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20dollarlolita · 3 years

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I'm currently considering starting to sell my own handmade tatting lace (and maybe even crochet and bobbin lace) jewlery, with a main focus on kawaii and dark alternative fashion and obviously wanted to make lolita(/loliable) items as well. Details aside how do you figure out fair pricing (for both other sellers and customers)? I don't need/plan on this to being a sustainable dayjob, but something to enable my love for needle work and not having to worry where to put projects after they are done

So, how you price handmade goods is always difficult. The main issue comes from the fact that handmade goods, when priced at a rate that adequately pays the maker for their labor, are almost always more expensive than buyers are willing to pay for them. This gives you the question of if you want to sell it at all, or if you want to list it at a price that is fair to you. One of the best ways I've found to handle this is to price it at a semi-fair price, and then keep it at a constant "sale" price of 50% off. This gets prices into a range customers will buy, but also states to customers them that this item took time and skill to make. For determining the absolute lowest price I could ask, I have a pretty simple formula. Take the cost of your materials, multiply by 2.5, and that's your base low point. If you made a wallet out of 3 discount fat quarters, and the fabric cost you $3, your lowest price you should ask is $7.50. Why 2.5? That's to pay you back for your materials, pay you for your consumables (needles, thread, wear on your sewing machine, wear on your hands, etc) that you can't really put a definite price on, and pay for your labor. I got this number out of a book about running your own business making handmade goods, and it's a very good number. Even if you don't want to be making a lot of money on something, you deserve to sell it for a price that makes back the materials, pays you for your time, and allows you to invest in future projects. Once you've decided to not go below 2.5, your other question is how high you want to go. Why are you making these things, and why are you selling them? Generally, we make things for three reasons. You are either making them to make a profit, making them for yourself, or making them to provide a service to other people. If you're making them to make a profit, you need to find a balance between what pays you fairly and what price people will pay. You will obviously want to charge the maximum amount that will sustain the hobby. If you're making things for yourself, you might want to sell them so that you have enough money to make more things for yourself. At some point, everyone you know owns earrings or gloves that you made them, and you have to start finding new people to take the things you made. You might not be inclined to charge a lot more than the bare minimum for these pieces, because all you're looking for is to not fork out of your pocket for new materials. If you're making something to provide a service, you might not want to make any money on the project at all. You might find this if you find a hole in the market and have the skill to fill that hole. For example, if you know how to make a lace by hand that people are consistently overpaying for to get a worse product, making that lace might be a way you want to help the community. However, it's always important to balance between your work and the end result. I like to make patterns or tutorials for free, to help other people make their own products, but I rarely will actually make a dress or accessory and then give it away. However, sometimes you might want to give away or seriously undersell products that you made as samples or tests. And remember, the answer to "am I charging too much?": if you sell something at what you think is a fair price, and the buyer thinks it's a fair price, then the price was fair. If anyone else out there has advice about this, please contribute it. Pricing handmade things is very difficult.

#ask #anon #handmade marketplace #lace #20dollarlolita quality posts

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legionofpotatoes · 3 years

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I love your art, it is very detailed in a neat way. Was wondering how you got started making it as a source of income? How did you get your first paid work, I'd love some advice on how to get started, if that's ok

Thank you. Of course it's okay, although I doubt I have enough work experience in art to really delve into this. I only went full freelance this year, and had been juggling art as a side hobby until then. If you're still interested in my somewhat narrow perspective, and are okay with my long-winded rambles, I'll give it a shot:

So to answer your question fully, I'll describe how I started and move into personal advice and learnings later on. As a disclaimer, I am a white cishet dude in my late twenties with a moderate cocktail of mental illnesses, but overall I can pass for a functioning adult so a lot I have to say may come laced with privilege I cannot fully identify.

So uhh I began drawing in around 2012? I think? Maybe halfway through 2011? And I mostly made fanart for things I enjoyed and tried to branch out in communities that felt nourishing to my style and interests (I caught a bug for alt posters and enjoyed mainstream movies so I spent a long time on posterspy early on). There were a handful of opportunities that came from there but I could only accept a couple because of primary workplace commitments. Still, it showed that networking in a focused community was definitely a good place to start; I myself have huge trouble committing to social networks and really staying socially active, but I knew it was an essential ingredient in succeeding so I tried to make myself be involved in challenges and art support trains etc. as much as I could.

In parallel to all that I also ran a few third party online stores (redbubble, teepublic) for disposable income and would sometimes, if rarely, hit around $100-150 a month from those sources combined. It is a sort of thing that requires helper accounts on other social media sites to promote it on, because the stores themselves have a huge volume of content that translates into low organic discoverability. Obviously it was never gonna be the way towards financial independence through art, and with community projects being few and far between, I opened private commissions in around uhhh 2017 I think, focusing on offering a few styles I knew I could do well, and sometimes operating in individual fandoms (it was mostly a bioware thing to be frank). But I had to close them back down after a year or so, again because of work-life conflict and how badly it was burning me out. The reason I kept trying to monetize this hobby is because I honestly hated what I did for my main job and wanted to see a way out in some shape or form in the future.

And then in 2020 I had to quit my main job altogether because of *gestures at pandemic* and deal with a mental breakdown from all the wonderful things it did to us and me specifically. I took a short break and decided to give art a shot full-time, and that was around May this year. I was planning on opening up commissions again (and I still am), but a few sudden opportunities that fell in my lap moved that timetable down and now I'm grateful to even be doing something I am getting adequately paid for.

So, with that somewhat limited perspective, here's what I've learned that I'd tell myself if I was just starting out:

1. Being a fan of something can be a shortcut towards effective networking kickoffs. Which are important evidently. If you love something and enjoy making content for it, join communities, settle into a combination of social media websites that feel right for those interests + your body of work + your inner rhythm, and try to play to content discovery as much as your mental health allows you to. Like I said, I know that I myself am incredibly bad at self-motivating to talk to people, so I found that synergizing common interests into fanart - which I enjoyed making anyway - could be a way to give myself a gentle nudge forward and build those bridges leading to community activities, which then net experience and coverage. Sometimes even freelance projects from official avenues. Again; picking the right spaces for what you're after is key. Companies roam twitter, concept art recruiters scour artstation or linkedin etc, instagram can land you private commissions and collab opportunities, so on and so forth. Find your niche and try to kick up dust. However...

