This is a Dodge work truck-Van concept. Kind of a cross between a truck, van and the old ram charger utility vehicles or a less stylized Durango. This comes in a civilian and military version, a two pack. This model is designed and rendered in Direct X. The ZIP file also includes the maps and graphics as shown in the images below and converted versions in 3DS, FBX and OBJ. #dellsweet #3dcarmodel #3dmodel #3ds #fbx #directx
By Dell Sweet The Nation series follows a group of survivors as they navigate the changed reality of the apocalypse, where the living are as likely to kill you as the dead are. From Los Angeles to New York and all points in between the survivors come together and begin to live again… #Dystopian #ApocalypticFiction #Readers #DellSweet #EarthsSurvivors Smashwords – The Nation
By Dell Sweet These are the stories of the most popular characters from the series. These stories are written as stand alone books and include just the storyline of the characters they are named for. #Dystopian #ApocalypticFiction #Readers #DellSweet #EarthsSurvivors Smashwords – Earth’s Survivors Life Stories
Building a model start to finish part six This is a complete model build from start to finish and then in a game. The build was done in spare time over 3 days for friend who needed it. it isn’t sped up so that you can see what I am doing… #3dmodels #directx #lopoly #fbx #fbx #3ddesign #DellSweet
1968 Barracuda: Poke rface. #3DModels #3DCarModels #dellsweet I built this to look like the series car, it was destroyed at the end of the series, almost made me cry. This is a 1968 Plymouth Barracuda. I never owned one, but I did have the opportunity to by one for $75.00 bucks with a perfect body and blown engine. The things I passed up back in the 70s, makes me wonder. This model is in a zip file, it includes renders in 3DS, FBX, OBJ and, of course, Direct X. it includes the graphic files with the UV work done for you, to make the model appear as it does in the photos and the video. This model is designed and rendered in Direct X. #3DCarModel #directx #dellsweet #lopoly #landscape #3ddesign #3droad #3DLand #dellsweet
This covers the making of my last video for the Holden Street UTE. I cover making the image I use to create an AI generated video for the model. I also cover creating the correct files for RS to make the model usable in Rad Sandbox. I cover assembling the video first in Movie Maker to get the basics done, then in KDENLIVE to add all the extra tracks, sound and video both, then finishing it up in Movie Maker for the Title and the Credits. I will show the generation of the opening video in Deep AI an app I use for AI video and have a monthly subscription for. I will show creating the images I need to make the video from in another AI app. I tried to annotate all of it in a readable form to help you understand. I have just begun using KDEN live, and so I assume that will do the titles and credits but I am used to Movie Maker and so I can do them very fast there. However, the more I use KDEN Live the more I learn and the more I like it, so I bet it won’t be long before I am using …
Falcon Street Ute
This is a Holden (Australian) GM Based Sport UTE heavily modified as I built it. I started out to build a plain jane Sport Ute but that went south, and I found myself building this lowered street machine instead. I enjoyed this and I built it over the last week, on and off, and then finished it off last night and early this AM. I did a double tire map as well, so different Tred front and rear, probably something I will do from now on. I Simply split the rims off to two different tires and tred patterns. The lights and rest went on the same map. I also decided to record the entire process some of that is in this video, a little, explaining what I am doing, but the other video will be out in a few days and takes you through the entire process, animating the model, adding to RS and all the steps it takes to get there. This model is designed in Direct X and also comes in 3DS, OBJ and FBX too, along with the graphics and map work to make it look like it does. #Holden #UTE #australian
Christine 3D Model
