Honestly, Tvyek is pretty miraculous. It’s permeable to water vapor but not to water, it’s nearly impossible to tear, but can be easily cut. It’s cheap and made entirely without binding chemicals. In addition to being used for wristbands, it’s used to wrap construction sites to keep out water during construction, for tear-resistant envelopes at Fed-Ex, coveralls for mechanics, and my wallet, actually.
Fun tip, though it looks like paper, Tyvek is plastic, and cannot be recycled with paper.
fun fact there were at least two people named lancelot recorded in the 1292 paris census so I think we know what the 13th century equivalent of naming your kid sasuke was
other names that sound normal now but are actually From Pop Culture- meaning they were used for fictional characters before they became real-people names -include:
- Mavis (from the book The Sorrows of Satan, 1895)
- Pamela (from the book The Countess of Pembroke’s Arcadia, late 16th century, but popularized by the 1740 novel Pamela)
- Imogen (from Shakespeare’s play Cymbeline, c. 1611. possibly a typesetting error on the earlier name Innogen)
- Enola (from the book Enola, or Her Fatal Mistake, 1886)
- Vanessa (from the poem Cadenus and Vanessa, 1812)
- Cedric (from the book Ivanhoe, 1819. transposition of letters from the earlier Saxon name Cerdic)
- Dorian (from the book The Picture of Dorian Gray, 1891. similar masculine names had previously existed, like Dorus, Doros, and Dorios, but Wilde is believed to have coined this specific usage)
- Jessica (from Shakespeare’s play The Merchant of Venice, c. 1596-7. Possibly an Anglicization- Italianization? -of the Hebrew name Yiskah, since the character is Jewish)
– Wendy (from Peter Pan, 1904. It was sometimes used beforehand as a nickname for Gwendolyn, but wasn't used as a given name until J. M. Barrie popularized it.)
– Cora (from the book The Last of the Mohicans, 1826.)
– Lorna (from the book Lorna Doone, 1869.)
– Miranda (from Shakespeare's play The Tempest, c. 1610-11.)
– Norma (from Alexandre Soumet's play Norma, ou L'infanticide, 1831, best known as the source for Bellini's opera Norma, which premiered later the same year.)
— Madison (from the film Splash, 1984; it was an uncommon masculine name, and unknown as a feminine name before being popularized by the Tom Hanks mermaid film)
The recent "Five-Year Love Plan" arc revolves around acting, featuring the hijacking of a studio at Berlint TV Tower by a group of armed fans determined to reshoot the drama’s finale.
The seeds of this theme were planted about ten chapters earlier, during the "Poachers Hunting Arc".
During that arc Yor discovered that her superior, McMahon, has a wife and asked him how he manages to reconcile his life as an assassin with his marriage.
McMahon admitted that he has never revealed his double life to his wife, and never will. Rationally, he knows that if she found out what his job truly entails she would feel horrified. And yet, deep down, he still holds onto the hope that she might understand…and perhaps that very hope is what has allowed their relationship to endure despite everything.
Still, he makes one thing clear: he will never, ever drop the mask. He will wear it until the very end.
And he warns Yor to think carefully about her own marriage: if she’s not sure she can manage it, she'd better walk away before anyone gets hurt.
McMahon’s words hit Yor hard.
In the past she had already entertained the thought that Loid might understand her if she revealed her secret. Now, that same idea resurfaces from a completely different angle. And not just from anyone, but from someone who has already lived a version of her situation to its endpoint, and it comes at a time when her feelings for Loid are starting to take a more concrete shape. What began as a marriage of convenience is quickly giving way to the hope of something long term...something she still believes to be one sided.
The "Poachers Hunting Arc" also introduces Hemlock, another Garden assassin. Hemlock is cold, almost hermit-like in his isolation, convinced that true strength comes from the absence of emotional ties (a stance that, while exaggerated for the sake of his character, mirrors Twilight’s own mindset).
He harbors deep resentment toward Yor, to the point of forcing her in a mortal duel. Before meeting Loid, she too was cold and solitary, but now, paraphrasing his own narrow perception, domestic life has dulled her thorns. And in his rigid view that shift is nothing but a sign of dishonor, weakness and uselessness.
After that mission, Hemlock is assigned by Garden to work at City Hall alongside Yor and McMahon, mainly in an attempt to improve his nonexistent social skills. It’s there that McMahon reiterates his point: "Not everyone is cut out to act in certain roles", words that echo everything he has already told Yor, hitting her once again where she feels most uncertain.
Back home, a conversation with Anya (whose emotional intelligence is far sharper than it appears) leads Yor to admit, first and foremost to herself, that she loves Loid. This realization strengthens her resolve to protect her family even if she feels she’s not "suited" for the role.
After a couple of arcs focused on other aspects of the story, the spotlight returns to Yor and Loid, this time in a very literal way.
This arc fully embraces the theatrical motif. With the premise reinforced through a brief flashback, Yor ends up being targeted by the hijackers to play a role in the reshoot. And since she has a tendency to take everything VERY literally, she readily accepts the assignment determined to improve her acting skills.
The effectiveness of this setup doesn't come from the drama itself. Expectations are quickly subverted: the kiss led nowhere, no jealousy, no manufactured romance, no grand realizations tied to the narrative of the play.