2. I do not believe that any social profile can replace a good portfolio. The thing that made an immediate difference to me this year was building a coherent, simple website with my best work front and center and a contact form on top. Every single opportunity I got came from that form (maybe via twitter or instagram initially, but always sealing the decision after going through the website), so I firmly believe that showcasing your skills and portfolio in a visually arresting and user-friendly way is a big priority. I had some reservations about tackling that task but fortunately I had help from a savvy life partner and we slapped it together via wordpress in less than a day. Twitter/whatever social media is prevalent in your target groups is definitely important to get the right eyes on your shit, yes, but those eyes will then look for a second stop where your work and rates are more clear and concise. Simplicity is key imo, I cannot overstate this. So make a cute, simple portfolio!

3. Your skills and rates will grow and change as you do. Let them. Over the years I built several lasting professional relationships from my obsession over mass effect and kept getting opportunities both from bioware and their partner companies, some small and some a bit bigger. A one-off job earlier this year opened an unexpected door to another much larger commitment, and then the work I did there brought some attention from small businesses looking for commercial commissions. These were all incredibly different projects in terms of scope and budget, and I've been tackling them all on a case-by-case basis and slowly coming into my own irt my needs, rates, and SOW thresholds. It is still a work in progress (and a LOT of literal work as well), and very much a thing I struggle with in publicly marketing, which is why I felt a tad underqualified to answer your question in the first place (obviously I did not let that stop me). But what it means for me now is that I am rapidly developing into whatever my "version" of a functioning freelance artist is, and when the conditions for that guy are met, I need to be able to confidently plant myself and operate from that space despite past precedents. Do not let anyone bully you into downpricing what you yourself perceive as legitimate products of personal growth and development. Speaking of which...

4. The shitty challenge of turning envy into inspiration, and paddling outside your comfort zones in full riot gear. it is hard, but realizing that being a miserable, self-hating artist in my early days got me nothing but more misery back was the first real step I took and what truly blew the hinges off. I was just not pleasant to be around, I would badmouth my work all the time, and it all somehow made sense in my broken mind because the validation I sought was purely external and the way I sought it was through eliciting sympathy via self-victimization (even when I made something objectively nice). It all led fucking nowhere. Except perhaps to my own narcissism that I one day managed to identify and start managing. So I started looking at things that made me seethe with envy and calmly deconstruct and figure out their inner workings instead, do studies, and find nuggets of inspiration or discover new ways to approach rendering or building up specific elements. It was an application of analytical diligence to what I wanted to be a purely emotional, esoteric workflow, but that I deep down knew wasn't. Art is a discipline and a skill, and maybe it isn't a straight line, but you gotta find some line to thread nevertheless. Being self-hating was almost an identity I had to break out of, and despite it still being like, 4-5% there? I realize its cause and effect on me, my work, and those around me, so it is with a conscious choice that I gently set it aside when I work and especially when I learn. It won't always stay quiet, but the effort is the difference. Your doors towards accepting true growth and venturing into uncharted territories, art styles, and networking will really open from there. But there's a huge caveat...

5. Toolsets, accessibility, privilege, and all the good things that enable artistic expression and profitability are not given equal to all. you might do all the mental work I mentioned to be ready to rock and roll and learn and draw your way out of anything, but digital art is a fucking money pit that asks almost too much at times. I don't got a good case study here but identifying and ensuring accessibility to the tools you need to do your best work is, like, super important. The ergonomics can improve as you make money and settle into the job, but the basics have to be made available to you. And some of that might not even be under your direct control. That can be anything from pen tablets to software subscriptions to opportunities in hiring sullied by sexism or what have you. You gotta navigate all that through careful networking and money/time management. I don't do a good job of devoting specific slices of time to work/study, and my primary clutch is iPad software which went from a good deal to a nightmare scenario over the years. So all I can say here is do what I didn't; network, invest in a PC/tablet, and pick a software you'll learn that won't burn a hole in your pocket.

6. Be nice to work with? This one is hard to articulate and has landed my own ass in hot water in my early years because of how socially inept I am, but nothing is more worthwhile than being.. like. a good person to work with. That can be anything like meeting deadlines, or sometimes missing them but eloquently articulating why, being generous in early stages, being communicable and not too wordy in your emails, having a good grasp on abstract artistic concepts and how to describe them in simple terms, having a clear, laid out framework of your working rates in commercial and non-commercial projects and sticking to those guns with grace, understanding when you need to say no and saying it well, the works. Just being nice. Sometimes that might mean going headstrong with something you believe in, or simmering down and sucking up to the big man, all relative and adaptive. Part and parcel of the service provision dance that we all have to do in order to make bank. Know your lines here, obviously, and don't like. work for nazis. or uh.. *shudders* exposure. but be nice and empathetic and communicable and word will travel eventually. Skill may be in abundance these days, but good people are most certainly not, and capitalism has a way of bubbling up scarcity. Grim, but uh, them's the breaks.

I know I'm ultimately telling you to like. Have a body of work, make a portfolio, grow, and network. But that's really how I see it for now. And being nice can be a cherry on top that sets you apart, along with the inherent irreplaceable voice of your artwork. I think I rambled on enough, but if there is something specific you need my help with, even if you want to come off anon and talk in private, please feel free.

