#we're like... 60% sure it got out and is gone @_@

[sugardollcurse]

HYELLOOOO!!! I COME WITH SNACKS

hear me out. 60s Paul and John competing over the reader like trying to out-flirt and out-do eachother and it ends in a competitive threesome >;))))

𝒕𝒉𝒆𝒚 𝒘𝒂𝒏𝒕 𝒚𝒐𝒖 𝒎𝒐𝒓𝒆

꒰ pairing ꒱ paul mccartney x reader x john lennon

꒰ contains ꒱ nsfw!! minors dni! female anatomy, overstimulation

꒰ summary ꒱ paul and john are both obsessed with you, and neither’s willing to back down... so they don’t.

꒰ note ꒱ heyy youu!! okay this idea is SO GOOD. thank you for blessing me with this vision... OOOUUUGHHHH

You’d been with them longer than anyone could rightly remember. Before the fame wrapped tight around their throats, before America screamed their names like gods, you were there, lugging gear, jotting half-legible notes in the back of a pub napkin, pulling cigarettes from Paul’s lips to save them for later, rolling your eyes as John flirted with anything with a pulse and half a pint.

Now it’s the studio again. Where you live now, practically. The air is muggy with sound. Paul's hunched over his bass, lip between his teeth, sweat darkening the back of his shirt where it clings to his spine. John’s sprawled on the floor by the mixing desk, strumming an unplugged electric guitar, letting the strings hum in his palm like he’s taming something wild.

You’re sitting cross-legged on the couch, balancing a tea you won’t drink on your knee, pen spinning between your fingers. You’ve got no real job, not really, maybe "handler" if you're generous, but truth is they just won’t let you leave. You’re part of the fabric.

Tonight’s one of those long ones. Midnight’s already come and gone. George and Ringo left hours ago. It’s just the three of you now, and the tape machine whirrs like it’s whispering secrets.

Paul clears his throat, loud, over the quiet riffing of John's guitar. He tosses his fringe from his eyes and glances at you, eyes flickering like a match about to catch.

"You know, love," he says casually, fingers still dancing on the neck of his Hofner, "You never tell us who you fancy most."

John doesn’t miss a beat. Doesn’t even look up.

"That's ‘cause it's me," he mutters, then plucks a sour note on purpose.

You laugh through your nose, shaking your head, but your stomach tightens. A familiar game, but tonight their tone’s off... richer, slower, a thread of something heavier tugging beneath the surface.

Paul narrows his eyes at you, then shifts in his seat, that showman smile blooming like a flare.

"Go on then," he says. "We're dying to know. You’ve known us for ages. Surely there’s some preferences." He flashes teeth.

You blink slowly, sip your tea that’s gone cold. “I like the ones who shut up and play something decent.”

John barks a laugh and finally lifts his eyes. "So not Paul then," he drawls.

Paul gives him a look. "Jealousy's not a good color, Johnny."

"I'm not jealous," John says. Then he looks at you and there's heat behind his stare. "Just curious who gets to make you moan first."

Silence slices the room in half.

Your breath stutters, chest tightening, but you don’t look away. And they don’t either.

Paul stands, guitar sliding off his shoulder to rest on the floor, and stalks closer. John's gaze flickers to him, amused but alert, predator eye meeting predator eye.

"You think it's you, do you?" Paul murmurs, and he’s standing right in front of you now, a hand out to take your empty cup, his fingers brushing too slow over yours. His voice softens. "You think they'd melt for your words, your wit?"

John shrugs, still sitting but sharp now, coiled. "Better than some dumb love song."

"They like my songs."

"They'd like my fingers better."

Your mouth is dry. You set the cup down on the amp next to you and tilt your head back, catching Paul’s gaze with steady defiance.

"Why don’t you both shut up and… prove it?" You add, cheekily.

That does it.

John’s off the floor like he’s been pulled by a string, and Paul’s already bending forward, cupping your cheek with sudden, devastating tenderness, brushing your hair back. Your breath hitches.

“You serious?” John gawks.

You nod once, slow, and Paul’s thumb strokes your bottom lip like he’s studying it. His gaze doesn’t waver, even as John comes up behind you.

Their rivalry is a thing you’ve always danced between. Words, jokes, songs, but now it’s something else, burning between them like a livewire. And you? You’re the conduit.

The room stills, and not because anyone said to. Just because something’s shifted. The kind of shift you feel in your chest before thunder rolls. Paul’s watching you too closely now, mouth parted slightly, like he’s either going to say something or lean in and kiss you. His tongue flicks across his lower lip and doesn’t return. John’s not moving at all, but his gaze is fixed, boring into the side of Paul’s face, then flicking to you like a dare, like you see this too, right?

They’ve done this before... posturing, jabbing at each other, flaunting themselves like peacocks when you’re around. Paul will hold your hand too long while explaining a harmony. John’ll whisper something obscene against your ear while you’re trying to read. But this? This isn’t just teasing.

Paul shifts closer on the couch. Not dramatically. Just enough that his knee brushes yours. He acts like he doesn’t notice, but he always notices. “You don’t say much when we flirt with you,” he murmurs, tone low and careful, like he’s afraid if he speaks too loud it’ll break whatever spell they’ve just managed to cast.

“I say enough,” you murmur back, heart knocking hard under your ribs.

John huffs softly, guitar now lying beside him untouched. “You don’t say no.”

You turn your head toward him slowly. “I don’t say yes, either.”

John grins, sharp, wolfish. “You don’t have to, love.”

The way he says it, rich and sure of himself, like he’s already got your moans in his back pocket and Paul’s growing jealousy in the other, makes you clench around nothing. You grip the edge of the couch with one hand, trying to ground yourself.

Paul’s gaze is darker now. He leans in, slow and deliberate, brushing your knuckles with his own. “Would you say yes if I kissed you right now?”

There’s a breath, yours or theirs or maybe the studio’s own ghost, but you don’t move away. You don’t answer. And the silence? That is your answer.

He kisses you.

It’s slow at first. Not because he’s unsure, but because he wants you to feel it, every soft press and part, his lips molding to yours like he’s studied them in secret, like he’s been building this in his head for years. You sigh into him, hand rising to cup the back of his neck, and he hums low in his throat, the sound melting into you.

John shifts.

Not much, but you hear him. You feel the pull of his gaze like it’s hands already on you. Paul doesn’t let you go, he deepens the kiss, tongue brushing yours, teasing and coaxing, like he’s trying to prove something, and maybe he is. Maybe he knows you’re about to be stolen.

Because John’s behind you now, not touching yet, but close. His breath ghosts against your ear and it makes you shiver, caught between warm mouths and warm hands and all that thick tension finally unraveling into this.

“Let me have a taste,” John says, and it’s not a request.

Paul pulls back with a wet sound, his lips flushed, eyes glassy. “Not your toy.”

John grins. “Not yours either.”

His fingers hook your jaw, turning your head toward him, and then he kisses you too, rougher, needier, like he’s got something to prove and he’s not playing fair. His tongue pushes in deep, possessive, curling with yours like he wants to leave a mark inside your mouth.

You’re breathing hard when he breaks the kiss, and Paul’s watching with his jaw tight, hands twitching like they’re aching to reclaim you.

“So?” John breathes, voice gravel-thick. “Who kisses better?”

You blink at him, dazed and wrecked already, and let out a shaky laugh. “Is that what this is?”

Paul slides a hand onto your thigh, fingers pressing in just enough to make your breath catch again. “Maybe it is,” he murmurs. “Maybe we’re tired of pretending. You always liked us a little too much, didn’t you?”

“Funny,” you murmur, voice shaking as John's hands slide down your arms from behind. “I thought it was you who always liked me too much.”

That hits something.

Paul’s hand tightens on your thigh. John bites your neck, not hard, but enough to make you gasp.

And then it’s like they’ve both decided at once.

Paul moves first. He’s kneeling now in front of you, sliding his palms up your thighs, eyes locked on yours with something hungry. His hands push between your knees, parting them slowly, watching how your legs obey without resistance. Your trousers are still on, but not for long.

John’s behind you, still standing now, reaching for your shirt. “Up,” he murmurs, and you raise your arms.

They undress you like it’s a ritual. Every movement measured, every brush of skin deliberate. Paul unbuttons your trousers, fingers grazing your stomach, and the softness in his eyes nearly undoes you more than the heat. John slides your shirt over your head, kissing each inch of new skin revealed, your shoulder blade, the dip of your spine, the back of your neck.

By the time they’re done, you’re in your underwear only, and their hands are everywhere, warm and reverent and just this side of teasing.

Paul looks up at you, hands still braced on your thighs. “Tell me what you want.”

You open your mouth to speak, but John leans down, teeth scraping your earlobe. “Or don’t,” he says. “We’ll figure it out anyway.”

Your breath shudders out.

Paul leans in, kisses the inside of your thigh. Not high. Not close. Just enough to make you twitch. Then another. Higher.

John presses against your back, his palm flattening over your stomach, fingers spread wide like he wants to memorize the curve of you.

And then Paul mouths over the heat of you through the thin cotton, hot breath making you whine.

“You’re wet already,” he murmurs, the words reverent. “Bet you’ve thought about this.”

John’s hand slides lower, palm pressing down just above where Paul’s mouth works.

Your head falls back against John’s shoulder, moaning softly, hips twitching toward Paul.

You’re not sure who undoes your underwear. Paul’s mouth is too busy, John’s fingers are moving too fast, but then it’s gone and Paul groans low in his chest as he finally licks a long, slow stripe through your folds.

You jerk, crying out. John holds you tighter, his free hand rising to your chest, cupping one breast, thumb brushing your nipple until it pebbles under his touch.

Paul’s tongue is obscene, circling, flicking, flattening against your clit with practiced ease, each movement building tighter and tighter inside you. John’s breath is hot in your ear.

“Sound so sweet like this,” he murmurs. “All needy. Didn’t know you could beg, but I bet you will.”

You whimper. Paul hums approvingly against you, the vibration making your thighs shake.

“Think I’m winning,” Paul mutters into your cunt, voice smug.

John snorts. “They haven’t even come yet.”

“Oh, they’re close.”

Your body’s wound so tight you could break apart from one more flick, one more twist of tongue. Paul sucks your clit into his mouth and sucks, just once-

You groan, legs clamping around his head, back arched hard into John behind you. He holds you through it, grounding you as you tremble and gasp and finally collapse.

Paul pulls back, lips shiny, eyes blazing.

John watches you come down, then grins wicked. “Alright, mate,” he says. “Now move. My turn.”

John’s still behind you, still fully clothed except for the bulge straining against the zipper of his jeans, but his hands, his hands, are already moving with intent. One is curved possessively over your breast, thumb lazily circling your nipple, while the other slips down your belly, fingers greedy and slick with heat.

“You’re still dripping,�� he murmurs into your ear, voice molten, lips brushing your lobe. “Think that was for me or him?”

You try to answer but all that comes out is a sound, somewhere between a whimper and a broken plea, as his fingers slide between your thighs and sink in. Two at once, deep and unforgiving, curling just enough to make your knees go soft under you.

You moan John's name and pant, hands bracing against Paul’s thighs for balance. Paul’s sitting back now on the couch, shirt open, chest rising slow and steady like he’s controlling every breath, every twitch of muscle. His cock’s hard in his hand, flushed dark and already slick at the head.

“You gonna suck me off or just sit there shakin’?” he teases, but his voice is hoarse, breathless, betraying how badly he wants it.

You drop to your knees on the couch, shifting so your face is level with him, tongue flicking out to lap at the leaking tip first, slow and teasing, savoring the way his hips stutter forward. John’s fingers don’t stop moving inside you, curling, dragging slick and slow against your walls, knuckle-deep and merciless. Your breath hitches and Paul lets out a strangled sound when you finally wrap your lips around him, cheeks hollowing as you take him deeper.

“That’s it-” Paul gasps, one hand tangling in your hair. “God, your mouth’s perfect.”

Behind you, John’s fingers are soaked, your wetness dripping down his knuckles, obscene and slick. He pulls them free and you keen around Paul’s cock, the absence sharp. Then his hands are on your hips, gripping tight, tugging your ass back toward him. You try to look over your shoulder, but Paul presses a hand to the back of your head, gently guiding you down onto his length again, your moan vibrating around him.

And then,

You feel the head of John’s cock press between your folds, thick and hot, nudging against your entrance. No warning. No soft words.

Just that low, hungry growl from behind: “Stay just like that.”

He thrusts in.

Your whole body jerks forward from the force of it, your cry strangled around Paul’s cock. You’re stretched wide, filled in one slow, possessive push until John bottoms out inside you, balls flush against your soaked cunt. Paul groans loudly as your throat tightens around him, the sensation too much, your moan rippling down his length like a jolt.

“Shit,” John grits out. “Fuckin’ hell.”

