#trainless

[flojector]

Springtime and Valravn

[crinkly-spinkly]

Thomasism 1

-The series where I recount things I overhear between my partner and roommate and turn them into incorrect TTTE quotes-

(AU where the gang works a shitty desk job??)

Thomas: "The count has to be a Fibonacci sequence number because we work in a corporate hellscape."

Percy: "Look at me coming in with a project count of..... six ....."

Thomas: "GET FUCKED, IDIOT. SIX ISN'T REAL."

Thomas: *turns to face you* Y/n, you could be a better Scrum Master than my manager.

Y/n: "The fuck is a Scrum Master?!"

Thomas: *proceeds to send you this screenshot and nothing else*

[crystalkitty1220]

I PIRATED GARTEN OF BANBAN 4 AND LIKE??? NOT ONLY DOD I GET SOFTLOCKED IN THE FIRST 30 SECONDS, THEYRE ALSO ADVERTISITING THE SIXTH GAME ALREADYY

AND FUCKING CHOO CHOO CHARLES IS IN IT????

I HAVE NEVER HEARD OF GARTEN OF BANBAN BUT IF THAT'S 4 THEN I'M GUESSING 6 IS A HUGE STEP

[npcjenna]

[maddie-grove]

I think these are some possible sources of misunderstanding:

It’s way easier to change your fanfic after it’s posted online than it is to change a movie or a book after it’s released. I don’t think most people who leave constructive criticism expect that (unless it’s a typo or something else that can be easily and quickly fixed), but it’s not a ludicrous idea that someone might do a rewrite based on feedback.

I do think “constructive criticism” implies that the critic wants the author to make changes to their work (whether that means that particular story or in the future). If I write a review (however detailed and thoughtful and evenhanded) of a book or movie, not directed at the creator, my goal is to express myself and/or convey information to potential readers, not give advice to the creator. They might see it and get something out of it, but that’s not the main point. And people can definitely comment on a fic with those same goals and priorities in mind, but it’s hard for it not to come across as advice when the form of communication is so direct. And if the commenter is calling their comment constructive, the implication of feedback is clear.

I believe that there may be kind of an “all or nothing” mentality going on, that either you have to reject all constructive criticism (not just for yourself, but as a concept) or you have to agree with and go along with every suggestion. When in fact you should feel free to think or, depending on the circumstances, say “thanks, but I’m not looking for that right now/this doesn’t fit with my artistic vision/trains did exist during the Victorian era.” I don’t know exactly where this idea comes from—a desire to avoid friction, maybe—but I’ve seen some authors, for example, apologize for making characters smoke weed when the reviewer found that OOC and distasteful. And it’s like idk man clearly you had a vision that these characters would smoke weed. It’s okay if not everyone loves it.

Every time constructive criticism discourse goes around you get people saying "well I'm not going to change the story it's already written!!" and it boggles my mind that anyone thinks that's the point of criticism, let alone a lot of people.

[tacio00]

How the baro't saya / traje de mestiza / terno evolved from the 1860s to the 1960s

– a thread🧵

𝟭𝟴𝟲𝟬𝘀: The silhouette of the saya (skirt) mimicked the Western 'cupola' skirt by using multiple layers of petticoats instead of a crinoline to achieve a wide, elliptical shape.

Coarse 'abaca' cloth was also used to reinforce the saya’s hemline and help maintain its structure.

The camisa (blouse) is cut high above the waist.

The pañuelo (fichu) is folded close to the neck, conceals most of the nape, and appears to be pinned at one central point, with the ends separating into two.

𝟭𝟴𝟳𝟬𝘀: The pañuelo and camisa began matching in colors, materials, and embroidery. This was referred to as "ternos bordados" (matching embroderies).

The pañuelo, now ending at one point, is pinned lower at the chest, increasingly revealing more of the neck.

Following the bustle skirt in the West, the gathering of the enaguas (petticoats) shifted to the back of the saya.

𝟭𝟴𝟴𝟬𝘀: Embroidery became more prominent, often contrasting with the base fabric.

Most pañuelos are starched to allow the back portion to stand upright creating a regal appearance.

During this decade, the skirt began to lose volume at the front, with fullness gradually shifting to the back. This transformation resulted in the development of a sweeping train.

𝟭𝟴𝟵𝟬𝘀: The sleeves of the camisa increased in volume, becoming wider and stiffer, mirroring the leg-of-mutton sleeves in the West.

The seams of the sleeves have dropped by about 2–3 inches from the shoulders.

The pañuelo became more upright with additional folding and starching.

The saya became simpler, following the A-line skirt trend in the West. The back of the saya develops into a train that lengthens through the years, becoming known as the saya de cola (skirt with train).

𝟭𝟵𝟬𝟬𝘀: The sleeves became shorter by 3–4 inches and wider, flaring out from the shoulders to the elbows.

The pañuelo is larger and is folded four times at the edge. creating more stiffness when shaped.

The back of the pañuelo begins to be positioned farther and lower from the neck, gradually revealing more of the nape.

The upper half of the dress appears more top-heavy and voluminous.

By the end of the decade, following the 'Gibson Girl' style in the West, the serpentina skirt became fashionable, often trailing at the back. It dominated fashion until 1915.

𝟭𝟵𝟭𝟬𝘀: The sleeves and pañuelo grew wider, with the serpentina skirt lasting until mid-decade.

In 1914, the sobrefalda comes into fashion. An overskirt whose length varies from knee to mid-calf, it is typically made of black illusion tulle or lace and embellished with sequins, beads, rhinestones, or embroidery. Worn as an alternative to the tapis, it is also sometimes discarded for less formal occasions.

By the later years, the saya slimmed down, emulating the designs of Paul Poiret and Lucille Lady Duff Gordon.

𝟭𝟵𝟮𝟬𝘀: The terno followed a streamlined sillhouette.

The wide sleeves of the previous decade were shortened and flattened closer to the body, transforming into the iconic "butterfly sleeves".

The pañuelo is more decorative than functional, resembling a lapel rather than a seperate shawl.

The back of the pañuelo is positioned lower, exposing more of the nape.

Variations of the sobrefalda and cola emerge.

𝟭𝟵𝟯𝟬𝘀: Madeleine Vionnet's 'bias cut' for the saya de cola became fashionable.

The terno appears with the upper and lower parts joined together, fastened at the back using snap fasteners, hooks, and zippers.

With the disappearance of the sobrefalda, decorations such as embroidery, beads, cutwork, and the insertion of lace or other fabrics were applied directly to the saya.

Trains become shorter and eventually disappear close to the end of this decade.

𝟭𝟵𝟰𝟬𝘀: Trainless, flared skirts became the dominant style among Filipinas.

The zipper joined the bodice and skirt of most ternos into one garment.

The pañuelo remains an essential, albeit decorative, component of the terno.

After WW2, it became more common to wear the terno without the pañuelo, and more varied and innovative skirt designs emerged.

The bodice of the camisa gradually becomes opaque and attaches to the skirt, while the 'butterfly sleeves' retain their structure and sheerness.

----------------------------------------------------

HELLO!! Thank you for reading this thread!! Unfortunately, due to tumblr's photo limit, this thread will only go up to the 1940s. I'll make another post for the 1950s and 60s. Most of the info in this thread are from the book "Fashionable Filipinas" highly recommend to read! They also have an ig page so please check them out! Another source I used are the three-part lecture series by NCCA PCEP explaining the history of how the traditional Filipina dress came to be, starting from the pre-colonial period all the way to the country's independence after World War II, available on youtube!!. Again thank you for reading!! I hope all of you enjoyed it!!

[honora-antares]

"You know," Severus starts, a teasing glint in his eyes, "my mother was supposed to have married your father."

