surely this is a good idea that doesn’t have the capacity to end real fuckin badly
Bridges aren’t supposed to have weight restrictions on them. That is, they don’t come with weight restrictions on them when they’re new. So a bridge with a weight restriction on it is a sign that something has gone wrong and the bridge does not meet current standards.
The maximum weight that a vehicle is allowed to carry on the Interstate System per federal law is 80,000 pounds gross vehicle weight (with a max of 20,000 pounds per axle). That’s 40 tons. That limit applies to every inch of pavement, not just the bridges. Since this is a known cap, a new Interstate bridge will be designed to accommodate an 80,000 lb GVW load on it. You could say the bridge’s weight limit is 80,000 lb/40 tons but that doesn’t really have much meaning, because a load higher than that would be illegal to transport on public roads anyway, and the road leading up to the bridge has the same weight restriction. (In practice, the bridge doubtlessly will be designed to have a little bit of let to it just in case some idiot tries to squeak by a few hundred extra pounds.)
Now, note that that law applies to the Interstate System only, because the federal government only has a governing interest in the Interstate System (and other roads that together make up something called the National Highway System) because they partially fund it. Most long-distance roads are owned and funded by the states. The states could theoretically set lower standard weight limits and/or design bridges with lower weight limits…but in practice they don’t.
One, because all of that 80,000 lb GVW traffic on the Interstate system has to go somewhere when it exits the system.
Two, because a group called the American Association of State Highway and Transportation Officials (AASHTO, who are best known for picking the road numbers) maintains a catalog of standard components for making bridges that meet Interstate System requirements. Engineers are expensive on a per-hour basis, so if you can direct your engineer to use standard components and make a standard bridge, that’s a lot cheaper than having them design a bridge from scratch to go over the creek in Nowheresville. As a result, most new bridges meet Interstate standards and have an 80,000 lb GVW rating even if they aren’t on the Interstate system. (This is also why all new bridges kind of look the same, but we’re not worried about how boring the bridges are for the sake of this post.)
So a bridge only has an explicit weight limit if it has been damaged in some way (through failure to properly maintain it usually) or because it predates the application of Interstate System standards and the standard AASHTO bridges.
Older bridges often have other problems in addition to the weight limits: many older designs are what we call “fracture critical”, which means that if one component of the bridge fails the whole thing collapses. Modern bridge designs have redundancy designed into them so that if one beam fails the other beams will carry the load until the damaged beam can be replaced. Older bridges also often don’t meet other standards, like height (16 ft clearance) and width (12 ft per lane plus 14 ft for shoulders) requirements.
Biden isn’t advocating eliminating weight limits and letting it be a laissez-faire free-for-all where trucks can just go wherever they want. He’s advocating for replacing bridges that carry weight limits with new ones that don’t have them.
wow i got absolutely schooled thank you for all this this is really informative. i have learned so much
This is a great explanation of what the fuck Biden was talking about in his tweet. because I will freely admit that I also went “…….wtf?????” when I read it. So thank you.
fireflies lighting up a rural Pennsylvania field at dusk
As a european i sometimes forget furefkied are actually real and not american folklore/cryptids. Like you’ve got friendly little bugs that glow in the dark….. b r uh
Agreed, at least for a while.. I’d be open to the government eventually selling the business back off to others
Also don’t recommend reading replies… not a lot of worth there
That missed the gist of it: if some sector or company is crucial enough for the government to be forced to step in if it fails, it shouldn’t be allowed to be operated in a for-profit market.
It’s not “the government should buy out and keep the companies that need a bail out”, because that’s actually just privatize the profits and socialize the loses. It’s “if it can’t be allowed to fail, it can’t be left on private hands and looking for profits shouldn’t be its way to operate”.
