this is what my group project involves

Leadership as an INTJ

INTJ: Goddamn these people are all fuck ups. *Deep sigh* With regret I must tell you all that you are fucking up, and I’m going to take care of things now. 
INTJ: *Becomes Dictator* 
INTJ: Fuck I have a group project, okay you fuck ups, this is how its going down so I only have to see you all once.
INTJ: Who ever invented Googledocs is my new lover.
INTJ: What are you doing?
INTJ: Frankly, I think you’re a moron. 
INTJ: Actually nope, I’m not going to…goddamnit okay this is how you’re going to do it.
INTJ: Don’t bother me….why am I answering your questions. 
INTJ: I just really wanted to sit in my room today and think…but…okay fine…
INTJ: This is the last time I ever get involved with a project….
INTJ: No, I don’t know what you’re talking about, I’m not highly qualified for this at all, I mean look at me…I’m pretty basic…goddamnit.
INTJ: I don’t know anything about that subject…
INTJ: This is why I stopped caring about people in the first place. 
INTJ: Sigh…okay…only this once though.

Concept Idea:

They say that if you can’t find a job in what you’re passionate about, you should create it. So on that note, I think i’m going to start up an initiative called Give A Folk About Nature. It’d involve nature and nature conservation, but also initiatives made by musicians, artists, especially folk-driven and derived  artists and musicians, as well as minority groups and cultures who are doing their part to stand up for nature. It’s a transient project, not subject or confined to one area of the globe but instead would reach to any and every part of the world where people are standing up for the natural world around them. 

It will probably start off as a blog, with interviews or overviews of groups to pay attention to, but if it took off, I would love to find resources to do videos, interviews, podcasts, etc. to raise awareness of these people in the community standing up for one another and the earth we all inhabit.

So what do you think?

anonymous asked:

admin do you have any information about idol drama operation? what is it exactly?

Hi there,
It’s described as an entertainment project/program where seven girl group members come together to make a drama. It’s stated to have a pre-airing through the web, and later on television on May 29th if all goes well. The members involved are Yooa (Oh My Girl), Moonbyul (Mamamoo), Seulgi (Red Velvet), Kim So Hee (IBI), D.ana (Sonamoo), Soojung (Lovelyz), and Somi (IOI). The girls will write the scripts and take on the acting themselves.

Regarding Grismara

<Begin Secure Transmission – Encryption Class AA>

Intranet Correspondence
Fantastic Enterprises
Recipient: Guy Fantastic
Sender: Jarek Shiverscale

Mr. Fantastic,

As requested, I have drawn up a list of individuals recommended for the aforementioned away mission. I am led to understand it is not a company sanctioned affair, nor will company resources be allocated. Given the nature of the mission, I am in wholehearted agreement with this decision.

Should anyone wish to go ahead with the endeavor, the group must remain small, both to deflect suspicion and minimize what is almost certain to be loss of life. The following is my recommended team:

Kaamos Ivuneq: Given his knowledge of and involvement in the project up to this point, his inclusion is natural. His expertise will be necessary when exploring the lab in question. By my assessments, he is currently the strongest fighter you have. 

Yora Ivuneq: She possesses the deepest knowledge of the cave where the alleged primal life crystals form. I predict these crystals will be instrumental in a successful return. Yora’s combat style is a splendid complement to her brother’s. They make a deadly pair.

Rook Vlakovian: I am hesitant to include an officer of such high rank on this list, but her black market connections could be the difference between life and death in such a risky and clandestine mission as this. Also, clear leadership will be vital.

Elenia Volescu: While not strictly necessary, she would be useful. She has more first-hand knowledge of the Contagion and its strains than the others on the list, and possesses a surprisingly brutal combat style. Also, she threatened to paralyze me if I didn’t add her.

Reserve – Elrabin Lichengrove: It is with extreme trepidation that I add Master Lichengrove’s name to the list. The presence of a non-Mordesh sentient on Grismara is an astronomical risk. However, I have overhead him, and he is adamant to accompany. Understand that there will need to be a kill order on him in the event that he should become infected. I leave the final call up to you.

Jarek Shiverscale

<End Secure Transmission>

lookashiny  asked:

things you said at the kitchen table, Brad/Ray

“You know” Brad said conversationally as he sat down with his coffee “There are people whose job it is to test products and tweak them until they are the ideal versions. Food scientists spend month, and sometimes years, on a product. There are focus groups involved, Ray.”

“What’s your point?” Ray asked, not looking up from the project in his bowl.

“My point, you simpleminded miscreant, is that, while I don’t know what food product that used to be before you defiled it, I am certain that this is not its intended usage.”

“Someone woke up feeling sanctimonious” said Ray as he got up to get the milk and pour it in his bowl. “My graham cracker mush is not hurting the feelings of any weakass corporate nerds, and if it is, who the fuck cares? You can’t sit here and tell me that I need to stifle my creativity, my individuality and deny myself my godgiven right to enjoy myself in my own fucking home just to placate our capitalist overlords. Seriously, homes, this is America. Land of the free and home of the fucking brave. This dish is what we fought for, dude. For my right to eat graham crackers however I damn well please.”

Brad, who’d been frozen since he first heard the words “graham cracker mush” closed his eyes in a long, slow blink.

“That dish, and you, are abominations against God and man. I regret every single one of the choices that led me to this moment.”

Ray grinned at him around a lumpy, beige, mouthful “Yeah, baby, I love it when you talk dirty to me.”

[  Jared extended imagine ] Let’s mess with the media.

Original imagine: Imagine: Jared letting it slip out that his girlfriend’s in the audience at a conference. He quickly looks at you like this:

Written by: A.Wölf.