The Plymouth Fury. This is a replica of the famous car Christine. A car that didn’t actually exist in the configuration Stephen King bought it to life in. Pretty cool that they had to build a custom version of this car for the movie, several in fact. This is not an exact replica, so if you are looking for an absolute measurement model this is not it. This is a model that captures the spirit of thew car without violating the copyright that Chrysler owns on the original car, and of course the car itself did not exist so it should be a moot point anyway. I built this car a few years ago when I began to build the wastelands version of a 1958 Plymouth for my Wastelands collection. Both the burned version and the clean version are included in this double set. FBX, 3DS, Direct X and OBJ versions as well as all of the graphics and maps to reproduce it as shown. I do not use special filters when I shoot my models, I capture them right in the modeler so all you need to do is load the file an…
Lifted 4×4 Dodge Van – Dell Sweet #3DModels #3DCarModels #dellsweet This is a lifted Dodge 4X4 van. I actually had this project set-up to be built in real life when I was in an accident that stopped me from ever doing real life work like that again. So I sold the two vehicles and let that part of my life go. But the other day I was working on a model and remembered it and so I build it in 3D instead. It is built in Direct X. It includes all of the maps and graphics as shown. It also comes in 3DS, FBX, OBJ as well as Direct X. This model is designed and rendered in Direct X. #3DCarModel #directx #dellsweet
Dodge Van – Dell Sweet #3DModels #3DCarModels #dellsweet This is a Dodge Van. I owned a new one exactly like this and I loved it. I like the aesthetics; I liked the cargo space and the gas milage was awesome too. This model is designed and rendered in Direct X. The ZIP file also includes the maps and graphics as shown in the images below and converted versions in 3DS, FBX and OBJ. #dellsweet #3dcarmodel #3dmodel #3ds #fbx #directx This model is designed and rendered in Direct X. #3DCarModel #directx #dellsweet The ZIP file also includes the maps and graphics as shown in the images below. #lopoly #3ddesign #dellsweet Video:
The end of life no longer means the end. Now it means the beginning of death. A new type of life. A hunger machine searching… #Zombie #Apocalypse #ZombieApocalypse #ZombieFiction #Readers #Thriller #Drama #Horror
Wastelands One
Her body shook, but her chest did not rise. She had tried to rise several times before one of the cousins had bound her with rope, hand and foot. #Zombie #Apocalypse #ZombieApocalypse #ZombieFiction #Readers #Thriller #Drama #Horror
Wastelands Two
– he could tell from the way her skin stretched too tightly across her face, the way her bones protruded through that skin in places… #Zombie #Apocalypse #ZombieApocalypse #ZombieFiction #Readers #Thriller #Drama #Horror
Fig Street (Glennville Book 1) The year is 1969: In the city of Glennville the streets, even in the poorest of neighborhoods are safe for children to play. But the city has its secrets, and those secrets have their dangers. #Horror #Crime #Fantasy #DellSweet #Series
The “dance hall western whore” stereotype, widely popularized by Hollywood, is a misleading and historically inaccurate portrayal of women working in saloons and dance halls during the American West. While some women did work as prostitutes, a distinct class of entertainer existed whose primary role was to socialize with and encourage men to spend money, not to provide sexual services.
The lives of dance hall girls
Distinct role: In most towns, a clear distinction existed between saloon or dance hall girls and prostitutes, who were sometimes called “soiled doves” or “painted ladies”. A dance hall girl’s job was to dance with lonely men and flirt to encourage them to buy drinks, for which the women received a commission.
A respectable living: In the Old West, where men far outnumbered women, dance hall work offered a respectable and often lucrative path to independence. Some women earned more in a night than a working man did in a month. Many women worked only temporarily before marrying, sometimes to a man they met at the dance hall.
Protection by owners: Saloon owners had a financial interest in protecting their dance hall girls. They often demanded that customers treat the women with respect, and men who harassed or mistreated them could be ostracized or banned from the establishment. Many women carried concealed weapons for self-defense.
Theatrical fashion: In contrast to Hollywood’s revealing costumes, historical dance hall girls wore eye-catching but generally modest clothing. They dressed in bright, frilly dresses with colorful petticoats, often with bodices cut low and shorter hemlines to make dancing easier.