People keep suggesting Trump is having difficulties with finding defense lawyers is evidence he’s guilty
this is NOT TRUE, and buys into the narrative surrounding the US justice system
Trump is having difficulties finding defense lawyers because he keeps lying to them and tries to stiff them on the bill
it’s really common to have trouble finding an attorney if you’re poor, even if you’re very obviously innocent. but defense attorneys don’t care whether you’re innocent or not, that is exactly not their job, their job is to make sure you get the best possible defense, to make sure that the government actually has to do the work and prove its claims every time. because so many obviously-guilty people weren’t. so many people who confessed were innocent. so you do the job so that we can try for a system that’s fair.
but that doesn’t mean you work for a guy who can absolutely afford to pay you and won’t because he’s a dick.
I also think it’s important to note that his (alleged) lying to his attorneys makes them legally culpable and liable for things as well. They signed off on documentation having thoroughly believed that Trump moved all the documents out of his house. Legally, their asses are on the line for that, and no one wants to work for a guy who will throw you under the bus like that
I’m deeply bemused by the idea that a (theoretically) super wealthy, super powerful person’s difficulty with finding a lawyer would EVER revolve around whether or not they were guilty.
Like look: defense attorneys are humans. Which means lots and lots of them are ordinary people with standard basic morality and many of them are genuinely wonderful people who do important miracles every day …
… . and a good solid swack of them, especially at the extremely highly paid end, are amoral as a weather pattern and ruthless as a seasonal change and believe me the guilt or lack thereof of a person with a lot of money, a lot of prestige and a lot of power who also pays their bills and listens to their lawyers has never in the history of anything been even the slightest impediment to retaining one.
As OP said: Trump can’t keep lawyers because he’s a garbage client. The ruthless but extremely skilled lawyers? They are very big on getting paid. They are well aware their skills and capabilities are immensely valuable and they expect recompense for them! They also, as previous poster noted, expect you not to essentially fuck up their own lives by making them criminally culpable!
The ruthless but highly skilled lawyers expect to be paid and expect to get to go on being lawyers, and Trump doesn’t pay and he jeopardizes their future. This, not guilt or innocence, determines whether or not lawyers are willing to work with him.
It’s not surprising he can’t keep lawyers and that the lawyers he’s got keep going down in calibre. What’s astonishing at this point is that he can get anyone to answer the phone at ALL. I can only assume there’s some blackmail going on here.
“Perhaps you have forgotten. That’s one of the great problems of our modern world, you know. Forgetting. The victim never forgets. Ask an Irishman what the English did to him in 1920 and he’ll tell you the day of the month and the time and the name of every man they killed. Ask an Iranian what the English did to him in 1953 and he’ll tell you. His child will tell you. His grandchild will tell you. And when he has one, his great-grandchild will tell you too. But ask an Englishman—” He flung up his hands in mock ignorance. “If he ever knew, he has forgotten. ‘Move on!’ you tell us. ‘Move on! Forget what we’ve done to you. Tomorrow’s another day!’ But it isn’t, Mr. Brue.” He still had Brue’s hand. “Tomorrow was created yesterday, you see. That is the point I was making to you. And by the day before yesterday, too. To ignore history is to ignore the wolf at the door.”
- A Most Wanted Man, John le Carré
John le Carré has not, at any point, been fucking around.
The Writer’s Guide to Authentic Wounds and Fatalities
Writing fatal injuries in a story requires a delicate balance between realism and narrative impact. The portrayal of these life-altering events can evoke strong emotions in readers and shape the trajectory of your characters’ journeys. In this blog, I will explore the intricacies of depicting fatal injuries in a manner that feels authentic, engaging, and respectful to the gravity of such circumstances. By understanding the nuances of fatal injuries, you will be equipped to craft compelling narratives that resonate with your readers.
Writing Fatal Injuries
When it comes to writing fatal injuries, it is crucial to approach the subject with care and accuracy. Fatal injuries carry immense consequences for your characters and can shape the trajectory of your story. By delving into the intricacies of portraying fatal injuries authentically, you can ensure that the gravity and impact of such events are effectively conveyed to your readers.