- You’re known for being an activist. You have a very interesting project right now. What are we in for this time, Jared? -The conference host asks.

Jared holds a microphone in front of his chin while sitting on a chair across from the host.

-Well, It’s called “Beyond the horizon” it’s basically a series of conversations with some of the world’s most interesting people in tech, art, politics and science who are helping create a new tomorrow.

-It’s a web series you’re directing, right?

-That’s correct.

Keep reading

I first found the Zero Escape series two or three years ago, and it’s helped me through some of the most difficult times in my life.  There were some days (still are) where, when I need to find something worth living for, the first thing that comes to mind is Zero Escape, and that’s what keeps me going.  I can’t thank Aksys and Mr. Uchikoshi enough for bringing the series back for its final installment.  It feels like I’m being welcomed home.

You know, if home involved puzzles and grisly murders.

Art and message by @error-404-fuck-not-found

For the Thank you Zero Escape project

Final Project Struggles - Your advice is appreciated!

Hi fellow KMers! I am struggling with my final project, and thought I would reach out to get your thoughts on where I should go next.  My original idea for the project was to create a demo of a web-based CoP that we could eventually utilize so that our departmental stakeholders have a better way of connecting and are more able to quickly access the information they need. I really like this idea, but I have received several thoughtful comments from the group suggesting that I should consider changing my direction.  The question is, how do I pivot?  The goal is to solve some of our training and communication issues, which will hopefully lessen the number of mistakes and lessen workloads for all involved.

I’m feeling very frustrated trying to come up with a better focus for my project. Do I focus more on the use of existing tools? Write a detailed proposal/roadmap?  Write a report about best practices for use when the time is right?  I am just not sure what I should do. Any insights or suggestions you all have would be greatly appreciated!  

PS - I run my hands though my hair when I’m stressed or frustrated, hence the meme below. 

Originally posted by irrational-obsessions-gottcha78

anonymous asked:

This is probably a super weird personal question, but here it goes. As a group of obvious talent (with regards to sewing/costuming) and friendship how do you go about splitting the bill? Does everyone pay for their own cosplay? I ask because I'm heading up a group cosplay for the next season and I am the pretty much the sole maker, from start to finish. My personal predicament is that these people are my friends, and I have minor professional training (1/2)

A two part question with a several part answer!

Our group consists of five people: myself (Jenn), Emmy, Christine, Kat and Shazz. 

Our skill at sewing varies. Christine is professionally taught, I am self-taught plus industry experience, Kat is self-taught, Shazz has very successfully done a few of her own costumes with sheer will power and determination, and Emmy is a highly skilled cutter and ironer who used a sewing machine once and thought it was scary but just loves to dress up. 

For the most part, Christine and I do the bulk of the sewing; with this recent Fire Emblem group, I played “leader” and was responsible for all the costumes. While the Fire Emblem group is our fourth major group project in three years, Christine and I pretty evenly handled Madoka and Sailor Moon, while I handled Shingeki no Kyogin and Fire Emblem. Obviously, that does not mean Christine and I were doing it alone: Kat, Emmy and Shazz did a lot of the prep and grunt work along the way, as did Maya, Mike, Syd, Josh, and Lauren (hail, occasional group members!) For the most part, save Kat assembling a good chunk of Madoka, Christine and I are almost always the only ones to sit in front of the sewing machines, as well as do fittings, draft patterns, organize shopping lists, plan construction, etc. That is the general gist of how our group works.

Here we go.

Before we start sewing:

The costumes are absolutely THEIR costumes, and they have to be that way; I am absolutely fine with the fact that I am doing the brunt of the work, but it is important to me that my friends feel involved, and as such, I do try to keep to a “I don’t work on it unless you’re here to help” rule. In the end, it won’t feel like their costume unless they have personally put in the time, effort and money to make it exist, so I try to make the process as involved for them as possible. Yes, this means we might spend 8+ weekends in a row together working on things. Yes, this does means sometimes costumes don’t pan out when a friend doesn’t make the effort to contribute enough to the actual construction process. It is disappointing when that happens, but it’s a very reasonable approach to ensure no one accuses anyone of being a mooch/not pulling their weight and no one feels left out or uninvolved.

Who foots the bill?

Everyone in the group pays for the cost of their own materials, whether one person orders/purchases and the other reimburses or everyone is present for shopping. I prefer people come fabric shopping with me, as it means a) they pay upfront for their materials and b) everyone is absolutely aware of the upfront cost and c) everyone has input on what fabrics and colours they like or dislike. Right from the beginning it is important to me that my friends/group members (let’s just call them friends from here on out) are very involved in the process because it is THEIR costume.

While we do try to put together cost estimates upfront these days, it is very very important to me that people in the group understand what cost they are sinking in upfront. Cosplay is expensive but I will not sew with the wrong materials: I don’t see any point in using my time and energy on a project that will look cheap, so no poly broadcloth, no cheap satins, no weird substitutes. My friends trust my judgement when I say I want to use a particular fabric for their project, so we’ve never really had this trouble, but if it ever popped up, I’d like to think I’d be open to discussion. (They also know I am thrifty as hell and will price check everything to hell and back, though.) 

If my friends wanted to take on an expensive project but they could not afford it, they would just have to wait until they could or they have to wait until they could get things for the right price. Jenn ain’t sewing any broadcloth magical girls or cheap satin fantasy fighters.

But that said, I don’t charge my friends for labour.

