#ultraviolet vent

[violetbluegreenharmon]

tate langdon crying

what lana said

[p1gt4ils]

think i’ll miss you forever, like the stars miss the sun in the morning sky..🌌🌠✨

[upsidedownwithsteve]

Bad For Business: Level Three

Steve Harrington x fem!reader [2.5K] An enemies to lovers au. Arcade coworkers, who love to hate each other, get too competitive about Dig Dug and share a mutal annoyance for the kids that like to pester them. Choose your own adventure by picking an option at the end of the chapter. “What do you mean, it just stopped working?” 

Standing under the broken aircon unit was not how you wanted this shift to go. Especially on the hottest day of the year. 

Especially with Jason Carver and Steve Harrington. 

It was hotter than ever inside the empty arcade, the rows and rows of machines doing nothing more than pumping heat into the room from their whirring fans. The jumpy, happy tune from Mario Bros. was starting to make your eye twitch and you hadn’t seen a customer the entire time you’d been working. Normal people were at the community pool, the richest of Hawkins relaxing under their own air conditioning, on their floats in their private swimming pools. 

“I don’t know!” Jason fumed, rounding on Steve with more anger than necessary, seeing how he was the one to cause the ancient thing to die. There was a broken off broom handle sticking out of the vent. “I just tried to get the thing to aim towards the desk more!”

You were standing too near Steve, bare arms brushing, pressed close behind the desk as the boy swore, skin glistening and doing everything he could to not look at you. You’d taken your stupid staff shirt off an hour ago, a too thin camisole thing underneath, cropped and letting everyone know that you definitely weren’t wearing a proper bra. 

Your skin was flushed, a little damp, your hair sticking to your neck and sweat beading at your chest, clinging to the space between your vest and your shorts. Steve definitely wasn’t looking. 

“You impaled it,” you muttered, staring up at the sputtering fan. “You absolute fucking moron.”

It was the straw that broke the sweaty camel's back, because Jason’s nostrils flared and he dropped the second half of the broken broom onto the floor. He held up his hands in defeat, face red with heat and anger. “I’m out. I’m done,” he told you before rounding on Steve. “Sort this shit yourself, Harrington. And maybe teach your girl some manners whilst you're at it.”

No one spoke as he stormed through the empty arcade, the lights flashing on the machines no one played. The door opened for just a second as Jason slipped out, a bright flash of blue sky and sunbeams over the black walls, the neon signs and ultraviolet light. There wasn’t any breeze, no wind that came in, nothing to soothe the heat that lingered heavily in the air. 

“She isn’t my girl!” Steve shouted the same time you yelled feebly, “I’m not his girl, jerk.”

But the door had already slammed shut and Jason’s car could be heard ripping out of the parking lot. An almost silence followed, the hum of the machines, the stuttering of the barely alive aircon unit, Steve’s strained sigh. And then, a click. 

Deafening, final, ending in darkness.

The lights went out, the sickly yellow overhead fluorescents, the flashing neons on the machines, the screens and even the green numbers that usually flashed on the cash register. With no windows in the old unit, well, you couldn’t see shit. 

“You’ve got to be fucking joking me,” Steve muttered and he cursed when he moved, bumping into you as you both tried to find the edge of the desk and the same time. “Fuck, you’re on my foot—”

“That’s ‘cause you’re in my way,” you huffed, arguing weakly, an edge to your voice that sounded a little like panic but you weren’t going to tell Steve that. You weren’t a fan of the dark, especially the kind that made your own hand invisible in front of your face, the kind of dark that made you doubt your own vision. “Move, Harrington.”

“Move where?” Steve growled back, his hip bumping against your own, the edges of knuckles grazing against your ribs, against too much bare skin. It was suddenly so much warmer. “I can’t see shit, princess, what am I supposed to do?”

You tripped over something, a cable, a part of an old machine that Murray liked to keep, who knows, but it sent you into Steve’s side with a noise of objection. You swore, grabbing at anything you could, cringing when it happened to be Steve’s arms. He’d long rolled his shirt sleeves up, the cotton folded up to his shoulders, the lines of muscles there slick with sweat, more distracting than ever now you could feel them. 

“Christ,” the boy chastised, “you’ve got as much grace as a baby giraffe, here—“ Steve didn’t finish his sentence, he just reached out to grab at you, hands on your waist, fingers skimming over the hand of your shorts as he righted you. 

You were still holding his shoulders and you were close enough that you could see the outline of his features, the faint slope of his nose, the line of his jaw, even in the dark. Neither of you said anything, not right away. And then you were both pushing back, hands leaving each other, hips and elbows and ribs bumping into cabinets and stray stools. 

“Where’s the fuse box?” Steve asked and he sounded further away now, like he was moving towards the office door, wherever it was. Something clattered to the floor and you heard him curse and then kick it. “Murray’s gotta have a flashlight somewhere, right? Probably stashed with his not so secret weed that he ‘confiscates’ from the kids,” he snorted. 

Another thump, a small bang and then Steve’s hands found the office door, a pleased and triumphant sound leaving his lips as the hinges squeaked. The noise suddenly pushed you into action, a nervous anxiety gripping you as you tried to take a step forward, squeaking when your foot landed on a stack of papers that slid under your sneakers. 

“Harrington!” You yelped, stumbling forward clumsily. “Steve? Jesus Christ, Steve!” 

The door squeaked again, and although you couldn’t see him, a burst of cologne and sunscreen filled the space in front of you. Hands found yours, fumbling, awkward, as clammy with sticky warmth as yours were. 

Suddenly the heat was cloying, suffocating. You felt tightly wound, head scrambled, throat dry. “What’re you doing?” 

“Helping you, dummy.” Steve snorted, beginning to lead you around the desk, your free hand skimming along the wall, skating over the frayed edges of old posters and forgotten thumbtacks. “Unless you wanna stay here and amuse yourself. Argue with the wall or somethin’, you’re good at that.”

“Shut up.” There wasn’t much heat behind it, your words nowhere near as harsh as they’d usually be, ‘cause you were clinging to Steve’s hand as he led you back to the door. “Asshole.”

The office was just as dark as the rest of the arcade, the old computer on Murray’s desk as dead as the rest of the machines. You let go of Steve’s hand when you found the edge of the lunch table, the legs wobbling as you made contact with it and you could feel Steve behind you, around you, the sound of drawers opening and closing filling the quiet room. 

“The fuck is this flashlight?” You heard him murmur, and then, “shit, wait, yes!”

A beam of light flooded the small room, orange-yellow and a little weak but it made your eyes water and squint and the sudden burst of colour. Steve must’ve reacted the same, hissing as his eyes stung, both of you stumbling. 

Shoulders bumped, elbows knocked, hands brushed. Again. 

You were closer than you’d realised, toes almost touching and Steve was all tight jeans and bare arms, lines of muscle you usually didn’t pay attention to wrapping around strong forearms. His hair was a mess, wilder than usual, sticking to his forehead and over his eyes, cheeks pink from the heat. 

You watched him swallow, Adam’s apple bobbing, eyes flickering down to roam all too obviously over your frame. Tight shirt, cropped, slick skin, peach flavoured lip balm that he’d watched you reapply in the tiny mirror by the lockers that morning. Silence stretched on, a yawning, all consuming thing that seemed thicker than the heat, warmer than the summer outside. 

You licked your lips, salt on your Cupids bow and you watched Steve’s gaze follow the movement. The flashlight fell, bouncing on the worn carpet and the beam flickered across the wall, Steve’s trainers, your bare legs. Steve’s head knocked against your own as you both bent to pick it up, swearing softly and the boy winced, knowing he hurt you more than you hurt him. 

“Shit,” his voice was quiet, low and a little rough. “Sorry.”

You were still too close, knelt on the floor with the boy, heads dipped together and you were desperate to shrug off the unfamiliar feeling of softness, the genuine apology from Steve making your chest stutter and still. 

You let Steve grab the flashlight, muttering a “whatever,” in order to brush off the moment. You watched him stand, turning quickly when he flashed the beam back down to see you still on your knees before him, tits pushed together in your stupid little vest top, a bead of sweat rolling down your neck and into the dip between them. 

He wasn’t looking. He wasn’t looking. 

So he left you in the dark as he pushed away the leftover coats that the rest of the staff had left since winter, pulling at the handle of the fuse box, letting clatter noisily against the wall. “C’mere for a second,” he said gruffly, not looking at you at all. “Hold this, yeah?”

“Manners are free, Harrington,” you tutted, “don’t be a bitch.”