The reality of prostitution
Separate class: Prostitutes occupied a lower class than saloon and dance hall girls, though it could be a higher-paying profession than other limited options for women, such as being a seamstress or laundress.
High risks: Life as a prostitute was far more dangerous, with high risks of violence, disease, addiction, and abuse. They faced social stigma and often died in poverty.
Working conditions: Prostitutes worked in different types of establishments, from high-end parlors run by influential madams to small “cribs” or as streetwalkers. Some madams were highly successful and well-known in their communities.
Societal hypocrisy: Despite being legally outlawed, prostitution was tolerated and even taxed by many Western towns, with brothels often contributing significantly to municipal revenue. “Respectable” women shunned prostitutes, but their husbands often frequented brothels.
In the American Old West, a “dance hall girl” and a “whore” were not the same, though the line could be blurry and the popular image of them has been conflated by Hollywood. The terms describe distinct roles, and not all women working in saloons were prostitutes.
Dance hall girl
Role: A dance hall or saloon girl was primarily an entertainer. Her job was to socialize, dance with male customers, and encourage them to buy drinks. The dance hall earned money from the dance tickets and the drinks the customers purchased, and the girls earned a commission on these sales.
Income: For many women, this was an honest and lucrative profession that provided them with independence in the male-dominated frontier. It was not uncommon for a popular girl to earn more in a single night than a working man did in a month.
Social status: Despite their flirtatious roles, most dance hall girls were not “fallen women.” In fact, some were treated as ladies by their patrons. Many were able to use their work to meet and marry respectable men.
Prostitute
Role: Prostitutes, also known as “soiled doves,” “shady ladies,” or “painted ladies,” engaged in sex work for a living. This was a distinct profession, separate from being a dance hall girl, though the two fields sometimes intersected, particularly in the roughest frontier towns.
Social status: The social hierarchy for sex workers varied. Some worked in more upscale “parlor houses” run by a madame, while others worked independently or in the lowliest “cribs,” small, dilapidated shacks on the outskirts of town. The work was generally more dangerous than being a dance hall girl.
Overlap: Though it was rare for a successful dance hall girl to double as a prostitute, some did. For example, Old West figure Big Nose Kate was a gambler, saloon girl, and prostitute during her life.
Historical nuance
The historical nuance between these roles is often lost in popular media. Hollywood often portrays saloon girls and prostitutes as the same, but for women in the Old West, the distinction was a meaningful one that affected their earnings, working conditions, and social standing. While both occupations were outside the bounds of “proper” Victorian society, the dance hall profession was a legitimate and often profitable job that allowed women to earn a living with dignity.
Try a free look at a book from author W. W. Watson…
Private Investigations 1: A John Rourke Private Detective Story
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The city lights blurred through the rain-streaked windowpane, mirroring the hazy fog in my mind. The Fields case was closed, the invoice sent, but the quiet aftermath felt heavier than any stakeout. It wasn’t the physical exhaustion, though that was considerable. Weeks of sleep deprivation had etched themselves onto my face, in the dark circles under my eyes and the stiffness in my shoulders. No, it was a deeper weariness, a hollowness that gnawed at my soul.
I’d dealt with worse, seen things that would curdle the milk in a saint’s coffee. I’d faced down thugs with shivs, navigated treacherous alleyways, and stared into the eyes of men who wouldn’t hesitate to snuff out a life. But this case… this one was different. It wasn’t the brutality, the violence, or the threat of physical harm; it was the insidious erosion of trust, the slow, creeping revelation of deceit that had left me feeling strangely… violated.
The initial excitement of the chase, the adrenaline rush of the stakeout, the satisfaction of uncovering the truth – all of that had faded, leaving behind a residue of bitterness and disillusionment. Melinda, bless her trusting soul, had confided in me, revealing her vulnerabilities, her fears, her suspicions. I’d sworn an oath, implicit though it was, to protect her, to find the truth, and to bring justice to her situation. But the truth, as it so often does, was far more complicated, far more messy, than I had anticipated.