He doesn’t move right away. He just stays there, buried deep, letting you feel it, every throb, every twitch inside you, the unbearable fullness. His hands tighten on your hips and you can’t stop shaking, mouth still full of Paul, lips wet and stretched, eyes fluttering half-shut.

“C’mon, love,” Paul murmurs, hand stroking your cheek now, tender even as you’re choking on his cock. “Don’t get shy on us now. You’re doin’ so well.”

John pulls back an inch, then slams into you hard enough to knock the air out of your lungs.

Your cry is muffled again, and Paul hisses through his teeth. “Bloody hell, John. They’ll choke.”

John leans over your back, chest pressed against your spine, lips hot on your neck. “They like it,” he growls. “Hear that? Fuckin’ moanin’ around your knob every time I slam in.”

And he does, he starts fucking you in a punishing rhythm, hips snapping forward again and again, and each time he thrusts, your throat clenches tighter around Paul, mouth stuffed full and drooling. You can’t think. Can’t breathe. Can only feel, John’s cock driving into you from behind, Paul’s pulsing in your mouth, both of them using you like you’re some sweet thing made just for this, just to be taken apart by the two of them together.

“Look at you,” Paul murmurs, brushing your hair back to see your face better. “You gonna come again like this, love? Stuffed from both ends?”

You try to nod but it’s clumsy, helpless, and Paul curses again, biting his lip. “I’m close. Fuck, your mouth…”

John grunts, pace growing erratic now, his grip bruising on your hips, dragging you back into him with every thrust. “Bet they’ll squeeze me tighter when you do. Fuck, do it, Macca."

Paul shudders, hips jerking, and with a gasped "Fuck," he spills down your throat, hot and thick. You swallow as much as you can, eyes squeezed shut, tears slipping free from the effort, but you don’t stop sucking until he’s twitching, oversensitive, pulling away with a groan.

The moment he slips free, you gasp, air flooding your lungs, but John doesn’t stop. If anything, he slams harder, one hand snaking around to rub fast, tight circles over your clit.

You’re crying out now, every noise raw and broken and loud.

“Come for me,” John pants. "C’mon, let him fuckin’ hear it-”

You do.

You fall apart with a sob, cunt pulsing hard around him, your whole body jerking, the overstimulation tipping you over fast and brutal. You hear Paul’s breath catch as he watches you unravel, and then John’s groaning behind you, hips stuttering.

He growls, and he slams in deep one final time, cock throbbing as he comes, spilling hot inside you with a moan ripped from his chest.

He stays buried for a long second, panting against your back, both of you trembling. Then slowly, he pulls out, and a mess of come slips down your thigh, warm and wet.

Paul watches it with hooded eyes.

You’re shaking. Knees weak, arms trembling, throat raw from moaning and choking and everything in between, but they aren’t finished. You know it the second you feel John’s hands curl around your waist again, lifting you gently but firmly off the couch, murmuring something low and almost sweet against your shoulder, something you don’t catch because your ears are ringing with the aftershock of your orgasm and the sound of your own ragged breathing.

Paul’s still shirtless, cock flushed again, watching you like he’s starving. His pupils are blown wide, hair damp against his forehead. He’s kneeling now, back on the plush rug beneath the soundboard, motioning you down with one hand.

“C’mere, love. One more.”

John guides you off the couch, steady hands easing you onto Paul’s lap like you’re something delicate, like you haven’t already been split open and ruined between them. Paul’s thighs are warm beneath yours. He lets you settle, chest to chest, your cunt still sore and leaking from where John filled you.

But it’s not over. It’s not even close.

Paul kisses you soft, almost too soft for how hard he’s already getting again beneath you. “Wanna feel you around me this time,” he breathes, voice low and reverent, like prayer. “Slow, yeah? You ride me.”

You nod, or maybe just don’t shake your head, it’s all you can manage.

He lines himself up, thick and ready, and you sink down onto him with a broken sound, legs quaking on either side of his hips. It’s so much. Too much. You’re already stretched and wrecked and every nerve is burning. Paul groans, hands tight on your waist, guiding you down, inch by inch, his cock sliding up into you slow and steady until your hips are flush and your head is tipped back in disbelief.

You’re barely seated on him when you feel John again, behind you now, pressing close, mouth dragging along the back of your neck. His fingers slide between your cheeks, slick with the mess he left in you before.

“I want in again,” he growls, and the way he says it isn’t a question. “Let us have all of you.”

You freeze. Just for a second.

Paul's hands slide up your back. “We’ll go slow,” he murmurs against your throat. “We’ll stop if you say. But you can take it. You’re perfect.”

Your breath trembles, chest heaving against his. The stretch, the fullness, the burn you can already feel, but your body is betraying you, clenching hard around Paul at the thought, aching and soaked and so willing.

You nod.

And it begins.

John slicks himself up, again, fingers brushing your entrance first, pressing slow and patient against your ass, making you sob against Paul’s mouth. Your whole body’s locked tight, shaking, but you don’t pull away. You push back.

Then he’s breaching you, just the head at first, thick and hot and so much. You cry out, and Paul holds your face, kissing your tears, whispering soft encouragements.

John presses deeper, and it’s unbearable, and it’s perfect, and it’s impossible and real and then he’s buried to the hilt, balls pressed to your ass, chest flush against your back, breath ragged against your ear.

You can’t speak. You can’t think. You’re split wide open, Paul in your cunt, John in your ass, and all you can do is exist, body trembling, walls clenching around both of them so hard it makes them whimper.

“Fucking hell,” John gasps, voice shaking. “They’re gonna make me come just from this.”

Paul’s jaw is tight, hands braced on your hips. He's laying down now. “Move,” he says, voice almost a growl. “Fuck, move, Johnny.”

And then they’re fucking you. Together.

Slow at first, but devastating. They move in sync, one thrusting in while the other pulls back, keeping you full the whole time, never letting you feel empty. Their rhythm builds, steady and brutal, your body rocked forward and back between them, impaled and trembling, your hands clawing at Paul’s shoulders, nails dragging red lines into his skin.

Your mouth is open but no sound comes. You’re past moaning. Past words. All you can do is take it, take them, stretched and stuffed and wrung out between the two people who know you better than anyone, who know exactly how to break you apart and piece you back together.

John’s fucking you deeper now, balls slapping wetly against your skin, his hand wrapped around your throat from behind, not choking, just holding, grounding. “Come again,” he pants. “Come again right fuckin' now.”

And your body obeys.

Your orgasm hits like fire. You seize around them both, sobbing brokenly, cunt spasming around Paul’s cock while your ass clenches tight on John’s. You hear them both curse, feel them both jerk inside you-

John comes first, thrusting deep and hard as he spills inside your ass with a groan that sounds more like a growl.

Paul follows a second later, burying himself deep, cock twitching, warmth flooding you in waves.

And you?

You’re gone.

You collapse against Paul’s chest, the weight of your body barely supported by him as John slips free, both of them panting and spent, mouths open, hands running down your sides in something almost like worship.

You can’t speak.

You can’t move.

Your legs are trembling uncontrollably, your lips parted and glazed with spit, your eyes unfocused, breath coming in tiny, wrecked gasps. You’re soaked, inside, out, thighs smeared with come, your skin hot and flushed and shaking.

John presses a kiss to your shoulder. “Y’alright?”

You don’t answer.

Paul chuckles softly, brushing your hair back from your damp forehead. “Well,” he murmurs. “Guess that’s one way to settle it.”

“Not settled,” John says, still breathless, voice hoarse and ragged. “Not even fuckin’ close. I went second.”

“Oh piss off, you cheated. You ambushed 'em.”

“I earned it. You were too busy makin’ love, mate-s’posed to be a competition.”

You blink slowly, dazed and slack-mouthed against Paul’s chest, as the sound of their bickering rises around you again, like a storm circling back on itself.

“-next time, I go first-”

“Next time you learn rhythm-”

“I made 'em come harder-”

“Wasn’t even trying, mate, that’s natural talent-”

Their voices fade into a distant hum, like static, like bees drunk on your honey, and all you can do is lie there limp and boneless, jaw slack, your mind white-noise and floating, your body too wrecked to care.

You don’t speak. You couldn’t if you tried.

They’re still arguing.

And you’re still glowing.

taglist: @sharksausages, @wavvytin, @wimpyvamps, @finallyforgotten, @lennongirlieee

[professorlaytonarchive]

THE ORIGINAL DEATHLY MIRROR HAS BEEN FOUND.

This is not a drill. All 6 chapters of MotDM's original version are found and playable through emulation right now, thanks to the brilliant folks over at KeitaiWiki!

Now, remember this is the original version, not the ReMix, and the whole thing is in Japanese (yes, we're working on a translation) - but this is an amazing find for several reasons.

One, of course, is preservation. Having this game accessible and available is a fantastic thing for a multitude of reasons I don't feel the need to explain here.

Two, it's amazing news for our remake, too. There were a few missing pieces that we were not sure what to do about. That worry has been solved entirely, and all of these things can now be incorporated into the remake. Like what, you may ask?

For starters, there's 15 new puzzles that we can now localise and incorporate. Some are a bit more difficult to work with (there's a few based on specific uses of Japanese grammar), but we feel confident we'll be able to deliver fun and interesting interpretations of these new puzzles. For those of you keeping count, yes, that ups the minimum total of new puzzles in our remake to 60.

Another thing we're very happy to have recovered is the minigames, and the diary entries they reward you. There's one minigame in Chapters 1-3, and another in Chapters 4-6, for which we did not have any gameplay, assets, or even rules. While the loss of the second mingame could have been overcome by simply giving the first minigame more levels, the diary entries they reward you would have needed a lot more work and imagination, with our writers having to try to create new entries that would follow the original vision. This is now no longer an issue, and we can bring the original vision for these diary entries into the remake as they are.

On top of that, there were a few characterisations and storylines that were different between the original and the remix, where we would have had to pick the remix version by default, because the back half of the original was missing - this recovery gives us far more wiggle room to combine and reconcile these versions and make this game the most interesting version of itself. (Also, at the back end, having access to the original assets makes our recreation department very, very happy.)

So, all in all, a fantastic morning for the Layton fandom!

And then, what? Well, it might be a bit quiet on the update side of things for the time being, given that our job right now is to translate and localise about a million different things - and that just isn't a super interesting process to be sharing. We may have more to tell you once we've unpacked and analysed the files (we've only just got our hands on them, that's how fast this whole thing has gone), and we definitely have some other fun stuff we're working on that we can't wait to share, but after this massive update (maybe the biggest we'll ever do, because, wow), we'll need some time to work.

So for now, keep on keeping on, keep an eye on this subreddit and our youtube channel, and go check out the incredible work KeitaiWiki is doing. This whole thing, from the beginning, would not have been possible without them. (Seriously - they've been with us since the start of it all.)

Thank you.

-Nordic

from Team Enigma and Team Professor Layton Archive

[snobgoblin]

summary: Valdemar and Vulgora have a meeting in the salon after Vulgora gets into a fight with Reise

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

A meeting in the salon between two demons after an altercation.

"I don't get why you care so much about that kid." Vulgora was blunt, but cautious. Valdemar always did creep them out, anyway. You don't wanna piss them off.

"You simply cannot see the bigger picture" Valdemar tsked. "Allow me to illuminate, dear Pontifex," They leaned into the other demon with a grin, which did not put them at ease in the slightest. "This child has the stench of death. They could very well be immortal."

"Yeah? And how do you figure?" They got louder to mask their own fear.

Valdemar just shook their head. "You cannot kill something that is already dead. They smell of decay, with none to be found. It's... Odd. To say the least. We don't know what we're dealing with. Without intervention, they very well may live forever, their cells never decaying. Of course, that's only a theory." They closed their eyes and drew back away from the Pontifex's face. "If you kill them now, we'll just never know for sure, now will we?"

"Yeah, but if they're immortal, it won't matter if I fight 'em, right? Either you're right and I get a new sparring partner for life, or you're wrong and they become a red puddle," Their tone got increasingly excited "Either way, I'm just saving you the 60 or so years, right? Hey, quit looking at me like that. It's pissing me off."

"A brilliant observation! How unprecedented. One tiny problem, though." Valdemar's arm cracked and splintered out into more of a tendon, and the "fingers" (of which there were too many) searched over Vulgora like a curious dog sniffing around, until they pulled out a chain from seemingly nowhere. Their hand snaps back and holds the chains tightly, and they bring them in front of Vulgora's fearful eyes for emphasis. "You forget that even you can be killed with enough force, through a weak spot. Suffice to say, similar logic could be applied to the child, especially when you consider they grow and change, while we do not."

They let go of the chains when Vulgora nods quickly, the chains snapping into their body and disappearing like they were never there.

Valdemar continues. "You are messing with my experiment. You are proving to be an unpredictable variable. And you wouldn't want to interfere with my work, would you?"