Choosing the right injuries for your story
Selecting the appropriate fatal injuries for your narrative involves considering various factors. Ask yourself: What purpose does this injury serve within the story? How does it affect the characters and the overall plot? Conduct thorough research to identify injuries that align with your story’s context and resonate with the emotional journey of your characters.
For example, in a historical drama, you may research common fatal injuries during a particular era, such as battlefield injuries, diseases, or accidents prevalent at the time. In a crime thriller, you might explore the portrayal of fatal gunshot wounds or traumatic injuries resulting from violent encounters. By aligning the injuries with the context and themes of your story, you create a more immersive and believable experience for your readers.
Researching the mechanics of fatal injuries
To portray fatal injuries convincingly, it is essential to delve into the mechanics behind them. Understand the specific anatomical structures and systems involved, as well as the forces or mechanisms that can lead to fatal outcomes. Explore medical resources, consult experts if possible, and gather insights into the physiological and psychological implications of such injuries.
For instance, if your character suffers a fatal stab wound, research the anatomy involved, the potential organs affected, and the potential consequences such as internal bleeding or organ failure. By understanding the specific details and implications of the injury, you can describe the physical and emotional toll it takes on the character with greater accuracy and depth.
Depicting the immediate aftermath
When writing about fatal injuries, vividly describe the immediate aftermath to capture the intense emotions and physical realities. Consider the sensory details, the shock and disbelief experienced by characters, and the chaotic environment that often surrounds such events. Balancing realism with the needs of your story, create a scene that immerses readers and evokes empathy.
For example, if a character experiences a fatal car accident, you can depict the chaos at the scene, the character’s disorientation, and the reactions of witnesses. Emphasize the sensory details such as the sound of screeching tires or the smell of burning rubber, creating a visceral experience for your readers.
Emotional and dramatic impact on the narrative
The impact of fatal injuries extends beyond the immediate moment. Explore the ripple effects on other characters, relationships, and the overall plot. Delve into the emotional responses, grief, guilt, anger, or determination that arises in the aftermath of loss. Utilize these emotional arcs to deepen character development and drive the narrative forward.
For instance, the loss of a loved one due to a fatal illness might lead to grief and strained relationships among the remaining family members. The emotional journey of a character grappling with guilt and seeking redemption after causing a fatal accident can become a central theme in your story. By delving into these emotional arcs and their consequences, you add depth and resonance to your narrative.
Writing Minor Injuries
While fatal injuries may capture our attention with their dramatic impact, it is equally important to pay attention to the portrayal of minor injuries in your writing. Minor injuries, though less severe, can still significantly affect your characters and contribute to the authenticity of your story. In this section, we will explore the art of depicting minor injuries, ensuring that they are not overlooked or trivialized. By delving into the nuances of minor injuries, you can add depth and realism to your characters’ experiences.
Types of minor injuries to consider
When crafting your story, it is essential to consider a range of minor injuries that can occur. These injuries can include cuts, bruises, sprains, minor burns, or even minor fractures. Each type of injury carries its own unique characteristics, associated pain levels, and recovery processes. By understanding these distinctions, you can create accurate and believable depictions that resonate with your readers.
For example, a character who sustains a cut on their hand may experience sharp pain, the sight of blood, and the need for immediate first aid. On the other hand, a character with a sprained ankle may struggle with mobility, experience swelling, and require rest and care for a few days. By paying attention to these specific details, you can enhance the realism of your storytelling.
Conveying pain and discomfort
When writing about minor injuries, it is important to effectively convey the pain and discomfort experienced by your characters. Consider describing the sensation of pain, the throbbing or stinging feeling, and how it affects their daily activities or interactions. Showcasing the emotional impact of pain, such as frustration, irritation, or vulnerability, can deepen the readers’ connection to the character’s experience.
For instance, if a character suffers from a sprained wrist, you can describe the dull ache that persists, making simple tasks like typing or holding objects challenging. By capturing these small but significant moments, you immerse readers in the character’s struggle and create a more realistic portrayal.
Balancing realism with narrative pace
While it is important to depict minor injuries realistically, it is also crucial to strike a balance with the overall pace and momentum of your story. Consider the significance of the injury within the larger context of your narrative. Some injuries may require more detailed attention and impact the plot, while others may serve as background elements. Adjust the level of detail and focus accordingly, ensuring that the portrayal of minor injuries aligns with the narrative’s flow.
For example, a small cut on a character’s finger may not require an extensive description unless it becomes infected or triggers an unexpected consequence. By aligning the portrayal of minor injuries with their narrative relevance, you maintain a consistent pace while still acknowledging their impact on your characters’ lives.
Writing Bloodshed And Realistic Blood Loss
When writing about wounds and injuries, it is essential to consider the amount of blood loss your characters may experience. Realistic portrayal of bloodshed can enhance the authenticity of your scenes and immerse readers in the gravity of the situation. In this section, we will explore the factors influencing blood loss and techniques for accurately depicting it in your writing.
Understanding blood loss and its impact on the body
To authentically portray blood loss, it’s crucial to have a basic understanding of how the human body responds to injury. Research the circulatory system and the role of blood in transporting oxygen and nutrients throughout the body. Consider the different types of blood vessels and their potential for bleeding when injured. This knowledge will help you create realistic scenarios and determine the appropriate level of blood loss for specific injuries.
Factors influencing blood loss in different injury scenarios
The amount of blood loss can vary depending on the severity and location of the injury. Factors such as the size of blood vessels, the rate of bleeding, and the body’s ability to clot play a significant role. For example, a deep laceration in an artery will result in more substantial blood loss compared to a superficial cut on the skin. Consider these factors when describing injuries and their resulting bloodshed.
Techniques for accurately portraying blood loss in writing
There are several techniques you can use to convey the realistic impact of blood loss in your writing. Describing the color, consistency, and flow of blood can provide vivid imagery. You can also include physical symptoms such as dizziness, weakness, or fainting that may accompany significant blood loss. Additionally, consider the emotional response of your characters and how they react to the sight of blood or their own injuries.
By incorporating these techniques, you can create scenes that evoke a visceral response in readers and enhance the authenticity of your writing.
Bruises: Colors, Progression, and Pain
Bruises are a common result of injuries, and understanding how they form, change in color, and cause discomfort can greatly enhance the realism of your writing. By accurately describing bruises, you can bring depth to your characters’ injuries and portray their healing process convincingly.
Understanding the stages and colors of bruises
Bruises go through distinct stages of color as they heal. Initially, they may appear red or purple due to the broken blood vessels beneath the skin. Over time, the color changes to blue, green, yellow, and eventually fades to a brown or yellowish hue. Understanding this color progression can help you accurately describe the age of a bruise and the healing process.
For example, a fresh bruise might be vivid purple, indicating recent trauma, while a fading bruise may have a yellowish tinge, suggesting that healing has begun. By incorporating these color details, you can add realism to your characters’ injuries and track the passage of time within your narrative.
Depicting the progression of bruises over time
As bruises heal, they often change in appearance and size. Initially, a bruise may be small and localized, but it can gradually spread and become more extensive. Describing this progression can provide a sense of the healing process and the passage of time within your story.
For instance, a character who sustains a significant blow to the face may develop a bruise that starts as a small spot near the eye but expands to cover a larger area over the next few days. By accurately portraying the progression of bruises, you enhance the authenticity of your characters’ injuries and their recovery.
Conveying the pain and sensitivity associated with bruises
Bruises can be painful, sensitive to touch, and affect a character’s movement and daily activities. Describing the pain and discomfort experienced by your characters can create empathy and immerse readers in their physical ordeals.
Consider conveying the tenderness of a bruise when pressure is applied, the throbbing sensation, or the limitation of movement due to the pain.
Remember The Side Effects
Injuries, whether minor or severe, often come with a range of side effects that can significantly impact your characters’ lives. These side effects can extend beyond the physical realm and encompass emotional, psychological, and social aspects.