The truth wasn’t just about Paul Fields’ infidelity; it was about corporate greed, about a web of lies woven by powerful men, about the systematic corruption that festers in the shadows of the city’s glittering façade. And I, a lone wolf in a world of sharks, had been forced to navigate that treacherous terrain, using every tool at my disposal, even the ones that left a bitter taste in my mouth.
I thought about the woman who’d arrived at the neighbor’s house, the unknown variable that had changed everything. Her presence suggested a much deeper conspiracy, a level of intrigue that extended far beyond the personal drama of a cheating husband. The investigation had morphed, evolving from a simple case of infidelity into something far more sinister, far more dangerous. The lines between right and wrong had become increasingly blurred, forcing me to make difficult choices, compromises that continue to haunt me.
The “less-than-savory sources,” as I’d vaguely termed them on the invoice, weighed heavily on my conscience. The favors I’d called in, the debts I’d incurred, were not easily forgotten. These weren’t transactions you could record in a ledger; they were unspoken agreements, exchanges of information and influence that lived in the shadows, their consequences unpredictable. There were whispers in backrooms, hushed conversations in dimly lit bars, and promises made in the dead of night that could come back to haunt me. The city was a labyrinth of such deals, and I, a seasoned traveler of its darker paths, knew the price of admission.
I rubbed my weary eyes, the stale cigarette smoke clinging to the air in my office. The silence was broken only by the rhythmic ticking of the clock, each second a tiny hammer blow against the walls of my already fragile composure. The loneliness was crushing; the burden of the case, the weight of the city’s secrets, had pressed down on me, leaving me feeling isolated, estranged even from Joan, my wife.
Joan, ever the anchor in my turbulent life, had borne witness to my late nights and erratic moods. She’d seen the strain etched onto my face, the exhaustion in my eyes, the growing distance between us. She understood the nature of my work, the shadowy corners I inhabited, but she couldn’t fully comprehend the toll it took on me, the way it slowly chipped away at my spirit, leaving me hollowed out and depleted.
I’d tried to explain, to articulate the moral ambiguity of my profession, the subtle betrayals, the compromised ethics. But words failed me. How do you explain the feeling of walking a tightrope between justice and compromise, between the need to earn a living and the desire to uphold some semblance of integrity? How do you convey the weight of a city’s secrets, the burden of its untold stories, the constant threat of danger lurking just beneath the surface?
The pay from the Fields case, while generous, couldn’t compensate for the emotional cost. It couldn’t buy back the sleep I’d lost, the peace of mind I’d sacrificed, the trust I’d begun to question. It couldn’t erase the images seared into my memory – the fleeting glimpse of fear in Melinda’s eyes, the calculated coldness in Paul Fields’ gaze, the sinister smiles exchanged in smoke-filled backrooms.
I lit another cigarette, the match a fleeting flicker in the darkness. The smoke curled upwards, a ghostly representation of my own internal turmoil. The city outside continued its relentless rhythm, oblivious to my struggles, its lights twinkling like distant stars, cold and uncaring. The case was closed, but the emotional aftermath remained, a lingering echo of the shadows I’d navigated, a testament to the price of truth, a price far exceeding the sum on the invoice.
This wasn’t just a case closed; it was a wound that wouldn’t heal easily, a scar etched onto my soul. The investigation had taken more from me than I initially anticipated. It had stolen my peace, my sleep, and a piece of my integrity. The truth was often bitter, leaving a residue of cynicism and distrust. I looked at my reflection in the window, a stranger staring back, weary and worn. The lines on my face seemed deeper, the shadows under my eyes more pronounced. The city lights outside, once a beacon of excitement, now seemed to mock my solitude.
The following days were a blur of paperwork, an attempt to regain some semblance of normalcy in my chaotic life. I responded to other inquiries, trying to immerse myself in the routine of my profession, hoping to distract myself from the emotional turmoil of the Fields case. But the memories persisted, haunting my waking hours and invading my dreams.