#anon #asks #long post #sorry I cant actually condense ideas better :(

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cosplayinamerica · 3 years

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Princess Daisy : pencils_and_pincushions // photo: that_fedora_photographer

I’m a Canadian cosplayer who has been cosplaying since 2007. I’ve had a love for Victorian fashion since I very young age (my little kid brain basically made the connection that Victorian dresses = women dressing like Disney princesses IRL), but the thing that kickstarted my desire to learn sewing was going to a fabric store with my mother when I was in my senior year of high school and seeing a Butterick pattern catalogue that had Victorian-inspired costumes. Almost instantly I had a lightbulb moment that if I learned to sew, I could actually wear those big fancy gowns I loved.

I entered university and, over the next few years, spent my free time reading and learning everything I could about sewing. In 2007, my best friend invited me to Anime North - she was going as a gothic lolita-inspired version of the Queen of Hearts, so I decided I would make a Mad Hatter to accompany her.

I was so excited that I jumped in completely head-first, and it ended up being my first foray into both sewing and pattern drafting. In hindsight it was wildly ambitious for a first project (and I’m still a little surprised that I actually pulled it off!), but I’m so glad that my enthusiasm made me persevere and psh through the challenges, because I learned a ton from that experience and ended up with a cosplay I was thrilled with.

I remember seeing myself in the mirror the first time and being so happy when I realized I’d been able to bring something to life from my imagination. When my friend and I got to the con, things only got better from there - the atmosphere was so energetic and colourful thanks to all the amazing cosplays, and it was filled with so many fun, enthusiastic, and friendly people. From that day I was officially hooked on cosplay.

I’m part of the Toronto Steampunk Society and, each year at Fan Expo Canada, we hold an Annual Costume Challenge where we pick a theme and encourage people to make a costume based on the theme. A couple of years ago, the theme was ‘steampunk video game characters’ and one of my friends in the TSS, Modern Myths Cosplay, thought it would be cute to do Princess Peach and Princess Daisy.

I loved the idea and, after more discussion, we decided to do a steampunk twist on the Super Smash Bros Brawl version since it was fancier and seemed to lend itself well to a steampunk interpretation. Though Daisy isn’t officially in Brawl, my friend was fortunately able to dig up some fan edits of Peach in Daisy’s colours, so with that we were set.

I usually make my outfits myself, but since my friend and I wanted to ensure our cosplays matched, we decided to work collaboratively and divide things: I would create the bodices and accessories for both gowns, and she would create the skirts and crinolines.

I started off by drafting the base bodice patterns. Since I draft all my costumes, I used my existing bodice block/master patterns for myself and drafted a bodice block from scratch for my friend based on her measurements. One neat thing about working this way was that it basically turned into a girls’ weekend where I was able to teach my friend more about pattern drafting, which ended up making the process unexpectedly fun and memorable.

After I finished fitting my friend’s bodice block, I got to work drafting our bodice patterns based on the reference pics we had collected. Being able to tackle both bodices ended up working well since it enabled me to draft them in a way that made them visually match identical while taking our respective body shapes into account.

A couple of mockups and fittings later, we had an idea of how much fabric we needed, so we went fabric shopping. My friend suggested that we go with richer, more regal-looking tones instead of strictly game-accurate colours, so when we found a place selling gorgeous peau de soie and sparkle organza, I was instantly sold on a gold and burnt orange colour scheme.

We split the fabric based on our respective portions and worked on them separately. I cut and sewed the bodices, which was fairly straight forward but time-consuming! The part that sticks in my mind the most was the center front panel because it had so many pieces and layers - two types of satin, two types of organza (including one that had to be ruched to the base panel in multiple places), five rows of lace, interfacing...and that doesn’t even include the lining!

I also created our jewelry and crowns. The brooches and earrings were made from filigree settings that I painted, glued gems, and attached pin backs and earring hooks to, and the crowns are made from craft foam painted in gold acrylic, with embellishments assembled from painted filigree stampings and gems.

My friend created our cage skirts from 1/4 PEX pipe and brown grosgrain ribbon, which ended up being the perfect hoop skirt material since it was cheap, lightweight, and strong enough to support the huge, heavy skirts. She cut and sewed our skirts (including attaching meters and meters of trim that I’d painted white to better match the game colours) and she also made our bloomers.

The gowns were a huge undertaking and, thanks to work and general real life eating up time, we did end up engaging in the dreaded con crunch, but fortunately in the end we were able to get them to a state where they were pretty and wearable!

The response at the convention was absolutely amazing - I don’t think I’ve ever had a costume elicit the reactions that Princess Daisy did. We figured that, since we were cosplaying the princesses from Mario, there was a good chance we might be recognized, but the thing I wasn’t prepared for was how genuinely happy and excited people were, especially when they saw us together. We literally had kids waving at us from across the street when they spotted us.

Even grown-ups loved it - we were frequently stopped for pictures, and even a couple of the folks in the dealer’s room who were running booths would break into huge smiles and ask for pictures. Plus, people loved the steampunk twist and were delighted when they realized how much our costumes matched.

The best, most heartwarming response to my Princess Daisy cosplay happened when I met up with some other friends and one tapped me on the shoulder, pointed behind me and said, “I think she wants a picture with the princess.” I turned around and, standing a few feet away, was this adorable, super shy little black girl who was staring in my direction. My heart instantly melted and I went over to her and had a little chat and took a picture with her.

As a black cosplayer who has run several panels on BIPOC cosplay and spoken about the importance of diversity and representation in cosplay, being able to show that sweet little girl that someone who looks like her can be a princess - and showing kids of other races that Princess Daisy can be black - was a vivid reminder that representation does matter.

Since I got into the hobby, cosplay has been a big part of my life and has positively impacted me in so many ways. It has been an incredible creative outlet that has given me the chance to express myself, and it has allowed me to meet so many wonderful people - many of whom are now among my closest friends. However, I think one of the most rewarding things about cosplay has been how it has allowed me to provide BIPOC cosplay representation and visibility within my local cosplay community. I often do Afro-steampunk cosplay, and one of the most unexpectedly moving things I’ve experienced has been other BIPOC saying to me that seeing my outfits make them feel like they can cosplay.