Steve still wasn’t facing you, but you were pretty sure he was rolling his eyes. “You wanna stay stuck in the dark? In this heat?” He asked, he handed you the flashlight. “Least you can do is hold this, princess, don’t break a nail now, god forbid.”

You snatched the light from him, shouldering into his space just to piss him off, too close and too warm, cologne and sunscreen and chlorine scent hair from an early morning swim, peach scented chapstick and sweat. You hated it. You hated that you didn’t hate it all. 

“Come on, sparky,” you nudged Steve, an elbow to his side, the flashlight pointed at the circuit board, showing rows and rows of switches and wires. “Fix it. Don’t break a nail, sweetheart.”

Steve glared at you, brows stitched together and his brown eyes honeycomb in the light. He looked like he wanted to argue, to snap back at you and bite, but instead he pressed his lips together and turned back to the fuses. 

His fingers lingered over the switches, pausing to read the peeling and faded labels under each one, hesitating before he flicked the plastic. Some did nothing, the arcade remaining in darkness, in silence. Steve mumbled under his breath, a grumble that made you want to laugh but you kept your lips pressed together, the light still held aloft for him. 

You were silent as you watched him push at each one, plastic flicking up and down, doing nothing. You grimaced as Steve started to play with some of the wires, pushing them back into the board with a little more force than made you comfortable, as if he knew what he was doing, as if was suddenly an expert in hard wiring and electrics. 

“You’re gonna blow us up,” you warned, slapping at his hand when he kept prodding at things he didn’t know about. “Steve, Jesus, stop it!”

The boy tsked, budging up closer to you, only to try to shoulder you out of the way, shaking his hand loose from your attempt to grab him. It was a childish scuffle, one you’d definitely had before with Steve, over stolen bags of chips, the last can of soda, the set of keys that worked properly. But this time it was in the dark, skin still slick and the air too heavy and he was so fucking close, hands sliding over the bare skin on your stomach, your sides, his hair tickling your cheek as he poked at your ribs, trying to make you give in. 

And then, all at once, Steve’s hand pushed at yours and the flashlight fell again, the beam flickering off just as something in the fuse box sparked and popped. 

You yelped and Steve swore, both of you clambering backwards, away from the possibility of a full on fire, grabbing at each other like that would help. There was a beat of silence, one second, two second, three, just the sound of you and Steve breathing a little heavy - and then the lights came back on. 

You blinked, squinting into the too bright strip lights and it maybe took you both too long that you were still clinging to each other, your fingers twisted in the front of his shirt, Steve’s wide, warm hand pressed to your lower back, his frame slightly in front of yours… like he was trying to block you from any danger. 

He sprang away from you when your eyes met, your nose scrunched as you tried your best to act annoyed, like your heart wasn’t rattling in your chest, like you couldn’t smell Steve’s cologne on your own skin. You pushed back just as hard, ass bumping with the table, forgotten lunch boxes falling to the floor. 

“You’re an idiot,” you mumbled, ducking to hide your warm cheeks.

Steve scoffed, running a hand through his hair and looking anywhere but at you. “What’re you even talkin’ about? I fixed it, didn’t I?”

“That was a fluke,” you laughed, more haughtily than you’d ever sounded but god, you were still too warm and you could feel the leftover pressure of Steve’s hand on your back. “You pressed some buttons and hoped for the best, get real.”

Steve glared, snapping the fuse box shut and leaning against it, arms crossed. “S’real cute coming from the girl who didn’t want me to leave her alone in the dark.”

You weren’t sure how you ended up toe to toe again, how you’d managed to cross the small office, chin lifted defiantly, cheeks warm. “No one would wanna be left in the dark!” You tried to reason, words feeling clumsy in your mouth because Steve was smirking, looking far too amused. “It’s not like I wanted to be beside you. I would’ve followed Jason, Jesus, don’t flatter yourself, Harrington.”

Steve just shrugged, tongue pressed to the inside of his cheek to stop his grin. He sighed all dramatically and poked a finger to your cheek, laughing when you huffed and slapped it away. “Keep telling yourself that, princess.”

“You’re so full of yourself. I would’ve been fine without you.”

Closer still, toes touching, noses too close, the heat still clinging to you both. 

“I saved your ass,” Steve teased. “Admit it.”

“No you didn’t, asshole.” You were unreasonably annoyed about how relaxed Steve was, cocky and lazy as he leaned against the desk.

The boy grinned. “Yeah? Wanna fight about it?”

The sound of the games resetting saved you from replying, the electronic cacophony of alarms and theme songs breaking up whatever was about to happen. You left Steve in the office and spent the rest of your shift with your T-shirt back on, sticky skin and unable to look him in the eye. 

[just--space]

Comet Leonard Closeup from Australia : What does Comet Leonard look like up close? Although we can't go there, imaging the comet's coma and inner tails through a small telescope gives us a good idea. As the name implies, the ion tail is made of ionized gas -- gas energized by ultraviolet light from the Sun and pushed outward by the solar wind. The solar wind is quite structured and sculpted by the Sun's complex and ever changing magnetic field. The effect of the variable solar wind combined with different gas jets venting from the comet's nucleus accounts for the tail's complex structure. Following the wind, structure in Comet Leonard's tail can be seen to move outward from the Sun even alter its wavy appearance over time. The blue color of the ion tail is dominated by recombining carbon monoxide molecules, while the green color of the coma surrounding the head of the comet is created mostly by a slight amount of recombining diatomic carbon molecules. Diatomic carbon is destroyed by sunlight in about 50 hours -- which is why its green glow does not make it far into the ion tail. The featured imagae was taken on January 2 from Siding Spring Observatory in Australia. Comet Leonard, presently best viewed from Earth's Southern Hemisphere, has rounded the Sun and is now headed out of the Solar System. via NASA

[swampgallows]

this was the longest amount of time i got to be away from my family since zbfcon in 2021. it was so rejuvenating. i posted pics but i didn't post about the event itself yet: threefour was indeed a success. everything went better than i could have imagined, and im glad the park i was planning to use as a last minute backup instead turned out to be absolutely ideal. the weather was perfect. we were pretty isolated but there were occasionally people walking their dogs nearby, so we got a lot of great dog sightings. the sound was loud enough that it was great to jam out to, but didn't carry too far from our setup to potentially disrupt anyone else (though it was pretty empty altogether). everyone tested negative, and everyone was glad to see each other. it was bittersweet how effortless it all felt (despite the great deal of effort on my part emotionally and otherwise, and for everyone else who helped me make it happen) and how it seemed like no time had passed at all. it was very reassuring that friends who i hadn't seen in years made it out and offered to test any time we might want to hang out again in the future.

i want to find out more about potentially throwing covid safe events so that i can rave in earnest again. i don't want to have to be the one responsible for events happening, but no one else is making it happen, so i may have to. or at least reach out and work with someone willing to throw accessible events. if airgasmic can do it for the drag scene, there's no reason why the rave scene can't put its heads together for tested, ventilated, possibly air filtered events. i already have so many ideas for events where its filtration and safety could be incorporated into the theme, playing on things like purification and ultraviolet, or emphasis on being outdoor/open air. and i think honestly so many people would want to come out for it knowing that there was that extra bit of relief, even if only subconsciously. even for my tiny party, it was fortifying hearing how many people there were happy to be at something they knew was making an effort to be safe, and how for a handful of people who couldn't come, they very much wanted to -- both for me, and because of the inherent safety of the event. many might not be willing to admit it, and maybe they don't even want to think about it, but having both this event and just being alive the last 4 years have shown me that people are more concerned about covid than they let on. and i don't mean that as a "gotcha" or anything; more so that people were so much more visibly chill and relaxed without that spectre hanging over their heads. there was an unspoken sense of relief, and even some covid venting knowing that i understood. overall a very positive experience. I'm so thankful.

also i got two enormous pizzas. like cartoonishly large. one plain cheese, one pepperoni, both 28" in diameter. and it was really fucking good pizza. can't beat that with a stick

[two-reflections]

Been sick for the past week, so I haven't got a Marine Meat Monday short to post. Instead, here's a snippet from the middle of a longer story I'm working on.

Apologies for the lack of meat, but I thought it might be appropriate since it focuses on... A marine's body? I guess?

Okay, you got me, this is about Captain Drakgaard of the 6th Company becoming a Dreadnought.

