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soliloquy by an immortal cave painter.

pencil, ink, and ochre on paper

You haven’t seen a soul in person for two hundred and forty-seven days when he crashes through the window of your eighth-floor flat.

You know about superheroes, of course. They’re the sort of thing that happens to other people. Like lightning strikes, like house fires.

Like illnesses.

But he’s here now, bleeding into your threadbare rug in his silly little outfit. You’ve seen his face on the news. It’s just as well you switched out the coffee table for something smaller, a trolley to keep water and medication within arm’s reach, or he would’ve crashed through that, too.

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this is an odd post but I need opinions on some ideas ive had for frankenmarty💔

in the original story of frankenstien both the doctor and the creature die,SO,I planned to have that not happen and for them to get a happy ending instead.but then i came up with a story in which they do die and it kinda makes sense.

the idea of doc not knowing when marty would stop working mixed with me having to think about the aftermath of that and what doc would do if that happened made me wonder if neither of them make it to the end just like in the original book.my main concern is that its not only deviating them even further from the original movies but also is a really tragic fate to give them.

like yeah i really love doc and marty,anyways i doomed their narrative and made them face The Horrors™. I also haven't seen any other aus where they literally die in the end of the story so thats another reason im hesitant.im thinking of just giving the story two endings,one where they live and one where they die. like 1785L and 1785D?? that could work but then it feels too complicated.

idk,im indecisive.as i said im scared to deviate to far from the movies but at the same time thats hard to do when your making it based on a book with its own story yk?? anyways i would love to hear people's thoughts and opinions as always.rip frankenmarty,potentially dead for the second time💔

OP: Are you familiar with China’s silk fabrics?

Cnetizens: I know there are ling, luo, chou, duan.

OP: It's actually eight major categories, ling, luo, chou, duan, jin, xiao, sha and juan, and countless variations exist under them in history. (绫ling，罗luo，绸chou，缎duan，锦jin，绡xiao，纱sha, 绢juan) (cr珑师傅)

绫(líng): It adopts twill or modified twill weave. The fabric bears clear mountain-shaped diagonal lines, featuring light, soft texture and subtle luster. It was the designated fabric for officials’ daily uniforms in the Tang Dynasty. The varieties of Ling appearing in Tang dynasty — Pattern Square Ling, Fish-Mouth Ling, White Braided Ling, Water Wave Ling and Checkerboard Ling(方纹绫、鱼口绫、白编绫、水波绫、方棋绫) — were all recorded as imperial tributes in the Tang Dynasty.. After the Song Dynasty, it was mainly used for mounting calligraphy and paintings.

罗(luó) adopts a unique twisted warp weave. Intertwined warp threads create star-shaped holes, making it highly breathable, known as "the natural air conditioner of silks". Four-warp twisted luó demands 30 procedures. Weavers can only produce a few centimeters a day. Suzhou patterned luó is an intangible cultural heritage craft.

The fabric worn by ladies in Beauties with Flower Hairpins is luó. It is the top sheer silk fabric with outstanding transparency, yet extremely costly. Handwoven four-warp luó is priced above 10,000 RMB per meter, harder to get than an Hermès bag. What makes it expensive? Thirty elaborate steps. Threads are twisted manually, with only 5cm woven each day. It was royal exclusive. In the Zhou Dynasty, only emperors could wear it. Noble ladies in Tang and Song loved luó, including Yang Guifei. Covered with star-like holes, it is breathable yet not see-through, keeping you cool in summer.

绸(chóu): Simple interlacing, tightly woven like a fine sieve. A major category of silk, using plain or modified plain weave, referring to silks without the special structure of luó, líng or duàn. Medium weight, tight, smooth surface with soft luster, prone to creasing. Thin chóu for blouses and skirts. Thick chóu for coats and trousers, widely used as embroidery base fabric and decorative material.

缎(duàn): Long silk threads rest on the surface, creating a mirror-like glossy sheen. It adopts satin weave. One set of threads stretches across the surface with long floats, covering evenly distributed interlacing points.