Here’s the jist of not charging my friends for labour:

  • They are expected to put in effort to make it happen, so some of the labour is theirs.
  • I am a hobbyist and not a professional and I don’t want to be a professional.
  • Free means no guarantee of quality. I make every attempt to make a nice garment, obviously, but if I’m doing it out of kindness then there is a strict “no nitpicking” rule if the top stitching isn’t perfectly 1/16″ all the way around or there’s a little flaw in the fabric or I couldn’t magically make Anime Lady’s completely unrealistic outfit come to life with 100% accuracy. If you want it done a certain way, you make it yourself or pay someone to follow your orders! 
  • If I charged I’d be eternally limited by their budget for labour, meaning I’d be either rushing to do it within their labour costs or I’d be stuck doing boring easy costumes forever. 
  • Doing costumes for others means I get to make costumes that I think would be fun to make without having the expense or needing to wear it. There are many costumes I think would be fun to make but would never wear myself, so my friends make excellent excuses to make these costumes.
  • In this capitalist live-to-work world, I’d rather not bring money into my friendships, especially with hobbies. I love costuming, but I have had enough experience in the professional side of garment production to loathe the idea of making my hobby my job.
  • Getting treated to dinner or getting some little gift or costume piece in return or any of those little things my friends do for me are infinitely more valuable to me than a paycheck because we do this work together as a work of heart. I almost cried when they got me an Assassin’s Creed hoodie as a gift for doing the Shingeki costumes a few years ago. I know my friends appreciate my work; they tell me in words and actions, and that makes me happy to make costumes for them.

But that said, YMMV. You might not have these reasons, and you may want to ask for reimbursement. It is perfectly fair to do so, though you will probably have a different dynamic, and that’s one I can’t speak to. But honestly, if your friends aren’t there doing a lot of the labour by your side, then don’t be shy about asking them to or else they will have to pay. Our Fire Emblem costumes probably have 60+ hours EACH. You aren’t a goddamn factory.

Time to actually make the costume:

“Outsource” everything you can. The bigger the group, the more you have on your plate. Shove things off if you don’t need them there.

Realistically, you’re working with competent people, even if they don’t have sewing skills: find something for everyone to do. Amongst so many other things, Emmy and Shazz can vector and design, Kat does wigs and make-up, etc, etc, etc. EVERYONE HAS HANDS. Can you hold a pair of scissors? Can you thread a needle? Can you use an iron? You can help!

If you don’t need to do it yourself, pass it off to your friend. Make all the pattern pieces, have your friend cut them out. Mark where a snap goes, have your friend sew it on. Pin the pattern pieces superficially, have them finish and cut. You sew, they iron. You give them the pieces, they apply interfacing. You hate making armor, let someone in the group who likes that stuff handle that project.

This is the only reason I can take on a group of 6-7 costumes at once — even if I’m doing The Hard Parts, I don’t do it alone, and everyone gets to feel very involved. Yes, sometimes people make an effort on another person’s costume if that is what it takes to get the job done: it took Kat, Emmy and Shazz a few hours to cut out and fuse all of Lucina, but together they cut the job down to hours when it would have taken just Shazz a whole evening, or me a few days. We are a team! We are a group! We get together to get shit done. NOBODY is useless in a group because everyone is capable of doing SOMETHING to contribute, even if it’s running an errand, helping tidy up the work space, teaching another or doing some research.

A caveat: to pass something off, they have to know what they are doing:

Be prepared to sit down and teach. For example, I can pass things to Kat or Emmy and say “do this please” and 99% of the time it’s all good no questions asked, but when I have Syd on board it might take a while because before this recent group she had never cosplayed before. Walking her through the process of cutting takes a lot longer than doing it myself, but if I didn’t take that time, she wouldn’t learn! Your friends are undoubtably intelligent, crafty people who want to help. Show them how to help make their costumes and make them feel valued and it will never feel like work. I showed Kat how to do a basic decorative stitch the other day, and then she taught Emmy, and Emmy taught Syd. Boom – all that embroidery done.

And that said, if they think that cutting and interfacing and ironing seem like tedious, unglamorous jobs, then you tell them that you are MOST GRATEFUL that they get the bulk of it out of the way for you. Drafting and the “set up” are possibly the most time consuming part of sewing, and your friends are helping you to a great degree by getting it out of your way. It is a crucial part of the process. It is SO important. I would never do these group projects if I had to cut, face, iron, etc all these pieces myself.

Now, some other things before you take this on your shoulders:

You will have one moment in every major project where you want to throw your hands up in the air and say FUCK IT, I AM DONE. This is normal. It is perfectly natural to be entrenched in a project for months and be frustrated with it when setbacks happen. Don’t let that moment get the best of you: step back for a weekend or week or whatever and then get back on the horse. You are only human and sometimes projects don’t go 100% smoothly. 

My FUCK IT, I AM DONE moment for the Fire Emblem group was Olivia’s armor. Fuck getting a smooth surface on worbla; I gave up and just painted it, wore it just long enough to go to the photoshoot, took it off, and now I’m remaking it the way I want it to be.

Deep breaths, reassess, keep going. 

Communicate with your friends. Don’t be afraid to tell people when they are being unreasonable with your time or skills. When people don’t know how garment construction works, sometimes they get wild ideas (like making knife pleats come out of a plain shirt without a waist seam! Thanks Kill la Kill ;)) that you will have to temper and make compromises on. You are doing the garment making: while you should absolutely consider their opinions and ideas, ultimately you have the final say because you are leading this project and your know-how and expertise allows you to do so. Teach them why it won’t work and show them how it can be done instead. Make costumes that they’ll enjoy and feel good in, but don’t let their heads run away with them – so many of these costumes were not designed to be worn in real life.

Last point: I would be amiss to not mention this, though I feel it is something of a downer note at the end of a post. That is this: 

You may end up putting your own costume(s) on the back burner for this group, and you may find yourself doing it again and again. If you’re kind enough to lend your time and skills to such a big project, then odds are you are also kind enough to be self-sacrificing in your own costumes. If you don’t think you can love the group before your own cosplay as an individual, group costuming as the primary seamstress may be very hard for you.