This is an early draft, so polite feedback is welcome and appreciated. 💚

Drowning in an ocean of perfluorocarbon emulsion, floating on a sea of drugs, Drakgaard had slipped back in time beyond Captainship, beyond ascension, beyond birth. He floated alone in a steel womb, hooked to it by cables he couldn't feel. These cables sustained him, changed him, began to mold him into something new. He wasn't conscious of the machine spirit that floated with him, also asleep. As the song of power was sung and the reactor was switched on, the spirit awoke. It climbed through the cables as the techpriests outside chanted the litanies Drakgaard had found tiresome in life. For a moment, it paused, finding its inhabitant changed. Then, the words in binharic reached it as the priests sang of the life of its new inhabitant. It was an ancient machine spirit, they sang, and the man within was an ancient Brother. They bid it to accept him, to become one with him as it had with its previous inhabitants. As they sang, a host of servitors’ fingers click-clacked against keyboards, their broken, half-rotten mouths droning twisted echoes of the priests’ songs.

A shot of adrenaline administered by Apothecary Sepelius roused the man within. He felt weightless, then was not sure where the edges of his self lay. He tried to move and no motion was possible. The pain he had felt when he had briefly awakened after the necessary amputations was gone. The scarred, branded, and finally broken body he had lived in for almost half a century was out of his reach.

In that second, he realized where he was. What he was. He had agreed to this in the presence of his Sergeants, Apothecaries and Techpriests. As he consented, Chaplain Elysius, the man who had saved his life, had lowered his eyes and murmured, “Duty and salvation.” There would be no Burning Walk for Ur'zan Drakgaard, and neither would there be the Emperor's Mercy.

The machine spirit was here with him now. He could hear it greeting him in a wordless voice that was somehow his own. This would be his afterlife, if he accepted it.

For a moment, he resisted. He would not be himself if he didn't rage against the dying of the light, would he? But then, duty called. As the voices outside grew louder, Drakgaard closed his physical eyes for the last time.

When he opened his new eyes, the world was so much smaller and sharper. Information flowed through him like a breeze through a gauzy curtain. His flesh, weakened by the Black Legion, might as well have melted into the fluid it floated in, but his body was stronger than it had ever been. Where skin had once moved over black carapace, there was metal and base paint. Where blood once ran, there were cables and optical fibres. His eyes were no longer two but an array of cameras he sensed he could deploy as needed. The empty ports among the top of his back were not comm systems nor backpack support, but mounts for weapons, aching to be filled with new instruments of death.

As a techpriest swayed beside him, their robe swished against the capacitive coating on his legs. To his surprise, he felt the touch more keenly than he ever could have felt a touch upon his Captain's plate. He scented the air through an array in a vent, and the barest hormonal differences of those in the room were revealed to him. His vision, as he looked around was no longer solely in the frequencies of visible light and high infrared; he could now see through infrared and ultraviolet into the realms of high microwave and low x-ray.

The information was too much for him to process straight away. He began to panic. Nearby, a panel of lights began to flash in reds and greens. Several priests began to chant in calming tones as Apothecary Sepelius fiddled with the machine pumping chemicals into him.

Soon, he felt calm flow through his mind. The sedatives gave him the space to limit his perceptions to a reasonable level. As he tried, he felt the machine spirit - his machine spirit - protest. It did not speak with words, but it was fierce and strong-minded. Drakgaard finally reached out to it, greeting it as a Brother and hoping they could achieve a deep level of understanding.

The spirit liked that. It reached back, through the spaces between the braided fibres that made up his cables. Two became one.

A while later, Chaplain Elysius stepped into the focus of his central camera. “Brother, in the name of Vulkan and the Emperor, speak to us! Who are you?”

“I am Brother Drak'fell,” the Dreadnought replied.

Several of the techpriests pipped at each other, echoing the changed name in binharic, but Elysius stared up at him unfazed. “Who were you?”

“I was once Captain Ur'zan Drakgaard of the 6th Company. No longer. My chassis has belonged to many, but most recently, the venerable Brother Kor'ad rested within.”

“Who do you serve?”

The words thundered forth, sure and true. “I serve the Imperium of Man. I am one of the Emperor's Angels. In his name and the name of my genesire, I know no fear. Vulkan's fire beats in my breast–”

“With it, I shall smite the foes of the Emperor.” Elysius turned away, satisfied.

[asablehart]

Gastornis siderum

When she enters the chamber, its head swivels towards her, its iridescent comb swaying lazily. Every movement the bird makes is monumentous; with the bellow-like expansion of its chest, it seems to suck up all the air in the room, replacing it instead with something else: a weirder form of language she can just barely understand. Sometimes she pauses midway up the ladder, the pilot landing just a shadow above her, and places a hand beside the bird’s gill-like vents so she can feel their pulse.

Gastornis siderum is a species of space-dwelling birds that I’ve designed for an upcoming short story. These guys can grow up to 20ft tall and live in flocks with dozens of flockmates. They spend their lives flying from planet to planet, where they renew their food stores on high-altitude or fellow space-swelling fauna. Due to their advanced navigational capabilities, they’re used by humans to pilot ships through unknown regions of space. 

A circular cut reveals its brain, now hooked up to a series of nodes as familiar to her as her own fingers. Past the cliff of its fractured skull, she runs her finger down its skin and presses fingerprints into its soft flesh. She sees her reflection in the scale-like cap over its eyes; she thinks it would blink at her if it could. 

The cranial modifications had been made a long time ago. She doesn’t know how long they live for, so he doesn’t know how many pilots tended to this bird before her, before him.

Below the cut, I’ve discussed some of the physiological and behavioral traits they need to survive in space.

Main anatomical features:

Wing joints have multiple muscular attachments necessary for lung and gut mobility. This is to compensate for the lack of diaphragm and environmental pressure system.

Hollow bones, high body fat percentage, and air sacs reduce weight and therefore reduce the energy needed for propulsion. These features are more exaggerated in G. siderum than terrestrial birds due to the lack of gravitational pressure promoting bone growth.

Fat deposits (particularly on the neck and chest) are specialized for thermoregulation. Glucose-rich blood is shunted to the peripheries to prevent cell lysis due to freezing temperatures. The specific placement of fat and distribution of “anti-freeze-like” blood produces a distinct temperature gradient, from the warm thoracic cavity to the cold tail.

The cranial crop (located behind the keel) and caudal crop (located in the “tail”) are specialized food storage organs. The cranial crop holds fermenting food and is protected by a layer of insulation that allows for a temperature elevated above core body temperature. The caudal crop is more superficial and less protected, so food within it are closer to the temperature of the environment. Material can be swapped between the crops to either promote storage or fermentation.

Highly dependent on a symbiotic relationship with gut microflora, which ferment crop contents and produce CO2. G. siderum’s specialized mitochondria contain enzymes that hydrolyze CO2 into oxygen.

Fermentation products are used for propulsion via tail vents and for the synthesis of the pheromones necessary for communication and flock recognition.

The combination of a slow metabolism, low body temperature, and large food stores allows them to go for months without eating.

Main sensory features:

Complex eye that detects visible light from infrared radiation to ultraviolet radiation.

Like terrestrial birds, they have specialized cells in their eyes that detect magnetic poles, which is primarily useful for avoiding asteroids.

Nares located rostral to the first pair of eyes allows for complex analysis of gases, and can detect gases even in minute concentrations.

Theorized gravivestibular system may be an organ (or set of organs) that detects changes in gravitational pull from large distances.

Main behavioral features

Highly social animals with complicated social hierarchies which have yet to be studied to any significant degree.

The neck and tail are drawn close to the body for efficient thermoregulation and are rarely seen extended.

Flocks memorize routes between planets after only one flight.

G. siderum show significant preference to planets based on their atmospheric contents, with the highest affinity for O2 rich atmospheres and the second highest affinity for CO2 rich atmospheres. Despite being able to breathe CO2, O2 rich planets may yield a higher diversity of food.

Despite spending all of their time in space flying to their next planet, they spend as little time on these planets as possible, due to the discomfort associated with strong gravity. During flights, the majority of their energy is spent escaping the atmosphere of their last planet.

Pheromonal signals seem to be more complicated than other animals that communicate with scents. They may be able to analyze combinations of different gases (in specific ratios/concentrations) with the same organ that detects atmospheric gases.

Flocks fly in arrangements that optimize gas exchange. Gas depleted of CO2 may be used for propulsion and pheromone synthesis, if not breathing, and such gas can be shunted away from the lungs for these purposes.

Flockmates can regurgitate crop contents to share with others. Will vomit in self defense. Philanthropic behavior is consistently observed.