锦(jǐn)/Brocade is the most sophisticated silk textile. Its weaving consumes massive time and raw materials, resulting in exorbitant costs. Constructed with multi-layer warp and weft threads, it forms patterns with colored silk yarns through figured weaving techniques. It boasts raised three-dimensional motifs and a dense, heavy texture, making it the most technically challenging type of silk. It feels substantial and stiff, featuring dazzling, luxurious luster, intricate elaborate patterns, strong wear resistance and great shape retention. Laws in the early Ming Dynasty strictly restricted commoners from wearing high-grade brocade, which was mainly supplied to the imperial court and officials. By the mid-to-late Ming Dynasty, the booming commodity economy fostered extravagant customs in the Jiangnan region(generally refers to the area south of the lower reaches of the Yangtze River in eastern China). Violations of dress codes became widespread. Numerous wealthy landowners, merchants and affluent commoners ignored the regulations and wore brocade, figured flower brocade and gold-thread brocade. In short, it was prohibited by law, yet wealthy civilians could acquire and wear such fabrics in practice.

绡(xiāo) took shape in the Shang and Zhou dynasties and flourished in the Tang Dynasty. Extremely thin like cicada wings, it became the iconic fabric for overgarments worn by noble women in Tang China. It adopts plain weave or modified plain weave, featuring low warp and weft density, few interlacing points and neat, clear mesh openings. Xiao is usually woven from raw silk, granting the fabric inherent stiffness and structure. Lightweight and translucent, it holds its shape well without sagging, with open, breathable pores. In ancient times, it was used for outer cover gowns. Today, it is made into wedding veils and sun protection blouses.

纱(shā) is matured in the Han Dynasty and remained popular from the Tang and Song dynasties through the Ming and Qing dynasties. It was widely used for summer court robes, official garments and noblewomen’s attire. Generally woven in plain weave with sparse warp and weft threads, the fabric features evenly distributed tiny openings. It represents the lightweight, thin and sheer category of silk. Extremely light and breathable, it feels soft and flowing with natural drape. In ancient times, it was used for veils and outer overgarments; today it is crafted into lightweight dresses and veils. They may look alike, yet Shā is soft and supple with little rigidity. By contrast, Xiāo is woven from raw silk, firm and shape-retaining, and does not sag easily.

绢(juàn) is one of China’s oldest silk fabrics and a vital carrier of cultural heritage. It served as the base material for many famous ancient paintings handed down through generations. Woven in plain weave, it features warp and weft threads of similar thickness arranged in neat, uniform intersections. The fabric boasts high density and a solid, stable structure. Varieties include plain juàn, dyed juàn, and juàn specially made for painting and calligraphy. It has a fine, smooth, firm texture and great durability. Soft against the skin, it balances suppleness and structural rigidity. Its applications cover painting and calligraphy, cultural relic restoration, and minimalist luxury apparel.

There is another fabric category not covered in this video.

绉(zhòu) (ancient name 縠hú) first appeared before the Qin Dynasty and matured in the Han Dynasty. In ancient times it was called hú. It is the earliest silk fabric made with highly twisted yarns. Mostly woven on a plain weave base. Yarns are tightly twisted in alternating directions. After degumming, the threads shrink and twist, forming natural fine ripples across the fabric. It features inherent subtle crinkles and soft matte luster. Elastic and breathable, it does not cling easily to skin.
In ancient times, it was used for summer overgarments and scarves. Today it is made into blouses, dresses and silk shawls.

Still Can...

Ya know, I was more than satisfied hearing Roger Bart say in an interview that he drew on his experience as a father to play Doc in the BTTF musical. That was plenty of vindication for me to say without question that Doc was the Best Adopted Science Dad.

AND NOW Bob Gale himself says it flat-out--

AND THERE IT IS.

DOC LOVES HIS ROCKSTAR SON.

and with your help it can rack up 700k notes on tumblr in 2024

no tumblr this doesnt need tags im releasing it into the wild as god intended

Zoot suits look kinda stupid but I gotta respect the cultural context & symbolism of the things

"Fuck the military and fuck the war, look at all this good uniform-worthy fabric I'm wasting on a fuckoff giant suit" is a very solid basis for a subculture

If I had a nickel for every time Paul Stamets was at least one of the only people aware of a time loop, I’d have two nickels. Which isn’t a lot, but it’s weird that it happened twice

I love it when a classicist has clearly gotten so lost in the BCE sauce that their perception of time has become deeply warped. Case in point: the article I’m currently reading just described the Byzantine era as “a period relatively modern.”

Solid life advice from Sue the T. Rex.

nasa is using a 3D world graphic for the solar eclipse thingy today where germany is still devided in east and west adjfglkafdhgadfg. buddies, it's been almost 40 years.