#technoligent

[ahearthoficeandstone]

Rework Status

So the setting of this project has had a huge change, the main one being it is now an animistic world. The world is full of spirits and invisible forces, and the way people view the world and each other is different now to.

In the old version of this project, the world was one abandoned by its supposed makers and humans just doing what have you now that they were off this metaphysical leash. Divinity and religion was more of a distant topic to the story unless you interacted a lot with Ambrose and potentially Noel. In this new setting I'd like the way people interact with the various spirits to be more prevalent, since it is the spirit's world people are just living in it.

The relationships between each nation would also change, Vakar and H'afeara no longer are long time allies. They know of each other, but not much interaction goes on between them beyond that. They might still be allies but it would be a more recent thing. Aea is no longer an empirical power but is now a very new and unstable nation, which gives the MC more room to make a place for themselves in the mess they are in.

Magic is also fundamentally different in this world now, most of it involves communing with spirits, though occasionally there is the more typical slinging spell sorcery but that would be much rarer. I think since mc's mount was always meant to be mystical in some way it'd be some sort of minor spirit, which does change mc's position in their family so there is much to consider there as well.

Anyhow, onto characters who may not survive the rework:

Asrani: Technology level is up in the air, Aea was significantly more technologically advanced in the old version but it was also more established. It's a very young nation in the current version, and the feats of work Asrani pulls off are edging into renessiance-steampunk. Technoligical advancement is integral to the character, so I'd prefer to cut them out entirely than change them. Which is sad, because I love them and they are like half the inspiration of starting this project. Cutting them out cuts out another character you could have met later n whole 'side' plot too.

Volo: Either Volo is written out entirely or Volo stays but is so fundamentally changed Volo feels like a different character. With this new role I have in mind, I don't know if they'd be an ro anymore.

Aurora: I've been iffy on her for a while, she may just need a massive rework honestly. She's a bit of an uncomfortable character to write, but the things she does is kinda important to her too and I don't want to water her down. Writing cruel characters can be hard :<

Empress Dalia: Dead as hell

[insert-the-4thwall-entity]

new ooccs and story concept guuyysssss -

[CromaKey] is basically my new take on the mecha anime genre.

The story takes place in a future after an almost world ending scenario where humans and intelligent evolved versions of animals live together, trying to restore civilization. But there's one problem - there's this one military-like corporation called BIO-D(Bio-domination) inc., who's trying to take over earth and rule it, via synthetic bio-technoligical monstrosities. Our plot follows the teen girl with super power from DNA mutation Naki, her adoptive husky brother Koro and their helper robot Enzo as they try to help the World protection organization (WPO) fight againts BIO-D. Naki finds an artifact for something, but gets a gut instinct that it might be for something important. After showing it to Koro, Enzo and some WPO members, and evading from BIO-D spies and soldiers, just as things couldn't get worse - one of the BIOtech-monsters found her. During the end of the chase scene, the artifact somewhat activates and starts to show her a way out. Then they end up at some ancient ruin, which after getting infront of a sand with a hole in it and remembers something important from history class, Naki starts to piece things together - this is the place where the 'Mechanical Savior' prophecy entails and the artifact's the key to fulfilling it. As the monster gets closer by the second, Naki quickly puts the artifact in the 'key' hole and with that - Croma, a powerful giant alien robot that was sent from a neighboring galaxy to protect our planet, has been (re)awaken. After that faithful day the team, with their new extraterrestrial member, are on a quest to take down BIO-D inc.

In the meantime, have these concepts of Naki and Croma :

[klunk2003]

Line: “Right. Medium rare, like in that Twilight Zone episode…”

Speaker: Donatello to Augustus and April O’Neil

Context: Don and April use her Uncle Augie's artifact to travel to another dimension after recieving a message from him. The world Augie has been stranded in is technoligically advanced and inhabited by lizard people called the Brotherhood. Augie wants to bring the Brotherhood to earth to share their advancements, but Don discovers the Brotherhood actually wnats to eat humanity. Explaining this to Augie and April, Augie insists the Brotherhood just wants "to serve" humanity to which Donnie quips the above line.