Vulgora wiped away the sweat that was beading on their forehead from the earlier threat. "I guess not. You're interfering with mine, though, you know. Ass-kicking is important work." They try at a laugh.

"Indeed. Your work on the battlefield is... appreciated. The hammer of war always leaves a healthy dose of bodies in its wake." Was that... a compliment? It seemed close to it, anyway. "However, I think it's in your... and your dear Volta's best interest to leave this particular issue to me."

"WHAT ARE YOU PLANNING WITH VOLTA, CREEP?" They were suddenly panicked. "Just cause she's all squishy and mortal now that doesn't mean you get to look at her guts! I'll kill you if you do it-"

Valdemar put a hand up. "You misunderstand. I only mean that the Procurator lost her immortality when she was unbound, but she lost her curse of hunger, as well. She'll never want to go back to the way it was, and so, she will die in only a few decades... That is, unless I can figure out what makes one immortal without being bound to The Devil. This is why it is in her best interest. Oh, but if you must, go on and kill them prematurely. I have no objections if I only get to study the corpse... But do leave the heart intact."

"Oh." Vulgora felt. Kind of sheepish. "So you're helping, huh? What's got you on such a goody-goody streak?"

"It is only a love of science that motivates me. It just happens to benefit you as well. Consider it." A swish of their lab coat, and they're gone.

[dollarbin]

Dollar Bin #68:

John Cale's Fragments of a Rainy Season, Part 4

You could dedicate years of your life to reading, listening and watching all the media produced by and about Andy Warhols' Factory in the late 60's.

But I've got other plans for my time.

Like you, I love everything about the Velvet Underground. But, unlike my famous brother, I have not, nor do I plan to, read Candy Darling's biography, nor watched Warhol's dozens of incoherent films, nor taken in every last bootleg which purports to be a young John Cale playing piano for 18 hours straight.

Sure, I'll spend the rest of my life dipping grateful toes into it all, especially when handy links appear on Doom And Gloom From the Tomb. But, in a way, I feel like I got the best The Factory had to offer right off the bat from Cale and Lou Reed's tantalizing and under-appreciated 1990 reunion/tribute/I-guess-we're-buddies-now record, Songs for Drella.

It's a wonderfully weird record; the kind of thing you hold in high esteem but barely ever listen to. Background music it is not, with Reed perched on his professorial, ain't-nobody-can-make-me-sing-pretty, Magic and Loss stool and Cale too shy, grown up and done with cocaine to kick him off it. But Lou nearly deserved that stool at the end of the 80's and you can sure learn a hell of a lot about Warhol from the thing: Andy comes across as self-obsessed, annoying, childlike and utterly beloved by Lou and John. And anyone who could unite two such formidable dudes must have been quite a guy.

Even so, there's only one truly pretty song on the record. Style It Takes captures all Warhol's ambivalence and warmth and wraps it up in a lovely package. Whenever I hear the song I forget that it's Cale's voice reaching out to us within it, not Andy himself. The song leaves me feeling like Warhol is right there with me: he wants me in his movie! I feel flattered and gratified. I look great, he thinks.

Beautiful as it is, there's a bit of Reed and Cale's famous tension to be found here. Although he dominates most of the album, Lou refuses to grant Cale this single, lovely stage. He's got guitar moves to show off and unsettling images to sigh into the mix. Cale, on the other hand, wants to let Andy's voice, indeed, Andy’s true self, hold the center. And neither of them can settle on a definite tempo. Maybe all that tension, alongside the song’s beauty, is what gives this portrait its striking depth.

Even so, I'm glad Reed quickly huffed off, yet again, once the record was complete. His doing so allowed Cale to present the song in solo glory on Rainy Season.

Indeed, although Cale alone plays the keys, strums the strings and perfectly sounds out Fragments of a Rainy Season, it's tempting to think that its beauty and urgency may be yet another byproduct of Reed and Warhol's influence. With one of his muses dead and his far more famous frenemy again gone from his side Cale had something to prove as the 90's dawned: he needed neither of them to make high art.

He never had.

[brilliantorinsane]

Operation Annihilate

Well I didn't necessarily find it to be the same quality as the recent string of episodes but it still had plenty of highlights!

I usually watch on my laptop but had a big screen for this one. Something about it really took me back to the start before I'd adjusted to the budget-60s of it all. They've traveled across space and time and now they must face the Madness Disease in—Redondo Beach. That's where my grandparents live. Those primary colours are jogging Very Seriously across courtyards I've visited to face the terrifying mind-altering power of: Plastic Bags In The Wind! I love this show.

Ooh are we gonna meet Kirk's brother nope hes dead.

Why did they bring Kirk's family into this skljfdhg. I mean it Would have made sense for learning more about Kirk and upping the stakes but they didn't do those things. I learned two things about Kirk's relationship with his brother 1. he existed 2. he is dead. Um we learned that Kirk and his sister in law at least knew each other by face and voice and it seems like there's some trust and fondness there? That's all we're getting though she's dead too.

Periodically the episode would go 'we have to save Spock and aLSO Kirk's nephew just wanted to remind you he exists, we ran out of boy in coma shots to show you' and I'd go 'thanks I did forget.' Then the show also forgot and for all we know the kid's still in that coma

Well I hope he's doing alright being newly orphaned on the mega-traumatized planet, hope's all we have since the answer wasn't relevant to Kirk's journey ig.

All of that aside "let me help" WHAT

Spock could have said that aaaany other episode except this or the last and it was have been really sweet and very Spock but it wouldn't have been Just Now established as the three words more romantic (very specifically romantic) than I love you. It's a simple enough phrase I'm not saying it couldn't possibly be an accident I'm just saying it sure did occur in front of me on my tv screen.

Soo much good Spock and Bones content in this one. Bones is trying so hard

We've had lots of Kirk blaming himself when people die or are hurt, but this is by far the most emphasis that's put on that for Bones. And man, it's not that I'm indifferent when Kirk or Spock are going through it, but since they're always in the middle of the Situation of the week it's a bit of default state for them. With Bones it just hits different.

"Best first officer in the fleet" :DDD

Kirk's almost despairing "Mr. Spock, your logic, as usual, is inescapable" when he realizes he's going to have to let Spock go down again, alone and in horrific pain, to capture an alien. Can't believe I took this long to realize 'it's logical" is to Kirk what "it's an order" is to Spock. The endless cycle of their respect for and faith in each other being so fundamental to how they function and survive and also the thing that forces them to permit one another's danger and suffering over and over is effectively heartbreaking.

Scotty: "Knowing Mr. Spock's determination on some things, I thought I'd better hold him here until I got your orders." a). Way to clock him severely Scotty, b). I love Scotty and Spock's relationship. I don't get the sense that they're friends, at least not in the way Spock is with Kirk and Bones, it's more like that underrated type of coworker relationship where there's no pressure to socialize but in professional context you're just deeply on the same wavelength.

Spock just plain forgetting about his special Vulcan eyes SPOCK. And okay I'm not saying he didn't forget, I really enjoy that option. But alternatively. What are the chances he's straight-up lying about forgetting because well he would sacrifice his eyesight for this if he didn't have a special biology cheat, and he decided after he'd gone through so much and been so brave he deserved a bit of extra sympathy and credit

[themultifandomgal]

Matt Casey- Fight For Us Pt6

"Truck 81, engine 51, squad 3, ambulance 61. Buildings fire. Indiana and 28th place" Gabby and I look at each other before rushing to the ambulance. Gabby gets into the drivers seat while I sit next to her. She drives us to the location. The building full of smoke. Truck 81 clear out as many tenets as they can while Gabby and I get to work placing oxygen masks on everyone who's coming out of the building

"5 more ambos and chief hatchers on the way" dad says walking over to me and Gabby

"We're gonna need them. We anticipate at least 5 reds in there"

"We can't wait for Hatcher with this many non-responses. We gotta set up triage"

"Do it" dad gives me a little nod "your in charge here"

"Alright" I take out my little radio "This is Ambulance 60. Give me an EMS Plan 1..."

More and more people come out of the building after Matt, Severide and the others go into the building

"I've got at least 4 reds heading to triage" I hear Kelly say and in no time at all I see him walking out holding someone in his arms

"We have another red. Dawson you take this one"

"Got it"

"There's 3 more up on 6"

"Any burns?" I ask

"Not on 6, but Casey, Mills and Cruz went higher"

"Casey you gotta cric this woman or she's a goner" Gabby tells me. I look over and see a fireman trying his best. I run over to him and kneel down

"Ok hand me a scalpel" he does and

"Who's the lead here?"

"Your looking at her" I reply to Hatcher who must have just arrived. I make a little incision in her throat "give me a size 5 tube" I then insert it and bag her. I check her lungs and get her sent of as quickly as possible to Med

"Mayday mayday I don't know how long I'll last" I hear Matt say through the radio which makes me start to panic. I watch as dad runs in

"YN you good?" Gabby asks

"Yeah" I continue to treat patients while Kelly and the others do what they can "come on Matt" i mutter to myself. Then there's an explosion "Matt, dad!" I yell. I look at Gabby worriedly

"Go" she tells me "I've got them go" I give her a nod and run to Otis and Mouch watching Matt dangling from the ladder. Thankfully Kelly is able to pull Matt up and dad comes out of the building making sigh with relief. As soon as Matt in on the ground my arms are around him

"Please don't ever scare me like that again"

"I'm sorry"

"I'm gonna check on dad. You ok"

"Yeah I'm fine" Matt kisses my head.

"It's over. It's actually over?" I want to cry with happiness

"It's over baby. Voights in jail. You and Ella can come home"

"What if he comes back?"

"Then we will deal with it then"

"We can come home" a tear slips "let's go celebrate"

"Come on then" Matt and I pick Ella up from the nanny's house and take her to the bar, it won't be for long but just to say hi to everyone

"Is my dad drunk?" I ask Kelly taking his beer off him and siping it

"Oi get your own and yes"

"Uncle Kelly!" Ella shouts

"Hey man. Thanks for today, and errrm thanks for looking after these two for me"

"That's what family do"

"Momma are daddy and uncle Kelly friends again?"

"We sure are missy" Kelly tickles Ella making her giggle

"Congratulations guys" Gabbys says smiling

"Thanks. We can finally move on" I give her a hug

"Want a drink?"

"Just the one. We're not staying long since we have Ella with us"

"Ok"

That night we go home together. Ella gets to sleep in her own bed while Matt and I lay in ours

"What would you say to another baby?" Matt suddenly says

"What?"

"We're good again right? Voights gone. We're all safe. Let's have another baby"

"Are you serious?"

"Deadly" I've wanted another baby for a while but since what's been going on I hadn't broached the subject "so?"

"Let's do it. Let's have another baby" I smile leaning into Matt to kiss him "but tonight I'm exhausted"

"Ok baby. We'll talk more in the morning. I love you"

"I love you" I turn over, Matts arm goes around me making me feel so safe and loved.

[boxofuncookedmacaroni]

every line mac has said in order

———————————————————————————

episode one - bullseye

—————————————

"Oh! Sorry about him, he mean he's already talking to me."

"Yeesh… what's his deal?"

"We… probably should go, Phone…"

"Yeah… let's go."

"Fighting goin' on."

"Doesn't seem she noticed yet…"

"Nevermind."

"Could be better."

"It's honestly boring around here. It's just the same thing every day. Coin trying to say his dumb stories, Clock and Snowy fighting, it's just the same."

"…yeah."

"Phone, buddy! We gotta be the same team!"

"Look, we already have a full team. You can't join, sorry."

"Okay guys, what will we be called?"

"Sounds good!"

"Okay, M.A.C, you need to hit 60 or more… you got this…"

"D-did I hit it?"

"GAH! No…"

—————————————

in total: 17 lines

———————————————————————————

episode 2 - surprise

—————————————

"I can hear you!"

"Serves you right!"

"Hey, Phone…"

"Is it bad that I'm kinda scared about this elimination?"

"I get it! I just… I feel like the viewers would vote for me…"

"Oh no…"

"Yeah 20% chance I know…"

"Are you insane?!"

"Ooh!~ Someone has a cruuush!"

"Yes!"

"Agh! What are we gonna do?!"

"That's it!"

"And you two are out!"

"Wait that's not a fris-"

"THIS!"

"Ugh…"

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in total: 16 lines

———————————————————————————

episode 3 - all rock, no roll

—————————————

"Huh. I see we're at a disadvantage here, Smoothie."

"What do you mean by that?"

"That's… not a bad idea actually."

"Yeah, surprisingly. We're making good process."

—————————————

in total: 4 lines

———————————————————————————

episode four - someone say doom?

—————————————

"Get on with it!"

"Okay, so where do we gotta go now?"

"Guys I think we're going the wrong way…"

"Whuh… Wait! They got the marble!"

—————————————

in total: 4 lines

———————————————————————————

episode five - war

—————————————

"Well, why don't we just revive him?"

"It's just a button, what could go wrong with just pressing it? It might work."

