. I glanced down at her face panel.

[ :| ]

[ :D ]

[ :| ]

[ :D ]

[ :| ]

[ :D ]

[ :| ]

[ :D ]

My humming gave way to a chuckle, and then a wholehearted, exhilarated laugh. Someone was enjoying herself. The flickering faces on her panel reminded me of the happily panting station dogs back on Mars.

But as much as I would like this to just be a joyride, I had promised Rosie a scrap run. And the pickings were looking good. I glanced down at the nav. I was intentionally headed at a slightly indirect angle- Rosie's boost was her main attractive feature (both as a ship, and as a working partner), and the extra leeway I had in travel time let me strategize a bit more. I doubted we would be the first people there, but I figured we could get in before the main rush. The only trouble was darting in and grabbing something right from under the noses of the first locusts. The scrap field in question included a disabled heavy mining freighter, a goliath of the ship larger than some of the asteroids it made supply runs between. I assumed that most other scavengers would be approaching directly from our station, and the other stations in its proximity. With Rosie's boost, we could overshoot, hook around, and put the freighter in between us and the guns of the more violent craft. Rosie has no long range weapons of any kind- not only would they slow down her miraculous speed, but she didn't like them. I tried installing a small plasma cannon once, and she expressed immense distaste. Maybe they were too brutish for her, or maybe she didn't like the way they felt inside her, burdening her with pressure from the inside that didn't befit the delicate touches I usually graced her with. Rosie loved speed, precision, elegance, and stealth above all else. It's just the kind of ship she was.

That's not to say she was a pacifist, or defenseless. Quite the contrary. She just prefers a more... personal touch.

The navicom beeped at me. We'd reached the point where we needed to make that hook. My bare feet gently swept across the titanium flooring to the steering pedals. My right hand delicately gripped the steering joystick, while my left eased its grip on the boost accelerator.

"Ready for this, darling?"

[ >:) ]

I slammed the steering to the left, and Rosie gleefully complied. The wide bank of the turn as we rotated and soared through the sea of stars twisted my body in its inertia, compressing me further into her. As the angle straightened out to the proper heading, I punched the boost again, and Rosie roared forward.

Slowly, our target came into sight. Damn. This thing had taken some serious damage. Mining freighters typically weren't heavily armored- their only job was to get material from point A to B- but this one had clearly been through some serious modifications. Modifications that now lay in ruin. Titanium plating was scattered in a field around the core of the freighter. I couldn't quite tell what was stuff left behind by the battle, and what was the result of shoddy craftmanship- but it didn't matter. What did matter was that the entire thing had been split almost in half, and the scattered cargo that was leaking out. Cargo that most likely included half the weapon supplies of this little rebel faction. Would fetch a pretty penny, to the right buyer. And hell, if it was just gonna sit here unclaimed...

Ah shit. It wasn't gonna sit here unclaimed. Despite my best efforts, it looks like we weren't the first ones here. A larger scavenger gang had already arrived, and it looks like it was one of the ones I knew- Augustus and his lot. Most likely, they'd be after the weapons intact, one more thing to use to shakedown the scattered independent stations I always flitted between. He would not be happy to see me n Rosie here. What he called his "fleet" was a single, mid-sized carrier ship, about half the size of the freighter we were looting, and the dozen or so scout fighters and strip mining crafts he had looted from the Navy and various corps, and one Biologic that he called his. I respect that part, to be honest. What I don't respect is him immediately turning around and using that charge every goddamn station his ever-increasing "protection fees". Not to mention my personal disdain for the way he treated his ship. Didn't even give her a damn name. I digress. But any chance to loot something from under that slimebag's nose was a win in my book. I knew he wasn't gonna make it easy, though.

Welp. That's what our positioning was for. The side facing us was the main starboard face, and like the rest of the ship, it was peppered in small holes and gashes. Seems like the main damage had happened from the other side, and a few cables and scaffolds on the starboard just barely kept the two rear cargo compartments clinging to the front.

"Alright Rosie, time to creep it in slow. Be quiet, now, don't want them picking up a plasma surge"

[ :| ]

Ha. That was her "my lips are sealed" face. She's having fun with this already.

I cut the booster, coasting closer and closer to the bust open vessel. I eased the reverse thrusters ever so slightly, my fingers gently stroking the dual brake levers, lightly teasing at them to wait until we were as close as I thought we could be without attracted attention.......... before slamming both sides back towards me. For just one, crucial moment.

The goal here was to approximately match the speed and trajectory of a floating piece of titanium plating. Rosie's frontal blades were essentially that, anyways, so all they would see is a somewhat more angular piece of rubble. Hopefully they hadn't seen that same piece of rubble screaming out of travel speed, but I was cautious enough with my distances that I didn't think that was a problem. And they hadn't seen me yet. Once we were close enough to the freighter itself, we were blocked from their raw sightline, and Rosie was running quiet enough to not tip off any of their energy sensors.

But there was still no guarantee. Rosie, however, had no shortage of tricks. Something that she and I had developed together was a nice little bit of snooping. Well cared for and well trained, a Biologic brain had the problem solving of a human, and the computational power of a machine. But them together, and you've got a perfect decoder. And I happened to know that Augustus used an encrypted local frequency to keep his

"Alright Rosie, thinkin you can eavesdrop a little?"