“Pilot birds” or “shamans” seem to have advanced navigational and sensory skills compared to other flockmates. Flocks will not produce another pilot bird while the current pilot bird lives, which implies the existence of a chemical signal which modifies the reproductive capabilities of the pilot’s flockmates. These are the birds captured for human space travel, however, due to the above reasons, it isn’t possible to breed pilots in captivity.

[i-live-with-three-stray-cats]

Hello! I made a fantribe for WOF!

Trenchwings

Trenchwings have four wings, two of which (the front ones) can rotate from vertical to horizontal.

Trenchwing’s back legs are replaced by “wings” that face forward, (like fish fins) these wings have vents that can open and close for easier swimming.

Dragonets have trouble controlling these vents, so they swim slowly.

Trenchwings are very small, (Around the size of a dragon half their age) however, their wings are suitable for a full grown skywing

Their tails are triangular, and have four bones with winglike material between each. They can fold into a strange “regular “ tail

Trenchwings are extremely dark colors (nearly black) which vary from dark blue, to dark green, to dark purple, to black and the rarest, dark red.

Trenchwings have several different colors of blood, which are all nearly black, green, blue, and purple, whereas royalty has gold blood.

Trenchwings communicate by flashing their scales, similar to seawings, but instead of duration of flash, they use color, brightness, and location. If the topic at hand is severe, they will flash their scales in ultraviolet.

Trenchwings have a third eye, used for seeing ultraviolet.

Trenchwing’s scales are very smooth, making them difficult to get a grip on.

Trenchwings have extremely long claws, which are nearly three times as long as regular seawing’s)

These claws are semi-retractable. (Dragonets use these claws to “walk” along the sea floor (before they can swim) by clawing at the ground now to propel themselves forward)

Trenchwing’s horns are long, and bend backwards. These horns each branch off into two ends.

Trenchwings will normally change the color of their horns to be their favorite color.

Trenchwing’s horns can not normally glow very brightly, but the horns of royalty can glow nearly as brightly as their scales.

Starting in between their horns, and traveling down to their shoulder blades, trenchwings have long, bendy spines which are webbed.

Trenchwings don’t have assigned genders, instead choosing preferred pronouns that they feel suit them.

Trenchwings have extreme difficulty talking, as they don’t normally talk, because the tar is difficult to speak in and conducts almost no noise. Instead they use long sounds similar to whale song to convey things like greetings and pain.

Trenchwing’s have very strange mouths. They have three rows of teeth, two of which are retractable.

Their tongues glow a dark blood-red color when they feel threatened, but cannot glow any other color.

To smile, because showing teeth is usually seen as a threat, they stick out their tongues a bit. (Blep)

Trenchwing’s eyes are also quite unusual. Their sclera is completely black, and they have a film over their eyes, which is extremely shiny, and allows them to see through the tar.

This also gives them a green tint over their vision.

Their irises are normally a glowing two color gradient, which can be any color except white.

Trenchwings also have vertically slit pupils.

Trenchwing’s Fruit and plants

Bloot- A small, flat, pumpkin shaped fruit, colored a deep violet if ripe. The taste has been compared to a bitter grape.

Snurolarp- A medium sized cucumber shaped fruit, when ripe it is a muted shade of orange. Described with a lemony-lime flavor

Nyargle- A large cloud shaped fruit, with a pale green color. The flavor is similar to a sugary mango.

Yargh - A black lemon shaped fruit with a green tinge. Described with the flavor of an extremely sour cherry.

Blehn- An ovular, spiky fruit, with a scarlet color. This fruit has no flavor whatsoever. However, this fruit, when combined with the juice from any sour fruit, pops in dragon’s mouths like pop rocks. It’s extremely common to flavor this fruit with yargh juice.

Expressions trenchwings enjoy using

Blehn blehn blehn - used like blah blah blah, as the fruit has no flavor whatsoever

Sweet yarghs!- use like three moons

Or good god

Blince flower- a tall stem trench wings plant in their homes to tell the time. The blossoms open at around dawn. Blince flowers are white with a subtle tinge of yellow at the edge of the petals

Trenchwings are crepuscular. Families usually follow the same sleep schedule. However, most Trenchwings go to sleep when the blince blossoms open.

Trenchwing Culture

Queen - queen Mariana

A black-ish periwinkle Trenchwing with gold to silver irises and bright yellow horns. She is around the age of queen glory and snowfall.

Royalty lives further down the trenches, and queen Mariana lives at the bottom of her namesake

Trench wings call normal seawings shallow wings because they live in shallow water.

They also call the water “the bright lands”

Trenchwings have difficulty breathing in water, because it is much too thin.

Trenchwings are three times faster than shallowwings in water.

[ultravioletdarling1111]

no panties tonight!💕

[tayfabe75]

When I found old diaries from my childhood and my teens, they were covered in dust. I'm not just saying that for poetic effect, they were truly dusty with pictures drawn of first day of school outfits and inspirational quotes I used to retrace over and over to get me through doubtful moments. I'd practice my autograph and tape my guitar picks to the pages. In the entries, I daydreamed on paper and mused about who might ask who to the dance or how nervous I was saying the national anthem at the local baseball game. I frequently and drastically changed my opinions on love, friends, confidence and trust. I vented, described memories in detail, jotted down new song ideas and questioned why I would ever try to shoot for a career I had such a small chance of ever attaining. But what shocked me the most was how often I wrote down the things I loved. Writing a new song, riding in the car with my mom, the purple-pink skies of the soccer field on the walk home, the one night in middle school when none of my friends were fighting, the dazzle of opal necklaces I couldn’t afford gleaming from a department store jewelry case. I wrote about tiny details in my life in these diaries from a bygone age with such… wonderment. Intrigue. Romance. I noticed things and decided they were romantic, and so they were. In life, we grow up and we encounter the nuanced complexities of trying to figure out who to be, how to act, or how to be happy. Like invisible smoke in the room, we wonder what kind of anxiety pushes you forward and what kind ruins your ability to find joy in your life. We constantly question our choices, our surroundings, and we beat ourselves up for our mistakes. All the while, we crave romance. We long for those rare, enchanting moments when things just fall into place. Above all else, we really, really want our lives to be filled with love. I've decided that in this life, I want to be defined by the things I love- not the things I hate, the things I'm afraid of, or the things that haunt me in the middle of the night. Those things may be struggles, but they're not my identity. I wish the same for you. May your struggles become inaudible background noise behind the loud, clear voices of those who love and appreciate you. Turn those voices up in the mix in your head. May you take notice of the things in your life that are nice and make you feel safe and maybe even find wonderment in them. May you write down your feelings and reflect on them years later, only to learn all the trials and the tribulations you thought might kill you… didn't. I hope that someday you forget the pain ever existed. I hope that if there is a lover in your life, it's someone who deserves you. If that's the case, I hope you treat them with care. This album is a love letter to love itself- all the captivating, spellbinding, maddening devastating red, blue, gray, golden aspects of it (that's why there are so many songs). In honor of fever dreams, bad boys, confessions of love on a drunken night out, Christmas lights still hanging in January, guitar string scars on my hands, false gods and blind faith, memories of jumping into an icy outdoor pool, creaks in floorboards and ultraviolet morning light, finally finding a friend, and opening the curtains to see the clearest, brightest daylight after the darkest night. We are what we love. This is Lover.

August 23, 2019: Taylor releases Lover, outlining the concept of the album in its foreward. (source)

[spymeister]

He's transformed into more of a basal state, soft chittering as seams split apart and open to allow extra arms out. His extraneous outer-armor is removed, giving him free play for synthetic cords and tendons, allowing the gaps to vent out excess heat.

One clawed hand extends to the sensor panel with the lights, cutting the room down to pure darkness. In the gloom, his visor retracts- four gold optics with a tinge of indigo at their edges blink out of sync. His processor immediately brings the necessary programming online- and the room brightens with ultraviolet and inbuilt night vision.

He churrs softly with delight, head bowing as he waits for the alarm to sound.

1... 2... 3- [GREEN]

The spy explodes into a flurry of silent activity, immediately crouching and launching himself into the obstacle course. It's on the lowest level of an old Spec-Ops training HQ, and without it's usual agents- is a lonely place.

That's fine, though, for one ex-ops agent to use as his personal training grounds.

[poshfind]

Check out this listing I just added to my Poshmark closet: Alo Yoga Navy Blue Coolfit Mesh Vented Short Sleeve Athletic Top L-XXL.