"Whuh- How did it even break?!"

"Well… one of us should host with them gone… but who?"

"That was for costing my team the challenge though… why this time?"

"HEY! I do actually. I'm athletic, uh… a skilled runner… and…"

"WHAT."

"Phone! Listen… I didn't mean to lose this early."

"I mean sure, but…"

"Do you expect me to jump in there or something?!"

"Ow! Whuh? Is this the pit's heart? I guess it wasn't bottomless then…"

"AH- Uh… Coin?"

"What's going on…"

"HEY! Don't talk about him like that!"

"Sayyy… uh, Coin. Where's Clock?"

"…How do you even know what happen?"

"Then what's going on right now?"

"…How did you even do that?"

—————————————

in total: 18 lines

———————————————————————————

episodes 6a - get lost!

—————————————

"Coin. You said you can watch the episodes on TV."

"He died in episode 4, dude."

"Yeah. You can thank Towel, but hey. The same thing happen to me in episode 2 when Phone got killed by Conditioner. I know how you feel, I can relate."

"Sheesh. Short temper, huh?"

"He's stuck in a dome and can't get himself out."

"Why were you guys stuck in there anyways?"

"Well, that's weird. Let me take a look at him."

"Uh… hi, Phone. You okay? You froze for a while."

"Alright. Just… try to… also focus on when to put it down."

"Hey. Can I go with you guys?"

"Yes!"

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in total: 11 lines

———————————————————————————

episode 6b - this isn't it

—————————————

"Finally! Ugh… gave me a cramp."

"Don't. Ask."

"Okay. Where now?"

"No way!"

"But-"

"Oh. Forgot about that…"

"Hey. Phone, how much longer until we get to Malos?"

"Well, things could be worse. There could be a… sea monster."

"Well, Phone should be able to pick us up soon."

"He should be here any second now…"

"We shouldn't worry about that right now, this city has to have some sort of… recovery center."

"Oh boy…"

"I wanna rejoin."

"Hey. You don't need to vote me back. I get it, but if you do, thanks."

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in total: 14

———————————————————————————

episode 7 - par

—————————————

"Wha- Come on! Not you too, Phone… well, I can try to win for the both of us, and besides. If I get eliminated we can hangou-"

"On it."

"Dang it..! Better luck next time I guess…"

"The button! How did you get it back?"

"Say… what do we do with Towel since she's all folded up?"

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in total: 5 lines

———————————————————————————

episode 8 - run

—————————————

"Wha- What's going on here?"

"Uh… okay."

"Okay… the 5 minutes are up! And if you guys try any funny business… I'm- I'm gonna get'cha! I'm gonna shoot the thing in the air and get'cha! Or… do I shoot it at you guysss…. well, whatever! I'll still get ya' guys!"

"And you two are OUT!"

"Ow! Oh. Hey OJ."

"Uh… okay, that's three down.."

"Oh, I got you now!"

"SURPISE! Oh, yeah. Here's your leg."

"No problem! Anyways, surpi-"

"Uh… I may or may not have shot myself…"

"HEY!"

"Oh. Right."

"Hey! Get back here!"

"Well… I got to use this thing."

"Coin! Don't!-"

—————————————

in total: 15 lines

———————————————————————————

episode 9 - in ruins

—————————————

"Eh. It's probably just you, we should seek higher ground though, just in case…"

—————————————

in total: 1 line

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episode 10 - blue void

—————————————

"You sure this was a good idea?"

"Right, bu-"

"Seven-way rock, paper, scissors!"

"Wait, Phone. You're eliminated too y'know…"

—————————————

in total: 4 lines

———————————————————————————

episode 12 - up

—————————————

"Did you guys know they could glow?"

"I… I didn't expect much of a chance last time… I don't expect one now, but that'd be cool! Now that Phone's out, I could win for him maybe?"

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in total: 2 lines

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episode 13 - fixing

—————————————

"How did they get here..?"

"Sorry, but, as cool you may seem Bowling Ball, I'm gonna have to cast this vote to you."

"How many votes did we get?"

"Awh fiddlesticks…"

"You okay, bud?"

—————————————

in total: 5 lines

———————————————————————————

episode 14 - finding

—————————————

"What is going on?!"

"Conditioner you're encouraging this?!"

—————————————

in total: 2

———————————————————————————

episode 15 - electric wall

—————————————

"Well, Phone? Do you think you could use your robot arm or whatever to break the wall?"

"Hm…"

"You can call me M.A.C."

"I mean, kinda."

"What for?"

"Like… what?"

"Well, what do you want me to do?"

"Uh… I guess I could help."

"Yeah! Why is your screen light stale blue?"

"Oh. Okay."

"Yeah! Explain the stuff I never heard about!"

—————————————

in total: 11 lines

———————————————————————————

episode 16a - calm before the storm

—————————————

"Makes sense to me!"

"Huh?"

"Blue rectangle!"

—————————————

in total: 3 lines

———————————————————————————

episode 16b - let the chaos begin

—————————————

"Uh… you might wanna look at this…"

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in total: 1 line

———————————————————————————

episode 16c - that's what you get, ha!

—————————————

"Y'know, I can kind of relate. That reminds me of Phone and how he was built for me to have a friend."

"Yeah."

"No, I didn't build him. It was a person i knew who built him for me."

"It was out of sympathy."

"They realized I pretty much had no one back then. No one really liked me, so I guess they felt bad and built me a new friend! They even added some cool powers too! That was pretty cool."

"Yeah, I thought I was getting some where with Blue Rectangle… but… yeahh… I just hope wherever Phone is going, it'll be safe for him."

"Yeah, thanks for listenin' Blueberry."

"Geez, I hope Towel gets outta this one. What do you think, Phone?"

"What?- PHONE! PHONE NO!"

"AH!- Oh. Hi, 3-Ball."

"…Does it look like I am?"

"It's just… I can't believe Phone would sacrifice his whole life for us. My one and only friend, is gone. Forever. I have no friends now. It was just him… and now I have nobody."

"I have. But nobody cared about me as much as Phone did."

"…Thank you."

"Wait, 3-Ball! I just wanted to say that… since I don't really have any friends at this point, will you be my friend..?"

—————————————

in total: 15 lines

———————————————————————————

episode 16d - thank you

—————————————

"Uh… I don't think I really want to… this isn't really my thing here."

"Huh?"

"Wait, me? Really?"

"Wow, uh, thanks guys. I'd love to join your friend group."

—————————————

in total: 4 lines

———————————————————————————

bops: episode 1 - shot in the dark

—————————————

"Yeah?"

"Just a bit bored, it's honestly boring around here…"

"Hey, Blueberry! You wanna team?"

"Oh. Okay. I get it."

"Oh. Right… Well… do you wanna team?"

"Well… aren't we the only Frozen Fighters here?"

"Yeah, I don't think it'd work anymore."

"I mean… there was a laser tag contest… but that didn't go great…"

"I don't have the best experience with these kinds of things…"

"Then I shot myself in the hide and seek contest…"

"Surpise!"

"Ow! Augh… not again…"

"I mean… it kinda is…. but-"

—————————————

in total: 13 lines

———————————————————————————

total lines for VOO: 152 lines

(currently) total lines for BOPS: 13 lines

(currently) total lines altogether: 165 lines

episode with least amount of lines for VOO: episodes 16b and 9

episode with most amount of lines for VOO: episode 5

(current) episode with least amount of lines for BOPS: episode 1

(current) episode with most amount of lines for BOPS: episode 1

[divineerdrick]

Warhammer 40,000 Balance Changes for June 4, 2025 - Chaos Space Marines

While not as solidly middle of the road as their Knight allies, the Legions are still right about where they should be. Unfortunately, that's only from an external perspective. Of their 9 detachments, only 3 are doing well, though there is still a mad lad running around with cults. Creations of Bile and Renegade Raiders are still the way to go, but some players are doing well with Fellhammer. Every other detachment is struggling.

It looks like GW has noted this internal balance problem and called the Traitors out for some updates. The first is that their Daemon Princes now get Lone Op when near Infantry, the same as the Deity Legions. The second is that Vashtor's forces are getting a buff with updates to both the Arkifane himself and the Disco Lord.

And we indeed have some buffs! Walking Daemon Princes now have a whole new ability called Lord of Chaos to mimic their Deity brethren. Disco Lords practically have a whole new Datasheet. They've gained +4” to Move, a 4+ Invuln, they can now hit enemy Vehicles with a mortal wound bomb, and they now only need to see a Vehicle to be able to use Spirit Thief. That last one is technically a side grade and your mileage may vary. Finally their impaler chainglaive gets a massive glowup, gaining an attack, 2 pips of Strength, a pip of AP, and a pip of damage.

I think Disco Lords are back!

Of course the we get Vashtor. He also gets a new Lone Op ability in Indentured Daemon Engines, Reorder Reality now also inflicts -1 to Hit in addition to [HAZARDOUS], Unholy Mechanisms now grants +2 to Strength, and his hammer got a nice buff as well, including [DEVASTATING WOUNDS] on his Sweep profile. Though he did lose a couple of attacks for the new and improved Sweep, it's now -1 AP and 2 damage. Finally his strike has gone up to -3 AP.

None of this directly benefits Soulforged Warpack, and neither benefit from its Detachment Rule, but it does make two thematic units much more powerful. Still I wouldn't be surprised if we just see them taken more outside of Soulforged.

And despite being in the kind of position where GW likes to do internal balance passes, we aren't really seeing any today.

Buffs Chaos Lord with Jump Pack: -10 pts Dark Apostle: -10 pts Fellgor Beastmen: -15 pts Master of Possession: -10 pts Traitor Enforcer: -10 pts

None of these are really meta units, so it's hard to argue this is a meaningful buff to CSM, but it's still good news. I think the MoP in particular starts to look good at 60 pts. Year of Chaos is right! Considering the buffs above, CSM is in a pretty good spot. I don't think they compete with Death Guard, but they might still do quite well for themselves.

But even after all of that, we're not done yet! We've got a new Detachment to go through! Let's meet CSM Detachment #10, “Cabal of Chaos!”

Cabal of Chaos

We're gonna skip the article and tuck right into it. The Thousand Sons aren't the only famous Chaos Sorcerers (just the best). This new detachment gives you the ability to field a Sorcerer heavy force of other than Tzeentch. Though I guess you could still do Tzeentch if you really wanted to. They'd get a kick out of it!

Detachment Rule: Empyric Wellspring This rule further enhances your Dark Pacts. Whenever you have a unit take a Dark Pact, you gain one of two new abilities in addition to your chosen power. The first, Leaping Warpflame interacts with your Psykers and grants the unit +1 Strength on ranged attacks as long as it's within 9” of one. The second focuses on your Daemon Princes, and improves the AP of the units melee while within 9” of one. So despite the flavor text being about Sorcerers, you can actually choose to focus on Daemon Princes, or go for a combined arms approach. This is not the best Detachment rule Chaos has, but it's definitely useful.

Enhancements For 10 pts, Touched by the Warp lets you make a character a Psyker. That's a way to make sure a unit can always use Leaping Warpflame in a pinch. For 25 pts, Eye of Z'desh grants Scouts 6”. That's practically auto-include. Also for 25 pts, Mind Blade grants Lance to a unit. That's a nice buff to Chaos Terminators, Chosen, or Possessed, or even just a Dark Commune with Accursed Cultists. Finally for 20 pts, Infernal Avatar gives a nice melee buff to a Daemon Prince. That's one really good Enhancement, one potentially useful one based on your list, and two nice to haves. A good list!

Stratagems

Baleful Blessings (1CP): A unit gains a 5+ FNP against mortals. Situationally useful, it's always nice to have when you need it. But I think this should be 4+.

No Rest in Death (1CP): Oh wow! This one is nice. For 1CP you get to restore D3+1 lost wounds to a model as long as they're within 9” of a Psyker or Daemon Prince. But the kicker is if you pick a Battleline unit, you just bring D3 models back. D3 Chaos Space Marines returned to the unit. Nice!

Mutations Curse (1CP): 1CP always successful mortal wound bomb that can deal up to 6 mortal wounds. On average, you're not going to quite get 3 mortals out of this. Still, with a 12” range you can use this to finish off a tough unit. And if you can stack this with other mortal damage . . .

Soul Seekers (1CP): Grants [IGNORES COVER], which usually is just a flat bonus to your AP. Not flashy, but it will get the job done.

Unholy Haste (1CP): And here's the money maker! 1CP Advance and Charge! Always a good strat to see. A shame it's only Infantry.

Shroud of Chaos (1CP): For 1CP you give one of your Sorcerers or Daemon Princes a 6” aura of Stealth. This affects the unit, so a brick of Terminators with a Terminator Sorcerer is going to put out quite the aura. Stealth is a relevant ability, so this will be a good strat to use when you can take the most advantage of it.

