Three feet by six feet, for every quilt they make to remember them by. Eight quilts make a block. Eight quilts make eight names of light gone too soon, neglected, ostracized, killed.

Trini knows some of them, close and distant, all dearly. She’s been there for some of them at their final breath, to news of their body lying among others in the explicit daylight as the band played on.

Kimberly and Trini, with Zack and Billy and Jason and Tommy–they make sure the quilts before them are worthy of the living dead. They’re not sure what will come next, when it’ll come next, but they’re fighting while they’re spry and maybe until they die like their friends, just so that the next year, less will, less go.

When they’re not in school, Trini and Kimberly are feeding their community. One of the least they can do is lay the blocks out neatly that one can promenade around them, rows and columns set in a gymnasium to a local park, and read the names. They’ve all done it more than once.

When they can, Trini and Kimberly are together, even with the air rife of hostility and impassive onlookers. In holding hands, sharing kisses in tight corners, out and proud and terrified in explicit daylight, watching familiar faces vanish in familiar spaces.

Every new days, every new nights, have heart-stopping possibilities. That’s the nineties, if you ask her.

If you ask any of them.

But Trini wonders of a time after, when death ebbs to a low somber flow, and the children have it easier, safer. Kinder.

She tells Kimberly this to see her smile, to even out the frowns. (It’s bleak, but it works….she’ll try to see those lips turn upward as many times as she can.)


保護者, 紅雀, 獣  (Protector, Red Sparrow, Beast)

Here is Koujaku’s quilt!  I’m really happy with how his quilt turned out, and I had a ton of fun picking fabric for it!  I designed Koujaku’s quilt with three blocks using the Snail Trail block pattern (it was supposed to represent his peony tattoo but oh well): one to represent his route within the game, and one each for his good and bad endings.  I intentionally picked fabrics so that each block would get progressively darker, because each end of the quilt is such an extreme.  All of the fabrics in this quilt are Asian-themed fabrics by Robert Kauffman, Red Rooster, Kona, and Timeless Treasures, except for the scissor-print in the back (it’s a Moda, which I’ll get to!).  I tried to stick with more traditional-looking fabrics, without going too modern because a. Koujaku is very traditional and b. he’s an old man! (sorry Koujaku, I say that with love! ^_^) The name of this quilt is written in Japanese Kanji on the front lower right corner of each block.  Before I really start rambling, I’ll start with the center block, as it’s really the focal point of the quilt. 

This block represents Koujaku’s main route in the game.  The Japanese Kanji written on this block is Koujaku’s name, which means “red sparrow”.  I used a mixture of light and darkish fabrics, because of Koujaku’s happiness at seeing Aoba again, but throughout his route having to face his tortured past and those responsible. I’m especially proud of the gold-print fabric and the bird-print fabric I found.  The gold print fabric is supposed to mirror the belt that Koujaku wears around his waist, and upon seeing the bird fabric I immediately thought “BENI!”. Also, you’ll notice that within this block, there are two fabrics used that are also used in the “good end” block, the prints are exactly the same, just the colors are different :D Now, depending on the choices you make for Aoba in Koujaku’s route, you end up with either: 

Koujaku’s good ending: I chose the name “protector” for this block because of how much Aoba means to Koujaku.  After Aoba saves Koujaku from the tattoos completely controlling him, Koujaku finally opens up to Aoba and he can begin to move forward.  As they build their life together, Koujaku will be fiercely protective of Aoba, and Aoba will be there every time Koujaku begins to doubt his worth as a human being because of his past, no longer having to suffer alone.  I wanted no darkness in this block, only bright and colorful fabrics, because Koujaku finally, for the first time in several years, has a real chance to find happiness and peace.  