There are many projects I would have done over the years if I wasn’t committed to my groups — I admit sometimes I look at other cosplayers’ blogs and see them in 6-7 different costumes a year or doing something new every month and think, “Wow, I only did one costume for myself, and there were so many more I wanted to do! I wish I had the time and energy they have!”

And then I remember: “Oh. I HAVE made seven costumes this year and it’s only May. Right! It just so happens that only one is mine.”

If you take an intense amount of pride in personally wearing what you make, this probably isn’t a great feeling. Me, I enjoy making costumes more than wearing them these days, so that’s not so bad, but I still feel a little down sometimes when I think about the costumes I’d love to do or have put off over and over again for someone else’s costumes (Lara Croft, Ezio Auditore, etc.) Its a reality of making other people’s costume dreams come true, but fortunately I get a great deal of satisfaction out of making these group costumes, so it works out in the end. How you feel about it is up to you and what kind of person you are, or what you get out of cosplay.

That’s all I’ve got for tonight. :)

All my love to my Ladies and my group members and cosplay friends who have given me so many wonderful project opportunities over the years and continue to do so. I can’t wait until we wrap up FEA round 1 and start round 2!!!

- Jenn

Interview with New Visions Featured Artist: Chris Kindred

Last Friday Chris took over our Instagram as we celebrated the Student Scholarship Competition exhibition opening and his Scholarship win. Today learn more about Chris in the interview below. 

1. When and how did you decide to become an illustrator?

At VCUarts Portfolio Day in 2009. It was my senior year of high school and I spent the day shopping for art programs that I thought I wanted to go to. VCU was the last one I went to for the day, and Sterling Hundley just happened to be running that table. When I met him and told him I was maybe thinking about pursuing illustration, he gave me the most thorough portfolio review I’d ever had, and told me exactly what I needed to know to become an illustration student. Took 3 years after that day, but it paid off big time.

2. Who are the biggest inspirations for your career?

My friends. A lot of them I used to follow on Blogspot back before I moved to Richmond. They were (and still are!) a ragtag group of creatives who focused on the work and being as dope as possible. That energy is what inspired me the most. Even now I’m glad to be surrounded by folks who are always grinding, not only to be the best at what they do, but to be the best selves they can be.

3. Name one non-illustration inspiration in your career.


                                                                                                                 All Black 

4. What is the best advice you have been given as an artist?

Know when not to take advice—When you get advice that steers you from where you want to end up, you’re by no means obligated to follow it.

5. What is your creative habit? What do you have to do to get into your creative zone?

I have to start in the morning, or else it’s exponentially harder to get into the zone. I need quiet or ambient jams to contrast my surging thoughts before calming down to focus.  

                                                                                 Boxing Taught Me to Survive 

6. What music and books inspire you to create?

I’ve been reading a bunch of Octavia Butler lately. The contrast between intimacy and brutality are themes I want to explore in my work soon. Also recently finished Sorcerer of the Wildeeps, by Kai Ashante Wilson. His attention to detail and matter-of-fact style of world-building is really up my alley.

For music though, I’ve been playing Lil Yachty’s Lil Boat a lot. It’s really playful, well refined Atlanta trap that’s easy to rope you in. Also Chance’s Coloring Book is flames. 2016 is a good year for music. Lemonade, James Blake’s The Colour in Anything, and Kaytranada’s 99.9% were instant downloads for me.

7. As it relates to illustration what advice have you never forgotten?

“Be loose without being messy.” It was recent advice, but hearing it when I did made things click for me—I’ve had the most fun drawing loose figures in motion, or anything in motion for that matter.


8. Do you see illustration as a group of individuals or a community?

That’s a tough one. Illustration to me is me and my friends I’ve met from all around. The wider that net of friends, the larger the community. However, I do wish illustration at-large could be as tight-knit as comics can be.

9. What sort of things keep you involved in the world of illustration?

Knowing that social discourse can be important within the image-making profession and as an image-maker. Illustration is the most impactful tool I use to communicate.

10. What is your dream project?

I want to run an animated show or direct a feature. Along the way, I want to work on a graphic novel.  A dream project for me is one where I can have total creative freedom without struggling to eat.

11. If you could time travel what year would you go to?

2100. When people talk about the future, they talk about the state of the environment and technology. I want to see how far society has progressed. I want to know if someone like me can walk around without people locking their hovercar doors, haha.

                                                                                        Benefits of Collaboration

12. What’s the most rewarding part of your job?

Knowing that my work has touched someone’s life in a very real way. Alternatively, when I go grocery shopping with money I got for drawing pictures. That’s so surreal to me.

12. What’s the most terrifying part of your job?

That moment when you send up your final draft and you wait to see whether or not there are revisions.

13. Love the Internet or hate the Internet?

Who would hate the internet?

