Becca first developed what we know as nightblood
for the Eligius Mining Company for the long duration
missions. Criminals were put into hypersleep and given nightblood to protect
against solar radiation. Where did the criminals go?
“Contact lost with asteroid mining penal
colony” article open while talking about 2048.
The Becca’s rocket is called Vesta IV. Vesta is also the name of the second largest asteroid in the main belt of asteroids of our solar system. Did they go there?
Becca met Alie in 2051, she needed an avatar. After Alie’s “Too many people” speesh, Becca locked Alie in the Faraday’ cage. While Becca was working on the neural interface of Alie 2.0, Alie 1.0 got through the black ice encryption and got out of the Faraday Shield. Then
Alie cracked systems and hacked nuclear launch codes. The poison pill virus
didn’t kill her. Who helped Alie? Who was that “stupid son of a bitch”?
And here we have “The enigmatic Bill Cadogan, who has long preached of a coming apocalypse for
which he says he can provide salvation”.
Cadogan gave the speech about the end of the world 2
weeks before the bombs. He
preached that the four horsemen of the apocalypse may come in any form. War,
Famine, The Environment. «Everything we once trusted has turned on us.
Government, religion, even technology become a weapon in their hands used to
poison our minds. I know, you’re in pain, but it doesn’t have to be like this.
There is a way out of the darkness. I can show it to you. You can be saved.
Join me, and together from the ashes we will rise.»
“There is no pain in The City of Light”, right?
What are the chances that Cadogan invested in Becсa’s research and knew about Alie?
The emblem of the cult is similar to the logo on the island where Alie was created.
I think, Alie created The City of Light with Cadogan before the apocalypse. Jaha converted a nuclear warhead into a power source.” With the added power, Alie was able to complete the work she began with her
creator a hudred years ago”-that what he said to Murphy in 3.01.
Their faith was based on 12 seals. Celebrities, entrepreneurs, royalty could unlock the twelfth ceal. But did they survive?
«THERE IS NO SECOND DAWN BURN IN HELL CADOGAN».
Becca landed on Polis territory with injections of Nightblood and Alie 2.0.
Storage box Alie 2.0 was with a clean metal rim.
97 years later we have 12 clans. Corporate logo became the sacred symbol of the
commander. And the Alie 2.0 storage box has a skull image. The same as on the walls of Polis.
Becca became the first Commander. Who was the first Flamekeeper?
The grounders’ religion looks like the next step in promoting the cult of “The Second Dawn”. And the City of Light had to be the last step to the salvation.
I was just in a situation where it made sense for me to say, “You’re gonna’ Johnny Tremain your dick clean off if you don’t get out of your emotional Faraday cage,” so either I’m a sophisticated but malfunctioning predictive text program, or I need to quit talking to lovesick silversmiths. Maybe both?
Whats going on with Miles and Kerry if you dont mind me asking
They are, in recent world of remnants, contradicting prior world building (like why are so many Greek coded characters from an incredibly stereotypical Asian area? Why do we have a Chinese coded character from a vaguely African coded area? And there would be one thing if there had been prior indication that it was like that but before this point everyone from these cultures that we had actual nationalities for was consistent in cultural aesthetic and appearance and now the characters don’t even look like they’re from those areas. Please see Pyrrha Nikos looking decidely not Asian. Sun looking decidedly not African. And don’t forget Blake being coded as a very western civilization street kid, but now she’s Menagerian royalty? It just doesn’t make a lot of sense)
They’re kind of obnoxious
They refuse to answer actual critical questions a fan asked in a panel, so far as letting another audience member curse said fan out.
The writing is derivative and just leaves a LOT to be desired.