All and all, this Detachment feels like it has a descent rule, with descent enhancements, and a descent Stratagem suite. I don't think this is going to make too much in the way of waves, but this still a fun and new way to play Chaos Sorcerers if you don't want to commit to Thousand Sons.

[carmenized-onions]

hi. tried to reblog and leave a bunch of tags but made a mistake and tumblr wouldn't let me edit the post SO i took a screenshot because I WILL NOT REWRITE ALL OF THAT BECAUSE IT WAS ALREADY TERRIBLE TO TRY AND GO BACK TO MY NOTES TO INCLUDE THEM INTO THE TAGS BECAUSE THE APP WOULD ERASE EVERYTHING so here you have a long ass pic with a ton of tags. love u u fucking mastermind 💋

I DID IN FACT GET THIS ASK FIRST OF ALL, IF YOU SENT ANOTHER ONE OTHER THAN THE DID YOU GET THAT ONE, then I am missing one, but I got this one!

I'm so glad you think it could standalone and make sense because I went into posting this like "so many people are not gonna be able to keep up with the tense changing and the time skipping, i'm being incoherent" thank you all for proving me wrong. My writing profs taught me to believe everyone does not have reading comprehension. Perhaps we should be giving more credit to readers, me thinks.

Man, I wish Carmen in The Bear canon aligned with CK not particularly because I wish he was better but because watching S3 I was like oh,,,, did I get all that wrong? Because to me, yeah does Carmen run away from things? 1 fucking million percent. At the same time, however, Carmen is an artist and I think like,,,, he's taught, yknow? He takes direction and critique, is always how I took him-- And so like, he just compartmentalizes criticism of his character the same way he would his craft; and he fucking likes making shit better, so he transfers it to life.

I considered massively pivoting from this choice for him to accept that he needs to be better, and instead like, Bojacks it, basically, but like, I'd already done this in CK canon:

Did I emulate my own previous scene to call back to the beginning of their relationship in chapter 13? Yeah 100% I did but back on topic--

I'd already decided that this was how Carmen went about things, and to be fair, I think honestly if everyone had just let each other finish sentences in S3EP01, that entire season I think would've gone an entirely different route, but c'est la vie, that's the tragic comedy of it all.

NOW ONTO MIKEY! I think some have said they prefer this Jimmy negotiation to canon-- And to be fair, though the sobriety aspect may not have been a part of it, Mikey did say he wanted to franchise with Carmen, and that's what the money was for. Or at least that's what Carmen affirms:

god fucking jesus christ he was so much more charming in S2 what the FUCK moving ON

But anyways, I think the 10k/week thing honestly is something Uncle would do, and I guess this is me staking my bet on it. I'd like to believe Mikey was climbing his way out-- Or maybe that's more tragic? I dunno. Regardless, I adore him, so, yknow. he's the guy!

50 PLUS YEARS FOR CARMEN? YOU THINK THIS GUY COULD LIVE TO 80? BABY LOOK UP POPCORN LUNG THIS MAN WAS GETTING ULCERS AT 21 WE'RE LUCKY IF WE GET TO 60

regardless, thank you for enjoying i'm so glad that my interpretation of Mikey was enjoyed. I tried to be as like,,, accurate as possible to what I feel he'd act like out of the small scenes we've seen of him, but I also absolutely had to pull from my own oldest brother. so. i don't have issues idk what all of you are talking about.

also, I will put this in a master post of like, bits I was doing, later, because there's a fucking lot, but this is the last post I'm making before bed and I wanna get yelled at about this in my inbox in the morning nothing makes me happier:

Chapter 1! Tony Terry Tommy!

Chapter 13! Two Steps Back.

I know I'm a bitch, aren't I? I'm sure rereaders noticed this but I wanted the whole class to know.

While I'm at it, Chapter 12! Hit em with it!

YEAH BABY SHE'D BEEN THINKING ABOUT IT THE WHOOOOLLLEEE TIMMEEEEE YEEEEAAAHHHHHHHH I'm fucked up for this one. I had the Cold thing planned since chapter 1 I'm so SICK with it. Yell at me in my inbox I do love to make everyone mad ngl call me Carmen cause I'm a fucking shit starter baby

thank you for your thoughts and thank you for giving me a place to yap for WAY too fucking long GOOD NIGHT OR GOOD MORNING PENDING WHERE YOU ARE!!

[i-cant-sing]

Ya know those dreams where there is so much plot happening and you can barely keep up and when you wake up you can only remember like 1 thing?

Last night I dreamt that I was in an arranged marriage (idk who arranged it cause I'm an adult and don't speak to my parents) but I get married and like a month into the marriage, we're climbing something and he gets knocked out and like his gamer stats appeared above him and I found out he was 3'3, which is weird cause he was taller than me (he was like 5'8, I'm 5'2) and he was really mad about the fact that I knew for the rest of the dream. he was really nice tho and wasn't mad at me, he was just mad that I knew

BRO I LOVE SLEEPING SM BECAUSE THE WAY MY MIND MAKES DREAMS SPONTANEOUSLY- I COULD NEVER😭😭😭

I remember having this vivid, jarring dream where I was home alone, and some dude came up to my door and was like "I like you and I wanna get married to u. Let's go out?" And he takes me on a car ride and throughout the ride I roasted tf outta this guy cause he was OLD (I'm talking 60s) and he had white hair and a white beard but he was like handsome and fit and athletic build and tall, etc. And even though I kept insulting him and telling him all the reasons why we're incompatible, this dude just smiled softly and had goo goo eyes for me and then we returned to my home and as I got in, he said he was now even more sure that he wants to marry me, and I was like "even if I agreed, which I don't, my parents would never-" and then my uncles and parents come home and they're like yelling at this guy to fuck off and they're like pushing him out of the house but then this old dude gets REALLY MAD and starts fucking screaming and his eyes turn completely black and he's yelling "SHE'S MINE! SHES MINE! ILL MARRY HER ALONE! MINE!" and then idk why, but he suddenly sent a cannonball of fire inside the house and my mom's losing her marbles because wtf is this otherworldly creature????? Meanwhile, this old dudes family pulls up outside our house (and it's people of all ages, from babies, children to adults) and are trying to sweet talk to my family into giving my hand in marriage to this man, but obv my family is like no, and pushes the old dude out of the house. Meanwhile, my mom is crying in the corner and I'm just whining about there being so much noise that it's disturbing my studies.

Anyways, for some reason, I poke my head outside the door to see if these people are gone, but just then someone- a teen girl (maybe 17?) From his family was leaving when she looked back at me and looked me up and down and then had this smile on her face (it wasn't necessarily creepy, but it was... it just told me she wasn't human either) and she said "oh, you're nice. I can see why he likes you." And nodded her head in approval.

And then I wake up and obviously, every bizarre thing- I gotta tell my mom about it. And poor woman, omg she is HORRIFIED as I tell this dream with glee and she's like "I'd never let you marry someone so old and creepy and scary!😭😭😭" and I'm like okay. And then she's like "who do u think the old guy was? Do u know him?" And I'm like I've never seen him before, but he didn't feel like he was human. At first, I thought he was the devil/Shaytaan. But then I saw his family, and it clicked to me that these might be a clan of jinns/djinn (it's an Islamic thing okay? Just look it up yourself) and basically I've heard stories that these supernatural creatures often fall in love with humans and then are dead set upon marrying them and even isolate them/possess them so that they can't marry anyone else and make them so crazy and unhinged that their own family doesn't wanna be near them and now the human's only source of comfort is with the jinn.

So like.... yeah🥰

And my mom was like "SNOW WHY WOULD U THINK THAT! NEVER EVER TELL ME YOUR DREAMS AGAIN!" and I think it's cause a part of her thinks that dreams have subliminal messages/ability that these might come true (cause again, we've all heard of stories that jinns can actually come in your dreams to give you some messages or what not) and I'm just giggling away while she's freaked out.

I think the only other dream of mine that freaked her out like this bad was the one where I explained in gruesome details on how I was buried alive. Like I told her that when they laid me in the grave, I could feel the wet muddy ground against my back💀💀 and she told me to stop before I could say more.

[weaving-knightmares]

Thinking about this moment again......

I know people were shocked at how certain Tony was that the Avengers were going to avenge him if something happened/ rescue him the way they did in the next issue and I think that's ridiculous considering that the only time he genuinely knew help wasn't coming was when he was dying in the blizzard in Iron Man #182 and that was because he knew he pushed everyone away and, to paraphrase him, allowed his alcoholism to get as bad as it did. Normally, Tony has always had faith in his team (when written well, of course) so him expecting them to care isn't that surprising. He'd also just relived the events of the aforementioned issue in this scene and what he visualized when he woke up from that flashback was Iron Man's helmet. Remembering that he was a hero and was a part of something bigger than him is what got him back into action and he motivated by the desire to save Emma from the sentinels.

Him giving Emma his armour so she could escape is what I was actually thinking about. He called it repaying a debt and yes, she'd risked her life to save him before this happened and he never forgets a favour so that's part of it but also, Emma had no one at the time. She was so desperate that she'd resorted to making a deal with Fisk and unlike Tony, didn't have a team that would have her back. Tony knew that that was why Feilong wouldn't have killed him, not then, and that was part of why he was so sure, too. This part has actually been said in the book so it wasn't an observation, exactly.

My point is, one thing about this run that I really appreciate is that Duggan got rid of the idea that Tony has no friends or loved ones or that he was difficult to love or like and that's enabling him to write Tony the way he really is - someone who surrounds himself with good people, someone who is a part of the earth's mightiest heroes, someone heroic and kind and protective of innocent people, someone who didn't need to be lectured on how to be a hero 60 publication years into him becoming a superhero. Emma is so vulnerable right now, with most of her team, daughters, friends and loved ones gone and Tony is actually in a position to be someone she can lean on despite having troubles of his own, and I think that makes a lot of sense. I've heard talk about how he isn't taking care of himself/ needs someone to basically take over his life and I think people who think that way aren't appreciating what's really happening. The thing is, he's made so much progress in all of these years, progress that over fifteen years of Iron Man runs didn't really depict well, if they even acknowledged it, and we're finally getting to see the results of so much hard work on his part - he's on top of his recovery despite being in a position that is extremely triggering to him in multiple ways and it feels realistic. He hosted a Thanksgiving dinner (with Emma) for the others in the resistance and made a toast, he took Emma ice skating when she mentioned that she'd always wanted to do it and he's generally being emotionally supportive towards her. He also communicated his situation with Steve when him and Thor came to his rescue and I'm so glad Duggan didn't create any unnecessary conflict between them due to Tony clearly telling him why he shouldn't be seen having a support system because it would've become all everyone talked about. And now they've met multiple times and are working together, which I like. I like that Tony is working with so many Avengers in this run, too, because why wouldn't he?

The issues he's facing in this run are entirely to do with his technology being in the wrong hands on a much bigger scale than before, Rhodey being framed for murder and being in prison and until recently, in danger and figuring out how to fight back and, I don't know, I like that we aren't being bothered by unnecessary interpersonal conflicts that don't make sense for the characters or Tony's "difficult" personality being the cause of all his problems, which never made any sense for him.

[linuxgamenews]

Get Ready for Great God Grove: A Unique Puzzle Adventure Game

Great God Grove funny puzzle adventure game has Linux support in sight with Windows PC. Thanks to the skilled LimboLane development team for their exceptional work. Due to make its way onto Steam. So, I just got wind of this new project from LimboLane, the creators of Smile For Me. They're releasing Great God Grove in 2024, and it's shaping up to be something really unique. And, there are sights on native support.

...we're "interested in making the game available for Linux pending our development schedule. The game is built in Unity.

LimboLane, the creative minds behind Great God Grove, are hard at work developing the title using Unity, primarily focusing on Windows PC. They're also working on native Linux support. As for the release schedule, it's still being finalized, so a day-one release is possible, but it's a bit early to confirm that just yet. The world's on the brink of chaos, the top god's lost it, and everything's going awry. In this madness, you're the mail carrier but here's the twist: your job is very important. Since you're the one keeping the lines of communication open in a world filled with humans, deities, and a bunch of eccentric characters.

Great God Grove Reveal Trailer

Now, every once in a while, the gods have this meeting to delay the end of the world. But this time, things are totally out of control. The god who's supposed to be all about communication has started fights and then just left. With the so-called King gone and the deities in a mess, there's a huge rift in the sky that needs closing, or else it's game over for everyone. Here's where Great God Grove gets even more interesting. Your tool? The TRUSTY MEGAPON. It's not your average postal gear; think of it as a mail-cannon that sucks up dialogues and shoots them back out to solve puzzles. You'll come across around 60 different characters. Each has their own stories and issues. Your job? Listen to them, understand what's going on, and then deliver the right messages. It's all about making connections and seeing how your actions impact their reactions. The gods in this world are anything but ordinary. You've got a deity for TEAMWORK, one for LOVE SONGS – Great God Grove gas a mix-up that makes you wonder who's really running the show. Now, get ready for a vivid, expansive world with eight unique gods, and gameplay that switches between third and first-person views. There's a lot to explore and discover. Think you're ready for godly crushes, pumpkin fights, and puppets cooking? But there are things even you might not be ready for – like Grovekeeping and Godbossing. And let's not forget the very survival of the world is at stake. This funny puzzle adventure project isn't just another addition to your library. Great God Grove is a deep experience that's due to redefine how we interact with storytelling and world-building. So be sure to Wishlist it on Steam, due in 2024 on Linux and Windows PC.

