God!Jack snippet

This thing is so long overdue, it’s not even funny. But thanks for being such pals in waiting for it. XD AHHHH!

AU: God!Jack
Pairing: Rhack
Summary: Rhys - about to fap to Jack’s statue - ends up getting caught. 

Stuff ensues.


“Jack, this- this is embarrassing…”

Rhys squeezed his thighs together, rubbing them back and forth with shameless need. Of all the things for his god to find out about, it just had to be about his peculiar proclivities at the temple courtyard… in the dead of the night.

He did try to find a bit of victory in the fact that Jack wasn’t smiting him via another flaming tornado or by having the earth basked in ash after having caught his dick out before the handsome golden replica, but it did little good to alleviate his current state of rising mortification.

“Embarrassing?” repeated Jack with a disbelieving smirk from where he sat devilishly atop a fallen column.

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“In the Ainu worldview, all beings with form contain ramat, and women making making clothing poured their souls into each stitch, physically inserting ramat into the cloth and animating these texts with a spiritual life force.” From The Fabric of Indigeneity.

Ramat is essentially the soul or spirit of things. In performing clothwork, Ainu women reconnect with the ancestry that was violently ripped from their bodies and souls, and denied to their children. An alien government, a nation of people saw Ainu culture as something to be “corrected,” at best, and Ainu people as something to be ultimately exterminated. According to the plan, I wasn’t supposed to be here. My mother wasn’t supposed to be here. My grandmother wasn’t supposed to be here. Some people still argue that we aren’t. That Ainu culture is dying or dead.

By weaving ramat into my own clothing, I’m participating in the living culture that is surviving, adapting, evolving. We are still here, and our spirit is still alive.  


An Overview of Bobbin Lace

Bobbin lace is a lace textile made by braiding and twisting lengths of thread, which are wound on bobbins to manage them. As the work progresses, the weaving is held in place with pins set in a lace pillow, the placement of the pins usually determined by a pattern or pricking pinned on the pillow.

Bobbin lace is also known as pillow lace, because it was worked on a pillow, and bone lace, because early bobbins were made of bone or ivory.

Bobbin lace is one of the two major categories of handmade laces, the other being needlelace, derived from earlier cutwork and reticella.

Ok, I’ll admit it… I geek out over the history of textiles.  In a lot of ways, it’s the history of how women not only dressed, but made their livings within a society that gave them very little options.  And yep, bobbin lace was one of those ways.

Bobbin lace evolved from passementerie or braid-making in 16th-century Italy. Genoa was famous for its braids, hence it is not surprising to find bobbin lace developed in the city. It traveled along with the Spanish troops through Europe. Coarse passements of gold and silver-wrapped threads or colored silks gradually became finer, and later bleached linen yarn was used to make both braids and edgings.

When hand lace-making was a major industry it was common for girls to start going to a lace-making school at about 5 years old and focus completely on lace until graduating at about 16 years old after making a “senior project” of sorts that included about 1000 bobbins. Don’t feel bad if it takes an afternoon or two to catch on.

The making of bobbin lace was easier to learn than the elaborate cutwork of the 16th century, and the tools and materials for making linen bobbin lace were inexpensive. There was a ready market for bobbin lace of all qualities, and women throughout Europe soon took up the craft which earned a better income than spinning, sewing,weaving or other home-based textile arts. Bobbin lace-making was established in charity schools, almshouses, and convents.

In the 17th century, the textile centers of Flanders and Normandy eclipsed Italy as the premiere sources for fine bobbin lace, but until the coming of mechanization hand-lacemaking continued to be practiced throughout Europe, suffering only in those periods of simplicity when lace itself fell out of fashion.

Bobbin lace may be made with coarse or fine threads. Traditionally it was made with linen, silk, wool, or, later, cotton threads, or with precious metals. Today it is made with a variety of natural and synthetic fibers and with wire and other filaments.

Elements of bobbin lace may include toile or toilé (clothwork), réseau (the net-like ground of continuous lace), fillings of part laces, tapes, gimp, picots, tallies, ribs and rolls. Not all styles of bobbin lace include all these elements.

Art Rant @ Myself & Anyone Who Needs It

I’ve often thought of myself as a failure artistically. I have 16 years of art school under my belt, at least 6 of which were advanced and specified within a narrower stylistic area which I wished to specialize in. I’ve practiced and tried most basic creative styles, from photography to sculpting, from painting to clothwork. I’ve received guidance and encouragement to seek out new styles and not limit myself, challenge my own limits and not be afraid to break “rules” as I see fit. But yet, there are plenty artists with no artistic education other than their own personal practice who are way ahead of me style- and technique–wise. For this reason, I always thought there was something wrong with me — that I was faulty, or just not good enough. But I know better now.

You see, art is not a race. It’s not about who gets better the fastest or whose pieces are created with the most flawless technique. It’s about taking your own time to find a style for yourself, a place in the community, and based on your own interests and passion, keep growing and learning new things, testing your balance and taking steps to the unknown. It’s about doing what makes us happy, and creating something only we can make. Some learn quicker than others, while some struggle and fail. I’m definitely one of those who struggle; I’ve always been slow at learning new things, and have many difficulties with prolonged concentration, which makes it hard for me to focus on any one area that I want to work on for a long time; I’m soon moving onto the next wave, guided by inspiration.

I’m not an artist who learns quickly. I grow by every mistake I make; I’m an artist who takes a long time to better myself. Once I accepted myself as such, I’ve been much more at peace with my work. There are no set deadlines as to when you should have mastered anatomy, or clean lineart, or cartoony expressions, etc, etc. No one holds these expectations for us except for ourselves; Once we realize we are not in a rush to reach “the goal”, we can take our own time experimenting as we see fit. When we have time and show patience to ourselves, the growing process will surely be a much more pleasant one, as well.