It has been humbling and has motivated me to get more involved in the cons I attend. For the past several years I’ve run panels on diversity in cosplay/steampunk as well as sewing and cosplay construction, which has enabled me to share the knowledge and skills I’ve learned. I also lead the steampunk section of the Anime North Fashion Show, and I’ve made a point to recruit as diverse a roster of models as possible. I’m happy that we’ve been able to showcase steampunk looks inspired by various cultures including Chinese, Indian, and Morrocan.

Another plus is that the sewing skills I’ve learned from cosplay have come in handy in other areas of my life. It has been fun - and surprisingly empowering - to be at a point where I can use my sewing ability to create one-of-a-kind outfits for formal work events (like office holiday parties) that make me feel pretty and confident.

Something I’ve frequently mentioned during my BIPOC cosplay/steampunk panels is that the simple act of showing up to a con or event in cosplay can have an impact because you never know how much that visibility can inspire other BIPOC to get into the hobby, so my advice to anyone wanting to get into cosplay is to do it! Overall I have found it to be a fun, creative, energizing experience.

While I’ve been extremely fortunate to have had overwhelmingly positive experiences while cosplaying, I recognize that, unfortunately, BIPOC do sometimes face harassment and outright racist comments (especially online) that can make getting into the hobby seem scary. Finding welcoming, supportive spaces in person and online can be a big help (the POC Cosplay group on Facebook is great for this) - plus, thanks to things like #28DaysOfBlackCosplay, there is more visibility and inspiration out there than ever before.

The other thing I’d add is to treat each cosplay as a learning experience. Being able to work so closely with my friend on creating a cosplay was a completely different creation process than I’m used to, and it was really cool to be able to learn from each other’s different working styles and experience. It was great to teach her pattern drafting and see how happy she was to learn skills she could apply to future cosplays, and I was so excited when she showed me her PEX pipe hoop skirt method. Looking back on my Princess Daisy cosplay makes me smile because it’s almost like a physical representation of the fun we have cosplaying together.

#princess daisy #princess daisy cosplay #cosplay #black cosplay #black cosplayer #poc cosplay #poc cosplayer #cosplay interview #steampunk

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focsle · 3 years

Text

Vendryth Bio

HELLO here I am with one of my Gigantic Character Bios.

Basics

Name: Vendryth

Nickname: Ven to friends. He also has a number of tacky nicknames in the various small localities he helped out over the years: The Golden Traveler, The Dragon, Trollslayer, Midwinter Hero, ET CETERA ET CETERA. To Neris he is ‘Grandpa’.

Age: Died at age 326. Born 1E 2594, died in 1E 2920. Is Neris’s resident ghost as of 2E 582.

Gender: Man

Race: Dunmer

Class: Battlemage and restoration master

Physical Traits

Height: 6ft

Weight: 210 lbs

Hair: Auburn, pulled back in a long braid.

Eyes: Red

Skin: Dark blueish grey

Distinctive features: Full Van Dyke-style beard. A lot of assorted scars from 300+ years of Fighting Things. Really big gaudy dragon tattoo on his chest.

Mannerisms: He has a confident ease moving and existing in the world, and he definitely takes up space in a lounging sort of way. He also tends to relate to people physically—SHOULDER SLAPPER sort of guy.

Voice: Friendly and booming. Bit gravelly but refined.

Fashion: He likes ornate armors and likes to keep ‘em shiny. In the day to day however, he dresses very simply...keeps his shirt collar as open as possible...

Emotional Traits

Personality: He’s very personable and very willing to help people, to the degree that he is prone to butting into situations that initially don’t involve him. He almost never turns down requests for help and can quickly shift to adapt to situations that call for his attention. He tries to behave honorably, though he hasn’t always done so in his interpersonal relationships in the past and is awkward in coming to terms with that.

Likes a good time. Is boisterous and rollicking and sometimes has an air about him that he doesn’t take things seriously, even though as said above, he can rapidly switch gears to handle grave situations. He’s chummy with everyone. A bit flirtatious & slutty. A pro at entertaining swaths of children. Good at calming horses.

He’s very vain, though not arrogant. He’s surprised if someone isn’t impressed by him, but not upset or offended. He does Heroics partly because he has the ability to and thinks it's the right thing to do, but also because he likes the attention. Likes being fawned over. Doesn’t wanna wear a helmet to cover his pretty face.

Religion / Belief system: He more-or-less adheres to the Tribunal (much to the chagrin of Grandson Neris). He doesn’t believe them to be Actual Gods and thus doesn’t ‘worship’ them, but does recognize and respect them as powerful leaders and has no problem serving their will when it comes to the defense of Morrowind. He later became one of Vivec's Buoyant Armigers, and was quite reverent to both Vivec and Almalexia.

He’s wary of all Daedra. Just expects them to be troublesome and either doesn’t involve himself or actively works against them. He’s pretty straight-laced about all that.

Lifestyle

Background: He was born into a minor family in House Telvanni. Despite his lack of Notable Lineage, he proved to be very magically adept, especially in matters of restoration magic. In his early 20s he married a woman named Tendreni Ilyiil. Their marriage was a strategic one centered more on solidifying future power than anything else—his skills, and her more powerful family connections. It didn’t work out, particularly as Vendryth’s interests turned more towards being a healer rather than the acquisition of knowledge or power. He wasn’t good at communicating that it wasn’t working out however. He decided instead to simply abandon Tendreni and their infant child and forgo any connections to his house. While he would come to regret that action as he got older, he never made amends, feeling too much time had passed for it to mean anything.

Over the decades he worked with both the Mages and Fighters guild, intensely studying Restoration but also battle techniques and becoming quite powerful through the ranks as a result. Initially he took contracts through the Fighter’s Guild to assist people. Then he became a bit of a Freelance Hero around Tamriel, chasing the high of Minor Glories in numerous regions. His mastery of Restoration magic enabled him to slow his aging considerably.