                                                                                                           Hood Knight 

Elemental Disney 2 am thoughts

yknow with Moana coming out and it being revealed her magical relationship to the Ocean and water and stuff, I’m kinda really digging this trend of Disney protagonists having fantastical/magical relationships to elements from some magical source

Rapunzel is a child of the element Light and the Sun’s Magic because of the magical flower her mother ate

Elsa is a child of Ice and Snow from birth

Moana is a child of the Ocean and Water because <currently unknown>

and if you stretch it just a tad into Alternate Universe territory, you can get some other interesting ones as well, like:

Anna being a child of Earth because she was affected by the Troll’s Stone/Earth magic as a child

Merida a child of Fire because of her being chosen by the magic of the fiery Will o Wisps

Hiro from Big Hero 6 being possibly Metal or Electricity because of the time spent lost and floating inside the pocket dimension portal affecting him in some magical way

and then you throw in some Dreamworks for fun like Rise of the Guardians and How to Train your Dragon

Jack Frost being changed into a Child of Ice by the Moon’s powers

Hiccup and Astrid both being affected by Dragon Magic in different ways

Hiccup into a Child of Air through a magical soul bond with Toothless, allowing him the power of wind and flight

Astrid into a Child of Fire also through a magical soul bond with Stormfly, allowing her multicolored fire power that exudes from within her as if from her soul itself


I’ve decided to tag this as Children of the Elements or COTE for short because the only other tag or idea thats like this is the Big Four or Rise of the Brave Tangled dragons, which only accounts for, well, four of them really

and naming it something neutral like this allows the potential for members of the group to be added to without further need for a tag change to encompass them all

like for instance Pixar’s far off “Untitled Shadows Project” movie that (crossing my fingers) will feature a potential “Child of Shadow” to counter Rapunzel’s Child of Light, because all I know about that movie is that it will involve someone interacting with their shadow in a magical way so why not

(and what if Disney makes a Little Red Riding Hood movie? famous for wandering in woods and gathering flowers, she could be Child of the Forest)

KC Slack of Bad Fat Broads

1. How long have you been polyamorous or been practicing polyamory?

I made my first attempts at an “open relationship” in about 2009, but I was doing it all wrong for myself back then and it didn’t work out particularly well. After that relationship ended I wound up taking a few years off from being really involved with anyone or looking for anything “serious”, I wanted to give myself some time to really reconsider what it would look like to be happy and fulfilled in whatever relationship configuration I wound up in. Somewhere in there I realized that monogamy just wasn’t going to work for me and started dating with that knowledge in mind in about 2014.

2. What does your relationship dynamic look like?

You could call my relationship dynamic “relationship anarch-ish.” I’m pretty resistant to hierarchy and I want to let each of my connections be exactly what it is without jamming everything into “primary” vs “secondary” vs “tertiary.” That said, I’m realistic about that while I have infinite amounts of love, I’m stuck with limited time and I try to be honest about that. In practice it currently looks like 3 partners, a couple long-distance connections, something more casual, and the possibility for whatever else shows up. I like for the people I date to know each other - one of my favorite things is when all 3 of my partners and I get to hang out together - and I like to know about the people my people are dating. For me this is about some combination of my own love of knowing/sharing, and my desire for the possibility of community within my relationships (I still feel deeply goofy whenever I say the word “polycule”, but I hear myself saying it a lot these days).

3. What aspect of polyamory do you excel at?

I’m really good at letting people know that I care about them and talking about feelings in general. My super-impulsive Aries-ness blends with my Feelings Professional status into my being someone who is happy to articulate interest and really competent at discussing and caring for the more complicated feelings that show up along the way. Being really well processed and generally very self-aware helps a lot because I’m able to identify and name my own stuff in ways that allow me to either work through it in my own space, or in the space of the relationship. I’m also a really proficient scheduler, which honestly is a surprise to me given my own habitual disorganization. I am good at building rhythms and figuring out when dates can happen - all without a unified google calendar!

4. What aspect of polyamory do you struggle with?

I have some jealousy stuff that shows up a lot more often than I would like.

5. How do you address and/or overcome those struggles?

I try to be gentle with myself and to give myself a minute to really look at what I’m feeling. My jealousy is often about something other than my partner’s behavior - my trauma, societal expectations, etc - so depending on which thing it’s actually about I try to figure out how to move through those feelings in ways that are respectful to me, my partners, their partners, and to the sort of world I want to live in. This can involves both self-reflection and discussion with partners, friends, and my therapist. In events where upon reflection I find that it is about how my partner is behaving, I attempt to initiate a conversation about their specific behaviors to see if it is something that can be addressed/changed.

There is sort of a habit of viewing jealousy as something the individual - especially if the individual is a woman or femme - needs to just sort through on their own as to “not bother” their partner(s), and I don’t agree with that. Even when my jealousy is wholly about my own stuff, I find it really valuable to discuss with my partners, and I feel the same way when working through a partner’s emotional stuff. Relationships are mutual exchanges, so while I don’t want to put blame on my partners for things they haven’t actually done, I also don’t understand myself as having to be isolated in my emotional processing and development.

6. In terms of risk-aware/safer sex, what do you and your partners do to protect one another?

Generally speaking, we use barriers for most types of sex with anyone at all, including each other, we sterilize toys where possible and use condoms or different toys in other situations. We also all have regular STI screening schedules, and any barrier-free sex that happens doesn’t happen until after all involved parties have had STI screenings. Personally, I have an IUD and a strong clarity about what I would do were I to become pregnant accidentally. More importantly to me, we’re in dialogue about our safety and are committed to being people who can be trusted to not take risks with each other’s health.

7. What is the worst mistake you’ve ever made in your polyamorous history and how did you rebound from that?

Oh wow. Uh. I think my whole first venture into non-monogamy was a mistake and honestly my first rebound from it was to think that maybe that just meant that non-monogamy didn’t work. Ultimately, I realized that the problems were about communication and compatibility, and did an awful lot of work to understand myself in ways I had not previously so that I could communicate and find compatibility in ways that are healthy and satisfying for me.

8. What self-identities are important to you? How do you feel like being polyamorous intersects with or affects these identities?