[kaiowut99]

Yu-Gi-Oh! Duel Monsters GX Episodes 115-116 Subbed (Finalized) - Fixes/Edits Breakdown

Since it’s 2024 and Tumblr still has a dumb link limit in posts, I’ve made this separate post supplementing my 115-116 Release Post with my usual animation fix/edit breakdown for the interested, since I did still want to give folks a more visual idea as I’ve been doing. Details below the cut!

Fixes and Edits! (115)

Early in the episode, as Amon sneaks through the vents within Cobra's laboratory, he's getting data from his surroundings on his little spy lens; on it, there's a typo with the word "infrared" in "Infrared rays," misspelled as "infraed." I fixed this first in Photoshop, first in the earlier part of the shot where it's all black behind everything, then in the latter half as we see the vent's surroundings behind the lens (using the Clone Tool some to redo the wall behind the text some; I had trouble trying to identify the font used there, so I went with a very similar one and corrected it to "Infrared rays," redoing the "Luminosity" and "Ultraviolet rays" text also so that my edit blended in. Once both frames were fixed, I threw them into Vegas, where I worked to fade them into each other with the rest of the shot, doing my best to make it pretty seamless; think it is! (Interestingly, the dub left the text alone, "infraed" and all lol.)

Later, as we start going through Johan's flashback to meeting Tom, we see him following Jerry Beans Man's Spirit to where Tom is laying unconscious, his cards littered around him--except for some reason, he apparently has two copies of Hamon, Lord of Striking Thunder?? (Not to be outdone, the dub gave him two Winged Dragons of Ra.) Considering Hamon is still supposed to be buried under Duel Academia, I fixed this by using Photoshop to remove one and make another one of the face-down cards by using the Clone Tool to draw up another one based on one in the shot; I did this in one frame, which I then took into AfterEffects and motion-tracked to re-do the rapid zoom-out on the shot, applying a light masking of a black-color layer along the edges of the shot to replicate the black border around the flashback over the removal edit on the left.

In the very next shot, we have a close-up of Tom lying on the ground, where he still has a copy of Hamon along with a... brown rectangle of a card... and Jerry Beans Man, even though we find out later that Giese had already taken it by this point? Fixed this one in Photoshop by making the copy of Hamon a face-down card, while I reused a proxy of Drone/Doron from when I made one as I worked on episode 90, to fix the blank brown rectangle and fit with some of the older cards he has there; to fix the erroneous Jerry, I took a page from the dub and gave him a Petit Angel proxy. Once I applied these fixes to a frame, I took it into AfterEffects where I used motion tracking to redo the panning on the shot. (The dub gives him Ra again, but also keeps both Jerry Beans there and the brown blank rectangle.)

After briefly cutting back to Judai and Johan, Johan continues his flashback as Tom tells him that he lost his Jerry Beans Man but he put up a good fight against the "big and scary" guy that took him--as he does, we're zooming out from the two of them, cards spread around and all, and we see he still has a copy of Hamon there, along with Jerry Beans Man contradicting his story a bit, lol. Fixed in Photoshop on the first frame of the zoom-out, replacing that Hamon with my Drone proxy (consistent with its placement in the earlier shot) and Jerry Beans with Petit Angel; once done, after I spent a good chunk of a weekend trying to make AfterEffects's track motion work for the whole shot and accurately track it as things zoomed out so much (a bit tough for a 16-second clip), I ultimately took the frame into Sony Vegas and redid the zoom-out there, using maybe 20 initial keyframes throughout to ensure correct positioning before I dove in for a more frame-by-frame look and adjusted as needed. All told, that ended up being far easier than waiting for AfterEffects, lol. (The dub, meanwhile, still replaces Hamon with Ra for reasons, but also decides to give him a bunch of random Judai cards, from Oversoul to Transcendent Wings to Bubble Shuffle to Cocoon Veil I think? The Jerry card is replaced with what I'd guess is Ancient Elf from a later shot, but I can't really ID the art, lol.)

A bit later, after reassuring Tom that Jerry Beans Man's Spirit asked him to help him, Johan says that Spirits do exist and that Jerry Beans Man will find its way back to him if he believes, to which Tom nods and smiles--as he does, we see behind him that Jerry Beans Man is still there. Fixed by replacing it with Petit Angel in AfterEffects, using Track Motion to pan it along with the shot, also duplicating its layer and doing some color correction and masking to ensure it's partly darker while along the black border of the flashback.

Later, after Giese snatches Sapphire Pegasus and Johan chases him down, the two start to duel; as they prepare their Disks on a split-screen, there's a quick frame where their split-screen starts to split apart where they move but don't actually split apart; the next shot of the field isn't shown between them, Johan's split being more visible instead. There's also a timing issue as they split apart which causes Johan's split to be uneven with Giese's as their slide-out ends. Fixed both in Vegas by masking in part of the next shot in between them, adding a border to Johan's split, and then redoing his split slightly to time it evenly with Giese's.

[list continues below after a brief split due to Tumblr being dumb]

(7) As Johan begins his turn, he moves to draw a card, but there are a quick few frames where his third Monster Zone is actually not drawn in, causing the whooshing background behind him to be visible. As mentioned in the 113-114 breakdown, I fixed this first here before applying the fix to the 115 preview in 114, taking the 2-3 frames in question into Photoshop and drawing in his Zone, adding a little bit of blurred red lighting over the edit to radiate a bit of the lighting from the orb on his Disk some.

(8) After having Amethyst Cat go for a direct attack against Giese using her effect only for her to be ultimately trapped by his Hunting Net Counter Trap, Johan is shocked as she's snatched up--but for a quick two frames during their split-screen, the animation team forgot the net she should be trapped in. Quickly fixed in Vegas by just holding the frame of her in that position with the net on her over the two erroneous frames. (Alternate caption: Amethyst Cat is so high right now.)

(9) After the eyecatch, as Giese summons his Lure Phantom back out to the field, Johan promises Amethyst Cat that he'll get her out, prompting Giese to slide in on a split-screen to ask if Johan really wants to save her that badly--but a timing issue with the split-screen forming happens in that Johan isn't moved behind him as his split starts sliding in. Fixed in Vegas by moving Johan behind him as it slides in properly.

(10) A few seconds after #9, as Giese plays his Dark Auction Magic Card to give him a chance of rescuing Amethyst Cat, he mentions that it has a price which comes out of Johan's Life, which he immediately offers to free her--but as this part of their exchange happens, they click into a split-screen rather than slide into one, but the sound team erroneously used the SFX for splits sliding into a split-screen (which the dub also fixed). To fix this, I first took the audio in this clip and ran it through UVROnline (an online GUI version of UltimateVocalRemover), then I also ran some of the audio during their exchange at the end of the episode about where Rainbow Dragon's stone tablet is (to pull the clicking SFX from as it's a quiet, no-OST scene) through it; I took the split audio into Vegas where I used as much of the original audio in the clip as doable, applying a mix of the vocal-isolated dialogue, the isolated clicking SFX, and slight recreation of the "Rival" OST off GX Sound Duel 2 specifically at those points I was trying to fix the SFX in. Came out pretty well! (I did a similar fix back in 102 as Bubbleman's ATK shot down with Bubble Shot 's destruction but they used the LP-hit-zero SFX instead of the counter-value-set one.)

(11) After Johan pays 1200 LP to free Amethyst Cat thanks to Giese's Dark Auction Magic Card, Giese lets her run back to him, but we see that the Lure Phantom in Monster Zone 4 on his Disk is in Attack Mode when it should be in Defense Mode. Fixed first in Photoshop by blanking that Monster Zone, then in AfterEffects by putting a Defense-Mode proxy into position, tracking the motion of the shot to move it towards the left with Giese as the shot pans towards Amethyst running back.

(12) As Johan starts his turn after Giese re-captures Amethyst Cat, there are a few frames before he shifts his gaze towards Sapphire Pegasus (whose breathing is labored here) where there's a weird extension of his Disk's coloring past the end of the Disk, covering up the wall behind him, and his face-down card is also slightly miscolored from how it was prior in the shot. Fixed first in Photoshop by restoring the wall in that space (mostly by copy/pasting from the previous frame, coloring in the few pieces left due to how the Disk shifted as he moved), then in Vegas where I mixed the fixed frame into the footage.

[list continues below after a brief split due to Tumblr being dumb]

(13) As Giese explains how his capsules work to sap Spirits of their energy, he turns to the Gokipon he has trapped to demonstrate what happens when they're fully drained of it all, and before it ends up going sparklepoof, we see that the Lure Phantom on his Disk is in Attack Mode again when it's still in Defense Mode. Fixed in AfterEffects by applying my proxy, using light track motion during the movement frames in the shot as it pans downward to move the proxy along accordingly, while also retaining the added shading due to how his Disk is facing with a duplicate layer to which I applied a darker brightness and a mask along the shading ridges.