[happygirl2oo2]

Elementary Parallels

Gregson about Sherlock kidnapping and planning to intentionally kill the active serial murderer that killed someone he loved (which he didn't end up fully going through with, only beating him up for a bit in a way that would hurt but do no real harm before intentionally taking M to the police himself), s1ep13:

Watson: "Sherlock feels terribly about what happened. He'd tell you himself but you know how he is. What would it take for him to come back? Is it a matter of sitting it out or do you want a formal apology?" Gregson: "You sound like he took my favorite shirt without asking. Holmes planned to torture and murder somebody." Watson: "Sherlock thought that Moran murdered the woman he loved." Gregson: "Which makes it natural to think about paying him back. An employee of this department does not act on those impulses. Do you wanna know what Sherlock can do? Nothing. And if I had to bet, I'd say he's not even sorry. Now, I understand, you're worried about your client, you think that he needs this job to stay sober. I understand that. But he's broken, and he's broken in a way that has nothing to do with whether or not he's getting high."

Gregson about Kitty kidnapping and planning to intentionally kill the active serial rapist and murderer that terribly abused her 5 years ago (which she didn't end up fully going through with, ended up pouring strong acid on his face instead before intentionally revealing Gruner's location to the police), s3ep12 and s5ep15:

Sherlock, answering his phone: "Captain." Gregson: "We got him. Gruner. We've been trying to ping his cell phone for hours, but suddenly it came back on. We found him in a warehouse on Staten Island tied to a chair. At first, we thought someone had lit his head on fire, but the doctor said it was some kind of corrosive. Preliminary lab work says he is Jesse Laird's biological father, and Joan found a book stashed at his place. There are pictures in there that he's not gonna be able to explain. He's gonna wake up after a few hours, and right after I tell him he's under arrest, I'm gonna ask him who did this to him. Maybe it's a name I know. Maybe it isn't. Either way, I'm gonna have to go after them." Sherlock: "Understood." [cut to Sherlock and Kitty talking on the phone] Kitty: "There's some things I need to wrap up with the captain. I wanted you to know that this is the last time I'll be using this phone. Thought you'd want to verify that I really have gone to the airport this time."

Watson: "You want me and Kitty to talk to the captain?" Sherlock: "Is that a problem?" Kitty: "Yeah, Watson. Problem?" Watson: "You didn't just leave New York two years ago, you fled. You dunked some guy's head in a vat of acid." Kitty: "Del Gruner wasn't a "guy," he was a monster. All things considered, I'd say he got off easy. Watson: "All I'm saying is the captain knew it was you." Sherlock: "He suspected. Gruner never said a word about who marked him. Obviously, he didn't want to reveal his true connection to Kitty." Watson: "You really think that's gonna matter to the captain?" Kitty: "I wrote him a letter. The captain, after I got back. I didn't confess to anything… I knew that would put him in a spot… I just… apologized if I disappointed him. We're square." Sherlock: You heard her. They're square." [cut to Watson and Kitty in the police station] Watson: "You're sure about this?" Kitty: "Pretty sure." Watson: "What do you mean, you're pretty sure?" Kitty: "I mean, I'm reasonably certain he won't try to charge me with a two-year-old crime. 60/40. Ish." *Gregson spots Kitty, and immediately his face changes into looking pissed. She waves awkwardly and he begins walking toward her with what seems to be an angry face* Gregson: "Are you kidding me?" *stops in front of Kitty, then immediately his face changes into a happy and smiling one* "How come no one told me you were coming?" *proceeds to hug Kitty* Kitty, relieved: "It's sort of a long story, actually." Gregson: "Oh, yeah?" Kitty: "I could use your help." Gregson: "Okay, come on. We'll talk in my office." Watson: "Must've been one hell of a letter." Kitty: "Yep." *after explaining the case* Gregson: "I'll make some calls. You'll have all the help you need from the police in Jersey. But first, I'm gonna go find Marcus. I know he's gonna want to say hi to you."

Gregson about Hannah intentionally locating and killing the active serial murderer that killed someone she loved (which she fully went through with, before then intentionally disposing of Michael's dead body by putting it in the garbage with the help of a willing accomplice and only confessing to the crime to her cop father while being drunk), s6ep21:

Gregson: "How much do you know?" Sherlock: "Almost all of it. Michael was killed by a woman at the home of a man named Denny Mulgrew. An accomplice helped her dispose of the body: a man named Curtis Jenkins, father of Graham. I confess I don't know at what point you were drawn into the plot, but once you were, you realized that the killer could be undone by security footage recorded outside Mr. Jenkins' workplace, so you went there and you destroyed it. I spent the better part of today thinking that Michael's killer was Special Agent Mallick. But no. It's Hannah. Your daughter." Gregson: "Maddie wasn't just Hannah's roommate. She was her best friend. After Maddie's murder, Hannah took some time off. She was supposed to be getting her head together. Instead, she started looking into Rowan on her own. She dug in. She got to know all the people in his life. Including Denny Mulgrew. After she heard about what happened at your place, she got to thinking. He's not going to a hospital. He'd go to a guy like Mulgrew. So she played a hunch. She went to his place and staked it out. The next morning, after Mulgrew left, she found a way inside. She had her gun with her. But she thought that was too good for him, so she used her baton instead. Him calling Joan's name-- she never heard that. And she sure as hell didn't know the whole thing was being recorded." Sherlock: "So, when did she make you an accessory?" Gregson: "Couple hours later, I got a call from a friend of mine who owns a bar. He said Hannah was there and that she was in bad shape. So I went there, got her into my car. And that's when she told me everything." Sherlock: "You have to tell the FBI." Gregson: "I can't. No. Hannah's a cop. She can't go to prison."

[disco-elysium-via-polls]

5. Smash into the door and shout: "Fuck, it hurts!"

KIM KITSURAGI - "What is this place?" The lieutenant stares at the dusty training equipment.

"It's an adventure!"

"It's the netherworld. Beyond the veil."

"Looks like a gym to me."

"No idea, Kim... but my head hurts... my head hurts *bad*."

"I think this may be the Artemitep's Boxing Club For Young Athletes."

KIM KITSURAGI - "We don't *have to* explore an abandoned gym, you know. Besides, no one's been here in ages..."

"I doubt the electricity still works... Good thing we have a flashlight on us. Don't forget to take it out of your bag before we move on."

PERCEPTION (SIGHT) [Medium: Success] - Some specks of dust shimmer in a faint beam of daylight falling from the window. Other than that, the room is dark.

INLAND EMPIRE [Trivial: Success] - An eerie feeling rises in your chest...

"What if there's a *reason* why no one's been here for ages..."

"Let's just keep going, I'm sure it's just a regular abandoned house, nothing mysterious here."

KIM KITSURAGI - "Yes, because it's *closed*..."

"No need to look for *supra-natural* explanations where a banal one will do. Now, let's move on, shall we?"

🔊 Wind, Creaking

Sand is dripping from a punchbag...

The poster says: "Citius* *Fortis*... The rest is worn off.

Smells like leather and sweat.

SHOT PUT BALL

A ball used for playing shotput. You feel like you should hold on to this and make good use of it. To sell such beautiful, old school sports equipment would be a sin.

Worn out wallbars. They look unsafe.

BARBELL - A barbell lies on the floor. The colour has worn off its weight plates.

PHYSICAL INSTRUMENT [Trivial: Success] - It's 60 kg. Your triceps hum at the sight of these weights. Show the world what kind of beast it's dealing with. Lift them.

VISUAL CALCULUS [Easy: Success] - There are no collars on the barbell. This is a safety hazard.

INLAND EMPIRE [Easy: Success] - Why does it feel so familiar?

Is this familiar because I'm a weightlifter?

"Look, Kim, it's a trap. There are no collars on the barbell."

[Physical Instrument - Legendary 14] Lift the barbell.

[Leave.]

INLAND EMPIRE - No, it's not that... It's the stale smell of rubber, the squeaky sound of sneakers, your bruised knee against the mat. And a whistle... then the feeling is gone.

LOGIC [Easy: Success] - It's just a memory.

ENDURANCE [Easy: Success] - A memory from another life -- when you were young and fit.

2. "Look, Kim, it's a trap. There are no collars on the barbell."

KIM KITSURAGI - "You're right, the weights may fall off. Better not touch it then."

"What kind of a bastard would just remove the collars? It should be a felony."

"Actually, I don't really care about safety hazards."

KIM KITSURAGI - "It would be a violation of EPIS safety regulations if the gym was still operating. But it isn't. No one's supposed to come here anymore."

We're going to skip this check for now, partially because it's very low but mostly because I can't put two videos in one post.

4. [Leave.]

KIM KITSURAGI - "It's dark," the lieutenant states the obvious.

"And the flashlight works a lot better if you *hold it in your hand*."

"Fair point. Yes, totally obvious."

"Flashlights go *in* hand?" (Stare at your hand uncomprehendingly.)

"Got it, Kim, no need to rub it in." [Leave.]

KIM KITSURAGI - "Yes," the lieutenant says. "You might even call it a *feature* of the universe, that you need to *hold* tools to *use* them."

"That makes so much sense."

"That makes no sense at all."

KIM KITSURAGI - "I'm sorry the fundamental laws of the universe don't seem to agree with you, detective, but the fact remains that it's too dark to see in here without the flashlight..."

"So come on. We've got work to do."

TUTORIAL AGENT - Some areas are inaccessible without your FLASHLIGHT. After you’ve acquired it, go to your INVENTORY and equip it in a HELD slot to continue exploring.

Ok, fine.

🎵Doomed Commercial Area

The hallway is blocked by old windowpanes and debris.

Looks like the remains of the "24th Window" Repair shop.

A large demijohn full of strange liquid...

Is it potable?

Wild animals stare at you in the dark, suffed and mounted.

Poor animals. No rest for their bodies after death.

Airship rotors covered in spider webs. They remind you of blades.

A naked mannequin torso. A strange yellow colour.

Blue velvet, soft to the touch. Moth-bitten.

Skis with "Slipstream" painted on the laminated top layer.

Steel rotor blades bearing a "Slipstream" logo.

CONCEPTUALIZATION - Looks like someone tried to *reconceptualize* their business here.

I don't get it.

[Discard the thought.]

CONCEPTUALIZATION - Look: The skis and rotor blades both bear the same "Slipstream" logo. It seems likely that they started out making one, failed to turn a profit, and then pivoted to producing the other.

But the question is -- which did they start with, and which did they pivot to?

What a strange leap of imagination... And yet they still failed. How sad. [Finish thought.]

That's just speculation. We don't know anything for sure. [Finish thought.]

CONCEPTUALIZATION - That's a good question.

What a strange leap of imagination... And yet they still failed. How sad. [Finish thought.]

CONCEPTUALIZATION - Reality is ruthless.

"PRODUCTION SCHEDULE" FILAMENT MEMORY

The cube-like crisscross of filaments feels oddly fragile in your hand, its intricate structure covered in dust. Silver tape on the side reads: PRODUCTION SCHEDULE. NOTE! This filament contains information that can be read using a radiocomputer.

Well, Soona wanted us to get a filament from a *fridge*, but maybe this is related?

Is this Emma's Atelier?

But where are the clothes it used to display?

Scribbled across a notebook: "Developers of the most advanced RPG in the universe."

PROJECT DREAD BOARD - Your flashlight slides over an old green chalkboard covered in scribbles, sketches and schemes like some ancient cave mural.

Some of the writing has faded with age, but you can still make out sections here and there; photos and drawings have been pinned to the board.

Inspect the drawings.

Inspect the photos.

Inspect the schedule.

Inspect the notes.

[Leave.]

PROJECT DREAD BOARD - These lithe, pointy-eared creatures appear to be different types of *welkins*. You make out autumnal *candle-welkins* casting wax-based magic...

*Translucent welkins* with organs shining under their skin, and even aether welkins -- hailing from the vast emptiness of sidereal space.

INLAND EMPIRE [Easy: Success] - Who are all those creatures? Fantasies of a tortured, feverish mind?

DRAMA [Medium: Success] - You should adopt one of those welkins as your *persona*. No longer a mere man -- but a welkin...

PROJECT DREAD BOARD - One of the welkins -- towering among the rest -- appears to be different, however.

Examine the welkin -- this is important.