Media origin: "To Serve Man" is an episode of the television series The Twilight Zone. It depicts a race of aliens called the Kanamits coming to earth in a humanitarian effort and sharing their technology. The Kanamits begin to transport the human race to their own world and it is revealed the Kanamits actually intend to cook and eat all of humanity. The episode originally aired on March 2nd, 1962.

Season & episode: S4E18 “The Trouble with Augie”

Episode’s original airdate: February 18, 2006

[jihef03]

The technoligical leap between Toy Story 1 and 4 makes me think that in the next one the toys are gonna get out of the screen and punch me in the face

[pucamonty]

pyrrhac time! the dragons are bipedal now bc my quadruped anatomy is terrible (unless it's centaurs??) and I am frankly not smart enough to figure out how an entire society of technoligically advanced bipedal creatures would work

also insta cropped the very bottom of his tail which makes me sad, but it will just have to do

[programming-people-inc]

Python is a programming language that is used for making softwares that can use artificial intelligence as well. Due to increase in popularity of python many developers are showing interests in scaling up their skills. Python developers are in great demand these days as this programming language is easy to learn and has wide range of applications.

[madamtazzz]

The Fix Is In: Here's Why Democrats Are Not Worried about 2020 — The Fix Is In… - Geller Report

It's time to fight 😤 💪 for America 🇺🇸 or lose her.

[noneedtofearorhope]

there are three paths laid out to us:

1) fascism succeeds both in overtaking us and in managing to slave drive us into space where it can continue to drain the life out of any and everything, creating incredible riches for the few and reducing whoever survives their genocidal bloodlust to living in camps or slums

2)fascism succeeds in overtaking us but can’t surmount the technoligical leap necessary to escape earth and the eventual ecological and political collapse kills further millions as we are reduced to rubble and made to live in huts

3) or we defeat fascism and voluntarily reorganize society such that we all live in relative peace in huts.

[gangler]

Do elementary school students till get told they need to have good hand writing for highschool?

I remember all grade 7 and 8 being chewed out for my messy hand writing. “They won’t even bother trying to read this in highschool! You’ll just get a zero!”

Then I get into highschool and they don’t accept hand written assignments at all. They want it all typed out.

I don’t know if that’s just because I grew up in a weird technoligical transition stage or if elementary school students are still out there being lectured on the importance of good handwriting.

[jhebora]

Harder Better Faster Stronger by Daft Punk! Or maybe Technoligic by Daft Punk...Colin Kinnie music

OOO

I haven’t listened to those yet, but the titles alone sound like Colin kinnie music

[mostlysignssomeportents]

UK government quietly cancels "age verification" system that would have compiled a database of every Briton's sexual fantasies

Since the days of David Cameron, the UK has been pressing ahead on a plan to force every British person who wants to see pornography to register as an adult through a private-public partnership (administered by a Canadian porn monopolist that pretends to be a Luxembourg company) before they could see sexy times on the internet.

This plan was so stupid, it burned. First of all, kids in the UK could simply avail themselves of a VPN and handily evade the No Sex Please We're British scheme. Second of all, anyone foolish enough to partake of this scheme would be voluntarily compiling a database of kompromat that when -- not if, when -- it leaked could be used to comprehensively compromise them from a[rse|ss]hole to appetite.

The only reason that the British public was not furious about this was that no one knew it was in the offing: the scheme was meant to go into effect on July 15, but as of March, 76% of the country didn't know about it.

The plan has been brought forward and then delayed innumerable times. Now, it seems, it has been shelved "indefinitely" (whatever that means in a country with no effective leadership that is steamrollering towards the most spectacularly idiotic act of political suicide in living memory). The government has made no announcements, but when the Guardian chased up a rumour from Sky (backed by various anonymous sources in the Department for Digital, Culture, Media and Sport), HMG "did not deny" that the plan had been scrapped.

It's remarkable to see HMG climb down from something idiotic and technoligically illiterate and badly-thought-through, really an off-brand moment for the Conservatives.

https://boingboing.net/2019/06/19/own-goal-averted.html

[techtrival3]

Upcoming future challenges for the cable manufacturing industry and it’s possible solutions.