Sirius looked up from where he had been peppering kisses on their child's soft-curled haired head. "You don't say?"

"I do say. Just imagine: somewhere, in a different universe, we're actually brothers." Severus gives a light chuckle at his husband's reaction. Disgust masks his handsome face as he straightens to his full height.

"I would very much not like to imagine that!" Sirius looks down between them, their child slowly falling asleep as Severus continues.

"Your parents-"

"Are far, far, removed. They don't count. Now, if you will both excuse me. I need to find a pensive to remove this tainted memory you've so kindly implanted. " With a final kiss on their child and Severus's head each, Sirius dramatically spins to leave their room.

"I've read a book once. Where a whole family wed brother to sister to keep their blood pure." Severus tells his husband's retreating back.

"I do not wish to know!" Sirius's shout is faraway as he turns the corner.

Severus sways with his child now soundly asleep. In a gentle whisper, he tells an extraordinary tale.

"They were the blood of the dragon. Beautiful and fierce alike. Dragon riders, some, but not all. With silvery hair and orchid coloured eyes."

"From before the Doom they all flew!" A child, no more than eight, with radiant green hair runs to Severus with outstretched arms. She giggles through small hands at his shush.

"Uncle Lucius has silver hair." Another, older by just two, asks. "Is he one? A dragon?"

The younger answers, "Uncle Lucius is not a dragon. That's Draco. Don't you remember, Del?"

She ignores her and held a single white and long feather up towards Severus to take. "Dora plucked it from Uncle Lucius's dragons. Now I'm forced to hide and so are you too."

Naughty girls. Lucius seems to have finally figured out why his cherished peacocks have become trainless. He smiles then transfigures the willowy thing into twin bows. One for each girl.

They come closer when Severus settles his still sleeping child on their cot. As he himself sits on his recliner, Nymphadora approached him with dark twinkling eyes.

"Will you sing us their song?"

Who is Severus to refuse his young niece's request when her hair all but changes to silver. Her eyes to violet.

Delphini takes root on Severus's footstool, facing away from them and towards her youngest cousin. Although she tucks her mother's curls behind an ear, her posture is that of faux indifference.

And so, Severus sings.

Beware of green that grows on high towers

One day, it'll come and take away your Iron

Listen well, Prince. From his blood, you will come

And awaken stones from long ago

A song born from fire, fights a long night alongside ice

Where north is south and south is north

Snow storms

the end 🫠

[jingerpi]

oh my mic isn't picking up the train? how does it feel to be trainless? I have a beautiful traingirl right outside my window. I bet you're jealous

[hyper-coasters]

Trainless Saturday.... Glad to see it was still up during my visit. Truly going to miss this ride. :(

[recapitulation]

i get to ride a train today it's been so long since i rode a train. ive been stuck in trainless land for like 3 years

[lovelyblep]

Today I Learned that trains can leave with negative tardiness. I am flabbergasted and trainless.

[organic-emotions]

AMOR FATI WITH SUBTITLES

dangled from thy thin strand

of memory with god scissors

the eye and the crest eurydice on

steroids her tarot cards obsolete

always a prayer away from insanity

inclined to lean against the hell-bent

(could’ve been my whole

life some trainless station

asking strangers about you)

carved in the gaping hole of

a non-erotically engorged

chest cavity just another

damned muted soliloquy

years beyond consolation

the mare led from its stable

and suddenly, apatheia.

[catalise-comenta]

They're officially trainless

[a-very-hungry-aroace]

I used to have a train but at least i became a trainless

[helena-eagans-college-gf]

and so it was said to the nonbelievers, the platform does appear on trainline before it appears on the overhead displays, and yet they were unmoved, and so it was that those who followed the teachings of the trainline inherited the forward facing seats, while the nonbelievers remained on the concourse, trainless

[moonlonebunny]

I was supposed to take the 18:57 train and yet here am I at almost 20:00...

Trainless.