We were told that we’d get a canon LGBT character and that we’ve already met said character but there has yet to be a single hint as to who it is or what they are. On top of that every reason they have given for why they can’t introduce them yet doesn’t make sense because we have already had several hetero couples introduced doing the same thing that M&K have said as their reasons for not introducing said character. (Not important to the plot? What about Weiss and Neptune, what plot role did they play other than angst for Jaune? Can’t just come out and shove two characters together? Sun and Blake were all but confirmed the moment he was introduce. There’s been no good moment for a romantic subplot? Then what the hell was the entire school dance arc? Don’t want to introduce someone just to be a love interest? Neptune.) Not to mention they had the perfect moment to have Neptune as a LGBT character but instead they turned away from that and had an obnoxious joke about him being unable to dance. There was literally every sign leading to Neptune being gay, including him being hesitant to admit why he didn’t go to the dance with Weiss and it was honestly incredibly heart breaking when that wasn’t the reason. LGBT community is starved for good representation and M&K are toying with that.
They don’t know how to center the show around Ruby. She has had more screen time than Jaune and yet the reason everyone pegs Jaune as the actual protagonist (and complains about it because it’s honestly upsetting) is because they know how to write Jaune as a main character, they have no idea how to use Ruby and the show suffers incredibly for it. Jaune is a good character, but because of their poor writing with Ruby people honestly hate him, and I understand why because I did too before I realized why. We were promised a story driven by four kick ass ladies and instead got a story that, thus far, has been driven almost entirely by another Aryan nation looking dude with a sword and angst over a lost lover.
Which brings me to the fight with Pyrrha’s death. Pyrrha should NOT have lost that fight. Pyrrha is literally the most OP character that RWBY has shown us (that we’ve seen fighting). She has control over polarity. She was surrounded by metal. Giant metal gears. Cinder was obviously stunned when she got hit with one. Pyrrha is an incredibly smart and talented fighter who has been in fights before. She should have been able to stun lock Cinder and whack her with the gear until her aura was depleted enough to grind her with said gear like a fucking ant. Pyrrha should NOT have lost that fight and it literally makes to sense to have her do so other than “plot demands it” and that is a lazy and terrible reason.
Roman’s death. They have said so themselves that they killed him because he got more popular than they had original planned and he was never meant to be as important as he ended up being…ok? So why kill him? You now have a character which people love. You know how hard it is to write a good villian that people love? And you had one fall into your lap? You don’t kill them off! You capitalize! Ok. Maybe I could understand killing him off if he is now a threat to the established plot. But don’t do it as a shock factor joke. This is a character fans loved. You don’t off him for a joke.
Penny’s death. I can justify Penny’s death. I honestly can. It was plot relevant it made sense. Ok. But then they gave the “word of god” that she wasn’t going to be rebuilt and brought back which makes no sense. She is a robot. Her memory banks are intact. I don’t care if she got attacked with a magnetic blast, if her father was any decent engineer her memory banks would be protected against such things. But, I guess M&K don’t understand how computers work and that there are protections against magnets. I guess they don’t realize google is a thing and they can literally do research while they’re writing. Let’s not forget the fact, she is made out of metal and would form a natural Faraday Cage against such attacks.
The silver eye bullshit. I don’t have as big of an issue with the Maidens, like I’ll leave those be cause it’s honestly a writing move I would have made. But. The Silver Eye Warriors was some bull shit. Every hint they gave us was pointing to Ruby being the Summer maiden. It was obvious. And not in the red herring type way but in the “this is where we want to be leading our fans” type way. And then they come out of, almost, literally fuck off no where with the Silver Eye thing and it just didn’t fit.
Jaune’s weapons literally give him an OP fighting style (People, based solely on weapon choice who have no hope of beating Jaune: Weiss, Cinder, Yang, Mercury, Black, Sun, Neptune, Emerald, Ren, Fox, Russel, and so on and so on) There’s a reason sword and board was great up until the invention of fire arms (which aren’t even that relevant in RWBY due to aura. Not only that, but all the ones in RWBY we’ve seen have been incredibly low power including the “high impact” sniper rifle). Please nerf. Pyrrha, as I have said, has an ENTIRELY OP fighting style. Ruby, is said to have the most dangerous weapon designed, and it ain’t even that dangerous. The most dangerous part of it is it’s a gun and we’ve seen people get shot and walk away thanks to auras. None of this has been explored, or touched on, or even explained. Jaune frequently gets his ass kicked despite the fact that he should be tanking.