The real tension comes from placing Loid and Yor in a situation where neither of them can rely on their specialized skills. They are trapped in an enclosed environment with no blindspots, Yuri is with them, cameras are on, they're backed into a corner. Loid cannot switch back to Twilight without risking Yuri to blow up his cover, Yor cannot resort to assassination without exposing herself.
They’re both forced to roll with the situation, exposed and vulnerable, and that’s what gives the whole ordeal its lingering weight and depth.
━━━━━━━━━━
While the idea of "playing a role" within the family has been present since the very beginning, Yor’s emotional development has intensified her fear of making mistakes. Every practical reason that once justified her place in the Forger family has now been replaced by a genuine desire to belong.
She lost the cold detachment that once defined her outside of work. She feels real affection for each member of her new family, and the respect she always held for Loid has grown into something deeper.
The critical point, however, is that while Yor still feels like an outsider within the family, she has no idea that Loid is wearing an even thicker mask than she is.
For him, acting isn’t an effort. It’s the core of his identity as a spy and something he's being doing masterfully since his teenage years. He’s used to long term missions, to emotionally demanding roles (his previous mission required him to act as someone’s fiancé). But the Forger family, for various reasons, is acting like a slow earthquake, cracking that mask piece by piece. And at the end of this arc that crack finally becomes visible.
This shifts the entire perspective. If Loid Forger is just a role, then the person Yor has fallen in love with doesn’t actually exist, it’s all just an act. On paper that’s true. And if Loid were to fully acknowledge Yor’s feelings that’s likely how he would frame it.
But the reality is different.
The crack isn’t revealing Twilight (the identity he fears most, the one that drives him to constantly scrutinize everyone around him, including Yor)…
…the fracture runs so deep that it’s revealing [Redacted].
And, finally, the epilogue ties it all together in a way that resonates deeply for both of them.
[Images sources: Chapters: 35, 117, 118, 119, 120, 128, 130, 132. Some panels have been slightly edited for visual clarity without altering the original text]
holy MOLY THIS GOT SO FREAKING LONG BRO im lowkey delirious but im gonna put the rest of the caption under a read more because it'll probably get extremely long as well
this started when i reblogged that one post and put the idea of twilight getting jealous of franky's other friends in the tags. then it got in my head and i was like, twilight is a friendless loser lowkey it would make a funny comic. so when i started this comic i intended it to be short like usual, and mostly silly in tone (you can kind of tell even by the way i draw the panels, if it's something goofy i'll hand draw the panels so they look a little messy, but if it's more serious i use a tool to make the lines neat and straight. the panels are mixed throughout this monstrosity which drives me a little crazy but i digress (digressing seems to be all im doing)). however the more i drew it the more i thought, Damn. it's not that he doesn't have friends, it's that he's actively like self-sabotaging because he thinks it'll go against his life mission of being a spy, which took #1 precedence after all of his friends and family died. but obviously he's never honest with franky about their friendship (even though IRONICALLY franky is the person he's most honest with otherwise), but he's been slowly opening up to yor, so i had to draw a whole sequence where yor and him had a conversation. and then obviously yor is a GORGEOUS QUEEN ALWAYS so i had to up the quality of those panels, but by the end you can tell i was so done because they're pretty rushed drawings. the ending in general is a little rough imo but i'll need to reread this comic in one go to get a feel for the flow, which i def wont be doing anytime soon because IM SICK OF LOOKING AT IT. this is the most amount of time i spent drawing a single comic and it revealed to me why i NEVER DO IT!! every time i went to add another drawing it warranted looking through every other page in succession. I have seen all 23 pages of this mf like 20 times each. IM DONE. MY NECK NEEDS REST! AND I SACRIFICED SLEEP FOR THIS TOO! GAHHHHHHH
post!reveal forger family and it's just loid just forgetting anya is adopted and vice versa. leaned too much into the backstory and totally forgets she's not his biological kid. (still his kid though)
.
loid: anya, not too much sweets. we have a history of diabetes in our family.
anya: okay papa *puts down the cookies*
yor: ?????????
.
becky: wow anya! you really got burned after our day at the park
anya: i know it's stupid. papa burns really easily too and i forgot to use the sunscreen he gave me.
damian, after his confession to anya and acceptance in the forger family: wait a minute-
.
loid, after anya gets a letter from eden academy: i certainly didn't expect this kind of trouble in my life when your mother and i brought you home from the hospital!!!
anya, in her full teenage angst mode: well maybe you shoulda left me there!!!!!!
loid: maybe we should have!
franky, getting uncomfortable: didn't you get her from an orphanage-
Right now it's very cold in Gaza, and people don't have the means to protect themselves from it properly. @aburakhiaibrahim is one of such Palestinians, living in a tent that isn't appropiate to protect him and his family. They are also facing starvation, and don't have access to water and medicine. They've been fundraising for a very long time, but their campaign is moving very slowly, so far only raising $8,180/$30,000 CAD. So please, share the campaign, and donate to it if you can. Ibrahim and his family need our help, and even the smallest contribution can make a big difference
Dear Compassionate Community,
My name is Samah, and I com… Samah Aburakhia needs your support for Seeking Safety: Support My Family's
This campaign has been verified by gaza-evacuation-funds