My identities as queer and fat are really significant to my experience of the world in general, and to my experience of polyamory in specific. I think queer and queered polyamory encourage a type of creativity in relationship form that more heteronormative polyamory misses and suffers from the lack of, I also think my status as always already a sexual outsider has made my whole experience of polyamorous community and life different than it is for straight or more heteronormative folks. As a fat person, specifically a fat bisexual, I get hit with the “gluttony” shame directed at polyamorous folks more intensely than do folks at some other intersections. I am also, notably, a religious professional which causes me to have what I will only describe as odd experiences in both my non-monogamy worlds and my faith worlds.

(Bonus: Do you have any groups, projects, websites, blogs, etc. that you are involved with that you would like to promote?)

I co-run an intersectional fat liberation podcast, Bad Fat Broads, which I am really proud of. You can also always find me yelling on twitter as @femmina.

All That You Can’t Leave Behind

Diary Entry by Tom Hiddleston

HMP Pentonville, 20th December 2001

‘You thought you’d found a friend
           To take you out of this place…
           It’s a beautiful day….’            

           U2, All That You Can’t Leave Behind.

It’s not exactly Shakespeare, but it’s a good place to start. These were the words I heard (in Bono’s [see photo above] euphoric cry) as I sipped the froth off a late morning coffee in a cafe up the Caledonian Road, just opposite HMP Pentonville. And a beautiful day it was. I had walked all the way from Oxford Circus. It was the 20thof December – but the sun, in a rare moment of compassion for its earthly progeny, had its hat on, and the sky was a deep, mediterranean blue. Walking in the sunshine it wasn’t all that cold. In fact, it was lovely. When I saw the bars on the windows of the prison I realised what a privileged position I was in. Just being able to walk in the sun. It’s a cliché, but it brings one’s perspective sharply into focus.

I sincerely believe that the LSW Prison Project brings a little bit of that outside light into the inside. To go back to U2, for one afternoon we were some ‘friendly’ faces ‘to take them out of that place’, not with sunshine, but with Shakespeare.

Bruce had come up to Cambridge to do a student workshop, so I was familiar with some of routine, but I confess to underestimating the overwhelming impact that it has on the inmates. It is truly inspiring. People in Cambridge complain that Shakespeare’s plays are over-performed within the university (there are probably about twenty a year). My day in Pentonville brought home a stark reality: we don’t know how lucky we are.

Once inside, after a quick rehearsal of the afternoon’s routine, the inmates shuffled in. Introductions were enthusiastic and friendly on both sides. No ‘us’ and ‘them’ – the groups merged immediately. For an afternoon, in that little room, with a blackboard on which was scrawled ‘Prisoners Have Rights’, we were just a group of people playing around with words. Bruce got the ball rolling with a round of ‘Eyes Up’, and by the time we got to ‘Bunny’ – in which it is impossible not to look ridiculous – there were smiles all round.

Once inside, after a quick rehearsal of the afternoon’s routine, the inmates shuffled in. Introductions were enthusiastic and friendly on both sides. No ‘us’ and ‘them’ – the groups merged immediately. For an afternoon, in that little room, with a blackboard on which was scrawled ‘Prisoners Have Rights’, we were just a group of people playing around with words. Bruce got the ball rolling with a round of ‘Eyes Up’, and by the time we got to ‘Bunny’ – in which it is impossible not to look ridiculous – there were smiles all round.

Bruce’s three-tonal ‘dance’ got everybody warmed up. I think that has to be one of my personal favourites. It’s so completely unifying. There’s something visceral and primal in its simplicity of communication – through sound and action. Each group of sounds is so instinctive and expressive and everyone does it together. And after all that’s what theatre is about to some extent: the collective representation and communication of universal emotions.

A hearty chorus of “Chastity Belt” followed, superbly acted out by some of the LSW team in fittingly pantomimic fashion – and warmly received by all. After a good round of insult-flinging (myself completely ‘out-insulted’ by my opposite man), my co-actors (inmates included) and I had fun dramatising some famous quotations on the primary importance of the concept of ‘play’. [Note to Bruce: I’ve since found another one by the way! “The secret to perpetual youth is to keep making time to play” (Voltaire)]. Next, we moved on to the “Dream” exercise. Various Lysanders, Demetriuses and Helenas were given a few lines and their metaphorical ‘love-juice’ (raising many a snigger from the audience) and asked to play out a whole scene, with only those lines. The inmates capitalised beautifully on the comic potential, one of whom chased his Helena endlessly around the circle, entranced and repeating only ‘goddess’ in all manner of intonations, while his opposite Lysander stood centre-stage in disbelieving awe, chastising his Helena with a simple ‘Why?’.

Lastly, we came to what must always be the highlight: ‘WitSlings’. Some of the mini-sonnets that the inmates come up with (in perfect iambic) merit judgement in their own right. They are written with such a truthful simplicity and (often) lyricism that is astonishing. But what was I expecting? I have since told myself off for being so ‘astonished’ – a.k.a blindly prejudiced. The lines that my partner Graham wrote, framed by two Shakespearean openings from different sonnets, deserve quotation. He envisaged a mother and a son, kneeling in a church, whispering to each other:

Mother:            No longer mourn for me when I am dead,
                        For always shall my memory live with you.
                       Care for your sisters – you are household-head.

Son:                 Without your guide I know not what to do.

Mother:            Fear not, my soul, I will be standing by.

Son:                 I thank you, and your words do reassure.

Mother:            Tir’d with all these for restful death I cry.

This was then beautifully transposed into song by Sarah-Louise Young. Watching Graham’s face as his words were sung back to him was very moving – for him, no doubt, ‘such stuff as dreams are made on’.

