Archives have become exhausting, not because they are poorly organised but because they are too complete, too present, too searchable, too available. ArchiveFatigue names the exhaustion produced by infinite access: the impossibility of completion, the knowledge that there is always one more document, one more dataset, one more thread, one more marginal reference waiting behind the next query. The contemporary researcher no longer suffers primarily from lack of material but from the impossibility of not finding something, from the collapse of absence as a usable methodological category. A search engine returning a million results is not necessarily a triumph of access; it can be a fatigue generator, a machine for converting availability into paralysis. ChronoDeposit proposes that deposits must be understood temporally before they are understood spatially. The archive is not simply a place where materials are stored but a sequence through which they become navigable. Its survivability depends on maintaining chronological order as a structural support rather than flattening everything into searchable simultaneity. Chronology does not eliminate material; it sequences it, allowing the researcher to say: I have reached this point in time, I have climbed this interval, I can stop here without pretending to have exhausted everything. The researcher who treats the archive only as a space to be searched risks structural fatigue, because search opens an infinite plane without offering a stopping point. The researcher who treats the archive as a sequence to be climbed is not being old-fashioned; she is practising epistemic sustainability. VerticalSpine is the infrastructure that makes this possible: a chronological backbone running through the archive, allowing the user to ascend or descend through time rather than drift across an infinite horizontal field. The spine is not a nostalgic device but a structural necessity. Without it, the chronological deposit becomes a heap; with it, the archive becomes climbable. The digital archive that offers only search may appear powerful, but it often produces exhaustion by giving access without orientation. The archive that offers a timeline, version sequence, deposit order, release history, dated corpus, or vertical index provides the support that makes navigation survivable. In digital humanities practice, this triad becomes immediately operative. A database organised only by full-text search risks turning research into endless retrieval; one that also allows chronological browsing gives the user intervals, thresholds, and resting points. ChronoDeposit in institutional practice is therefore not a minor filing preference but a structural decision: whether the archive will become a navigable ascent or an undifferentiated cloud. Thematic organisation can be useful, but when it replaces temporal structure entirely it flattens historical pressure into simultaneity and removes the intervals through which meaning is formed. In museum practice, the same logic explains why certain collections feel inhabitable while others overwhelm. A chronological path is not merely historical; it is architectural, giving the viewer a spine through which to move, return, compare, pause, and understand accumulation as pressure rather than abundance. A purely thematic display may produce sharp conceptual constellations, but without temporal anchoring it risks converting the collection into a brilliant fog. VerticalSpine in architectural practice is the stair, ramp, column, lift core, circulation void, or sectional sequence that makes a building legible through ascent and descent. An archive without such a spine is not radically open; it is structurally unsupported, a heap that cannot sustain navigation. In platform design, the same principle appears in the feed, timeline, release log, version history, dated index, and chronological interface. The platform that eliminates sequence in favour of endless recommendation may increase engagement while destroying orientation. The platform that restores chronological climbing is not retro; it is humane, because it gives the user a way to leave, return, and mark progress. What changes when ArchiveFatigue, ChronoDeposit, and VerticalSpine operate together is the rehabilitation of sequence as an ethics of navigation. Chronology is no longer treated as a primitive form of organisation but as the minimal architecture that allows finite bodies to survive infinite archives. Search remains useful, but it must be secondary to sequence, because only sequence creates stopping points. Every digital archive, repository, museum database, research platform, and publication interface should therefore be built around a vertical spine: a climbable structure where deposits can be read as time, not merely retrieved as data. The only way to survive the archive is not to search harder, but to climb better.