His work took on a more concentrated effort when he was a little over 100 years old, in defense efforts against the first Akaviri invasion that earned him recognition among his peers. He would continue to serve in Morrowind's military for a time, and then more specifically for Vivec as a Buoyant Armiger. Through this work he had the flexibility to continue his Pro Bono Heroics around Tamriel, but would respond to calls back home when needed.

By 2840 he was back to his military engagements, operating as a high-ranking healer during the Four Score War. While certainly not always on the front, he was involved for the entire 80 engagement and managed to live through it as a decorated veteran. Unfortunately when Mournhold was sacked shortly after, Vendryth lost his head to one of Mehrunes Dagon’s army while trying to heal someone.

He had an honorable burial in Necrom, though not in the Ilyiil tomb. However, simmering generational anger over his initial abandonment of his first family led to his ghost being tracked down by Ilyiil ancestor spirits who then bound him to protect the family tomb. He was there for 600 years, and lost considerable parts of his memory and identity as the notion of being stuck there for eternity became intolerable and his emotional and mental state deteriorated. He was forgotten by everyone, beyond a few obscure scholars of specific military history, as the people who remembered him died. He became a very angry and violent spirit until he ran into Neris who was reconciling with his own feelings about his family and sense of abandonment. Neris ended up helping to free Vendryth and established a shrine for him in his own house. Kindred spirits in many ways, Neris’s companionship helped Vendryth get a lot of himself back, and Vendryth also helps Neris take his final steps away from House Telvanni.

Place of residence: In life he lived in a fancy Hall just outside Mournhold. As a ghost he hangs out in a dedicated corner of Neris’s library in Middle Of Nowhere Vvardenfell.

Occupation: Local Hero™, Buoyant Armiger, battlefield healer

Habits: He’s very particular about his appearance...a Preener. Will absolutely fuss over his reflection in a breastplate he’s shining. Winds down with smoking assorted combos of psychoactive herbs in the evenings. Tends to touch people’s arms or has a hand on their shoulder or something when he’s talking to them.

Hobbies: Adventuring (and long walks through impressive landscapes), gathering up all the local rumors, fishing, musical inclinations, reading a small always-rotating collection of books he finds in his travels and then leaves at the last inn he stayed at once he finishes them.

Likes: Campfire stories or collective songs i.e. activities that include a lot of people, theater, retelling his adventures, being recognized, quaint little towns with warm rooms.

Dislikes: Having to be sneaky or anonymous in any way (he’ll DO subtlety and anonymity if it is required of him but UGHHHH!), having to constantly confront the mortality/death of people around him, feeling ‘kept’ by anyone, losing sleep for any reason, having to skip meals.

Goals: His interests move from ‘I want people to know who I am and I want stories to be told about me’ notions of fame, and as he gets older it turns more into ‘I want to do what I feel is right and will help people’. He always appreciates public admiration and relishes in it, but ends up feeling a greater responsibility over where he stands in life and how he can contribute.

Relationships

Orientation: Straight, ish. He’s attracted to women, but he’d be flattered and wouldn’t necessarily say no if propositioned by another gender. But the actual attraction wouldn’t be there.

Relationship status: Had a long string of romances and families across the continent, as well as one dedicated long-term partnership with a General in the Four Score War that was his last relationship. As a ghost…..he’s a ghost…

Notable Relationships:

He fathered 37 children (that he knows of) over his first couple centuries. While he was never completely absent, he definitely wasn’t involved in parenting. He’d write everyone, he’d make sure everyone was materially supported, he’d show up and stay for a few weeks at a time with gifts and stories, but wasn’t much of an Active Partner. He very much considered everyone family and had no personal sense of relationship decay over time; this was met with varying degrees of agreement, acceptance, indifference, sorrow, anger, and resentment across all the different parties.

He grew to be a more somber man once he realized he was outliving them all. Not just partners, but a number of his children too.

Tendreni Ilyiil: His first wife. Their relationship was one of circumstance, duty, and politics. They were quite formal with each other, and had differing senses of ambition. When Vendryth left Tendreni was furious about it, largely because of the principle of the thing rather than because she experienced much hardship without him (though raising an infant more on her own was something she was very angry about, though there was family help for her there). She didn’t feel a loss with him gone. She thought he was a childish coward and wrote him off almost immediately for it. She moved on, but her parents harbored a more significant grudge, as did her child to an even greater degree, especially as Vendryth’s name became more widely known and celebrated. These ancestor spirits, rather than Tendreni, were the ones who ended up binding his ghost to the tomb.

Neris Ilyiil: His great great great great grandson, of Tendreni’s line, who ended up saving him from his spectral imprisonment. Vendryth is very fond of Neris and sees quite a bit of himself in the boy. He loves exchanging adventure stories with him, even though Neris’s tend to be a bit different. He’s grateful for Neris’s help and is also more than willing to provide a sense of encouragement, family, and guidance to him. 600 years in a tomb means he lost the threads of all the rest of his family members and doesn’t know where any other descendants are. As a result he’s really close to Neris because Neris is the only thing that makes him feel like he still...Existed at one time.

Lady General whom we are still working on a name for: A General who Vendryth served under in the Four Score War. She initially thought he was underwhelming which he found…completely baffling and intriguing and his conclusion was ‘she is underwhelmed by me not because I’m NOT great, but because clearly she has done something greater and now I need to find out about it’. Was deeply curious about her from the beginning. Rather than his earlier relationships that were built on initial physical attraction and his usual ‘I am going to charm her with my Gallant Hero Energy’, he grew close to her out of circumstance first and then utter respect and admiration for her as they worked together. She was his sense of grounding through the whole war and was the first person he was actually In Love with. He hoped the relationship would continue beyond the war—that he kept thinking would end the next year, and then the next year, etc. It was unrelenting and he likely wouldn’t have stayed if not for this partnership. He felt it was worth all the enduring hardship. She saw to his burial after the destruction of Mournhold.

#vendryth ilyiil #galen was like ‘u made a paladin never thought i’d see it’#i made a slutty paladin

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nancypullen · 5 years

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The Artful Dead

Yep, I’m still making art with little dead people. I love them. I want to know their stories. The best part of my day is spent right here.

I like to stare at their faces and posture and figure out what it is that they’re saying...

You can’t tell from the photo but she’s quite sparkly.

I felt that this somber gal needed a crown.

She’s still a work in progress.

So are these ladies. They might be my favorites.

These two are planning some mischief.

While this little girl is pure magic.

Still, the gals in the pointy hats speak to me.

Most of these are in varying stages of decor and drying, and honestly - I have no idea what I’m doing. I need to figure that out and send these creations in a purposeful direction. Am I making gift tags? Am I making small prints for framing? Items to add to shadow boxes? Or do I just want to stick fairies in flower pots and be happy?

It’s the creative process that brings me joy, so I guess for now I’ll just keep asking these little dead folks what they have to say.

This little girl hasn’t spoken up yet...maybe “All you need is faith, trust, and a little pixie dust.”

And this poor guy hasn’t been able to get a word in.

Because I’m having so much fun I’m finally ready to spend a little on new trims (can’t have the same lace on everyone, right?) and maybe new ink colors, though I’ve been mixing mine just fine. I splurged on some patterned card stock and then, after much contemplation and research...I bought a little hand cranked die cut machine. They’re not expensive, and it will enable me to cut my own tags out of any card stock. I can also cut shapes like flowers, snowflakes, or the bats that I just know those witches need swirling around their heads. My high tech husband doesn’t understand the thrill of this little manual machine. I’m just thrilled that there’s something in the house that doesn’t require charging or wi-fi.

Anywho, I needed a hobby, one that didn’t involve snacks, and I may have found it. This activity ticks all of my boxes - it’s creative, it moves along quickly, and it makes me smile. Between whatever this is and tending to my gardens, I am such a happy camper right now. My world is full of color and whimsy once again. That gives me such peace. I’ll be honest - I’ve been determined to put sweetness back into my life after becoming obsessed with ousting the grifter in the Oval Office. As Maxine Waters has said, I’m reclaiming my time. I hope that you’re doing something that makes your soul sing. Whether it’s dancing in your kitchen (highly recommended), reading wonderful books, traveling when you can, attending plays and musicals, or just sitting in the shade and soaking up bird songs and the fragrance of spring - you’ve got to nourish your soul. The world will make you weary, but it can also revive you. Take your lunch outside and get a little vitamin D. Reading a book? Sit on the porch or deck and take breaks to watch the clouds drift past. Next time you’re grocery shopping, go ahead and buy that little bunch of flowers for $5 and put them on your bedside table. You deserve to wake up to cheerful blooms. Take care of your spirit and it’ll get you through tough times. Sure, we all have the daily grind to attend to - but if you make time for those little things that fulfill you and recharge you, the pleasures that remind you of who you are underneath the armor we all wear, the daily stuff isn’t such a grind. Now, go celebrate yourself today - you’re all kinds of wonderful. XOXO

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apexhub-blog · 5 years

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Social Networks Still Shows Porn With Proper Age Check

The united kingdom government's plan to protect against kids and teenagers from seeing pornographic content online includes a big flaw meaning perhaps not all of pornography is going to be obstructed.

Critics have predicted the socalled pornography ban"devastating" for people's solitude, because it'll demand folks to share with you their private data online so as to go to porn websites.

However, the rules, that come into effect on 15 July, could be daunted by seeing internet sites which aren't at the mercy of age confirmation tests.

An exception to this rules signify when less than a third party of a site or program's content is more pornographic then it can not meet the requirements.

The law states that the block"will not apply in an instance where it's acceptable for its age-verification regulator to presume that pornographic material makes less than one-fifth of their content of this material offered via or on the internet site [or program ]".

Which usually means that favorite internet sites like Reddit, that functions chiefly as a heart for non-pornographic forums and communities, won't come beneath the government's porn prohibit. Popular image-sharing site Imgur are also cheated Apex Video.

Many social networking web sites, like facebook, already forbid adult content by being shared in their programs included in these terms of service.

The others allow porn under certain conditions, together with Twitter one of people that allow its users to place such content with their own profiles.

Twitter's rules say it lets adult content from tweets which can be"marked as comprising sensitive network".

The united kingdom's porn ban is made to enter into effect on 15 July, 20-19 founders of this pornography ban also have described that the simplicity of bypassing the age-verification checks cause them to become essentially faulty.

Utilizing technologies such as virtual private networks (VPNs) enables men and women in great britain to revamp their place to create it seem to adult internet sites which they are in yet another nation, and for that reason not expected to experience the ID test procedure.

Google searches for VPNs greater than tripled at the hours after Wednesday's statement.

Alpen Apex 492 8X32 Binocular - A Thumbs Up - Grandpa's Judgment

My grandfather was always been fond of scouting for reindeer ever since I was still a kid. Early in the afternoon he would take me with him, and so not to be bored he would let me wear a binocular which I will immediately use from the start of the scout. Like him, being fascinated with scouting for reindeer, I was also fascinated with bird watching at first glance. Thereafter it became my hobby and until now I'm still in to it.

Alpen was my grandpa's brand. Because there was no one to guide me in choosing binoculars other than my grandpa, I had no choice but to love it. But I am thankful that I had no choice because now that I've grown I found out it's the best brand of binoculars after I've experimented on others along my way. Lately my friends and I had a camping. We needed to agree on particular things like tents, foods, places and time but not about binoculars anymore, but to my surprise all of us brought an Alpen binocular like we also agreed on it. What amazed me the most is that we were holding the same model Alpen Apex 492 8X32 binoculars and it reminded me of my days with my grandpa because it was the first binocular model that landed on my hands and which eventually helped me appreciate and enjoy sight seeing and bird watching so much, from stalking to birds' romance on the tree till watching their flocks at sunset. My grandpa didn't bother teaching me how to use it even if I've started wearing my eyeglasses back then, that's why I believed that these friends of mine can manage and would enjoy the trip with their Alpen binoculars even if they will use their eyeglasses. When one of them happened to misplace his binocular, it made both of us realize that without the Alpen binocular, making the birds and valleys just in front of you, sight seeing and bird watching are no longer that great. Well, it wouldn't be that case if your binocular will just give you a clear view at the center but already blunt on the outer edge, tiring to use and exhausts your eye. 'About Alpen Apex 492 8X32? Well, we won't last that long wondering around if that model we had wouldn't always give what satisfies our wants especially on unexpected moments like being soaked in the water or under the rain, dim places, and long distances. Through its rubber coating and given lace, it is true that your hands won't hate it, but expect that a good hard knock, you will have to get it repaired especially if it bumped through its glasses. Having it lost or stolen won't give you guilt for what you've spent for it thinking that it will give you what you expect with just the right cost. 'Guess there's no doubt that my grandpa raised me with Alpen Apex now, he had it tested by a mountain man like him.

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mrmichaelchadler · 6 years

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“Minding the Gap,” “The King,” “Devil’s Freedom” Among Highlights at DOC10 2018

You won’t find a more splendidly curated event dedicated to nonfiction cinema than DOC10, the annual Windy City festival presented by the Chicago Media Project. Ever since it kicked off in 2016, DOC10 has screened multiple films that have gone on to be ranked highly among my very favorites of recent years, such as Rokhsareh Ghaem Maghami’s riveting Sundance prize-winner, “Sonita,” and Theo Anthony’s thrillingly experimental mosaic, “Rat Film.” The third installment of DOC10, which runs from Thursday, April 5th, through Sunday, April 8th, at the Davis Theater, 4614 N. Lincoln Ave., promises to be no exception.

Opening the festival is “Won’t You Be My Neighbor?”, the highly anticipated profile of television icon Fred Rogers, directed by Oscar-winner Morgan Neville (“20 Feet From Stardom”). Other selections this year include Robert Greene’s “Bisbee ’17,” a timely look at the mass deportation of striking miners, restaged onscreen by their descendants; Jason Kohn’s “Love Means Zero,” an in-depth conversation with formidable tennis coach Nick Bollettieri; Mila Turajlic’s “The Other Side of Everything,” an investigation of a Serbian family’s history and how its divisions reflect those that permeate their country; Elan and Jonathan Bogarín’s “306 Hollywood,” a more lighthearted look at the story contained within objects left behind by relatives; and Betsy West & Julie Cohen’s “RBG,” a rousing celebration of Supreme Court Justice Ruth Bader Ginsburg. And in an inadvertent nod to “Ready Player One,” the festival will debut its own “VR RV,” inviting guests to experience virtual reality documentaries while safely situated within a recreational vehicle parked in front of the theater.

I was able to screen five of this year’s selections, and they are all essential in their own respect, though none of them spoke to me on quite as personal a level as Bing Liu’s “Minding the Gap.” It is set in Rockford, Illinois, one of the saddest of all American cities, containing near-vacant streets that are an ideal stage for the free-flowing movement craved by young skateboarders. Liu grew up filming his friends, Zach and Kiere, performing bruising stunts on their boards, and in his extraordinary first feature, the director holds his camera on their faces, illuminating the buried pain that they share, as well as their need to escape it. The fact that all three men are victims of domestic abuse is alarming but also quite commonplace in a town like Rockford. Having spent a great deal of time there myself, it is clear to me that Liu understands the area so completely that its essence has seeped into the marrow of his bones. This is a city where nearly half the population is paid below the minimum wage for working jobs that are gravely understaffed; where funding is slashed for street lights in crime-ridden neighborhoods; and where the residue of violence clings to the interior of houses that were meant to comfort and protect. “This place eats away at you,” says Kiere, who relishes the fleeting sense of control he sustains on his skateboard, until he wipes out. Sure, the hobby may hurt him on occasion, but so did his dad, and he still loves the old man, though it’s telling that Keire finds catharsis in stomping on his boards until they splinter.

Being part of a community is often the only source of empowerment for disenfranchised Americans, a key reason for why churches and gangs proliferate exponentially in Rockford. The young men at the center of this film have found that community in each other, and the beauty of “Minding the Gap” is in how it utilizes the art form of cinema to bring its subjects closer to a place of healing. “I saw myself in your story,” Liu explains to Keire, who likens the experience of making the movie to “free therapy.” As the filmmaker struggles to come to terms with the wounds inflicted by his own upbringing, he starts to see echoes of his abuser in the increasingly unsettling behavior of his friend, Zach. With remarkable tact and sensitivity, Liu coaxes a tearful confession from Zach, who admits to beating his long-suffering girlfriend, Nina, while acknowledging the demons he has strained to suppress with his cheerful demeanor. When Liu films his mother and simultaneously confronts her about the abandonment he felt as a kid, he keeps a separate camera fixed on his face, drawing attention to his own inability to break free from the pain of his past. Assisted by co-editor Joshua Altman, Liu weaves these stories together, forming a seamless symphony of anguish and euphoria, culminating in an extended montage so deftly executed that it left me in awe. Kartemquin Films has produced many of the all-time greatest documentaries over the past 52 years, and this is their latest masterpiece.

“Minding the Gap” screens at 5pm on April 8th, followed by a Q&A with Bing Liu and other special guests.