(14) After using his Capture Trap Trap Card to capture Amber Mammoth, Giese states his view that a real hunt is about predicting lower animals' behavior to lead them right into his traps; Johan is angry at the idea, and Giese slides in on a split-screen to mock him by saying that he didn't expect to have already captured his second Gem Beast--though his split starts sliding in already being a fair way into the shot on the first frame, rather than starting barely visible on the lefthand side as usual. Fixed in Vegas by redoing his split-screen to make it more fluid and start it just barely out of the left side of the shot.

(15) During the preview for 116, we see a clip with a captured Topaz Tiger joining Amber Mammoth and Amethyst Cat before their split-screen splits apart to show Giese behind them swinging his whip to cause damage to Johan (as we find out, this being due to his Substitute Pain card)--but a few things happen: a) Topaz Tiger's missing his left eye, and b) as Giese comes into the shot with his whip, there are a few frames as he swings his Disk around while getting into position and then as he swings his whip where the Camouflage Guardna card he eventually plays in 116 proper is missing on his Disk, causing the whooshing background behind him to be visible in that space. I fixed (a) by using mostly Vegas to mask in the fixed version of his split during that shot in 116--I was originally going to just try to mask his fixed eye into the shot thinking the net around him was the same, but as I brought in the 116 clip, I realized they also adjusted how the net was drawn on him slightly, with only the ropes along the right part of his head/the "PREVIEW" text being consistent; as a result, I had to mask in most of his split from 116 while the shot was still, then as all their splits split apart and Topaz was moving upward along the preview text, I used Photoshop to move his fixed split into place for the frames it moves in, and then brought the fixed frames into Vegas to add to the video. I then fixed (b) using AfterEffects, fixing this first for the 116 shot by adding in a Camouflage Guardna proxy I made where it was missing to bridge the gaps as Giese swung his arm around, then bringing the fix into Vegas to mask into the full preview clip that I added to the DVDRip I'll be releasing. (In 116, there's a different issue with the Gem Beasts' split screen unrelated to Topaz specifically that I'll get into in 116's list.)

Fixes and Edits! (116)

After summoning it out using Triggered Summon and buffing his ATK using M Force, Johan has Emerald Turtle attack Giese's second Hell Gundog, but there's a quick 2-3 frames where Emerald Turtle is missing from Johan's Disk as he swings his arm around, making the whooshing background behind him visible in that spot. Fixed in AfterEffects by applying an Emerald Turtle proxy over that spot.

After Giese uses his second Gundog's effect to summon a third, Johan taunts him and says he should be more grateful to his Monsters; he then ends his turn by switching Emerald Turtle to Defense Mode with his effect, but for some reason, he has a Hell Gundog on his Disk where his Turtle should be. Fixed in AfterEffects by applying my proxy, using motion-tracking to move it along with Johan as the shot pans and masking in Emerald Turtle over the edit as needed for blending as he moves.

Immediately after #2, Giese then draws for his turn, but the Hell Gundog on his Disk is shown in Attack Mode when it's still in Defense Mode--judging from how small it is on his Disk, I assume they did mean to put it in Defense Mode. Fixed in AfterEffects by applying a proxy in Defense Mode, using some motion-tracking to move it along with Giese as the shot pans.

After Giese tries to play off his face-down-card bluff with some bravado and Johan takes notice, reading it as him having just set a meaningless Magic Card, as their split-screen splits apart for Johan to highlight that, Emerald Turtle's Defense-Mode card on the field is facing the wrong way (its name box should be facing to Johan's right to match its position on his Disk when in front of him). Fixed this in AfterEffects first after I reversed the shot using Vegas, as I applied a proxy facing correctly under Turtle and then applied motion tracking to pan it along with the shot up until Giese's split covers it up; once that was done, I unreversed the fixed clip in Vegas and then masked in Giese's split over the proxy edit and re-slid it offscreen.

After Giese's shock that Johan knew he was bluffing, Johan switches his Emerald Turtle back to Attack Mode for an attack, but as he does, he again has a Hell Gundog where Emerald Turtle should be on his Disk while Topaz Tiger's absent from Monster Zone 2, and there's also an odd coloring error where the Cemetery slot on Johan's Disk isn't colored in black for the first few frames before Johan moves. Fixed both in AfterEffects by first applying a Turtle proxy over the Hell Gundog card and adding my Topaz Tiger proxy into Monster Zone 2, using motion tracking and adjustments to their CC Power Pin effects to move them along with Johan as the shot pans and masking in his fingers over the card as he physically switches it to Attack Mode, then by masking in his Cemetery slot from an earlier shot (#2 above) that the start of this one is recycled from. [Fun fact: I first fixed this two weeks ago and then realized I forgot about Topaz when I drafted this post and pulled the clip back up, so I had to quickly revisit it :')]

Shortly after #5, once Emerald Turtle destroys Giese's last Hell Gundog, he uses Topaz Tiger for a direct attack, but as he declares the direct attack, Tiger and Turtle are both absent from his Disk for two quick arm-swinging frames, causing the whooshing background behind Johan to again be visible. Quickly fixed in AfterEffects by CC-Power-Pinning my proxies for them into place.

After the eyecatch and after Jim and co.'s touchbase, we cut to Amon still in the vents of the laboratory, noticing that security's tightening; he turns to grab something from his pocket, but as he does, the shading under his mouth for his lips vanishes despite his head staying still. A quick fix in Vegas as I just masked in that lip shading over the shot for the duration of it missing.

Back at the duel, after Giese summons his Lure Phantom and Johan mentally promises Sapphire Pegasus he'll get him out, he begins his turn by switching Emerald Turtle back to Attack Mode--but in this semi-recycled bit of animation, the errors noted in #5 continue here, as both Topaz Tiger's missing from his Disk/Hell Gundog is again where Emerald Turtle should be and his Disk's Cemetery slot is miscolored without its black as the shot starts and before Johan starts to move. Fixed in AfterEffects as was done in #5, CC-Power-Pinning Turtle and Tiger into place, with motion tracking to move it along with Johan as the shot pans, and bringing back the frame from the earlier shot with his Cemetery correctly colored to mask it in as the shot starts. [As with #5, I'd only just noticed I missed Topaz Tiger missing as I drafted this post, two weeks after I initially fixed this :') Also, this being a recycled shot, I thought I'd use screenshots from a different part of the shot for this one, lol.]

[list continues below after a brief split due to Tumblr being dumb]

(9) A bit later, after Giese reveals to Johan that he was the one who took Tom's Jerry Beans Man and Johan insists that they had a bond despite Tom not being able to see its Spirit, we flashback to Johan reassuring Tom about Jerry Beans Man to see that Giese was standing just outside the courtyard they were in with it in hand, but we see Jerry Beans Man still behind Tom as he nods and smiles at Johan. To fix this, I reprised edit #5 in 115's list and replaced Jerry Beans Man with Petit Angel as done there, tweaking the edit so that it's partly lighter while close to the white flashback border.

(10) As Giese later activates his Substitute Pain Magic Card, intending to deal Johan damage for each Gem Beast he captured, Topaz Tiger, Amber Mammoth, and Amethyst Cat appear on a split-screen before it splits apart to show Giese coming into the shot behind them preparing to swing his whip to send the damage his way--but a few things happen: a) as the Gem Beasts' split-screen splits apart, there's a quick frame where Tiger and Mammoth's splits are detached from their intended borders, and b) as Giese comes into the shot with his whip, there are a few frames as he swings his Disk around while getting into position and then as he swings his whip where his Camouflage Guardna card is missing on his Disk, causing the whooshing background behind him to be visible in that space. As mentioned in #15 on 115's list, I fixed things here first before applying things to the preview shot in 115, fixing (a) by first using Vegas to restore most of the borders on Tiger and Mammoth's splits, then taking the frame in question into Photoshop to finish the job by using the Clone Tool some and also cutting in bits of the background in between the splits to get rid of the leftover error borders. I then fixed (b) using AfterEffects, adding in a Camouflage Guardna proxy I made where it was missing to bridge the gaps as Giese swung his arm around, then bringing the fix into Vegas to put together the full fixed clip. (From an editing standpoint, I'm also very amused with how 4Kids handled the latter, as they forgot to mask in part of Giese's Disk over the dubified card they put into place the way I did, so the card bleeds onto Giese's Disk in spots, lol.)