In the last two decades, the dynamics of the market has become very volatile.Of course the technoligical advancement and customer oriented supplier base played a vital role. As a result, Now a days it has become almost impossible to keep track of the long term goals and vision in reality.

The frequent overtaking of smaller companies by the big giants, the bankruptcy of many new industries all lead up to limiting the approach to future.It also limits the “right of choice” of the customer.

To thrieve to its glory small and medium-sized cable and plastic manufacturing industries need a dynamic strategy with a long term risk assessment and its containment plan.Definitely the relevance of cable and plastic test equipment and cable cost optimization becomes very important.As they are required to ensure lower cost and speedy delivery.We shall surely cover this topic too.

This can be achieved with the 5W & 2H analysis. Let’s go through each of them

Why  present does data and its results need to be analysed?

When are the foreseeable challenges in the cable and plastic industry coming?

Which are the risks

Where are the solutions and strategies we are talking about?

How often we should run product & process innovation to achieve the sustainability of the business?

How      

What

to do cable cost optimization? (We are talking about real manufacturing cost reduction.)

cable and plastic test equipment plays a role in this regard?

to execute all the actionable in time within the available resources?

does the data shows yet?

tools can be used for the projects?

is the outcome and closure?

With this series of our new blog, we will cover each of the above topics.  Also several industry leaders are surveyed, interviewed for adding up their valuable inputs.

https://www.techtrivial.com/product/dc-ac-high-voltage-current/

[atthevogue]

“Tony de Peltrie” (1985)

The basics: Wikipedia

Opened: A landmark piece of computer animation, the Canadian short was part of the 19th Annual Tournee of Animation anthology that showed at the Vogue Theater in March and April of 1986.

Also on the bill: At least one Saturday in April, it was programmed in the 9:00 slot after Chris Marker’s Akira Kurosawa documentary A.K. and Woody Allen’s Sleeper, and before a midnight showing of Night of the Living Dead, which sounds to me like a very good eight-hour day at the movies. Otherwise, you could have had a less perfect day seeing it play after Haskell Wexler’s forgotten Nicaragua war movie Latino and the equally forgotten Gene Hackman/Ann-Margaret romantic drama Twice in a Lifetime.

What did the paper say? ★★★1/2 from the Courier-Journal film critic Dudley Saunders. Saunders described the Tournee as “a specialized event that shows signs of moving into the movie mainstream,” correctly presaging the renaissance in feature-length animation in the 1990s generally and Pixar specifically, whose Luxo, Jr. short was released that same year. Of Tony, Saunders singles it out as “one of the most technologically advanced,” and that it featured “some delightful music from Marie Bastien.” He then throws his hands up: "Computers were used in this Canadian entry. Don’t ask how.” Saunders was long-time film critic for the C-J’s afternoon counterpart, the Louisville Times, throughout the 1960s, ‘70s and ‘80s. In the late 1980s, he would co-found Louisville’s free alternative weekly, the Louisville Eccentric Observer.

What was I doing? I was six and hypothetically could have seen an unrated animation festival, though I'd have been a little bit too young to have fully appreciated it. Although, who knows, I’m sure I was watching four hours of cartoons a day at the time, so maybe my taste was really catholic.

How do I see it in 2018? It’s on YouTube.

A four-hour-a-day diet of cartoons was probably on the lower end for most of my peers. I grew up during what I believe is commonly known as the Garbage Age of Animation, which you can trace roughly from The Aristocrats in 1970 to The Little Mermaid (or The Simpsons) in 1989. The quantity of animation was high, and the quality was low. Those twenty years were a wasteland for Disney, and even though I have fond memories of a lot of those movies, like The Black Cauldron, they’re a pretty bleak bunch compared to what was sitting in those legendary Disney vaults, waiting patiently to be released on home video.