When the session came to an end, I looked at my watch and realised that four hours had flown by, and that it was now dark outside. We had all forgotten ourselves – all of us, actors and inmates. Marcus, one of the most enthusiastic of the group, came up to shake my hand. ‘Happy Christmas’, he said. ‘You too’, I replied, and then realised what I’d said. But maybe that’s not so bad. There is no doubt in my mind that Bruce and all involved with LSW that afternoon went some way to making all their Christmases just that little bit brighter.


Tom is in his final year of study for his Classics degree at Cambridge University.  In his spare time, Tom somehow manages to fit in a theatrical career.  Scrawled upon Tom’s (ubiquitous) LSW Prison Project form, one filled out during a Cambridge University session within the depths of St. John’s College, Tom noted that he ‘desperately wants to be a professional actor’.  Tom needn’t worry.  He already is.

2001, Stage,  Orestes, ELECTRA, Cambridge Arts
2001, Stage,  Romeo, ROMEO & JULIET, Cambridge Arts
2001, Television,  Randolph Churchill, A LONELY WAR, HBO Television, Richard Loncraine
2001, Television,  Toby Sherriffmuir, ARMADILLO, BBC Television, Howard Davies
2000, Stage,  Mitch, A STREETCAR NAMED DESIRE, A.D.C.
2000, Stage,  Ishmael, MOBY DICK REHEARSED, Cambridge Arts
2000, Television, CONSPIRACY, HBO Television, Frank Pearson
2000, Television, NICHOLAS NICKLEBY, ITV, Stephen Whittaker
1999, Stage,  Stanhope, JOURNEY’S END, Double Edge Drama
1999, Stage,  Herod/Christ, MEDIEVAL MYSTERY PLAYS, A.D.C.
1999, Stage,  Yolland, TRANSLATIONS, A.D.C.

I will apologize for nothing and you can’t make me.

So I got sick of working on my theory and wanted to do something fun. What started as a sketch has turned into my new desktop background. I’m dead serious.

I’ve been meaning to do something bigger like this for a while. I know the mod of Token has been having a rough time, and a while back they adapted a scene from Bob’s Burgers with Tina getting her 13 birthday party dream. So it started as that, but then evolved to involve other ships. Or just some random animatronics who decided to show up.

I hope you guys enjoy this! I know I did. I like doing big group like projects like this.

Gerty belongs to me.
Dillard belongs to naninadz
Anna, this version of Mike belong to rebornica
Doll belongs to anyone who has made a Doll (I made Doll a blank slate so you can imagine your version of Doll there)
Chompy belongs to eyjoey
Happy and Nameless Frog belong to sweetriddless
Chuckles 2.0 belongs to mayadile
Giggles 2.0 belongs to rebelyeen
Prancy belongs to equnep/artcelerate
Token belongs to tokentiger

PS. Sorry if you guys are getting annoyed with all the fanart I’m doing x.x; I’m sorry for bogging down your dash!

truthfulnomad-deactivated201608  asked:

I have a question. My novel takes place half in a fantasy world and half in Earth in the year 2100. My big project right now has been rewriting current events of today and seeing what they might look like in 85 years. How do I do this without stepping on toes? I want it to be believable. For instance, I have two terrorist organizations that arise in the 2020s, but one of them is a terrorist group of the extreme left and the other is on the right. For the right, should I involve religion?

Writing Future Events Believably and Inoffensively

This sounds interesting but also a pretty daunting project due to the sensitivity matter, especially with how current world affairs are going. 

Aside from the basics of doing your research thoroughly I’d say try to put yourself in the shoes of those you are writing and use people from within these groups or like them during your research. You can use historical events as inspiration for your story, but you shouldn’t copy them. Be sure to have appropriate beta-readers as well. 

Personally, I think the best thing to do with these terrorist groups is to have them be more than stereotypical villains who do stuff because “eeeeeeviiiiiilllllll” but because they have a reason they themselves think are justified. Those reasons can still be horrible and evil of course. 

Be sensitive and respectful, but also look at threats which are commonly overlooked, like the KKK (which would involve Christianity). I know there is a lot going on at the moment, but I’d advise against putting the same groups into villainous roles due to stereotyping (like Muslims). We’re already overly saturated in negative representation and it’s doing a lot of harm. 

Also be careful which events you touch and how they influence your story’s world, since there are plenty of recent as well as major historical events further back in time which affected people today would rather see as off limits, which I personally sympathize with. 

It’s also wise to read books with settings like yours. I’d suggest looking at speculative fiction books. 

~ Mod Alice

Mahala Carver

1. How long have you been polyamorous or been practicing polyamory?

I have been polyamorous all of my life, though I did my best to adhere to a more traditional idea of monogamy and “happily ever after” until the end of my second marriage in 2006. I was blessed and lucky to be able to move in with some dear friends, living as a guest in their magical poly home in the beautiful Santa Cruz Mountains, and discovering that I had never felt more at home than I did with them. It took two or three years of significant introspection, therapy, and many, many first dates to discover that I, too, am polyamorous. I was glad that my housemates then were (and still are) my own role models for living well and authentically.

2. What does your relationship dynamic look like?

I live with four partners in our chosen family, and each of us tends to identify as relationship anarchists – we each are polyamorous in different ways, and yet we are a happy and stable family. We share meals and household chores, help each other when trouble may arise, celebrate holidays with our own family traditions, and encourage each other to live freely and be ourselves.

I also am exploring other relationships outside my chosen family, and am discovering that I truly love and appreciate the autonomy and adventure of being poly. I tend to gravitate toward people who are kind, generous, funny, and actively involved in doing things that bring them joy and laughter.

3. What aspect of polyamory do you excel at?

I think I am especially good at partnering – at helping my partners, lovers and friends with everything from chores that none of us want to do, to being a wing person, or having fun exploring and seeking adventure.