I don't care -- step back.

PROJECT DREAD BOARD - It's Vaarahamira, a *high welkin* -- his face white and scarred like cracked marble. This is clearly a welkin supremacist. The note says: 'All non-welkin races will be purged.'

The huldur, the dweorg, the humans, and even headless men... all of them. Purged. Imagine a world filled *only* with welkin! Green welkin, dread welkin... and the high welkin to rule them all.

KIM KITSURAGI - The lieutenant can't help but comment: "An inordinate amount of time has gone into drawing these little welkin creatures..."

"Why would anyone spend so much time on this?"

"Who *are* these creatures? Who drew them? Are they *real*? I have so many questions..."

(Whisper) "One of them is a welkin supremacist."

"Well. This has been educational -- let's move on from the welkins."

KIM KITSURAGI - "Some people really *like* building a world, I think. Even if it's just for a game."

Hm.

2. "Who *are* these creatures? Who drew them? Are they *real*? I have so many questions..."

KIM KITSURAGI - "This looks like *concept art* for a project. It's not really real."

3. (Whisper) "One of them is a welkin supremacist."

KIM KITSURAGI - "Mhm... political commentary. That one has a great beard too..." The lieutenant nods at the welkin's facial hair.

4. "Well. This has been educational -- let's move on from the welkins."

KIM KITSURAGI - "Just look at those details. So much effort..."

EMPATHY [Easy: Success] - ...and for what? All gone.

2. Inspect the photos.

PROJECT DREAD BOARD - The photo collage depicts barren, icy landscapes wrapped in perpetual night. You see permafrost and glacial landforms, dead trees groaning under the snow.

Entire oceans have been frozen from shore to shore. There are pictures of settlements on dried up riverbeds, abandoned in a storm. Animal corpses in the dark, carcasses and bones.

ENCYCLOPEDIA [Easy: Success] - You see primitive oil rigs built into glaciers -- by *boreal dweorg* -- yurts under the snow, great mammoth-like beasts of burden...

ELECTROCHEMISTRY [Easy: Success] - Albeit dark and cold, this vision also feels cosy in its own way. Like eggnog, or morphine! A much needed respite from our own world.

PROJECT DREAD BOARD - A pinned postcard reads: 'The heat death scenario -- a desperate fight for geothermal energy engulfs the world as Wirrâl becomes untethered from its sun, drifting through the Universe.'

3. Inspect the schedule.

PROJECT DREAD BOARD - This is a monthly calendar from the year '50. Cryptic words like 'sprint', 'daily minime', and 'GPI' span the marker-drawn grid -- the grand scheme of production and money.

PERCEPTION (SIGHT) [Medium: Success] - It looks a bit like an academic calendar. Only much more *brutal*.

EMPATHY [Medium: Success] - Everyone is constantly teetering on the edge of the abyss. An abyss of *production*. These squares look orderly but beneath them is chaos, worry, pain...

ENCYCLOPEDIA [Medium: Success] - 'Minime' stands for a 'mini-meeting'. It's part of a bigger framework for managing work called R.U.N.. Station 41 tried to implement it a few years ago, but failed.

Keep reading -- what happened?

Step back and look at something else.

PROJECT DREAD BOARD - As time goes on, the numbers in the boxes grow rarer and rarer. The board becomes an empty snowfield in the final days... Only failure and regret dwell in this region.

KIM KITSURAGI - "Looks like they didn't make it." The lieutenant looks at the frigid ice field of nothingness.

+5 XP

PROJECT DREAD BOARD - A note in the bottom left corner of the chalkboard says: "SEE THE PROD. SCHEDULE FILAMENT FOR DETAILS."

4. Inspect the notes.

PROJECT DREAD BOARD - The handwriting is only partly legible, but you can still make out three slogans: 'Call in, tune out!', 'WIRRÂL UNTETHERED', and 'Heat death of the Universe'...

PERCEPTION (SIGHT) [Medium: Success] - The full text reads: 'Heat death of the Universe is the new black'. Another note says: 'The biggest advancement in role-playing systems since the Thirties'.

SHIVERS [Medium: Success] - Outside, a cold wind wraps the building in its bosom. Snowflakes in the wind. An old woman passes what the locals call the Doomed Commercial Area. She tries hard not to look at the bookstore windows. It's *unwise*.

5. [Leave.]

FREQUENCY FIREPLACE - This old fireplace is covered in lines drawn in blue and red marker, the mesh spreading over the stone like blood vessels on alabaster skin. It looks ghostly and strangely ancient.

INLAND EMPIRE [Medium: Success] - A diagram for summoning some time-forgotten being? The symbols seem very esoteric.

CONCEPTUALIZATION [Medium: Success] - The whole thing resembles Kedran mosaic tiles. Very Pisantic.

Hold on, how do I know what Kedran mosaic tiles are supposed to look like?

What am I looking at?

[Leave.]

CONCEPTUALIZATION - History classes. Students with their textbooks open, studying the roots of our civilization. Those aquarelle-blue tiles looked beautiful in the sun.

2. What am I looking at?

FREQUENCY FIREPLACE - Radio frequencies, it seems. UKV123.6, UKV123.7, UKV123.9... some written notes too. Sparse and cryptic.

Radio frequencies for what?

FREQUENCY FIREPLACE - Unclear. It looks like a cardiovascular system, split into veins and capillaries. Very advanced.

So we're dealing with something medical here?

This must be an elaborate piece of art.

Of course... (Narrow your eyes.) The anatomy of *the curse*.

+1 Art Cop

FREQUENCY FIREPLACE - You think so? The web is comprised of radio stations. All lead back to one red heart, titled: The Game Master Frequency. A note says: 'This one can listen in on any station it wants?!'

HALF LIGHT [Medium: Success] - Looks like a surveillance programme...

INTERFACING [Medium: Success] - They must have had *massive* airwidth. These things don't come cheap.

Wait, who's the Game Master?

If it's a game, then who's playing?

FREQUENCY FIREPLACE - Someone very important.

AUTHORITY [Easy: Success] - The leader of a massive on-air game built by these people.

CONCEPTUALIZATION [Medium: Success] - A conductor for the hundreds of story threads that pass through the Game Master's Frequency.

If it's a game, then who's playing?

FREQUENCY FIREPLACE - Whoever decides to call in to a call-in station, it looks like.

PERCEPTION (SIGHT) [Medium: Success] - A list of names under the stations suggests people across *six isolas* would be playing: Mundi, Insulinde, Katla, Graad, Samara, and even Iilmaraa.

EMPATHY [Easy: Success] - All of this gone, left unrealized.

LOGIC [Easy: Success] - There's no way a little basement studio working *here* could pull anything like this off.

KIM KITSURAGI - "My god..." The lieutenant leans closer, his finger tracking the maddening rhizome. "It's as if the *less money* they had, the more ambitious their project became."

"Mhm. The cost of airwidth alone must have been huge."

"Why do you say that?"

KIM KITSURAGI - "Exactly." He nods at the calendar on the chalkboard, wiping his marker-stained fingers clean against his jacket. "This schedule -- I know *doom* when I see it. The company was running out of funding."

+5 XP

What else? (Squint at the lines.)

FREQUENCY FIREPLACE - Nothing. It's just lines on marble, an echo from times long gone. No one has used the fireplace in ages.

MAINFRAME - A dusty radiocomputer sleeps on its wired frame, forgotten and unused. Its keyboard has a rectangular ON/OFF button; a piece of paper still hangs from the printer.

KIM KITSURAGI - "Another radiocomputer..." says the lieutenant, watching you circle around the machine. "Just sitting here without anyone in sight."

REACTION SPEED [Medium: Success] - What he means is that these things cost *money*. Why would anyone just leave it behind?

INTERFACING [Medium: Success] - This is the Rehm Civic radiocomputer, model RC5120, equipped with a Feld mainframe and a Rehm-compatible printer.

"Do you think I should turn it on?"

Turn on the machine.

[Step away.]

KIM KITSURAGI - "It's your call." He looks over his shoulder, then back at the machine. "You're in charge of this expedition, officer."

SAVOIR FAIRE [Medium: Success] - Of course you should turn it on -- don't you want to know what's on the filament?!

2. Turn on the machine.

MAINFRAME - The machine lights up like some prehistoric animal stirring from its slumber, revealing virescent PLAY and PRINT keys on the keyboard. The hatch on the machine's central compartment is wide open.

Look inside the compartment.

Press PLAY.

Press PRINT.

[Leave.]

MAINFRAME - It's empty like a beehive without its brood. Some cables have been left dangling, disconnected...

INTERFACING [Trivial: Success] - The filament you have would fit perfectly inside the compartment.

2. Insert THE PRODUCTION SCHEDULE.

MAINFRAME - Like a smooth drawer, the filament slides into place. On the keyboard, the PLAY key starts blinking.

+5 XP

3. Press PLAY.

MAINFRAME - The speaker comes to life, static seeps through the machine's planar magnetic driver. An old lady greets you, her voice sounds a hundred years old...

EAST-INSULINDIAN REPEATER STATION - "Good morning, Fortress Accident on Rue de Saint-Ghislaine, this is East-Insulindian Repeater Station 1."

"Please repeat -- is this the production schedule?"

"Yvonne, it's me again! How are you?"

"Let's try the password for the production schedule."

"That's all for now." (Press OFF/SILENT.)

EAST-INSULINDIAN REPEATER STATION - "Good, thank you." It's not clear whether she recognizes your voice. "Please repeat, is this the production schedule?"

2. "Let's try the password for the production schedule."

EAST-INSULINDIAN REPEATER STATION - "Good. Please repeat the password."

Say: "After life -- death."

"A password? I'm really bad at passwords. Can you give me a hint?"

"Is it my birthday?"

"This is the police. Please open this thing."

"I don't know the password."

EAST-INSULINDIAN REPEATER STATION - "Good, I've unlocked the production schedule. After ending the call, please press PRINT to access the filament."

KIM KITSURAGI - "Really? She just used the same password?" The lieutenant seems almost disappointed to discover that, as he murmurs: "Maybe those radiocomputer guys aren't that paranoid after all..."

EAST-INSULINDIAN REPEATER STATION - "Fortress Accident, is there anything else I can do for you today?"

3. "That's all for now." (Press OFF/SILENT.)

EAST-INSULINDIAN REPEATER STATION - "Thank you and good bye," the old lady's voice disappears along with the static.

MAINFRAME - Tiles on the cube are still smouldering, casting the framework in a soft glow. Virescent PLAY and PRINT keys shine on the keyboard.

4. Press PRINT.

MAINFRAME - With a quiet determination the printer starts printing, a piece of paper unfolding like a hand-held fan. A black criss-cross of letters covers its surface.

5. Read the printout.

MAINFRAME - It's a project report written by the lead producer Andrew 'Andy' Schott about 'Wirrâl Untethered', a radio game developed by studio Fortress Accident.

The first few pages give an overview of the capital and workforce, while the rest of it seems to be a production schedule.

Read about capital... I want to know about *money*.

Read about the workforce... Who worked there, how long?

Skim through the production schedule, whatever it is.

Tear off the printout and throw it away.

MAINFRAME - In its short time of existence, Fortress Accident SCA managed to burn through truly *insane* amounts of money.

The first tranche of seed financing brought in 150,000 reál, but then came the *delays*.

Eventually the damage reached 400,000 reál with only half of the game finished.

ELECTROCHEMISTRY [Medium: Success] - Four-hundred thousand reál?! Jommaijoo, these guys knew how to party!

Gosh, where did they get all this money?

MAINFRAME - Let's just say it was a *real adventure* for their Igaunijan investor.

2. Read about the workforce... Who worked there, how long?

MAINFRAME - Fortress Accident employed 18 people, the bulk of the team composed of writers and concept artists. There were also radio programmers, sound engineers, a CEO, two marketing experts...

…and a single overburdened producer who developed a habit of popping Pyrholidon in the basement to escape his obligations.

ELECTROCHEMISTRY [Medium: Success] - But on the other hand, their obligations *were* piling up at an inhuman rate -- a rate that could only be amended by Pyrholidon.

LOGIC [Easy: Success] - Why did Fortress Accident have so many concept artists?

Wait, why did a *radio game* need so many artists?

I don't really care. (Look at the table of contents again.)

MAINFRAME - It didn't.

It didn't need so many concept artists?

MAINFRAME - No, definitely not. A few more producers could have come handy though -- especially when dealing with writers, some of whom routinely skipped work because of 'mental health issues' and extremely unprofessional sleep schedules...

One of them even managed to steal some valuable company property before skipping town for good.

3. Skim through the production schedule, whatever it is.

MAINFRAME - The production schedule depicts their glorious descent into bankruptcy.

Because of the concept artists?

Right, what happened?

MAINFRAME - No, not the concept artists. It wasn't even the writers, with their panic attacks and three-hour lunches...

It was impossible not to fail. The project was too large and no amount of money could satiate the ever-expanding ambitions of the development team.

They tried to make a 4,000,000 reál game with 400,000 in their bank account.

They thought they could bridge the gap with pure willpower and imagination.

They couldn't.

I could have bridged the gap.

Oh, so they were done in by their own ambition.

MAINFRAME - No. Even then success remained within an ever-narrowing margin of possibility that, despite everything, never entirely disappeared...

That is, until they discovered the Valley of the Heads.

The what?

That sounds bad.

MAINFRAME - No, it was good. Too good.

At the eleventh hour, the lead designer, Zsiemsk-born Sulisław Zawisza, decided that what 'Wirrâl Untethered' needed was a secret mystical location at the extreme edge of the map...

This place was to be the *Valley of the Heads* -- where the heads of all the *headless* constructs could be found. The player would have been able to choose a head for their headless party member, and each head would been voiced on-air by a professional actor.

This is some insane shit. Who were these people?

How many heads were there?

MAINFRAME - The world had never seen their kind before and might never again.

How many heads were there?

MAINFRAME - So many. At last count there were approximately 10,000 heads for 10,000 headless men, all of which could be endlessly recombined.

How many combinations could you make out of that?

That's pretty bad. So that's what did them in?

MAINFRAME - Do you really want to know? There seems to be a calculation here, but it may take a while...

Yeah, how bad could it be?

No, let's not go there.

🔊 Static

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Keep going.

Uh oh.

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KIM KITSURAGI - The lieutenant taps his foot impatiently, his arms folded tight against his chest.

ELECTROCHEMISTRY [Medium: Success] - He's dying for a cigarette. Come to think of it, you are, too.

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Keep going.

What have I done?

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020810877381216245398587696973714258818361526050693809269177120873219150058319771133227935723850719406127612918725720994049302502777481566140213274347438819664133300526342290829064009279449248085561311834401618048013570325078363239389215676431596204426128097009441077761306389090712944563940566015592460254542047711861404201552333712705013771210345700095780093892653293857204785765087771496634030035623805957571916093821713122228104658583889435071764319399730126615914238371702844001203994858809962318594724748587765843550770069340992203403787721927283703013808381443941149849717307661629613420591050148142839497006959516769390415579028563569110555473126845714974496353205546779407751840566676372229690903461287068298871042787610900909991604438217945117636208353797161618331243644312678554355508005079861246643977241355021282380267267199149897272485129812872836974892764207928686669701772597944078581559093325085541312999465811185276916524647908191193842332758976995730120981030091710016957187916169422700795289151919125210538918385389593151674005057238174010306210043802430111879777042523280732365751296093724560536800375165961642361477093303912244097528717320679761281204280267392565573056759315126457500478757565318548258214115740304731474925119108356157657320025461096867018903076485313738329126824817411813590328266250825493132114314789533523170439890539285349466428860742683718249024980924794872266336868237995808756370408086556493219054896377855495311673979352707994704523991532975343586905141058640965345141828964744393671828527118435607992858959781765439501130888484191635166732136928608309567445028018003737164580091680829727087156091850386540534366600455049856246873760225570415958002501740953618392876434580036708649540579417200851363571271637683234931342307038212744845014405295416953743819454594565331651409909937227228010196546527262278315121034676861668261314718436100255178632479501500229536954663177395893441314814858346943745239811599546660712059977943634401850783608991089480734196339392593189739409431100421167291201997226266098719270140241058055153151001098049960441472910394510303126641147267368399733150350367427415469926331652704329406752374490750567395089296747791158008643999925648172088474292508215462798560791277686119460862103494055358501344721902445438245210892844094981327170106739664711149318967899776615954881861931769001750279017838246243878738314832795008790264339925770265880058497789846242956603212769458108243481296908409725506710547324713172549971919010395533058470407280816931586260938860191476899441376736214320836073751315743763167546664791867538965715551008506268100051198274868077805926677656541008347785710242501332533915873847610241297947367510011634989778037459300254576098706710921535971151782520142812166475430340751286002402970384286159842898166021434298490889173596821922844691230359043298772318433099141872646746075583187257131388323560158090095941825302077993976484625979018833417938309209658414635744119858782964758509430530081483418217478266037737622529977034687529035173107920832200380808092121643465868179898105042743753857867891863505177175016065318264069288832501359195171785376878658817523664215340109612957630747626480703127573657877623528590571539324845765039443904966680877118991924989338965248523955367958275306141671317579157563866060048399941795487058682092011951549520312945624513154225065748586291616065237966430101726939502822946674896817468211639967949502942840130992359012782504374281925576345332175761622927511105983682715672297786200537229323140828870587494440601162365216277175585030134514714527658418642770717699684354996202575474318119948833858067596923595806221658324640920953506483579358177429030183153512900143214955181774569083887193206977696956577717544991499114313689508361606925396064698933748709429332191856012991085644702562571635055086206892402975896847142836786847354555335834776525361565781899969830686546717364459963431364681954274204904724330646750014426975083223690130838954926370667784065313286648860801295137717208475811577194910123451417749414827735800414

INTERFACING [Legendary: Failure] - What if you broke the radiocomputer? What if it's never going to stop?!

Just let the numbers wash over you.

Please stop.

MAINFRAME - 32667332379617716965698582785832300505265883502247868050648201444570593197343382923860072601696510903258980909912837652275381493529845099414966933862815568031306981064525192703818515872648691762563239441425216118427769145067718411735714396681005615483952443154944864238384298900399826113322468963346522104692545137969276009719645338955332105584245640187448611050959111766828942711640054010503770420346052521318228045892998637903572350665108782350043349942391285236308896510989246641056331584171142885304143772286629832318970869030400301325951476774237516158840915838059151673504519131178193943428482922272304061422582078027829148070426761629302539228321084917759984200595105312164731818409493139800444072847325902609169730998153853939031280878823902948001579008000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000... and that's it.

Okay, so that's what did them in?

MAINFRAME - Well, yeah. That, and the catastrophic data loss.

The what now?

This must be the anomaly Soona mentioned in the church log.

MAINFRAME - On the nature of the data loss, there's ominously little information in the production log. It comes at the very end, where things get fuzzy and dark, where tables and numbers seem to vanish into an eerie nothingness, before their Igaunijan investor pulled the plug...

What is clear is that one day an unidentified numeric anomaly occurred on the East-Insulindian Lintel front, just as the 'Wirrâl Untethered' project was being compiled that day.

And the anomaly caused all the data to get lost in the air?

I didn't understand a word of that.

MAINFRAME - When the project was returned, it was completely blank.

The team spent weeks on the phone with Lintel, the service provider, but despite their diagnostics they could never produce a satisfactory explanation or pay for the loss.

What! They lost the whole game and wouldn't even pay for it?

Wasn't there a copy of the game, a *backup*?

MAINFRAME - Always read the terms of service.

LOGIC [Medium: Success] - And let's face it, they didn't have any money left for a legal action.

Wasn't there a copy of the game, a *backup*?

MAINFRAME - Mysteriously enough, it seems that the off-site copy happened to be *on-site* when the catastrophic data loss occurred...

It was the lead programmer's responsibility to oversee weekly maintenance of the off-site copy and, well, keep it off-site. An explanatory note from the lead programmer has been attached.

What does it say?

MAINFRAME - S. Luukanen-Kilde, the lead programmer of Fortress Accident: "The off-site copy was on-site because there was no *off-site* anymore, not for me, not after eight months of crunch."

"I didn't have a home anymore, so I started keeping it in the basement, in the ice bear refrigerator (near where I went to sleep). It was perfectly safe there, the temperature conditions were *optimal*."

It's not very convincing, is it?

Seems like a perfectly reasonable explanation.

Is there anything else from this lead programmer? (Proceed.)

MAINFRAME - That's not what her colleagues thought.

Is there anything else from this lead programmer? (Proceed.)

MAINFRAME - The production schedule ends with a few random notes that seem to be added sometime later.

4. Read the notes at the end.

MAINFRAME - Four months later by an unknown author: "I am the only one left and it's gotten rather damp here. A few other businesses have gone under too. Slipstream switched to making skis and the hairdressers just left, cursing Martinaise. They're right, though, something's seriously wrong with this place. Martinaise, all of it."

"Still haven't gotten an answer from Lintel about what happened. All I could get were the physical coordinates of the error on the East-Insulindian front on that day. Since the computation happened on-air, I reckoned it had to coincide with an actually existing location..."

"I have compared the coordinates to a map of Revachol West. Turns out it's only 800 metres from here. The address is Saint-Brune 1147. I am going there to look this thing in the eye..."

REACTION SPEED [Easy: Success] - Saint-Brune 1147? That's what the street sign next to the church said...

5. Tear off the printout and throw it away.

MAINFRAME - Tiles on the cube are still smouldering, casting the framework in a soft glow. Virescent PLAY and PRINT keys shine on the keyboard.

2. Remove THE PRODUCTION SCHEDULE.

MAINFRAME - The filament slides out of its glowing nest.

5. [Leave.]

[inboxinspirations]

60 Lyrics Starters: Black Sabbath Edition

"Is it the end, my friend?"

"You are the first to have this love of mine."

"You sure wish that you could see me dead."

"The world today is such a wicked place."

"You never said you love me and I don't believe you can."

"People think I'm insane because I am frowning all the time."

"I need someone to show me the things in life that I can't find."

"Why should we even care?"

"You know there's no return."

"You don't want to learn."

"You gave to me a new belief."

"Will the sunrise of tomorrow bringing peace in any way?"

"They are gone."

"The world is a lonely place."

"It was an illusion."

"Try your hardest, you'll still be a loser."

"Well, I'm leaving tomorrow at daybreak."

"I'll just go back to pretending I'm living."

"I lost the best friend that I ever had."

"Don't you think I know what I'm doing."

"This is where I feel I belong."

"I don't know what's happening."

"Don't believe in violence, I don't even believe in peace."

"Don't let those empty people try and interfere with your mind."

"You know you have to learn."

"You gotta believe me."

"You work your life away and what do they give?"

"So you think it's me who's strange."

"I don't think you're so smart."

"You're the one who has to take the blame."

"All I have to give you is a love that never dies."

"It started something that I could not control."

"Why don't you just get out of my life?"

"What kind of people do you think we are?"

"I feel my world is torn apart."

"Nobody will change the way I feel."

"I wanted you to be my wife."

"I'll try my hardest not to cry."

"Why can't we be friends?"

"Forget all your sorrow, don't live in the past."

"There's no reason for you to run."

"We're gonna have to fight."

"Good luck!"

"Oh no, here it comes again."

"There's nothing to say."

"I can't accept it anymore."

"I don't know what to do with myself."

"I've got to be strong."

"Ain't no use in you trying to run."

"Your love has made you blind."

"You were the one friend I had."

"I've got nowhere to hide."

"I believe no god may save us now."

"I'm not afraid."

"I don't belong here."

"I'm sick and tired of losing."

"I wish somebody could tell me, what it is that I've done wrong."

"When will this nightmare be over?"

"Is my imagination playing tricks on me?"

"I like being alone."

[curio-queries]

RUN BTS: THE ANALYTICS | Episodes 21-40

I don't know if this is interesting to very many of you but i've been having so much fun gathering this data. NERD! lol

Overall stats:

I definitely was struggling to want to watch some of these for a bit there. I was yearning to get to some of the later episodes, but the last half of this batch really turned it around for me, and I was having a great time with the rewatch! My average personal rating has gone up along with the YT subs percentage and the average duration. I realized I'd forgotten to include the average part counter in the first analytics post, but it's here now.

Title Songs:

No surprises here, we're in the trenches of the Blood Sweat & Tears Era for the show.

Wins:

LET'S GO J-HOPE!! I feel like Hobi is always overlooked when it comes to his performance on Run, but he's actually got some great wins. Jimin has been doing pretty great as well. Poor Yoongi, more about him in the losses section.

Losses:

I really wasn't expecting V to have such a big chunk. I'm having a vague thought that V usually only gets losses as part of a team and never on his own merit though...that would be some interesting data to look at...maybe for the end of the series evaluation...

Yoongi... bless your little heart. He always seems to actually be the one with the punishments when on a losing team that punishes only one. He definitely fulfilled some great punishments these episodes! So many BT21 costumes!

Best Cheater:

No surprise that V still occupies a large chunk. Boy loves himself some chaos! I was beginning to wonder if we'd ever get Jimin on the list. I think this is what makes him such a good slytherin, we all know he's a devious lil thing but he absolutely knows when to hide it! Lol. Now we just wait for a Hobi cheating moment!

My favorite cheating moment this batch was definitely JK pushing JH in the photo zone game. No one actually berated JK for it and he was just so pleased with himself. Maknae privilege for sure!

See you at the end of ep 60 for another analytics post!

Check out this post for links to all of my Run BTS episode reviews and analytics posts.