Other than low-quality Disney releases, the 1980s were highlighted mostly by the post-’70s crap was being churned out of the Hanna-Barbera laboratories. Either that, or nutrition-free Saturday morning toy commercials like The Smurfs and G.I. Joe. Of course there’s also Don Bluth, whose work is kind of brilliant, but whose odd feature-length movies seem very out-of-step with the times. Don Bluth movies seem now like baroque Disney alternatives for weird, dispossessed kids who didn’t yet realize they were weird and dispossessed. (Something like The Secret of NIMH is like Jodorowsky compared to, say, 101 Dalmatians.) Most of the bright spots of those years were produced under the patronage of the saint of 1980s suburbia, Steven Spielberg. An American Tale or Tiny Toon Adventures aren’t regarded today as auteurist masterpieces of animation (or are they?), but they were really smart and imaginative if you were nine years old. Still, the idea that cartoons might be sophisticated enough to be enjoyed by non-stoned adults was probably very alien concept in 1985.

In the midst of all of this, though, scattered throughout the world were a bunch of programmers and animators working out the next regime. Within ten years of Tony de Peltrie, Pixar’s Toy Story would be the first feature-length CGI animated movie, and within another ten years, traditional hand-drawn animation, at least for blockbuster commercial purposes, would be effectively dead. That went for both kids and their parents. Animation, like comic books, would take on a new sophistication and levels of respectability in the coming decades.

I love it when you read an old newspaper review with the benefit of hindsight, and find that the critic has gotten it right in predicting how things may play out in years to come. That’s why I was excited to read in Saunders’ review of the Tournee that he suspected animation as an artform was showing “signs of moving into the movie mainstream.” His sense of confusion (or wonder, or some combination) at the computer-generated aspects is charming in retrospect, too.

Tony de Peltrie is a landmark in computer-generated animation, but its lineage doesn’t really travel through the Pixar line at all (even though John Lassetter himself served on the award panel for the film festival where it was first shown, and predicted it’d be regarded as a landmark piece of animation). The children of the 1970s and ‘80s grew up to revere the golden era of Pixar movies as adults, and the general consensus is that not only are they great technical accomplishments, but works of great emotional resonance.

As much of an outlier as it makes me: I just don’t know. I haven’t really thought so. I think most Pixar movies are really, really sappy in the most obvious way possible. The oldest ones look to me as creaky as all those rotoscoped Ralph Bakshi cartoons of the ‘70s. Which is fine, technology is one thing -- most silent movies look pretty creaky, too -- but the underlying of armature of refined Disney sap that supports the whole structure strains to the point of collapse after a time or two.

Film critic Emily Yoshida said it best on Twitter: she noted, when Incredibles 2 came out, she’d recently re-watched the first Incredibles and was shocked at how crude it looked. "The technoligization of animation will not do individual works favors over time,” she wrote. “The wet hair effect in INCREDIBLES, which I remember everyone being so excited about, felt like holding a first generation iPod. Which is how these movies have trained people to watch them on a visual level...as technology.” There’s something here that I think Yoshida is alluding to about Pixar movies that is very Silicon Valley-ish in the way they’re consumed, almost as status symbols, or as luxury products. This is true nearly across all sectors of the tech industry now, but it’s particularly evident with animation.

One of my favorite movie events of the year is when the Landmark theaters here in Minneapolis play the Oscar-nominated animated shorts at the beginning of the year. Every year, it’s the same: you’ll get a collection of fascinating experiments from all over the world, some digitally rendered, some hand-drawn. They don’t always work, and some of them are really bad, but there’s always such a breadth of styles, emotions and narratives that I’m always engaged and delighted. They remind you that, in animation, you can do anything you want. You can go anywhere, try everything, show anything a person can imagine. Seeing the animated shorts every year, more than anything else, gets me so excited about what movies can be.

And then, in the middle of the program, there’s invariably some big gooey, sentimental mush from Pixar. Not all of them are bad, and some are quite nicely done, but for the most part, it’s cute anthropomorphized animals or objects or kids placed in cute, emotionally manipulative situations. I usually go refill my Diet Coke or take a bathroom break during the Pixar sequence.

Yeah, yeah, I know. What kind of monster hates Pixar? 

I don’t hate Pixar, and I like most of the pre-Cars 2 features just fine. The best parts of Toy Story and Up and Wall-E are as good as people say they are. But when you take the reputation that Pixar has had for innovation and developing exciting new filmmaking technology in the past 25 years, and compare it to the reality, there’s an enormous gap. And it drives me nuts, because if this is supposed to be the best American animation has to offer in terms of innovation and emotional engagement, it's not very inspiring. Especially placed alongside the sorts of animated shorts that come out of independent studios elsewhere in the U.S., or Japan, or France, or Canada. 