4. What aspect of polyamory do you struggle with?

Envy sometimes weighs heavily for me. When one of my partners is out having fun with someone, it’s not that I don’t want someone else to be with them, it’s that I want to be with them, too.

5. How do you address and/or overcome those struggles?

I have learned a lot about being a better person and a better partner and friend by studying and applying “The Four Agreements” by don Miguel Ruiz, and “Nonviolent Communication” by Marshall Rosenberg. I also do my best to offer safe spaces in which my partners can share their thoughts with me.

6. In terms of risk-aware/safer sex, what do you and your partners do to protect one another?

I am sex-positive, meaning that I am comfortable speaking candidly about my desires, expectations and boundaries. I encourage my partners to do the same with me. I don’t expect that every relationship will include sex. When I and a partner choose to be sexual together, I think it’s sexy to talk about the kinds of safer sex practices that are important to each of us, and find a mutually enjoyable and safe path. I am tested periodically, yet consider the results private, sharing only what I think important for my partners to know, should they be affected.

7. What is the worst mistake you’ve ever made in your polyamorous history and how did you rebound from that?

My second marriage was supposedly open, but it turns out that my was-bund actually had a one-penis policy. Though I supported his choices to date others (who were often my friends), he never did offer his approval or encouragement for me to date. After a few years of having my choices squelched, I cheated. In one evening, I did something I swore I would never do. As I drove home, I thought about telling my was-bund what had happened, but he was so angry that I’d come home late, and told me there would be dire consequences if I’d slept with my friend. So I lied. And that lie tore me up for years, causing me heartache as I realize that I’d subverted my own wishes for so long that I could no longer speak my truth.

I’ve learned a lot since then. I am much better at not making promises I cannot keep, and I don’t allow anyone else to set my boundaries for me.

(Bonus: Do you have any groups, projects, websites, blogs, etc. that you are involved with that you would like to promote?)

I thoroughly enjoy being a moderator for one of the Polyamory Facebook discussion groups. Being able to interact with so many different kinds of poly and mono folk has given me much greater insight to myself. I also thoroughly enjoy periodically facilitating at the local Loving More poly discussion group in Santa Cruz, California.

People Are Terrifying

Let’s talk about socializing. Anyone with misophonia will tell you that attempting to go out into the world and socialize is as terrifying as knowing you were going to be seriously electrocuted in an hour.

I’ve described a social situation like a battlefield before, and I use it because of how accurate I think it is. You know there are going to be noises, but you don’t know where they’re going to come from. All you know is that they're going to come, and there’s nothing you can do about that. 

I used to go to the InterVarsity club on the Auraria Campus (where my school is located), and at first, it wasn’t so bad, but it eventually just got to the point where it was just embarrassing for me to go there. I had to ask so many people to spit out their gum, and if you’ve read my previous posts, for me, that’s like having to tell someone I wet my pants.

It’s humiliating. But it just got too hard for me to attend, so I don’t anymore. I’ve tried other Christian groups, but everywhere I go, there’s always people with gum. Like, a good third of everyone I meet who’s around my age chew it. 

When I tried out a group off of Broadway (a street near Denver), it was really difficult for me to continue a conversation with people. There was a guy one time standing directly behind me and popping his gum while I was trying to not look like a total egg salad in front of some new aquaintences.

Nope. Misophonia is like an annoying little monster that has hijacked my mind and plays with any and all of the controls up there.

It’s like a musical of misery, complete with the coreographied twitching and cues to exit the scene…spontaneously right in the middle of an active dialogue, all of the time. Only, other actors don’t know they’re in a play; it’s just me dancing around, awkwardly making strange excuses for my routine. 

Sitting in an audience is the worst. People are like, “Oh my gosh, Steph, we should go see (insert movie here)!!” I’m like, I am literally the last person you should go to the movies with. I have an entire list of things I have to do in order to not dissolve into a pathetic puddle of neurons while viewing a film. I swear, we have to move seats two times at the very minimum when I go to the theater.

This is why I don’t go to the movies with large groups of people, because it’s impossible to move them several times over. 

I’ve stopped going to parties altogether, also, which is a total bummer. Whenever people are like,

I kind of go,

and then don’t. The group I tried for a couple of weeks off of Broadway St. always went to Old Chicago for pizza after their meetings, but I always had to slink out the back door.

Church potlucks terrify me.

Having to work in randomly-assigned group projects really freaks me out.

Basically, anything that involves people who don’t know me or about my condition terrifies me.

So if you’ve ever wondered why I’m so socially awkward, it’s probably because I can’t focus on what I’m saying because I’m so aware of what’s going on around me.

Either that, or I get so little social interaction that it’s hard for me to behave naturally.

Unfortunatly, Tumblr has become my life. Most of my socialization comes through the internet these days, and I’m just going to have to learn to be okay with that. 

Stay brave out there.  


Officially the very last thing that I drew back in 2014, and boy what a thing it was!

After having burned my poor brain out on Kashmir concepts (art forthcoming) it simply moved on to my big “shared universe” concept that I had recently folded a bunch of loose ideas into. Grouping them all together in a neat tight little bundle was trendy yes, but also utilitarian in how it cut down on so many little separate ideas with no bearing on each other.

I’ve titled it the “Strangeverse” and it has a projected total of 10 stories over the course of it’s existence, all involving paranormal, supernatural, or sci-fi elements to them. It’s basically the model of “Several stories to establish strange and unorthodox characters, and then bring them all together for a quirky team-up adventure series”. Only this team fights paranormal/supernatural threats. 

These little vignettes are laid out in the order that I plan to tackle them when the time comes, from start to finish. So enjoy your little teaser of sorts, they’re just inspiration and reference for me at the moment!