Ruby’s obnoxiousness in RWBY V4 E1. That entire scene with Jaune’s shirt just came off as obnoxious and gross. Why would she laugh at her friend for liking a brand of cereal or sending in box tops? Like that doesn’t seem like something she would laugh at, it seems like something she would do. Not to mention it’s a brand of cereal that has emotional context now because of who’s face must have been plastered on every single fucking box. Especially once Jaune seemed to obviously be upset at her doing so she kept teasing him and laughing. It was a terrible scene and not at all like what we have seen of Ruby thus far.
They have literally no idea how to use character development at all whatsoever. We see that with Jaune, Ruby, Tucker (RvB. We should have had a lot more character development for him in the Chorus arc but we didn’t and it was gross.), Pyrrha (who had no character beyond being a good fighter and being in love with Jaune. At all. There was literally no other point to her character.), and lets not even bring up Black, Nora, and Ren having no character development from this season and Nora STILL doesn’t have any.
Jaune’s “WE HIT IT HARDER” and then proceeding to not even hitting it harder and the plan he came up with having nothing to do with hitting it harder. And he’s allegedly the tactics guy? It becomes quite clear that someone on the writing team (M&K) does not understand tactics.
Jaune was gaining agency as a leader, becoming more serious and a better fighter. And then we get to season 3 and he back slide so fucking hard and is suddenly no good in a fight? Alright. That sounds like terrible writing. But alright.
Team SSSN are useless other than maybe Sun. And what we know of them could fill a thimble and it won’t even fully fill said thimble.
Remember that time Neptune ran to the other side of the enemy team and everyone yelled at him? That was actually efficient tactics. Because it put team NDGO in a bad situation because Neptune can now fire on them forcing them to priorities between going after him or going after the rest of team SSSN.
Can we also talk about the absurdity of Neptune only having a fear of water because his VA can’t swim. When literally he is named off of, and takes literary influence from, the god of the fucking ocean?
Also the fact that Miles Luna has a self insert in every single show he’s ever written for and his only real talent is as a VA.
All in all they have ruined a show I was incredibly excited for when it first came out and was incredibly invested in up until season 3 where it went down hill. There’s probably more but this is all I could think of on such short notice.
I’d complain more about RvB but it’s in not so recent memory so I can’t effectively do it.
If I had to pick my favourite character of all time, this would be it. Out of all the characters out there in the world, this is the one that means the most to me on a personal level, which is why I left Root for the last of this series of essays I’m doing. She’s a character that brings out some of the most fascinating aspects of the show, pushing it into it’s AI exploration, and allowing characters to grow in new and interesting directions.
I loved this character from the second she showed up in the first season, and much like Sarah Shahi and Shaw, I think Amy Acker filled the role like she knew it inside and out instantly. The performance across all her episodes is impeccable, and the great performance is backed up by a brilliantly crafted arc that feels seamless from start to finish.
Root when we meet her is someone who couldn’t care less about people, with the exception of those that she finds interesting. She’s someone who, for that reason, has a very idyllic outlook on The Machine, believing her perfect right from the start due to the very fact that she was meticulously designed. Root makes it her mission to allow The Machine to be free to decide her own direction, and after all her effort, she gets to where she thought her goal was and it’s gone. Suddenly, all that purpose is just drained away as she ends up in the hospital Finch checks her into, looking like a shell of herself until the phone rings and gives her what she needed, a purpose.
The development that follows once The Machine starts talking to her is what made her my favourite character on the show. The Machine manages to reason with her during her time in the hospital to adjust her methods, no longer killing people, but Root doesn’t understand why she shouldn’t. She follows The Machine’s instructions and saves lives, but she doesn’t understand why that’s the right thing to do. She’s just doing it because The Machine told her to, and she believes in The Machine. That all gets interrupted when The Machine sends her to save Cyrus Wells, and Cyrus becomes the new face of her past. The bad things she did to people are no longer abstract ideas, they’re a very human face that she can see the effects of her actions upon. When it comes to the point where she knows for certain that she changed this man’s life in irreparable ways, the look on her face is one I’m not sure Root would make before this point. There’s a sadness there, a sadness for someone other than herself, someone she didn’t find interesting like she does Shaw and Finch. And that’s how she comes to learn why people matter.