Affirmative.

[...]

[..!]

My comms crackled to life. "...7 heavy cannons in center-front portside bay, 3 replacement fighter hatchs...."

The comms crackled back and forth, with each pilot giving updates to what they were finding in their own little segment that they were slicing apart. Occasionally, I saw Augustus or the fighters flick between the slicing ships, overseeing their progress on the port bays. Good. Let them focus on the other side for now. Slowly, the fleet was overshadowed by the freighter. We made it. I released my breath- shit, didn't realize I was holding it- and took a better look at what we were dealing with. It looked as if the scattered debris field had mostly been the remnants of the hull, as well as light weapons for small craft and even infantry. They would fetch some small change, sure, but Rosie's cargo capacity was small. Packing efficiency was the name of the game. I saw the gash that it had all been flooding out of on this side- the entire freighter was covered in them- and peered inside. And ho boy, did my heart flutter.

Heavy cannons.

Jump-graded travel boosters.

Raw, precious metals.

And, hidden in the back corner, seemingly bolted into the wall.... a brain.

We'd hit jackpot, and potentially rescued a poor ship from abandonment, or worse.

"Alright Rosie. Time to get to work."

Affirmative.

And here was another lil something that made Rosie special- her manipulation arms . She always preferred that delicate touch, and wanted to interact with the world in a tactile, real way. So we worked on it. Together. I was tired of taking spacewalks to grab small pieces of scrap, or using the entire goddamn cargo bay on a piece that only had a tiny core, or scraps of precious metals inside. So we needed something that could pluck apart our finds. Do some light disassembly in the field, extract what was valuable, and load it in with the most packing efficiency possible. So I gave her arms- snake like appendages, coiled up in her cargo bay, with thousands of points of articulation. At first, I tried to make some kind of control system that I could use from the cockpit. But Rosie had a different idea. At her urged, I jacked them directly into the same sensory and motor systems that let her grip onto, position, and repair her hull. And by god, it worked.

When I showed her off the first time, no one had ever seen anything like it. Because there was nothing like it. A ship taking real mechanical control, over something so precise and delicate, was something that only a deeply intelligent, deeply skilled ship, with complex decision making and tactile movement could do.

And I was goddamn proud of her.

Every time she deployed them, I watched awe. Rosie gave a face of determination, and sinuous, metallic, tentacle-like appendages slid out in a bundle from the cargo bay opening on her underside. Each one was headed off by a different attachment- a precision laser cutter, a simple three-pointed grabbing claw, a drill, a tiny buzzsaw, camera that let me see what was going on, and more. Each one could be swapped out, depending on the task at hand. With eight of them slithering out from her cargo bay, though, there was usually something for everything. They extended out as a single bouquet, down through the hole of the cargo compartment, and split apart once inside. Each arm got to work.

Her observation monitor flickered on, giving me a view from the camera arm. I would've liked to get the brain out first, but two heavy cannons and a booster blocking the way anyways. We'd cut through that, picking off the energy cores and precious metals in the circuits as we go, and work our way towards the back. Rosie seemed to like the plan as well. My only job was to watch the comms, and watch the sensors.

I watched the camera as the petite tools of the arms excised and picked apart the titanium shell of the first heavy cannon. Her tools- the delicate 'fingers' of her arms- picked, pulled, tugged, and gently gripped every necessary notch, every joined titanium plate that needed to be undone, ever scrap of precious material. Firm, yet precise. Strong, yet never breaking or mishandling a single piece of cargo. As Rosie worked, my eyes darted across the energy sensors. I could see blips firing off as the ships on the other side of the freighter as the slicing ships worked and flitted between their stations from the other side. The comms crackled with their reports to Augustus- they seemed to be moving back and forth to the main carrier to drop off their hauls. It seemed like they had a lot to go through- we'd have plenty of time.

On the camera view, I could see a grabbing claw retracting back through the cargo bay. The first cannon had the back section cleanly excised from the massive barrel and chassis, leaving a path for the tools to get to the booster. The precious energy cell was sliding its way back into Rosie's cargo bay. God damn. She was quick with that. The laser cutter and saw were already making short work of the booster, too. We'd get to the brain in no time.

The chatter on the other line continued. We were still safe, but Augustus' crew had made more progress than I had hoped. Once the slicers had picked apart the port, they'd loop around to the starboard. We had to grab what we could as fast as we can- but I knew neither me or Rosie was gonna leave without that brain. Rosie gracefully sliced the fuel cell and ignition from the plasma burner, leaving the bracketing and vents behind. The second heavy cannon was soon to follow. Each cut through each piece had left a winding path towards the back of the chamber, allowing a physical path to what I had seen just barely poking through: a container for a genuine ship's brain. Rosie slid her camera arm in for a closer look.

The brain was bolted into the chassis of the ship, as well as some containers of growth factor. Seemed like the intent was to grow her in to this freighter. That was certainly an ambitious task, but if they knew what they were doing, it would be well worth it. A self-repairing, intelligent hauler as large as this one would be the heart and soul of resistance movements everywhere, supplying every backwater mining station or moon that longed to be free. Unfortunately, the brave and principled can still be stupid, and these chucklefucks had no idea what they were doing. Slapped in a random cargo bay, desperately trying to get growth out from there with no proper imprinting guidance... shame. If they'd've found me before running into the Navy, I might've helped them out. But at least now, we could give her a better life. I knew a lot of good, caring pilots that would take loving care of a fine ship like her.

From what I could tell, we were still safe from Augustus. Based on what I was hearing on the comms, each slicer was working on its last cargo hold subsection, and after that, they'd be poking around this side. We had to get this brain and get out.

Tenderly, her claw arm gripped the top of the brain's chamber, as her other fingers started working on the rivets. A saw would bust through part of the titanium bracket holding the chamber down, and when it got too close to the container itself, laser cutters took over, delicately slicing off each affixation point one by one. Rosie worked in a clockwise direction, first working down the three riveting points on the right, sawing off the bottom bracket, and then working up the rivets on the left.

C'mon Rosie. You got this. Just need the top plate....

"Finishing up there, slicer 5T?"

Shit. That was Augustus on the comms.

"Sure thing boss. Just gotta get this load to central. Mind if someone takes a peek on the other side for parasites before I get there?"

Shit.

"Sure thing. Fighter 3A, get your ass in gear and make a full pass of the ship."

An energy spike pinged on my sensor panels as the fighter revved up a booster.

"Gotcha boss. Starting at aft segment."

Shitshitshitshitshitshitshitshitshitshitshit

We still had a sliver of time before we were seen. They'd wanna get a good pass everywhere- there were ships far stealthier than us out there. But it was minutes at most. We had to finish up.

"Rosie, how're we doing there? You done?"

Negative.

[ ;( ]

"Fuck. Rosie, we gotta get outta here."

Affirmative. Affirmative. Affirmative. Affirmative.

Rosie-speak for "I know, I know, I know"

My eyes were fixed to the scanner and my cockpit windows for a visual, but I spared one moment to check Rosie's cam. She was finishing sawing through the top bracket. Just a little more....

"Aft clear, moving to starboard cargo bays."

The brain snapped off of the hull, and Rosie's claws were zipping it back to her cargo bay. I revved the engines into standby. The arms tenderly guided it through the path we had cleared, and out through the hole in the hull. We might be able to barely slip away without them knowing.....

I looked up through the cockpit, just as the dinged-up, formerly Navy fighter showed itself from behind a piece of debris. It froze for a moment, and then lined its nose to face me. Cannon ports shifted open, and slowly took aim.

"Well shit, Augustus, you're gonna wanna see this. Get your ass over here, I'm switching to public comms."

I heard slight fuzz as he switched his channel.

"Alright, leech, I'll keep this simple. You have thirty seconds to relinquish your haul before you join the debris."

For a single, cold moment, I swear I made eye contact with him through our cockpits.

#writing #sierra writes #biologics #robotfucker #eroticism of the machine #story #sci fi story #scifi #scifi story

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wazzappp · 5 months

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ADA TIME

Given her very fun grapple mechanic and nature of weaving webs of plans to best benefit her, I thought a spider would be the obvious creepy crawly to base her off of!

The most obvious mutation is her secondary set of arms. These are extensions of the plagas limbs, similar to Ashley’s wings. UNLIKE Ashley’s wings though, these arms have bones (a loss for the crabs unfortunately). This is because they are VERY STRONG and capable of holding Ada (as well as others) body weight and this muscle needs a rigid structure to pull on. The keratin layers of her armor will help defend her from attacks but they aren’t a strong enough structure to constitute a real exoskeleton. They have 3 fingers and 1 thumb, and are less dextrous than Ada’s primary hands.

The claws and grooves in her fingers on both her primary and secondary hands are to help her keep hold of and manage her web. Her silk comes from spinnerets located on her mid back on either side of her spine. They house her silk glands, spinnerets, and muscular valve which allows her to control when web comes out. Spider silk at this thickness would be stronger than steel, and around 1/5th the weight! It clumps at the end to allow for easier throwing to other areas so she essentially has a natural grappling hook. She could also use it as a weapon, like a whip.

MOAR MANDIBLES. MOAR EYES. RAAAAAGHHHHHH.

Ada's primary eyes are the only ones with eyelids. Her secondary eyes located on her cheekbones and brow-bone always remain open. They greatly increase her awareness of her surroundings by widening her peripheral vision. Cant get snuck up on if you can see real far around you.

Her mandibles tuck into her mouth, just behind her teeth. They fit through a hole made in her teeth that was made by removing her top canine. To keep the appearance of a normal smile, she has a false tooth on the front of her first mandibular joint that fits where the original would be. These mandibles have venomous fangs at the ends that allow her to bite as self defense. There are flexible sections that allow for the mandibles to easily extend and retract in and out of her mouth comfortably (well. relatively comfortably).

Her general proportions are slightly elongated. Being stretched slightly at the joints. This applies to her primary arms and legs, which also have an armor plating to allow for more impactful kicks.

NOW. BEHAVIORAL CHANGES. Ada will feel most comfortable when resting on a web that she has woven. The high concentration of nerves on her fingertips allow her to sense any vibrations that may travel through her web, so she is always aware of any threat at any time. This also encourages her to become a more tactile person. Understanding the texture, shape, and temperature of something through touch will become very important to her understanding of the world.

#ada ada ada ada ada ada ada #Ive spidered her. get spidered preddy lady #ada wong #resident evil 4 #my art #sketch #digital art #infected!ada #everyone is infected au #<- what I'm officially calling this au

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trojanteapot · 1 year

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Infinity Train Boots!

Made these a while back as part of my Simon cosplay, must have been almost a month, but I didn't post the process!

(EDIT: hey I did some fixing up of my cosplay which you can see here in this post!)

Not actually sure if anybody would care because it's so niche, unlike my Spider-Gwen suit, but I did write about how I did the Infinity Train harpoon pack, so I'll discuss this too!

STEP 0: Acquire reference pictures:

Yep, pretty straightforward.

Note that Simon's boots have an extra bar/strap thingy, whereas Ryan and Min-Gi's do not.

I didn't include it because it kinda looks ugly and I didn't know how fragile the strap might be.

NEXT!

STEP 1: Acquire Boots!

I got these MIA boots from Journeys Canada. They only cost around 60 bucks which is a bit pricey for cosplay, but I'm not about to go thrift shopping when I'm in a time crunch and I can just order online and get free delivery within 2 days. (Also these days 60 bucks for boots from a retail store is considered cheap. Inflation is nasty.)

They came with these cardboard thingies inside to keep the structure of the boots. They have "left" and "right" written on them in Chinese which was helpful for me when I got a bit confused about which side was which.

Save those for later. You'll need them.

STEP 2: Paint the soles silver

Literally any acrylic silver paint works. May take several layers. Make sure to put masking tape around the top edge of the soles.

I didn't use a primer on the base but you probably should. Any white acrylic paint or Gesso would do and you wouldn't need like 8 coats of silver. Do as I say not as I do.

And make sure to seal everything with a varnish or mod podge!

Here are also the cut toe caps and some silver craft foam. The craft foam was kind of a mistake I'll get into it soon.

STEP 3: Make toe caps

Here's me making sure the placement is good.

I glued the craft foam onto the cardboard caps, and then I was thinking "well the little bit hanging over it isn't going to be a problem, nope! I'll just glue them down and it'll blend right in!"

HAHAHAHA. WRONG.

STEP 3.1: Fuck up the toe caps because you were winging this and you have no idea how crafting materials work you idiot

GROSS. DISGUSTING. VILE.

The hot glue melted the craft foam and now it's got this weird melty edge all around it that's all goopy and shit. Anyway you dont want your boots to look fucked up, you want them to look smooth like polished steel, or whatever they were made of in the show.

STEP 3.2: Fix toe caps

Everything can be fixed with Model Magic and acrylic paint! (and seal your paint with a sealant again!)

I just took some model magic (a type of lightweight air dry clay from Crayola, the cheapest you can get. Other more legit craft supply brands make similar materials as well), and squished it into the ugly bits, making a mostly seemless transition from craft foam to clay to sole.

TIP: to make model magic smooth before sanding, dab your fingers in some water to smooth it out! This also works for Paperclay as well if you decide to use a more higher end type of air dry clay.

STEP 4: Make the back metal thing that goes around the heel

So I did this kinda in tandem with the toe caps which is why the pics will look a little out of order but essentially, I took the parts of the cardboard that I cut off, and I cut them in half, put some other cardboard in between, and then sandwiched the thing in metallic craft foam.

This time it was a bit more successful because I was able to hide the weird gross melted edges on the inside. Also paint that shit silver!

Now you can glue the "heel caps(?)" directly to your boots, but I decided to use stick-on velcro instead so they're kinda removable, and may be easier to transport or clean or something? ehhh.

STEP 5: Make those handle things

So I also hit a bit of a snag with these. I ordered EVA foam dowels with a semi-circle cross-section as well as a triangular one, but I quickly realized they would be too flimsy sticking out like that unless I put something hard in between them.

So this isn't pictured, but I got some thin crafting wire from Dollarama and just bent them into L shapes, and glued the smaller dowels around them. I also shoved them into the bigger down and glued it down.

You can also see from these pictures that that leaves a weird gap in between the smaller dowels. Again I just used model magic to cover them up. There's probably a better solution but this was the one I went with.

I also lengthened the top "handle" part eventually because it looks better that way. (Please ignore the mess on my desk >_<)

Then I just paint them silver like everything else!

COMPLETE!

The nut and bolts are actual nuts and bolts. Since the base was just craft foam and cardboard, you can poke a hole in them easily and insert the bolt.

Hope you found this helpful! Or are just willing to indulge me and my notes on my silly crafting journey!

#cosplay #infinity train #infinity train cosplay #simon laurent #ryan akagi #min gi park #tutorial #crafting stuff #i have no idea what im doing #but it worked out #infinity train book 3 #infinity train book 4 #stuff i made #diy

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howtofightwrite · 1 year

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Do you know what this style of blocking is called? Or even how to describe it? I'm not sure "holding sword parallel and using other hand to support it" covers the action.

Take this with a grain of salt, because I can't find the references right now, but I think that's just, bracing. Gripping the blade of the sword is often called, “halfhanding,” but by itself the term is usually associated with gripping the blade to assist with precision thrusts. (So, trying you'd halfhand your sword to thrust into a weak point or gap on your foe's armor.) Parrying, or blocking with a sword like this is a little unusual, and (without the full context of the original image) I almost wonder if this is an example of something you shouldn't do.

Now, with the image's detail as low as it is, it might be illustrating a very specific technique. In the case of single edged swords, the, “best,” place to parry an incoming strike is with the back of the blade. Where you've got a heavy chunk of relatively solid metal, without the danger of taking a blow on the flat of the blade. (I can't really tell, but it does look like the defender is wielding a falchion, which were single edged swords. That would also date this image to somewhere between the 13th and 16thcentury. Which, at glance seems right, but I wouldn't swear to that estimate. The design of the falchion would put it later on that spectrum. The design of the attacker's sword seems consistent somewhere in that timeframe as well, but it's genuinely difficult to judge, and while I know I've seen this picture before, I cannot remember where.)

On double edged swords, like the attacker is wielding, the best option for parrying an incoming strike is with the flat. Obviously, that's not ideal, because blows to the side of the blade do risk damaging it, especially when it's halfhanded like this and your opponent is performing a heavy hewing strike as depicted, but that's a risk. If you try to block or parry edge-to-edge, you will damage your sword, without fail. (Also, if you try to block an incoming attack edge-on-edge while halfhanding, you will injure your hand.) If you do attempt to block or parry edge-on-edge both swords will suffer damage called, “gouging.”

Remember that a sword is, basically a three to four foot long razor blade. So, while the blade itself is a relatively solid chunk of steel, the cutting edge is quite delicate and fragile. Gouging on the blade occurs whenever the sword is used against something significantly harder than a person (and can even occur from striking bone.) Abusing your sword will destroy it, and the conventional image of blade-on-blade parrying is extremely destructive to the weapons involved. This almost never occurred historically, and when it did it was either an act of desperation or incompetence.

That image of blade-on-blade parrying comes from theater. Ironically, flat edged props are much more durable than real swords, and blade-on-blade parrying is much easier and safer on stage than the historical swordfighting techniques they stood in for.

While it's not the case in this image, some specific swords (intended for combat) existed with unsharpened blades. The most famous of these is probably the Estoc (or Tuck.) These did not always have sharpened edges, and even when they did, that wasn't the important part of the weapon. Dating to the 16thcentury, these were designed to deliver thrusting blows that could (hopefully) punch through gaps in a foe's plate armor. In this specific case, blocking edge-on-edge (or even half-handing the weapon) wouldn't matter, because there was no delicate blade, (only the tip was sharpened.) Some surviving Estocs even have heavy ridges running down the flat of the blade, giving it a cross-shaped (or, in some cases, triangular) cross-section. This was specifically to improve the structural integrity of the sword while thrusting. Though it would mean that you could probably block or parry an incoming attack as depicted in the image while wielding one (though, neither of the swords in the image are estocs.) In this specific case, there wouldn't even be much downside to edge-on-edge blocking, because the estoc is unlikely to suffer meaningful damage, while the attacker's blade will likely suffer gouging.

So, if this was intended as a depiction of something you should be doing, I suspect it was to demonstrate how to parry an incoming sword strike with a falchion. Historically, falchions tended to be fairly cheap infantry weapons so this may have been intended for teaching conscripted infantry. With the image itself being for the instructor's benefit more than the conscript's. A lot of the surviving codices of late medieval and early modern sword combat were intended for professional combat instructors. So, it is reasonable to assume that this image is from one of these sources.

-Starke

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#howtofightwrite #writing advice #writing reference #swordfighting #Starke answers

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mariacallous · 1 month

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Just shy of half past 1 in the morning, the MV Dali, a giant container ship, was sailing gently out of the port of Baltimore when something went terribly wrong. Suddenly, lights all over the 300-meter-long vessel went out. They flicked on again a moment later, but the ship then began to veer to the right, toward one of the massive pylon-like supports on the Francis Scott Key truss bridge—a huge mass of steel and concrete that spans the Patapsco River.

The Dali’s lights went out a second time. Then the impact came. The ship plowed into the support, with large sections of the bridge’s main truss section instantly snapping apart and falling into the river. It took just 20 seconds or so for the structure to come down.

Now, a major US port is in disarray, and several people who were working on the bridge at the time of its collapse are missing. A rescue operation is underway. President Biden has called the disaster a “terrible accident.” Ship traffic is currently stuck on either side of the crash site, and a major roadway through Baltimore has been cut off.

“It’s a dreadful tragedy and something you hope never to see,” says David Knight, a bridge expert and specialist adviser to the UK’s Institution of Civil Engineers. But commenting on footage of the bridge collapse, he says he is not surprised by the manner in which it crumpled.

Large steel structures may seem invulnerable, but steel, explains Knight, is relatively lightweight for its size. As soon as it is pushed or pulled the wrong way with enough force, it can fold like paper. In this case, the Francis Scott Key Bridge was a “continuous,” or unjointed, bridge that had a 366-meter-long central truss section. (Truss bridges use steel beams, arranged in triangular shapes, to support their load.) The central truss was made up of three horizontal stretches, known as spans, with two sets of supports holding these above the water. It was the third-largest structure of its kind in the world.

“When you take a support away, there is very little in the way of robustness,” says Knight. “It will drag down, as we saw, all three spans.” The separate approach spans remain standing. There is nothing in Knight’s view that immediately suggests any structural problem with the bridge. An engineering firm, Hardesty & Hanover, confirmed to WIRED that it performed an inspection of the bridge in 2019, and that other inspections have been carried out since, but did not provide any additional details on the state of the structure. WIRED has approached H&H for further comment. In June last year, the US Federal Highway Administration rated the condition of the bridge as satisfactory.

The immense force of the container ship impact should not be underestimated, adds Knight. Such vessels require a lot of power and time—perhaps many minutes—to come to a complete stop. The Francis Scott Key Bridge was completed in 1977. In more recent decades, bridge engineers have commonly incorporated defenses to reduce the potential damage by ship strikes when bridges are erected in similar locations, Knight says. These include hydraulic barriers and additional concrete around the base of bridge supports, for instance. However, even with such fortifications in place, heavy strikes can still cause devastating damage.

It is not clear why lights turned off and on again on the Dali, a Singapore-flagged ship built in 2015. “That is an indication of a massive problem,” says Salvatore Mercogliano, a maritime historian at Campbell University in North Carolina and a YouTuber who has analyzed the crash.

At the time of the accident, two pilots—mariners who board a ship to help it navigate particular stretches of water, including in and out of ports—from Baltimore were on board. The Dali was broadcasting its position publicly via the automatic identification system (AIS) and was traveling at a speed of over 8.5 knots. It then slowed to around 6 knots in the moments before the crash, according to AIS data.

Both pilots and all crew members on the Dali are accounted for. There are no reports of injuries, the ship’s management company, Synergy Group, said in a statement on March 26.

ABC News reports that the crew of the vessel made a desperate mayday call in an attempt to warn transport officials that the crash was about to occur. A report from the Cybersecurity and Infrastructure Security Agency, seen by ABC, says the Dali “lost propulsion” and that the crew were aware they had “lost control” of the ship. Maryland governor Wes Moore told reporters that, thanks to the mayday call, officials were able to stem the flow of traffic over the bridge, an intervention that he says “saved lives.”

Mercogliano says it is very difficult for ships of this size to make rapid adjustments to their trajectories. Video footage shows a sudden outpouring of smoke from the vessel’s stack, indicating a change in engine activity of some kind. What is particularly disturbing is that, in this case, the vessel ends up plowing straight into one of the key supports for the bridge, clearly off course. No information as to why this happened has become public.

Photographs of the aftermath show the bow of the ship pinned beneath fallen sections of the bridge. The anchor chain is visible, meaning that at some point the anchor was dropped, though it is not certain whether this happened before or after impact. The chain appears to be at an angle, however, which Mercogliano says could be a sign that it was dropped shortly before the crash and dragged for a brief time.

Lawyer James Turner of Quadrant Chambers in London specializes in, among other things, ship collisions. He says that there would have been no automated systems on board a merchant ship of this kind able to prevent the impact. Information from radar, AIS, and visual observations would have been available to the crew, however.

But data-collecting systems may now reveal exactly what happened. As on airplanes, commercial ships have data and audio recorders on the bridge, which are often a key source of information for investigators post-incident. “The master will hit a button and that ensures that the last two hours of audio recording are preserved, as well as all the data from the various parts of the ship, like the engine and steering and so on,” explains Turner. “That can be downloaded and queried.”

He adds that estimates of the ship’s speed at the time of the incident as recorded by AIS are likely “99.99 percent accurate.”

For now, the focus of responders will be on locating survivors from the fallen bridge. Two people have been rescued, one of whom is in the hospital. Six construction workers remain missing.

The disaster has come at a difficult time for shipping, with drought afflicting the Panama Canal and Houthi attacks striking multiple vessels in the Red Sea in recent months. Somali piracy is on the rise again, also. The grounding of the Ever Given in the Suez Canal is very much still within recent memory—it occurred a mere three years ago.

The Port of Baltimore insists in a statement that it has not been shut down—road vehicles are still operating within the port—however, all ship traffic in and out is suspended until further notice. AIS data reveals around a dozen commercial vessels at anchor outside the port, their entry now blocked by the stricken bridge and the Dali. It will take some time for the US Army Corps of Engineers to remove the steel pieces of the bridge, which present a significant threat to passing vessels, from the river.

“Whatever ships are in the port are now stuck,” says Mercogliano, who notes that Baltimore is an important port in terms of car deliveries and coal exports.

Overall, he argues, maritime operations are extremely safe today, though the volume and velocity of trade mean that when things go wrong it can be especially serious.

“We move goods a lot faster than ever before, and there’s very little margin for error,” he says. “When there is a mistake, the mistakes tend to be very large.”

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frostfires-blog · 7 months

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Traditional Symbolism in Jujutsu Kaisen Opening 4 - Specialz

[⚠️Warning: Possible small spoilers⚠️]

Hata-jirushi (旗印)

The white banners seen in the background of this scene are most likely Hata-jirushi (旗印). Hata-jirushi were the most commonly used war banners on medieval Japanese battlefields. The kanji used here “旗印” literally translates to “symbol flag”, “marker banner”, etc.… These war banners were generally simple streamers attached by a horizontal cross-piece to a shaft, unlike the later used nobori (幟) which were stiffened. Later, some hata-jirushi were hemmed on their sides and tops to better attach them to their poles in such a way that they were visible from the front. The purpose of these banners was to help identify and distinguish different army sections and regiments. The use of them in this scene helps to set the tone of this arc which is essentially the start of a war between jujutsu sorcerers and cursed spirits.

Torii (鳥居)

In this panel, several characters are seen passing through a torii (鳥居). A torii is a traditional Japanese gate mostly found at the entrance of and within Shinto shrines. Torii gates are where kami are thought to travel through and are welcomed to the shrine. It is customary to walk to the side of a torii gate when passing through instead of walking down the center—as it is believed that only kami may pass through the center. The word torii derives from the term “tōri-iru” (通り入る) which roughly translates to “pass through and enter”. These structures mark the transition between the mundane, secular world and the sacred grounds of the shrine. Thus, passing through a torii gate can be thought of as “crossing into another dimension or entering into spiritual communion with nature”. Torii gates act as both a physical barrier and spiritual guardian separating the profane from the sacred within its boundaries. Therefore, it is believed that those who pass through one, are cleansed of their worldly worries and enter a realm of tranquillity and peace. Aside from their religious significance, torii gates hold other more abstract meanings such as providing good fortune, hope, purity, and protection from evil spirits. In this panel, as the characters pass underneath the torii it signifies their crossing from the physical to the spiritual world—which could refer to them traveling down the path to enlightenment or death. Since torii are also believed to provide good fortune and protection from evil spirits, the characters passing under one could be a sort of send-off ritual before the battle to ensure their safety.

Ōnusa (大幣)

In addition to more hata-jirushi, we can see an ōnusa (大幣)—also known as a nusa (幣) or a Taima (大幣)—a wooden wand used in traditional Shinto purification rituals in this panel. Ōnusa are embellished with shide (paper streamers). The wand is also referred to as a (祓串) when the shide are connected to a hexagonal or octagonal staff. It is believed that impurities are transferred from the person or thing to be purified to the ōnusa by waving the ōnusa left, right, then left again. The usage of them in this scene adds to the traditional imagery and the idea that something significant is about to happen that will require the characters to purify their minds and steel their resolve.

Nokotsudo (納骨堂)

In this scene, Itadori is seen standing in front of a nokotsudo (納骨堂) which is a Japanese ossuary. A nokotsudo is known as a “nokotsuden” or “reido” and is a building in which the remains of cremation are kept. Nokotsudo are generally built in the precincts of temples and are equipped with lockers to keep the remains and are occasionally equipped with Buddhist altars above these lockers to place Buddhist mortuary tablets. This scene portrays Itadori breaking down in front of a nokotsudo. This could either refer to him facing the ashes of the people Sukuna killed using his body—or perhaps more improbably the scene depicts him being confronted with the fact that his grandfather's wish has inadvertently led him down this troubled path.

Joss paper (金紙)

The rounded pieces of paper falling from the sky in this scene are likely pieces of joss paper (金紙). These are typically sheets of paper or papercrafts which are used as burnt offerings in ancestral worship as well as the veneration of deceased relatives on special holidays in Asia. Joss paper is typically printed with various representations of worldly goods such as money, houses, cars, credit cards, etc.… Joss paper is burnt at Asian funerals “to ensure that the deceased’s spirit has sufficient means in the afterlife”. In wuxia and xianxia C-dramas, joss paper is often seen falling from the scene during scenes in which the reanimated and ghostly beings invade the world of the living—which is somewhat similar to the setting in this scene with Megumi meeting his reanimated father. Additionally, it was partly Toji's pursuit of money that led to his death, taking him away from his son, so it is somewhat ironic to have joss paper raining down on him.

[P.S. A few people have been analysing this opening on other platforms, but I wanted to touch on some of the more obscure cultural nuances... I am not Japanese, so this is based off of my own research, so I apologise if I miss anything or get anything wrong. Feel free to make corrections or additions in the comments and reblogs respectively.]

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tritonalloysinc · 3 months

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#S355J2+N Steel Pipes Stockist #BS EN 10210 Carbon S355J2 N Pipe #S355J2+N Hot Finish Welded Steel Pipe Suppliers In Mumbai #S355J2+N Circular Pipe Stock Holder #Carbon BS EN 10210 Structural Steel Tube #S355J2 N Steel Hollow Section Circular Pipe #S355J2 N Pipe Exporter #S355J2+N Structural Steel Pipe Manufacturer #S355J2+N Hot Finished Seamless Pipe Stockist #Mild Steel S355J2+N Pipe Supplier in Mumbai #S355J2+N Cold Formed Seamless Pipe Manufacturer in India.

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tsa23urban-hostel · 1 year

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ALSTOM WAREHOUSE - SECTION DRAWING OF STEEL STRUCTURE

_ik

#cellular beam #steel structure #section

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diabolus1exmachina · 1 year

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Alfa Romeo Disco Volante by Touring Superleggera

The Disco Volante is a two-seater Gran Turismo. It is based on the Alfa Romeo 8C Competizione coupé with its front-central mounted 4.7 litre V8 engine and a transaxle rear drive with unmodified specifications. Each unit, of which the construction requires 4,000 hours of manual work.The present Disco Volante celebrates the myth of the 1952 style icon. The new design briefing required to blend ingredients as innovation, emotion and aerodynamic properties into a timeless and essential shape.During the development stage, Head of Design Louis de Fabribeckers and his team cooperated with the engineers on an almost daily basis. “We focused on the preservation of the design essence. – says de Fabribeckers – Once the design frozen, we had to understand the manufacturing problems and solve them right away without compromising the design.”In consistency with the car’s design philosophy the interior has a ‘science fiction’ feel to it. Part of this ‘spaceship’ atmosphere was created by elements like the red LED interior light profiles. Also, aeronautics has been the inspiration for parts like the dashboard, instruments and seat adjustment lever.The Alfa Romeo 8C Competizione chassis was chosen for its light and rigid structure and its outstanding dynamic properties. Therefore it forms the perfect basis for the coach-built bodywork of the Disco Volante, integrally conserving the rolling chassis and drive train.The Alfa Romeo 8C’s steel space-frame and other structural elements were retained to guarantee torsion stiffness, high performance and the quality standard. The frame members and the central carbon cell remained unchanged. Elements of the underpinning and the body, such as the engine bay and firewall, the windscreen and cowl, the a-pillar and the locks and hinges have been retained too, just as the dashboard and instruments, the pedals and the steering wheel. Parts like doorframes, the roof frame and the c-pillar have been modified to match with the new shape.The layout of a front-central mounted engine, a transaxle transmission and rear-wheel drive offers an optimal weight distribution of 49-51% between the front and rear axles. To ensure excellent handling the front and rear double-wishbone suspension scheme is combined with hub carriers of forged aluminium and additional trailing arms for the rear suspension.The lightweight and compact 4.7 litre V8 engine delivers 450HP and 480Nm peak torque. It is coupled with a six-speed sequential transaxle gearbox with electronic control and paddle-shift gear selection. Together with a limited-slip differential and a state-of-the-art braking system with large diameter, ventilated discs a precise, dynamic and proactive drive is ensured. The Disco Volante can accelerate from 0 to 100 km/h (0-62 mph) in 4,2 seconds and has a top speed of about 290 km/h (181 mph).

All new and modified components of the Disco Volante have been CAD designed. In this process, which covers feasibility, safety, homologation, aerodynamics and structural analysis, the most advanced IT tools and simulation techniques have been used.

Since torsion stiffness and noise reduction are of critical importance, special attention has been paid to the under-body structure and its elements, like the tubular frames supporting the rear wings and bumper, and the roll bar joining the c-pillars. Other complex design issues were the tailgate hinges, the 3d-cambered door window, and the front wheel covers.

The Disco Volante was then submitted to a CFD aerodynamic study to enhance the airflow and ensure optimal downforce in the rear section. After that, FEM calculations were run to assess resistance and rigidity of all parts subject to homologation.

Touring Superleggera is synonymous with the manufacture of lightweight bodywork. The weight advantage of aluminium is one of the assets of Touring Superleggera’s construction methods. Nowadays however, the craft of hand-beating aluminium panels is combined with the use of carbon fibre reinforced plastic (CFRP). For the Disco Volante, Touring decided to use this combination of aluminium and CFRP. This has been the result of a study conducted to define optimal use of materials for the bodywork in terms of weight, resistance, precision, finish and quality, and ease of repair in case of damage.

The CFRP is used for specific components like the front bumper and grille, the bonnet, the skirts, the boot lid and the integrated rear-window frame. The bonnet and the boot lid are sandwich-built with Nomex filler in-between to obtain a better stiffness/weight ratio and to dampen vibration and noise.

The aluminium panels are hand-beaten using an epoxy mould. Since the inner frames of most parts of the bodywork are made of CFRP, this requires gluing of aluminium on carbon fibre. This technique adds to the rigidity as the glue has structural properties.

The body panels are pre-assembled on a laser measurement platform using a jig. This ensures that the strict tolerance required is respected. After adjustment, the panels are either welded or glued. The body-in-white is then used to preassemble and fit all trim components, brightware and moulding.

#Alfa Romeo Disco Volante #touring superleggera #8C Competizione

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