One evening, I found myself staring at an old photo of Joan and me, taken years ago, before the weight of the city had begun to bear down on us. We were younger, carefree, our smiles bright and unburdened. The photograph was a reminder of a simpler time, a stark contrast to the grim reality of my life now. The distance between us was palpable, a chasm carved by the relentless demands of my job, by the unspoken burdens I carried within.
I knew I had to make amends, to reconnect with Joan, to bridge the gap that had grown between us. I realized that I needed to share my burdens, to lighten the load I’d been carrying alone. I needed her strength, her compassion, her unwavering belief in me. And maybe, just maybe, with her support, I could begin to heal the emotional wounds inflicted by the Fields case, to find my way back from the shadows and into the light.
The process of healing would be slow, arduous, and require more than just a few nights’ rest. The memories would linger, but I needed to find a way to confront them, to process them, to integrate them into my life rather than let them define it. I needed to confront the moral ambiguities, the compromises I’d made. Was it worth it? The answer wasn’t simple, a clear-cut yes or no. It was a complex equation weighed against the price of justice and the cost of survival. But perhaps in confronting the cost, in acknowledging the pain, I could begin the process of healing. The city, with its darkness and secrets, would always be a part of my existence, but I wouldn’t let it consume me completely. I needed to reclaim my life, my relationships, and my sense of self.
The journey would be long, but I wouldn’t walk it alone. I would lean on Joan’s unwavering strength, her unwavering faith in me. I would find solace in simple things – the warmth of her embrace, the quiet comfort of her presence. I would remember that even in the darkest corners of the city, there was still hope, still light, still the possibility of redemption. And in that hope, I found the strength to move forward, to face the future, one step at a time, one day at a time, one case at a time. The weight of the Fields case would always be a part of me, a stark reminder of the price of truth and justice, but it would not define me. I would choose to define myself – a private investigator, a husband, a man trying to navigate the treacherous waters of life, to find his way back into the light.
The next morning, sunlight, harsh and unforgiving, sliced through the blinds, revealing the dust motes dancing in the air of my cramped office. The lingering scent of stale coffee and cigarettes hung heavy, a testament to another sleepless night. The Fields case, officially closed, continued to gnaw at me, a persistent irritant under my skin. The neat stack of paperwork on my desk, the final invoice, felt like a flimsy shield against the storm brewing inside.
It wasn’t just the moral ambiguity of the “less-than-savory sources” I’d employed; it was the unsettling feeling that something was still amiss, a loose thread dangling in the intricate tapestry of the case. The woman at the neighbor’s house, her face obscured by shadow and distance, had been a phantom, a silent specter haunting my every waking moment. Her arrival, seemingly innocuous, had shattered the neat resolution I’d presented to Melinda, leaving me with a gnawing unease that refused to be silenced.
I reread Melinda’s initial statement, her words painting a picture of a seemingly perfect marriage, cracks subtly appearing only upon closer inspection. Paul, a successful businessman, had been exhibiting increasingly erratic behavior, an odd combination of paranoia and carelessness that had raised her suspicions. He’d been unusually meticulous in checking the locks, adjusting the blinds, and scanning the street from his study window. These weren’t the actions of a man with a clear conscience, but neither did they conclusively point to infidelity.
Then there was the matter of the neighbor’s house, a seemingly ordinary dwelling that had suddenly become the focal point of my investigation. I ran a background check on the property, discovering its owner, a reclusive old woman who rarely left the house, seemingly estranged from her family. The timing of the woman’s visit, coinciding with the apparent resolution of the infidelity angle, sparked a flicker of suspicion that quickly grew into a blazing inferno of intrigue.