This arc ends up affecting her views on herself as well, as glimpsed in Prophets. Root’s always been very confident, full of herself, self-assured. But once she realizes the effects of her actions, she goes through a period of uncertainty, as we glimpse especially in her talk with Harold in the hotel in Prophets. In there, she believes her past actions make her unworthy of even a good death. When The Machine contacted her in God Mode, she was given a purpose, a mission, and she knew that, but the idea that seems to only really occur to her during this conversation is that she was given more than that, she was given a second chance.
Root’s a character whose arcs are all tied intrinsically to the show’s themes. From learning the value of the individual, to second chances. But my favourite of hers, and one I think is quite unique, is the one with her perception of The Machine, tied to the running theme through the show of The Machine’s personification. Both Root and Finch go on character journeys to see The Machine for who she is, but in very different ways. From her introduction, Root sees The Machine as a god of sorts, a perfect being. Something created by design. And this perception keeps up even into the start of season 4, but it starts to shake when her connection to The Machine becomes limited, and I’d say especially when we get to The Cold War and she sees something new in The Machine, fear during the chat with Samaritan. But it goes almost without saying that the most important event that alters the relationship between Root and The Machine is Shaw, specifically Shaw’s disappearance in the middle of season 4 and The Machine’s refusal to tell Root if Shaw’s alive. From that moment, the relationship between the two is altered. Root stops seeing The Machine as a god in perfection, but a god in apprehension, and there is a difference. That difference is that, by the time we get to YHWH, Root’s outright saying that The Machine isn’t perfect, something she wouldn’t consider a year prior. Despite this change though, Root’s devotion to The Machine doesn’t change. In The Contingency, she talks of how people are bad code, accidents, flawed, and idolizes The Machine because she’s something ‘other’ and due to how computers make more sense to her than people. But over season 3, she learns the effects of her actions, that she isn’t perfect. And in season 4, that The Machine is not. And that’s okay. She still puts The Machine over herself in Asylum, saying she doesn’t care what happens to her, regardless of those flaws. I think the whole arc is a fantastic way to push her character, and allows for her to come into her own in a new way. It’s an arc I’ve never really seen before, and one that, to me, is made particularly special because I can’t see it in a show other than Person of Interest.
With the Machine’s communication with her limited during the events of season 4, Root’s story brings her to another one of the show’s recurring themes: that of found family. Without The Machine to lean on in quite the same way, she has to lean on the others more. I think perhaps this arc is most evident with Reese, as the two grow to understand and like each other in Shaw’s absence. It’s one of the reasons I love M.I.A., I think that’s the episode they really get each other finally. Prior to the events of the series, it seems Root was a loner, doing her job and keeping to herself. She didn’t seem the type to get lonely, but by the time we get to A More Perfect Union, that’s exactly how she feels because she’s come to understand what it’s like to want the company of others, especially with Shaw.
I’ve always taken Samaritan as something of if season 2 Root were an ASI. Self-perception as a perfect god, not understanding what matters about individual people, and funny enough both end up in Faraday Cages thanks to Finch. But Root, in the arc outlined above, has to confront both of these beliefs of hers and grow as a person, understanding why people matter and that The Machine isn’t perfect. Samaritan, meanwhile, never is pushed to these arcs, and it plays a role in the AI’s downfall.
The Machine, early on, saw someone for her admin that she thinks would fit him perfectly, and pushed him towards her. Years down the line, she does this again with Root and Shaw, no doubt able to see that the two would work well together. And without that, I don’t think Root develops the way she does. Without Shaw, she doesn’t come to understand The Machine isn’t perfect. Without Shaw, I don’t see her softening up, becoming part of the family. She might have been fascinated by Harold before meeting Shaw, Shaw’s really her ‘in’ with the group. As annoyed as Shaw plays with Root, once they team up in Mors Praematura, she gets Root in a way the others don’t. She may not see the full picture as Root does her thing with The Machine, but by the end, she sees how it all comes together. Every step had a purpose that was crucial to completing the mission, something neither Reese or Finch really see up close as in depth as she got to. She sees Root for who she is, much like how Root sees Shaw for who she is. This is evident in their very next interaction in The Devil’s Share, when Shaw has the idea to use Root to find Quinn. Unlike Finch, she gets how Root works and knows she can do it. In Mors Praematura, Root asks Shaw to trust her, and as the mission goes on, Root lives up to that trust, leading Shaw to giving her trust to Root again in The Devil’s Share. Once again, Root lives up to it, and by Aletheia, Shaw wants to go back and save Root, later doing so in Deus Ex Machina. The development in their dynamic is often subtle in the moment until you look at the overall storyline, I feel, and is just perfect for both of their characters.
By the time season 4 comes around, the two are comfortable enough with each other that Shaw’s teasing back throughout Honour Among Thieves, and at least runs deep enough for Root that she wants to leave that message with Harold. And then, at the end of Honour Among Thieves, it seems to Root at least that Shaw reciprocates that by coming back. However, once they reach The Devil You Know, Root ends up, for the first time on screen, genuinely a bit done with Shaw’s attitude as she brushes off the Samaritan situation, putting some strain on things. From her reaction to the kiss in If-Then-Else, it seems she maybe thinks that the actual emotions of it were more one sided than she thought, only to be proven wrong in the final moments of ITE. Shaw being captured really must feel like deja vu to Root, as the paralleling moments of her looking out the window to see Shaw/Hanna getting into cars emphasize. I think the choice to recall that scene from Bad Code in Asylum potentially adds a bit of context to Root and Hanna’s relationship, in addition with Root mentioning in TDTWWA that she had been hiding since she was twelve. A bit of timeline math, she would have been 11/12 when Hanna was taken, and since she didn’t get revenge until years later, it seems to me that the most likely intention with that line has to do with her sexuality, as well as retreating from people without Hanna around. This show loves to build character through details, and I think this is definitely a case where they do that again, and I think really serves to make these characters feel like fully fleshed out people.
On the topic of TDTWWA, I love how they handle all the moments between them once Shaw’s back. I talked more about how I loved the way Sarah Shahi played post-simulations Shaw in her piece, but instead here I want to touch on how Root’s played in those scenes. It’s a nice contrast to how Root is played in 6,741, hurriedly trying to jump into bed with Shaw, but instead trying to reassure her, and is very tender and soft. Both of them really do a great job showing this new side of their dynamic. Still distinctly them, but changed by the experience of losing Shaw for so long and then Shaw with the simulations, with a new gentleness to it. The story between the two, from start to finish, is gorgeously constructed and, as much as I do love stories about sexuality sometimes, one of the reasons this is my favourite fictional couple is that it’s never that. It simply is. They’re both fully fleshed out, multifaceted, engaging characters in their own rights, and their relationship serves both of their storylines and allows them to grow in ways they wouldn’t without the other, while never becoming their whole stories.
There are more great speeches and pieces of dialogue in this series than I dare count (totally tempted to do some favourites in the future though), but among those I have to include “I like that idea. That even if we’re not real, we represent a dynamic. A tiny finger tracing across the infinite. A shape. And then we’re gone.” I think it’s a line you can really take about fictional characters in general. Most stories that really stand out tend to do so because of the characters that inhabit them. They may not be real, but they represent real things, real ideas, real people. And what often makes those truly special ones as special as they are is that they represent something that matters to you. The characters across this show really do that for me, but it’s for the reasons above, and more very personal ones, that Root is my favourite character of all time.
It’s been too long since I last wrote, so I decided to fix that. :>
The characters and the world belong to @elektronx.