Which brings us to Tony de Peltrie, created in Montreal by four French-Canadian animators, and supported in part by the National Film Board of Canada, who would continue to nurture and support animation projects in Canada through the twenty-first century. A huge part of the enjoyment -- and for me, there was an enormous amount of enjoyment in watching Tony de Peltrie -- is seeing this entirely new way of telling stories and conveying images appear in front of you for the first time. Maybe it’s because I have clear memories of a world without contemporary CGI, but I still find this enormous sense of wonder in what’s happening as Tony is onscreen. I still remember very clearly seeing the early landmarks of computer-aided graphics, and being almost overwhelmed with a sense of awe -- Tron, Star Trek IV, Jurassic Park. Tony feels a bit like that, even after so many superior technical accomplishments that followed.

Tony de Peltrie doesn’t have much of a plot. A washed-up French-Canadian entertainer recounts his past glories as he sits at the piano and plays, and then slowly dissolves over a few minutes into an amorphous, impressionistic void. (Part of the joke, I think, is using such cutting-edge technology to tell the story of a white leather shoe-clad artist whose work has become very unfashionable by the 1980s.) It’s really just a monologue. The content could be conveyed using a live actor, or traditional hand-drawn animation.  

But Tony looks so odd, just sitting on the edge of the Uncanny Valley, dangling those white leather shoes into the void. Part of the appeal is that, while Tony’s monologue is so human and delivered in such an off-the-cuff way, you’re appreciating the challenge of having the technology match the humanity. Tony’s chin and eyes and fingers are exaggerated, like a caricature, but there’s such a sense of warmth underneath the chilliness of the computer-rendered surfaces. Though it’s wistful and charming, you wouldn’t necessarily call it a landmark in storytelling -- again, it’s just a monologue, and not an unfamiliar one -- but it is a technological landmark in showing that the computer animation could be used to humane ends. It’d be just as easy to make Tony fly through space or kill robots or whatever else. But instead, you get an old, well-worn story that slowly eases out of the ordinary into the surreal, and happens so gradually you lose yourself in a sort of trance.

As Yoshida wrote, technoligization of animation doesn’t do individual works favors over time. To that end, something like Tony can’t be de-coupled from its impressive but outdated graphics. These landmarks tend to be more admired than watched -- to the extent that it’s remembered at all, it’s as a piece of technology, and not as a piece of craft or storytelling.

Still, Tony is the ancestor of every badly rendered straight-to-Netflix animated talking-animals feature cluttering up your queue, but he’s also the ancestor of any experiment that tries to apply computer-generated imagery to ways of storytelling. In that sense, he has as much in common with Emily in World of Tomorrow as he does with Boss Baby, a common ancestor to any computer-generated human-like figure with a story. When Tony dissolves into silver fragments at the end of the short, it’s as if those pieces flew out into the world, through the copper wires that connect the world’s animation studios and personal computers, and are now present everywhere. He’s like a ghost that haunts the present. I feel that watching it now, and I imagine audiences sitting at the Vogue in 1986 might have felt a stirring of something similar.

[annathesimple]

Wishing you the best 💕💞

Awww, thank you!!I wish I could share waffles i am making right now with you. Unfortunately we are not on that technoligical level yet. *sigh*

[montmarayroyal]

1998, but my parents are so technoligically backwards that we still have vhs and cassette tapes.

when an old person assumes that i don’t know what a cassette or vhs tape is:

[voltronprompted]

Falling

In which the war is over and the paladins come back to Earth (Voltron is no longer needed)

or

The paladins (and others) come home to find they may have lost their most important thing back on Earth.

Huge disclaimer: Just angst. 

Also, this is just me writing down my ideas as they come so I may or may not actually write this out as a story.

Keith

Honestly, it'd be hard to find something for Keith, maybe a place he frequented or something, idk or he knows that he'll come back to nothing so he doesn't really expect to feel any sort of despair when he just goes back to his shack but he finds it really difficult to even leave the castle once they arrive back on Earth because...well, because when he was on Earth, he was a drop out. He dropped out (or was kicked out, I can't remember for sure) of the Garrison, and after he left the Garrison he had the motive, the curiosity of what that thing (which ended up being the blue lion) was that gave him any real motive and he felt so useful, he felt alive for an actual reason when he became the red paladin, when he was chosen to be the new leader in place of shiro (no matter how much he didn't want it, he still felt like he had a purpose, which was to save the universe from the Galra), even when he joined the Blade of Marmora because for once he felt like he'd finally found where he belonged but now the war is over, the Blade of Marmora no longer are rebelling agains the Galra because they're not a threat anymore, and neither is Voltron so when he stands in the doorway separating him from the grounds of Earth and the clean floors of the castle he hesitates and it takes him so long to finally step out of the castle because oh god I have nothing waiting for me, I know this but I really have nothing waiting for me, no purpose, no reason to live and he just stands there, in front of the castle, not even a foot away, but facing away from it with the most lost look on his face because do I even have a reason to live anymore? The answer is, no, he really doesn't. So, only 3 centimeters away from the castle, he falls to his knees, his face in his hands and he can't stop shaking because the tears won't stop dripping out of his eyes despite him promising himself no, I said I wouldn't cry! before they even arrived on earth because now he really doesn't have anything waiting for him back at earth; no home, no family, and no purpose.

Lance

Lance is easy. He goes home expecting to find the open arms of his family but all he finds are strangers in the place he used to call "home" to tell him that the previous homeowners slowly deteriorated from the loss of their son, the light of their lives, and were officially announced missing approximately a year after his own disappearance and up to this day there are still no leads, not a single one, as to what might have happened to them and that just hurts because he was so excited to just come home and in his mind, on his way to his "home" he'd been thinking about everything he'd tell his family and oh boy I have so much to tell you guys, just you wait! but there's no one to tell these amazing stories to, no one to introduce his amazing friends, new and old, to, there's just no one, there is no one there waiting for me and it hurts it just hurts because ever since the day he'd found Blue all he'd wanted was contact, contact with his family so he could tell them I'm safe, I'm sound, and gosh I have so much, just so many things to say and Lance realizes he's repeating the same thing over and over again even in his head and he can't stop the tears from falling as he just keeps repeating I have so many things to say, I have so much to tell you and at some point he's not even sure if he's thinking it or saying it out loud but it doesn't matter, it doesn't matter who's looking at him weirdly, it doesn't matter who's worriedly-or maybe they weren't worried at all, just annoyed because who ever cared about me anyway?-backing away from him, it just it doesn't matter because even if it did, who would he have to tell? Not his missing family, that's for sure.

Here’s another take on Lance’s loss back on Earth :)

Pidge feat. Matt

Pidge and Matt (unfortunately they were too late for their father, sam) go back home, expecting to surprise their (probably) mourning mother with their open arms and just their existence (surpise, we’re alive! sorry for disappearing without a single word or trace and leaving you worried and thinking you’re alone for over a year!) but they find out she fell into major depression from the loss of her family and either commited suicide or died from broken heart syndrome only a few days ago so their house is still theirs and they can't bring themselves to sell their house because there are just so many things they can’t let go of, not yet, not ever, so they live there but every time they walk down the stairs or they come down to eat breakfast, the smell of familiar food reminds them of their mother's cooking, how she'd always kiss them on their foreheads before they left for work/school regardless of how much they'd protest as they came of age and they just fall into their own kind of depression because if only we could've told her, if only we could've let her know that we're alive, we're safe, that we'll come back, if only we’d come sooner because they both know if they had come just a few days earlier their mother would still be alive, would still be making them breakfast that smells good enough to wake them up from their sleep, would still be giving them her daily forehead pecks before they left and they mourn the loss of their mother who they can't help but feel died because of them, and died thinking only the worst, with no one by her side.