Unless of course you’re like me and find BeastJaku incredibly sexy so you prefer: 

Koujaku’s bad ending: I immediately knew I wanted this block to be devoid of any brightness or happiness, because unfortunately both Aoba and Koujaku lose themselves in this ending, and both suffer (though Shiroba might believe otherwise).  However, when I saw the cherry-blossom print, I thought it fit oddly well with the rest of this block’s fabrics, even though it shines because of the gold.  In a way, this can kind of be interpreted as being fabric for Shiroba, because he loves this version of Koujaku.  The black and grey fabric is a Kona and the print is called “Good Fortune”, which I thought was a delightfully cruel twist for this block, as Koujaku’s bad ending is anything but good fortune.  To finish it off, I splattered red paint all over the block, as it tends to get a bit bloody in BeastJaku’s cell.  I gave serious thought to taking my scissors and actually carving a little bit into the block to make it look as if BeastJaku himself sliced into it , but I didn’t want to weaken the integrity of the stitches.

Finally, when I saw the Moda scissor-print, I immediately knew this was going to be the back fabric for this quilt!  Koujaku works as a hairdresser, so I thought this would complete the quilt nicely.  I know the scissors printed on the back are craft scissors and not hairdresser’s shears, but I still think it works, hehe!

This quilt has simple quilting lines, with one line going through each of the black strips surrounding the three blocks, again symbolizing the choice the player has to make throughout the game.  

I bought a ton of fabric to make this quilt, so I’m offering this one for sale! :D It measures 52.25 inches long by 18.25 inches wide (or 132.7 cm x 46.4 cm) If you would like to purchase this quilt, please send me a message.  

I would like to give a huge thanks to @lintmaster1989 for letting me pester her with progress pics of this quilt, in addition to helping me name it!  Also a huge thank you to @impulsive-temper, I used this beautiful fan art of yours to help with the color palette for each of the blocks.  Finally, I want to thank everybody in the DMMD fandom for liking and reblogging all my progress pictures of this quilt!  I really appreciate it!!!  

One more thing:  This is a super interesting post about Koujaku’s peony tattoo and it’s real-life application to Japanese yakuza.  Thank you @ayuuria for this awesome read!  It really helped me when designing this quilt!  


Tonight’s block for the July art quilt, which I got a good start on.  Pic #1 is hand-dyed silk stitched to a white linen block; the silk is gorgeous.  It was very hard to resist pressing it but I left it wrinkled because I like the textured look of it.

Pics #2-3 are the flower cutouts I tacked down with shell buttons and bits, and then began to embroider.  I see all sorts of wildflowers blooming in clusters in the yard, and wanted to do a primitive POV of them. 

Since I’m running out of month this might be the last block I make before I put everything together and quilt it.


“On Earth, I usually use a sewing machine.”

Astronaut Karen Nyberg discusses the challenge of piecing a quilt block in space.


Improv foundation piecing with scraps: This week, I decided to make some more improv pieced blocks with the scraps from my gemstone quilt.

I had a whole bag full of small, oddly-shaped scraps from foundation paper piecing the gemstones. I organized them roughly by size into small, medium and large. Then I sewed them on to pieces of paper - starting with smallest ones first, then working my way to larger scraps building outwards. This actually goes quite quickly and is kind of addictive! Then, I just trimmed into squares and rectangles.

The only annoying part of this process is taking out the paper from the backs of the blocks! I had to use tweezers quite a bit to get the little bits out.

Anyway, I’ve used up almost all my scraps now and have enough blocks to make something with. I’m thinking I’ll piece these blocks into a grey background - I also have grey scraps (Kona Shadow and Iron) left from my gemstone quilt to use up. I think I’ll work on this today and see where it goes!

nunzi3  asked:

I just started following you and what is this crane project for P.s. i have a lot of respect for your passion for this

It’s my take on the Japanese 1000 Origami Crane legend, called Senbezuru. Instead of folding 1000 cranes out of paper, I want to make 1000 quilt blocks and then piece them all together into some sort of quilt. (It’s gonna be fairly big.) 

According to the legend, if you fold 1000 cranes in a year, you get a wish granted. I don’t know how that translates to making them out of fabric and then quilting them, but we’ll see. I don’t expect to be done with the first phase until 2016, and then who knows how long it’ll take to quilt the whole thing together. 

And then I’m gonna be all Banksy about it, and just leave the quilt in a public space.