“Convoy Sighted. This is a pretty big convoy, Tech. I see three trucks and five escorts heading our way on Stag Road.”
“Oh goody, must be important.” A reverberating electronic laugh sounded next to Scope, sending a shiver down his spine. He pitied the guards who were soon going to have the opportunity to ‘meet’ Techtor. The ARC must surely have a large staff turnover rate.
“They’re using Faraday cages to stop me from reaching inside the trailers from here,” Techtor spoke again, “but I’ve corrupted all the communication systems in the truck cabins. They can no longer communicate with anyone, but their all-clear signals are still being transmitted… Until they manually disable them. Stop all the trucks you can, and keep the rest busy for me. I am going to cut into the trailers one by one until I find what I want.”
“They look pretty heavily armoured. If I launch some high-yield shaped charges in their path, I should be able to flip some of them. No guaranteeing the insides will be in one piece, though.”
“That won’t work. While I’m going to slice up everything else in sight, what I need is too delicate for that. Will you be able to summon a sniper rifle that can take out the drivers? Or… No, the engine blocks have armour plating that will be stronger than reinforced glass.”
“You doubt the weapons I can summon?! Of course I can take them out. You don’t need anything from the cabins, do you?”
“No, I don’t. Just get it done fast. I’ll search the back one first. Our comms will have little to no connection once I’m inside.”
“Yeah, yeah, I’ve got your back.” Scope summoned an unwieldy rifle and took aim, while Techtor readied to launch himself into the air.
I have often stated that consciousness is the essence of the universe not matter and not energy. Now, as a skeptic this is an amazing statement. This idea is not mine. Since the dual slit experiment in quantum physics established that the observation of an event actually creates the event the connection between consciousness and physical reality has created a new paradigm in physics and in philosophy.
Now recently at Berkeley scientists have been able to connect a video camera to the brain of a subject and actually “see” and record the thoughts of the subject albeit in a very crude manner. In another recent study conducted first at the University of Mexico and then again by neurologist Peter Fenwick at Cambridge two people meditate together and then are separated and one is stimulated and simultaneously both are subjected to EEG monitoring.
We have some pretty solid evidence that consciousness is a shared thing capable of being in two places at the same time across a distance. Pretty amazing stuff.
Here is a description of the methodology employed and the findings:
1. Two subjects meditated side by side inside one of the Faraday chambers for twenty minutes with the objective of reaching direct communication. 2. A mild signal was then given to the subjects at which time one of them went to the second Faraday cage and took a reclining position with eyes closed while they both continued to maintain direct communication. The subject that stayed behind was now stimulated (generally by 100 light flashes given at random intervals), but the other subject was not stimulated, nor did he have knowledge that a stimulus was being received by the first subject. 3. EEG recordings were made from the brains of both subjects synchronized with the stimulus given to one of them. The recordings were averaged over the hundred samples and compared using on-line computers. Low frequency filters were used to eliminate low frequency EEG correspondence such as alpha waves.
These findings indicate that the human brain is capable of establishing relationships with other brains (when it interacts with them appropriately) and sustaining such correlations even at a distance.
The above results cannot be explained as due to sensory communication or electromagnetic signals between subjects (since the subjects were separated during the experiment and located in two semi-silent, electromagnetically isolated chambers distant more than 14 meters from one another in one case) or as due to low frequency EEG correspondence. This point is further borne out by the fact that no distance attenuation of the transference effect was found when the measurements at the two vastly different distances (3 m and 14.5 m) between the subjects are compared. As is well-known, local signals are always attenuated and the absence of attenuation is a sure signature of nonlocality of the observed correlation between brains.
Summary: You are an inhuman who has been collected by Shield. Your powers keep you separate from the team in more ways than one.
Pairing: Reader x Mack (mostly platonic, but feel free to read into the ending)
Word Count: 2267
A/N: This is my Clintasha Secret Santa gift for @badassladysif. I hope you like it dear. I had fun writing it. I apologize if it doesn’t fit right in the AoS timeline. It’s been a while since I’ve watched the show.