(11) As Johan reels from Substitute Pain's damage, laughs and asks if taking damage for his Gem Beasts makes Johan happy--but during this long shot of the field, as we pan to Johan, we see that the card under his Defense-Mode Emerald Turtle is facing incorrectly, with its name box facing Johan's left when it should be to his right to match its position on his Disk. Fixed in AfterEffects, first applying an Emerald Turtle proxy after reversing the shot, masking in Turtle himself over it, then using motion tracking to move the proxy and my Turtle mask along with the panning in the shot; once done, I took the fix into Vegas, where I un-reversed it and added it to the full clip.

(12) After Giese suggests that Johan could desert Jerry Beans Man here with no one none the wiser and Judai arrives to look on, Johan insists that he just can't do that--but as he does so, we see that he seemingly again has Hell Gundog on his Disk in Emerald Turtle's place, but also in Monster Zone 3 this time instead of Monster Zone 4. Fixed first in Photoshop by blanking Zone 3 in the first frame of the shot, then in AfterEffects as I brought in that fixed frame, applied a Defense-Mode Turtle proxy in Zone 4, and used motion tracking to move both Zones with Johan as the shot pans.

(13) As Johan makes clear his goal of bringing Spirits and humans together and Judai runs out to try and help him, Giese taunts Johan and says that he'll send Jerry Beans's Spirit to the next world to join Sapphire Pegasus as his punishment for not choosing to save Jerry Beans--but as he does, we see Camouflage Guardna on his Disk facing incorrectly, with its name box facing Giese's left. A quick fix in AfterEffects after I CC-Power-Pinned a correctly facing proxy into place.

(14) After summoning Sapphire Pegasus and using his effect to place Ruby Carbuncle in his Magic/Trap Zone, Johan activates his Take to the Wings Magic Card, but as we zoom out on him to see him raise his arm for it before Sapphire Pegasus flies into the shot, Emerald Turtle is reversed on his Disk, its name box facing his left. Fixed in AfterEffects by applying a correctly facing proxy, adjusting its CC Power Pin effect as needed during the zoom-out.

(15) As Take to the Wings then frees Topaz Tiger, Amber Mammoth, and Amethyst Cat from Giese's traps (about to return them to Johan's hand), there's a quick frame as the split-screen they're on splits apart where the full split-screen's border lines are still there as we start to see Giese behind them. Fixed in Photoshop first, cutting in the visible parts of the Giese shot from the next frame over the lingering border lines, then mixing the fixed frame into the footage in Vegas.

[list ends below after a brief split due to Tumblr being dumb]

(16) As Take to the Wings works to return the Gem Beasts in play to Johan's hand, we see Ruby Carbuncle and Emerald Turtle's gems in his Magic/Trap Zone turn into light to make their return, but two odd errors happen with their split-screen: a) there's a random bit of extra split-screen border on Turtle's side along the bottom third of the screen; and b) as they start to split apart, there's a quick frame where Turtle's split doesn't move while Ruby's does, and we see more of the background in Turtle's split behind Ruby's moving split instead of Sapphire Pegasus being transitioned into. Fixed both in Vegas, first re-applying a full border to cover up the extra bit jutting out along the bottom third of the screen, then redoing the start of the split-screen splitting apart by properly moving Turtle's split and then masking in Sapphire Pegasus behind/between both splits.

[sunplayaustralia02]

The Ultimate Guide to Beach Tents in Australia: Finding the Perfect Sun Shelter Pop Up

Australia’s stunning coastline offers endless opportunities for beachgoers to soak up the sun, swim in crystal-clear waters, and relax on pristine sands. However, with the country's intense UV rays, protecting yourself from the sun is crucial. Whether you’re planning a weekend getaway or a long summer vacation, investing in a high-quality Beach Tent Australia is a smart choice. This guide will help you understand why the Sunplay beach tent is a top contender and how to choose the best rated beach tents for your needs.

Why You Need a Beach Tent

Australia’s beaches are known for their beauty, but also for their sometimes harsh weather conditions. A beach tent provides essential shade, protecting you from harmful UV rays, and offering a comfortable place to rest. When looking for the perfect sun shelter pop up, consider factors like UV protection, ease of setup, and portability.

Beach tents have evolved significantly over the years. Today’s designs are lightweight, easy to set up, and often come with features like sand pockets, ventilation windows, and sturdy anchors to withstand coastal winds. If you’ve ever struggled with a traditional umbrella on a windy day, you’ll appreciate how a Sunplay beach tent offers stability and protection without the hassle.

Features to Look for in a Sun Shelter Pop Up

When choosing the best rated beach tents, consider the following features:

UV Protection: Look for a tent with a high UPF (Ultraviolet Protection Factor) rating. A UPF of 50+ is ideal as it blocks over 98% of the sun's harmful rays.

Ease of Setup: A sun shelter pop up is designed for quick and easy assembly. Opt for a tent that can be set up in minutes without requiring extra tools.

Portability: Consider the tent’s weight and how compact it is when folded. A lightweight and portable beach tent is essential for those who plan to walk a distance from the parking area to the beach.

Ventilation: Ensure the tent has mesh windows or vents for airflow, which helps keep the interior cool and prevents it from feeling stuffy.

Durability: The beach environment can be tough on equipment, so choose a tent made from high-quality materials that can withstand sun, sand, and wind.

Spotlight on the Sunplay Beach Tent

The Sunplay beach tent is a popular choice for Australian beachgoers, known for its durability, ease of use, and excellent sun protection. It combines all the essential features—high UV protection, portability, and quick setup—in one sleek design. What sets it apart is its attention to detail, such as reinforced stitching for added strength and sand pockets that help anchor the tent securely on windy days.

If you’re considering a sun shelter pop up for your next beach trip, the Sunplay beach tent should be high on your list. It offers a balance of quality and convenience, making it one of the best rated beach tents available.

Conclusion: Finding the Best Rated Beach Tents

Investing in a quality beach tent is essential for anyone who loves spending time on Australia’s beaches. Whether you’re looking for a Sunplay beach tent or another well-rated sun shelter pop up, focus on UV protection, ease of use, and portability. The right tent can transform your beach experience, providing a cool, shaded haven to enjoy the sun safely.

With so many options available, it’s worth taking the time to find the best rated beach tents that suit your needs. Consider your typical beach activities, the size of your group, and how often you’ll use the tent. With the right choice, you’ll be able to enjoy Australia’s stunning beaches comfortably and safely for years to come.

[mounishamarketing]

Improving Winter Indoor Air Quality in Dubai: Ventilation and Purification Strategies

Overcoming Winter Indoor Air Quality Challenges in Dubai: Effective Ventilation and Air Purification Strategies

Dubai's winter season, while mild compared to many other parts of the world, presents unique challenges to indoor air quality. As residents close windows to retain warmth, the reduction in natural ventilation can lead to increased indoor air pollutants. This article explores the challenges to indoor air quality during winter and offers effective ventilation and air purification strategies to ensure a healthy living environment in Dubai. For specialized services, consider Aafiyah Technical Services.

Challenges to Indoor Air Quality During Winter

Reduced Ventilation: One of the primary challenges to indoor air quality during winter is the reduction in ventilation. With windows and doors closed to keep out the cold, fresh air circulation is minimized, leading to a buildup of indoor pollutants.

Increased Use of Heating Systems: Heating systems, particularly those that burn fuel, can introduce pollutants such as carbon monoxide and nitrogen dioxide into the home. Even electric heaters can contribute to poor indoor air quality by circulating dust and other particulates.

Higher Humidity Levels: In winter, humidity levels can fluctuate significantly. While Dubai’s climate remains relatively dry, indoor activities like cooking and showering can increase humidity, leading to mold growth if not managed properly.

Accumulation of Dust and Allergens: With less frequent airing out of homes, dust, pet dander, and other allergens can accumulate. These can exacerbate respiratory conditions such as asthma and allergies.

Effective Ventilation Strategies

Mechanical Ventilation Systems: Installing mechanical ventilation systems, such as Heat Recovery Ventilators (HRVs) or energy recovery ventilators (ERVs), can help maintain a steady flow of fresh air without losing heat. These systems are particularly effective in climates like Dubai's, where maintaining indoor temperature is crucial.

Exhaust Fans: Using exhaust fans in bathrooms and kitchens can help remove excess humidity and pollutants. Ensure these fans vent to the outside rather than recirculating air back into the home.