Physical side effects
Injuries can have profound physical side effects that go beyond the immediate pain and discomfort. Consider the potential consequences such as limited mobility, impaired coordination, chronic pain, or the need for assistive devices like crutches or braces. Describing these physical side effects can add depth to your characters’ struggles and provide a realistic portrayal of their healing journey.
For example, a character who sustains a leg injury may experience difficulty walking, require physical therapy, or have long-term complications that affect their day-to-day activities. By addressing these physical side effects, you create a more nuanced depiction of the aftermath of injuries.
Emotional and psychological side effects
Injuries can have a profound emotional and psychological impact on characters. They may experience fear, anxiety, trauma, or a loss of confidence. Consider how the injury affects their self-image, relationships, or mental well-being. Explore the emotional journey your characters undergo as they navigate the aftermath of their injuries.
For instance, a character who survives a near-fatal accident may develop post-traumatic stress disorder (PTSD) and struggle with recurring nightmares or panic attacks. By incorporating these emotional and psychological side effects, you can deepen the complexity of your characters and their responses to traumatic experiences.
Social implications and changes
Injuries can also lead to significant social changes for your characters. They may face challenges in their personal relationships, encounter stigma or discrimination, or experience changes in their roles or identities. Explore how the injury affects their interactions with others and their sense of belonging in the world.
For example, a character who sustains a facial injury may encounter judgment or stares from others, leading to self-consciousness or isolation. By addressing the social implications and changes resulting from injuries, you can create multi-dimensional characters and explore the impact of their injuries on their social dynamics.
By incorporating these various side effects into your writing, you bring depth and authenticity to your characters’ experiences and showcase the wide-ranging impact of injuries.
Conclusion
Writing authentic wounds and fatalities requires attention to detail and a deep understanding of the physical, emotional, and psychological aspects involved. By following the guidelines and exploring the subheadings discussed in this guide, you can create compelling and realistic portrayals of injuries in your writing.
Remember to conduct thorough research on the specific injuries you want to depict, understanding their mechanics, symptoms, and potential outcomes. Consider the immediate and long-term effects on your characters, both physically and emotionally. Incorporate sensory details to immerse readers in the experience, describing the pain, bloodshed, colors of bruises, and the progression of healing.
Additionally, don’t forget to address the side effects that injuries can have on your characters’ lives. Explore the physical limitations, emotional struggles, and social implications that arise from their injuries. By delving into these aspects, you can create well-rounded characters and compelling narratives that resonate with readers.
I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.
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i cannot stress this enough: if your reasoning for clowning on the mcu is “they overwork their cg artists and animators” i 1000% guarantee that a show or movie you have been stanning for years also abused their artists and you just haven’t heard about it because the production companies aren’t in the spotlight like mcu productions are. that cartoon for kids? that incredibly animated movie? that non-marvel superhero movie? i’ve seen people declare their hatred for the way the mcu treats their workers and then turn around and gush about a show that i know for a fact was hell for the artists attached
and no this is NOT me saying “this means you should stop hating on the mcu uwu” it’s me saying you gotta be aware that this shit is an INDUSTRY WIDE PROBLEM. you CANNOT “fix” it by refusing to watch mcu movies and feeling good about it. you have to be aware that it’s EVERYWHERE. why do you think so many animation and vfx productions are sourced in canada? in india and the phillipines? we are not unionized.
i know it’s hard to face the idea that your favourite show might have been made unethically especially when you’ve spent so much time hating the mcu for doing the same thing. you don’t have to start hating your favourite show. just like…be aware. don’t be smarmy about it. don’t claim without research that a beautifully animated movie Must mean the animators were not working 16 hour days and weekends. i do think we can fix this 👍 but we can’t fix it if 90% of us don’t even realize what the problem really is
now that it’s come out that the spiderverse animators were working unsustainable hours yall need to be aware of this more than ever. even good movies aren’t innocent of this. we often see the narrative of “see what happens if you pay animators well and give them time to work?” when it comes to good movies but. that is almost never the case. the artists are still being worked to the bone. the movie being good does not negate this.