Hunk

Hunk will also be hard, considering there's not much about his background known...since he likes cooking so much, maybe his favorite bakery or restaurant or something is closed down and reconstructing for a different shop or just closed down and the lights are off, the doors are blocked with wood that's been nailed onto it so no one can go in and it's just gone, it's there but it's gone (so close yet so far) and at first it doesn't affect Hunk as much besides the fact that “aw, I used to like eating there...guess I'll have to find a new place" but no matter how many "new places" he goes to it's just, it's just not the same it doesn't taste right, maybe this salad is just a little too sweet or this steak tastes just a little too bland and it's not enough but it's enough to make him reminisce back to when he'd go to that cafe/restaurant to have a nice meal with his friends (Lance and Pidge) after a tough day at the Garrison or just when he'd want to treat himself out or when he's feeling a little down, no especially when he's feeling a little (probably a lot if he's going alone) down the food always was able to cheer him right back up but no it's gone, it's gone now and it won't come back, it's never coming back oh god what have I done? and he knows it's not my fault the place closed down but it feels like it is because he was gone for so long, he wasn't there to protect it, and even if he couldn't, at least he could have been there when it closed down, he could have talked to the owner, asked them for their recipe, something just be right there but he couldn't, he was gone saving the damn universe from the stupid Galra and tears well up in his eyes as he's eating the steak that's just a little too bland because oh god, why me? why me why did the yellow lion have to choose me? and after a moment of crying he sets his fork and knife down, pays for the meal, and leaves with the steak just a little too bland left on his plate, almost looking untouched because he just doesn't have an appetite anymore and he trudges his way home, no Lance to cheer him up with his annoying (but Hunk never thought it was annoying, it was always amusing to watch him try to land one) flirting because he's mourning the disappearance of his family, no Pidge to distract him with her love for the technoligical advancements of the castle because she's still with Matt, trying so desperately not to blame themselves for the death of their mother but they know it's futile because in the end, it really was them that killed their mother, and no Shiro to give him that dad-smile he seems to have no trouble giving his friends when he knows they need a bit of cheering up because he's dealing with his own things, and Hunk realizes oh god, I have no friends, no one cares about me, they've all disappeared...just like the restaurant/cafe did and it takes all of his remaining, yet small amount of, willpower to stop himself from just jumping in front of the fast moving vehicle that zoomed past him because it's just a restaurant, why am I acting like this? There's always a new place but no, there isn't a new place. There is no replacement. It's just gone, and gone is one thing Hunk thinks cooking will never fix.

Shiro

ugh Shiro is hard too bloody hell I mean he's already lost so much the only thing I can think of him mourning is the fact that he doesn't have a home at all to go back to because out of the five of them, he's been gone the longest so not only does he have no family to wait for him (cus most likely he was single when he left for the Kerberos mission and not much is known about his family so it's safe to say they're just out of the picture, gone, nada) and now he also has no home because if anything it's probably been sold to some other family or smth because no one is going to wait 2+ years (let alone one) for a missing man to pay his bills let's be real so he has no family, no home, and honestly, besides the paladins probably no friends so he just mourns for himself, for the lack of a home to go back to, for the lack of open arms waiting for him regardless of who it is, for just being gone for so long that no one remembers him and oh god heartbreak okay nevermind I guess Shiro's is pretty easy to write.

Allura

I can write one for Allura too (if I write for Allura then I am most dEFINITELY writing one for Coran too cus ain't nobody gonna skip out on Coran Coran the gorgeous man) I guess but since Allura isn't from Earth (she's from Altea, duh) and she's already lost everything (except Coran Coran the gorgeous man, which, is really the only reason she was able to remain sane and alive after waking up ten thousand years subsequent to the destruction of her home because in all honestly, if she was left alone, if she woke up to find out she was the only Altean alive, that oh god, not even Coran survived then let's be real, she'd have broken) so I guess the only thing she really has left to lose is Coran and the paladins whom she'll admit she's found a safe spot for them in her heart that she knows nothing will replace and nothing can replace and so when they finally arrive back on Earth after their hard fought war, Allura expects them all to be happy, to go back to their familes with happy tears in their eyes and the last thing she expects is for all of them to look lost, to feel despair, to not know what to do with their lives, to feel so much loss over such an easily replaceable thing but that's exactly what she witnesses happening and she just can't stop the feeling of her heart being ripped out of her skin as she watches Keith just kinda deteriorate in front of the castle, not even able to get 3 centimeters away from the platform, as she watches Lance's face full of excitement, hope, and longing turn into something she could only describe as something her face probably looked like when she found out Altea is gone, her home is gone, her father is gone when he found out his family is nowhere to be found, as she listens to Matt's and Pidge's cries for their lost mother, as she sees hunk's disappointment turn into loss, as she witnesses Shiro's strong demeanor crumble away to reveal the broken man he's become and no matter how much Coran coaxes her, telling her otherwise, she can't help but think it's my fault, it's my fault they're all feeling like this, if only I hadn't forced them into becoming paladins, if only I hadn't told them they're the universe's only hope, if only I wasn't so hung up on my own stupid loss then they wouldn't be like this, they wouldn't feel so lost, so depressed, so gone and her own feet betray her, making her buckle down to her knees despite being a princess who's spent a lot of her life learning about standing up straight and proper manners, no, right now all she can do is cry on her knees in the middle of the lounge of the castle where she can remember all the paladins sitting, relaxed and laughing at their own earthly jokes that she's learned over time, wishing, begging to turn back time so they wouldn't feel the way they all do now.

Coran

Okay well I guess since I made one for Allura I'll have to go on to Coran Coran the gorgeous man...this is gonna be hard considering besides his obnoxious personality (and mustache) I really don’t know much about him but we do know that Lance is his favorite paladin so when they return to Earth he's all excited to meet Lance's family who he's sure are as wonderful and excellent as his favorite paladin is only to find they're not even there and the blue paladin is falling, breaking before his own eyes and he can't bring himself to say anything because what could I say to someone who just lost his entire family? and he thinks it's best that he says nothing because eventually Lance will get over it but Lance doesn't get over it (duh) and if anything Lance falls deeper and deeper into the darkness until eventually he's just not there anymore, he's not dead, no Lance didn't-couldn’t-commit suicide because despite everything he just can't bring himself kill himself because he's so scared even though he feels-or knows-he has every right to, no, every reason to but he just can't, he's just so scared, and that only adds more pain to him and Coran watches this, still keeping his obnoxious mouth shut (for once) because what could I possibly do to make a mourning child feel better? and he can only bring himself to try to be positive, leading him to think that Lance is probably (hopefully) the only one having this much of a hard time so he goes to Allura only to find oh no she's not doing any better than his favorite paladin is because she's blaming, she's blaming herself, she's blamed herself so much that now she is convinced that the fault of the paladins' despair is her fault and no matter how much Coran tries to remind her, no, no dear child, sweet child it is not your fault, please, please stop blaming yourself, please, just please stop crying and when she buckles down to her knees that's when realization hits Coran like a boulder that's fallen off a cliff that no matter how much he tries to lie to himself saying everything will get better with time because bloody hell despite his strongest attempts to ignore it, to just not believe in it time won't solve anything, nothing will get better, and worst of all, it'll just keep getting worse, and worse, and worse...being the oldest adult among them he tries, oh god he tries so hard not to fall with them, because as the adult I must be the helping hand to pull them up and out of this darkness but how can he be the helping hand when he's the one pulling them down? so he stops trying, he stops foldering his own feelings away, he just stops and...well that's it. he stops...really, in this situation what could he really do? though it's been years, Coran has never truly had the time to mourn the loss of Altea, he never truly had the time to mourn the loss of his own family that he knows for a fact perished along with his previous home what with fighting the war against the Galra and all and with it having been past over a year since he'd woken up from that pod and immediately went into fighting stance against his favorite paladin he'd assumed well it's been such a long time, I must have moved on but seeing the paladins, seeing his favorite paladin, seeing Allura broken into a mess-most indubitably the effect of having fallen and landing hard into the darkness-brings back all the grieving he'd missed out on and he begins to think maybe, just maybe if only King Alfor hadn't put me in that pod beside Allura I could have done something to help time figure out the many issues it can not solve and maybe, just maybe, these paladins would not have broken, would not have fallen into this darkness in the first place.