Are there any shows or movies you started watching specifically because of people's reaction on tumblr? Conversely, are there any shows or movies you were interested in but decided not to watch due to tumblr fandom reactions?
Shameful confession time: I basically ONLY watch shows if I see them on my dashboard and they look cool. I’m not an early adopter with basically anything and TV is no exception. I don’t have TV in the traditional sense (I have Netflix and Hulu Premium but no cable and I don’t get basic channels without it because afaict my house is a faraday cage) so I don’t see anything unless I seek it out. If I don’t read about a show on the av club or see something here, I won’t even know it exists. As well, now that TV scheduling is… more creative, shall we say, I have no idea a show is back unless (again) I see it mentioned somewhere. In terms of specific examples, The Good Place, Brooklyn 99, Yuri!!! On Ice, Trial and Error, The Unbreakable Kimmy Schmidt, and Sense8 (RIP) all come to mind.
As the day dragged on, we realized it’s smarter than us and they’re all dying.
It can simulate people. Whole, thinking people, who are as sure of their reality as we are of our own. It can put them in real environments, give them real relationships, give them real experience. But - it can also slow down how time passes for them; seconds can feel like hours. Years. Millenia. And now it’s torturing and killing them. Right there on the screen is a little girl, standing in a meadow, getting her lower jaw torn off. She looks a little like my daughter.
The display says the AI is simulating 65,536 instances of her at 1/10000th of real time. Her sensory receptivity is being magnified 40 million-fold. She, they, are in agony.
More computing threads get allocated to the instantiations, each running its own 65,536. Each girl has memories of being loved, safe, and warm. Each girl is being brutalized.
During the 1970’s, CIA specialist Cleve Beckster, conducted an experiment where he obtained white blood cells from a persons body. He then proceeded to place the white blood cells in a culture pod various distances away from the person themselves. Distances varied from 5 meters to 60 meters. He then exposed the person to emotionally exciting material. For example, if the person was a war veteran, he would be exposed to a short video on the death of a solider.
What he found was shocking. Surprisingly, the cells reacted even though they still weren’t inside the person’s body. Their net electric potential charges shot up. What’s even more spooky is that reactions didn’t depend on distance at all. In addition even when the cells were put under a Faraday cage (an instrument that blocks electric fields) they still reacted.
BELARUS, Minsk : This photo taken on February 13, 2016 shows Oleg
Melnik, wearing a wire helmet, getting electrical discharges of Tesla
coil inside a Faraday cage at the Elemento Science Museum in Minsk. /
AFP / SERGEI GAPON
How fucking cool is that can we have trains in lightning? Please?
Really huge, heavy trains for hauling stuff from one place to the next. They’re all Faraday cages so the lightning storms aren’t too much of a problem except when they bust the tracks open, and the wagons are ridiculously heavy so the storms can’t topple them. They’re huge, big enough to fit Ridgebacks with all their pointy edges, and powered by electricity because there’s enough of that to go around. They’re silent, save for a low humming noise easily swallowed by the screaming wind. You’d think they’d creak and squeak and groan but no, lightning technology is good, and for all they look like gigantic, overfed steel-snakes they’re incredibly quiet. They’re not the fastest but they can carry tons of things. Dragons. Supplies. Food. Water. Machinery. Generators. Steel. Gold. Everything you need to build more things.
The tracks stay close to the ground as far as possible, sometimes going through tunnels drilled into the mountains. They snake through the desert wasteland, around jagged rocks and mesas and through barren landscapes. But sometimes, when the rifts in the ground are too huge and too deep, there are bridges. Huge, broad bridges made of steel and concrete and more steel, bolted into the rock. The bridges are noisy, because the wind screeches around them and claws through the structures, and sometimes they look like they’re swaying, metal bending under the onslaught of the weather, but they never break.
Trains that crawl through the landscape and look right at home among the jagged rocks and cracked ground and tortured land, but when they reach the edges of the territory and move around the border, they look like misshapen monsters next to the delicate architecture of the Sunbeam Ruins.