Driven by a renewed sense of purpose, I dusted off my contacts, the shadowy figures who operated in the city’s underbelly. These weren’t the kind of people you met in respectable establishments; they frequented dimly lit bars, backroom poker games, and seedy motels, their business conducted in hushed whispers and furtive glances. They dealt in information, secrets, and favors, and their services came at a price.
Private Investigations 1:
The chipped paint on my beat-up Ford was flaking like old skin. The smell of stale coffee clung to the interior like a cheap perfume…
The Old West is a collection of five western themed stories set in the old west. Come along for an authentic trip through the west, the way it really was.
Jimson Jones, Sarah Johnson, The Cowboy, The Farmers Wife, To Hang a Thief
An excerpt from: Sarah Jones
One starless night, the tranquility of Harmony Creek was irrevocably broken. The rhythmic chirping of crickets was replaced by the terrifying sounds of shattering glass and panicked screams. A nightmare descended upon the peaceful farm. The familiar comfort of home was replaced by a brutal violence, a darkness that would sear itself into Sarah’s memory forever.
Dodge Van – Dell Sweet #3DModels #3DCarModels #dellsweet This is a Dodge Van. I owned a new one exactly like this and I loved it. I like the aesthetics; I liked the cargo space and the gas milage was awesome too. This model is designed and rendered in Direct X. The ZIP file also includes the maps and graphics as shown in the images below and converted versions in 3DS, FBX and OBJ. #dellsweet #3dcarmodel #3dmodel #3ds #fbx #directx This model is designed and rendered in Direct X. #3DCarModel #directx #dellsweet The ZIP file also includes the maps and graphics as shown in the images below. #lopoly #3ddesign #dellsweet
1956 Ford Pickup Truck – Dell Sweet #3DModels #3DCarModels #dellsweet The 1956 Ford pickup truck, most famously the F-100, is a highly sought-after classic known for its distinctive and one-year-only styling. It was a part of the second generation of Ford’s F-Series trucks, which saw a major redesign for 1953.
#3DModels #3DCarModels #dellsweet This is an AMC Reble. The stock frame is gone and a chevy blazer 4×4 frame has been grafted in. I actually owned a few vehicles like this. Red Neck? Yes, I could have cared less though. This model is built in Direct X. It includes all of the maps and graphics as shown. It also comes in 3DS, FBX, OBJ as well as Direct X. This model is designed and rendered in Direct X. #3DCarModel #directx #dellsweet #3DModels #3DCarModels #dellsweet
Lifted Ford Falcon Ute – Dell Sweet This model is designed and rendered in Direct X. The ZIP file also includes the maps and graphics as shown in the images below. #3DModel k #dellsweet #directx #Donk #3DModels #3DCarModels #dellsweet There is no such thing as a “Holden Falcon Ute.” Holden and Ford were fierce rivals in Australia for decades, much like Ford and Chevrolet in the United States. They both produced their own iconic “utes” (utility vehicles), which were essentially a car with a large tray or cargo bed at the back.
This is a late model Dodge charger with only 2 doors. The model is made with Direct X. It has all of the maps and graphics as shown. https://youtu.be/jnqysdqglpQ https://youtu.be/R7odLyPLC9s The model comes only as a direct X model. It comes with all of the UV work as shown in the video. It also comes in three setups: Ex commandeered Police Cruiser in Black and White, Yellow off-road, Red off-road and white off-road…
The Streets By Wendell Sweet One evening, I found myself back at the scene of the car accident—the snow-covered road where my life nearly ended. The scars on my body served as tangible reminders of that brutal night; the emotional scars were far deeper. The silence was deafening, broken only by the occasional rustle of the wind. The cold night air, the harsh sounds of snow crunching under my boots; it all was reminiscent of the night that would nearly cost my life. Standing there, I felt a wave of sadness, a flicker of the old fear, but it quickly subsided. The trauma was still there, woven into the fabric of my being, but it no longer controlled me. I had faced it, processed it, and emerged stronger.#True #NonFiction #Crime #Memoir #Kindle #KU Kindle: