a day turns into a week turns into a month turns into months and – eventually,
you lose track of it all. she knows she has. time stretches, lucid and slipping,
as if she’s caught in one continuously looping nightmare. she might as well be,
she thinks. she might as well be.

the constants:

marcus, curled in one corner of the cell, his back always to her. his silence.
she wants to let him have it because she doesn’t want anything else from
him. he is nothing to her.

adrian, coming down whenever he pleases. his smile through the small
window in the door. his dark eyes. his hard mouth and how, the one time
she’d lunged at him, ready to rake her nails down his face and claw out
his eyes, he’d smacked her head so hard against the floor she’d woken
up to marcus hovering over her, his eyes wild and desperate, his voice
hoarse from screaming.

a small room that looks too much like all the small rooms she’d been in
during her time at the labs. the same flat table. the same bright fluorescent
light. the same sharp smell. the same cold air. a needle in her arm and we
need you to cooperate with us, now
in a voice that says if you don’t, you’ll
die, because monsters like you are always expendable

experiments. she doesn’t know what they do. they drug her and drug her
and drug her until all the fight leaves her and her eyes go flat and distant,
half a world away.

(it’s too much like before. this is too much like before and it scrapes away
at her, picks her apart, leaves her crumbling and angry and frightened and
she can’t do anything, can’t bring herself to fight through this when it’s so
much easier, instead, to let herself slip.

looks like no one is coming for you after all, adrian tells her one day, his
hand tight against the curve of her elbow. what do you think of that?

she doesn’t know.)

but, one day, there’s the sound of gunfire. a low ripple through the floor
and along the walls as the concrete splits. and this is like before, too, 
the struggle before the end and she wonders if this is going to have the
same sort of happy ending.

(just because someone’s come, though, doesn’t mean it’s someone
for her. she could trade this cell for another, easily.)

something smacks against the door until it bursts open and she looks,
eyes hazy and blurring, and thinks she sees –

          “– — Roman?”

Size chart with Vegeta’s new height compared to Gokû and Bulma!

Creepypasta #618: The ARC

Story length: Super long

My buddy Dave was a game developer. A good one. He’s the only guy I know who could blend a game with reality on this level. But I’m scared to think what he actually accomplished.

He started in BASIC when we were in elementary school. Back then he’d just modify the demos that came included like the gorillas game where you throw the banana-bombs back and forth. By the end of middle school, he had a good grasp of C++.

After college we ended up living in different cities. He moved into New York City, I went out to San Diego. But he kept developing games, indie ones mostly. Back when indie was more synonymous with unsuccessful. And I was always the first to test them out.

So when I saw the package from Dave at my front door, I wasn’t too surprised.

Normally he’d just post the files for me but this had hardware. It was an attachment for my iPhone. A crude 3d-printed plastic device that connected to the bottom port and wrapped up around the lens.

“It’s a kind of augmented reality game,“ Dave said on a video chat with me that evening. "The hardware scans depth in the room, like the Kinect. It’ll do an on-the-fly scan of your apartment, creating a point cloud. It lets the ARC know what exists in his space.”

He would do this sometimes, talk like folks knew what he meant. “I don’t know what an ARC is, Dave. No one does.”

He sighed. "Augmented Reality Character. Imagine the The Sims, but it’s happening in your home, and you can watch it through your phone’s camera. The hardware and software scan the rooms you want and process it into 3D space. Then your character, your ARC, can walk around your apartment, or where ever you scan.” Whatever ever I scanned… I started to get it.

“The phone’s camera is like window into the ARC’s world. A mirror of ours.”

I scanned my apartment, but started off simple. Just the living room and the kitchen. After a bit of processing, a crude 3D character (like the first version of the Sims) appeared in the middle of the room. He looked around cautiously before bumping into my coffee table and navigated around it.

It was incredible. It really felt like he was there. I looked out into my empty room, then back into my phone. It was like I was watching an alternate dimension.

Keep reading

Arc Poetry Magazine Increases Rates and Calls for Poetry Submissions - Pays $50/page

Canadian literary magazine Arc (est. 1978) has opened its annual reading period and is now accepting poetry (modern style), book reviews, and poetry-themed essays from both budding and professional writers. Arc is published twice yearly, including an annual issue to cover summer, fall, and winter.

Managing Editor Monty Reid welcomes original, unpublished poems, on any topic, in any poetic form. A single poetry submission can be up to five pages.

Keep reading


Pappus’s centroid theorem.

In mathematics, Pappus’ centroid theorem is either of two related theorems dealing with the surface areas and volumes of surfaces and solids of revolution. The theorem is attributed to Pappus of Alexandria and Paul Guldin.

The first theorem: The first theorem states that the surface area A of a surface of revolution generated by rotating a plane curve C about an axis external to C and on the same plane is equal to the product of the arc length s of C and the distance d traveled by its geometric centroid.

The second theorem: The second theorem states that the volume V of a solid of revolution generated by rotating a plane figure F about an external axis is equal to the product of the area A of F and the distance d traveled by its geometric centroid. Source: Pappus’s centroid theorem on Wikipedia.

Figure 1(Details, Animated gif): The theorem applied to an open cylinder, cone and a sphere to obtain their surface areas. The centroids are at a distance a (in red) from the axis of rotation.

Figure 2: The first theorem of Pappus states that the surface area S of a surface of revolution generated by the revolution of a curve about an external axis is equal to the product of the arc length s of the generating curve and the distance d1 traveled by the curve’s geometric centroid x : [S = s.d1  = 2.π.s. ] . Similarly, the second theorem of Pappus states that the volume V of a solid of revolution generated by the revolution of a lamina about an external axis is equal to the product of the area A of the lamina and the distance d2 traveled by the lamina’s geometric centroid : [S = A.d2  = 2.π.A. ]. See more at : Weisstein, Eric W. “Pappus’s Centroid Theorem.” From MathWorld

Images:  Pappus’s centroid theorem on Wikipedia. -  Pappus’s Centroid Theorem.“ From MathWorld. - Pam’s Shino Vase ~ by Voor Hees - Hand Crafted by Imran Sohail.


Shutter #23

Publisher: Image Comics
(W) Joe Keatinge (A/CA) Leila Del Duca

SHUTTER’s final storyline begins with Kate Kristopher in the most dangerous spot she’s been in yet, as she’s picking up the pieces in the wake of lives lost. Everything comes to a head as we learn the answer to every single question, every last mystery, and all the truths behind the lies we’ve learned. If SHUTTER’s second act finale proved anything, it’s that no one’s safe from what’s coming.

PLEASE NOTE: This extended-length final arc will not be collected for some time after it ends, so readers of SHUTTER VOL. 4: ALL ROADS TP’s shocking ending are highly encouraged to sign up for the single issues’ duration.

(Release date: 12th October 2016)