Air Ventilation Solutions: Regular maintenance of HVAC systems, including cleaning and replacing filters, can improve air circulation and quality. Consider upgrading to systems designed for enhanced filtration and ventilation.

Natural Ventilation: When weather permits, opening windows for short periods can help flush out indoor pollutants. Cross-ventilation, achieved by opening windows on opposite sides of the home, can be particularly effective.

Effective Air Purification Strategies and Systems

HEPA Air Purifiers: High-Efficiency Particulate Air (HEPA) purifiers are among the most effective at removing particulate pollutants from the air. A HEPA air purifier can capture particles as small as 0.3 microns, including dust, pollen, and pet dander.

Activated Carbon Filters: For removing gaseous pollutants like volatile organic compounds (VOCs) and odors, activated carbon filters are highly effective. These filters can be used in conjunction with HEPA filters for comprehensive air purification.

UV-C Air Purifiers: Ultraviolet-C (UV-C) light air purifiers can kill or inactivate airborne pathogens like bacteria and viruses. These systems are particularly useful in reducing the spread of infectious diseases.

Whole-House Air Filtration Systems: For comprehensive air purification, consider installing a whole-house air filtration system. These systems integrate with existing HVAC systems to purify air throughout the entire home.

Portable Air Purifiers: Portable air purifiers can be used in specific rooms or areas where air quality issues are most pronounced. Look for models with HEPA and activated carbon filters for maximum effectiveness.

Regular Maintenance and Filter Replacement: Regardless of the air purification system in use, regular maintenance and timely filter replacement are crucial. Dirty filters can become less effective and even contribute to indoor air pollution.

Specific Solutions for Different Needs

Air Purifiers for Dust: For homes with significant dust issues, air purifiers specifically designed to capture fine dust particles are essential. HEPA filters combined with pre-filters can effectively reduce dust levels.

Air Purifiers for Allergens: For allergy sufferers, air purifiers with HEPA filters are crucial. These filters capture common allergens such as pollen, pet dander, and mold spores.

Air Purifiers for Homes with Pets: Homes with pets can benefit from air purifiers that also feature odor control, such as those with activated carbon filters. These systems help remove pet dander and odors.

Air Purifiers for Vehicles: For those who spend a lot of time in their cars, portable air purifiers designed for vehicles can help maintain air quality on the go.

Home Ventilation Systems: Effective home ventilation systems ensure that indoor air remains fresh and pollutant-free. Regular checks and maintenance of these systems are necessary for optimal performance.

HEPA Room Air Cleaners: In rooms where air quality is particularly poor, HEPA room air cleaners can provide localized purification. These units are especially useful in bedrooms and living areas.

Conclusion

Maintaining good indoor air quality during winter in Dubai requires a combination of effective ventilation and air purification strategies. From mechanical ventilation systems to advanced air purifiers, there are numerous solutions available to address the unique challenges posed by the winter season. For professional assistance and top-quality air filtration and ventilation services, Aafiyah Technical Services offers comprehensive solutions tailored to your needs. By implementing these strategies, you can ensure a healthier and more comfortable living environment throughout the winter months.

This comprehensive article covers the challenges to indoor air quality during winter in Dubai and provides effective strategies for ventilation and air purification. By utilizing the services of Aafiyah Technical Services, residents can ensure their homes remain healthy and comfortable, even during the colder months.

[watchesuaesblog]

High-Performance Outdoor Furniture Covers for Extreme Conditions

Introduction

The use of high-performance outdoor furniture covers is needed to protect investments in outdoor living spaces. These covers are built to withstand severe weather conditions so that furniture lasts for a lifetime. In fact, selecting the right cover is necessary for maintaining the look and usability of expensive outdoor furniture. The article examines various aspects of high-performance outdoor furniture covers including materials, design features, and how well they work under extreme conditions.

Importance of High-Performance Outdoor Furniture Covers

Outdoor furniture covers dubai is subjected to different elements like sun rays, rains,pollutants among others. When exposed to these conditions with no protection, such items will quickly deteriorate leading to discoloration,mold formation,rust as well as weakening. Couches and chairs that have been covered nicely can still serve their purpose for longer periods and prevent unnecessary replacement expenses. Furthermore, this keeps maintenance costs down making it a better investment for any compound.

Materials Used in High-Performance Covers

Heavy-Duty Polyester

Heavy-duty polyester is one of the most preferred materials when it comes to high-performance outdoor furniture covers. This material has long been known for its resilient quality in all kinds of weather conditions.Polyester covers are usually coated with PVC or PU so as to enhance water resistance and UV protection qualities.The combination of these properties makes sure that your seats stay dry and free from scorching sun rays.

Solution-Dyed Acrylic

Solution-dyed acrylic is another top choice for patio furniture covers in uae. This fabric has superior color retention abilities which means that it does not fade easily.The dye used in manufacturing these fibers seeps into the material thus making the colors more resistant against damages caused by ultraviolet radiation.Besides solution-dyed acrylic being breathable,it allows air exchange thereby discouraging growths like mildew or molds.

Vinyl

These covers also function excellently in areas experiencing harsh climatic conditions.Vinyl made ones are completely waterproof hence provides a great shield against downpours and snowfall. Also, vinyl is considerate when it comes to washing hence ideal for those individuals who are not comfortable with demanding cleaning processes. however, this material may lack breathability and as such proper ventilation should be ensured so that mildew does not appear.

Design Features of High-Performance Covers

Custom Fit

For high-performance outdoor furniture covers, custom fit is essential. If they are very loose, they can be easily blown by wind; if too tight – difficult to put on/take off.Most high-performance covers are designed specifically for particular types of furniture or could as well be tailor-made in order to offer a perfect match. In this case, there will be improved safety while the look of your home will also become better.

Reinforced Seams

Reinforced seams are an important feature of durable outdoor furniture covers. Double stitched or heat-sealed seams make them stronger and non-tearable even during extremes.This means that the fabric will last intact without losing its protective capabilities over time.

Secure Fastenings

In fact, secure fastenings including buckles,straps,and drawstrings form an integral part of any cover’s design. They prevent their removal from strong winds or storms.Certain adjustments made on these fasteners might result to a more perfect fit which essentially enhances the level furniture coverage in general.

Ventilation

Proper ventilation is crucial to avoid mold and mildew growth under the covers. Outdoor furniture covers that are high-performance often have air vents or mesh panels for good circulation of air while blocking water from entering into it. This will keep a dry environment underneath the cover which helps in preserving the condition of furniture.

Benefits of High-Performance Covers in Extreme Conditions

Protection Against UV Rays

One of the main advantages of high-performance outdoor furniture covers is protection against UV rays. Continuous exposure to sunlight can lead to fading, discoloration and weakening of materials. Quality covers with sunlight filtering elements may substantially diminish these impacts, thus maintaining new appearance for more time.

Water and Snow Resistance

Moisture can not penetrate through most top quality high performance covers and snow resistance . This is especially important in areas with heavy rainfall or snowfall. With waterproof caps, you can guarantee your fittings that they stay dry at all times by preventing rusting molds among other effects related to water.

Wind Resistance

Outdoor furniture is exposed to damage by strong winds if the covers are not well fastened. High performance covers having secure fastenings and customized fit will withstand heavy storms so that they do not blow away because of wind and therefore expose furniture to rain.

Temperature Extremes

Changes in temperature due to extreme heat or cold can affect outdoor furniture durability. Hiperformance capabilities protect chairs against cracking, warping as well as other damages caused by temperature. These impacts are especially common on substances such as wood or plastic which are sensitive towards changes in surrounding warmth.

Maintenance and Care Tips

Proper maintenance and care should be observed on their ways high-performance outdoor furniture cushions if one wants them extend their useful life span hence provide efficient protection over time . Cleaning them regularly according to manufacturer’s guidelines prevents accumulation of dirt; inspecting any signs wear tear then taking corrective measures like fixing worn out ones or purchasing new ones when necessary; storing them well during the off-season so that they remain in a good condition.

Conclusion

Investing in high-performance outdoor furniture covers is necessary for protecting outdoor furniture from harsh weather conditions. Correct covering will provide protection against UV rays, water, snow, wind and temperature extremes, thereby ensuring durability of it as well as its aesthetics. By selecting long-lasting materials like heavy-duty polyester, solution-dyed acrylic or vinyl and features such as custom fit, reinforced seams and strong fastenings with ventilation homeowners can enjoy their outdoor spaces without worrying about potential harm caused by weather elements. Caring for these covers properly can make them more effective thereby making anyone who has an outdoor living area to be interested in purchasing them since they are durable and long lasting.