“Devil’s Freedom,” Everardo González’s harrowing look at the toll of Mexico’s drug wars on the human soul, clocks in just over an hour. Any running time longer than that may have proven unbearable for most audiences. It is unlike any talking head doc I’ve seen, concealing its subjects’ faces behind masks, supposedly to maintain their anonymity. It is also an aesthetic choice of unfathomable depth. All of the people González interviews have been robbed of their identities by the atrocities they either have committed or have endured at the hands of others. The sameness of their blank masks externalize the dehumanizing repercussions of murder in all forms. As victims are rendered faceless in the minds of their killers, the humanity that had once defined the faces of the killers themselves are removed as well. When González’s subjects cry, tears form on their masks like pools of blood. As one man justifies his string of homicides, his eyes are shrouded in darkness, causing his face to resemble a skull. After a mother attests to feeling compassion for her sons’ killers, who cower in shame while in her presence, she is able to take off her own mask, emerging from her despair as a whole person. Allowing for wordless stretches accentuated by a hypnotic atonal score, González conjures unspeakable imagery in our minds, as his probing questions enable each subject to come clean about their inner turmoil. Perhaps most potent of all is the interview with a man who recalls how his face changed immediately after he had killed a child for the first time. Suddenly, his entire being was consumed with regret, though he’s convinced that he had no choice apart from obeying orders. “I don’t deserve compassion,” he replies matter-of-factly. “When I die, I will have the same expression as everyone else.” He already does.

“Devil’s Freedom” screens at 12pm on April 8th, followed by a Q&A with professor Xóchitl Bada of UIC; professor Héctor García Chávez of Loyola; and Susan R. Gzesh, executive director of the Pozen Family Center for Human Rights.

The finest documentary I saw in 2017 was Angelos Rallis’ “Shingal, Where Are You?”, a shattering wake-up call to the world detailing the 2014 genocide waged by ISIS targeting a religious minority in Iraq known as the Yazidis (alternatively spelled “Yezidis”). With over 3,000 women held captive by ISIS, the surviving members of their community now live as refugees and are desperate to preserve what remains of their culture. Rallis’ film charted the efforts of a Yazidi family to negotiate the return of their kidnapped daughter through numerous intermediaries, while listening to her horrific stories shared via speakerphone. Alexandria Bombach’s “On Her Shoulders” serves as a fitting companion piece to “Shingal” by following another Yazidi woman, 23-year-old Nadia Murad, who escaped her captors and is now traveling the world with the hope of bringing ISIS commanders to justice. Bombach is less concerned with the particulars of Yazidi identity than with the universal qualities of Murad’s plight as a displaced woman who carries a profound weight of responsibility on her shoulders. No matter how much praise she receives from well-wishers, the humble activist says that she will only see herself as a person of worth when the terrorists who killed her family have their day in court. With three brothers and a sister still in captivity, their fates left unknown, Murad must continuously recount the suffering of her people in excruciating detail, while somehow keeping her ferocious strength intact. When other Yazidis break down in front of her, she urges them to wipe away their tears, just as she does when the sorrow threatens to resurface. She is an astonishing force to behold, joining the ranks of other towering young women whose spoken truths are bringing about tangible change, drowning out every sexist naysayer in their path.

“On Her Shoulders” screens at 4pm on Saturday, April 7th, followed by a Q&A with Alexandria Bombach; Matthew Barber, former executive director of Yazda in Iraq; Brannon Ingram, professor of Religious Studies at Northwestern University; and Dr. Nancy Bothne and Kaycee Foreman of TCSES.

There is nothing satisfying about the conclusion of Stephen Maing’s “Crime + Punishment,” and that’s as it should be. Like previous Oscar-winners “Citizenfour” and “Icarus,” this infuriating exposé champions whistleblowers who risk everything in order to bring deep-seated corruption to light. In this case, it’s a group dubbed the NYPD 12, comprised of officers who have charged their department with enforcing an illegal quota system. Using police as a revenue-generating agent for the city is assuredly against the law, and yet over $900 million of New York City’s annual budget is generated by summonses, many of which these officers are allegedly pressured by their supervisors to issue. Hidden cameras and audio recordings capture irrefutable evidence of the NYPD’s crimes laced with blatant racism. When Sgt. Edwin Raymond asks why he hasn’t received his richly deserved promotion, he is informed that his identity as “a young black man in dreads” is the chief reason. Another cop, Sandy Gonzalez, is penalized for not being in uniform, simply because he wore his winter hat while standing at his post on a chilly morning. When he explains that it felt much colder than the day’s projected temperature of 38 degrees, his superior snaps, “It doesn’t matter how it feels! It was expected to be 38.” To paraphrase the disgraced Commissioner Bratton, that’s some bulls—t right there. Watching this film, I was reminded of my favorite line from “Minding the Gap,” delivered wistfully by Keire: “My dad said that being black is cool because you get to prove people wrong every day.” Though the NYPD 12’s case against their department is lodged in legal limbo, these officers have pulverized the assumptions of their overlords, who thought they could intimidate their underlings into submission. Needless to say, they have been proven wrong. Boy have they ever.

“Crime + Punishment” screens at 9pm on Friday, April 6th, followed by a Q&A with Sgt. Edwin Raymond.

Fans of “Twin Peaks: The Return” are going to have a field day with Eugene Jarecki’s enormously ambitious visual essay, “The King” (formerly titled “Promised Land” upon its Cannes premiere). It tackles several of David Lynch’s most memorable topics: Elvis, Vegas, Hollywood, mushroom clouds, small-town idealism and the dissolution of the American dream. Mike Myers, of all people, has one of the film’s best lines, claiming that the nuclear testing in Vegas caused the city to become a “radioactive mutation of capitalism,” a pure expression of our prevailing values governed by the almighty dollar. Boarding Presley’s 1963 Rolls Royce, Jarecki embarks on a road trip across the United States, while building a brilliantly nuanced argument that the legendary singer’s life serves as a microcosm of the country itself. The issues explored here by Jarecki are endlessly provocative and could easily have been stretched into a miniseries, yet he and his quartet of editors somehow manage to make all the disparate pieces coalesce into a mesmerizing whole. Traveling from Presley’s birthplace in Tupelo, Mississippi to the numerous colorful locales he once called home, the filmmakers invite a diverse array of singers to perform in the backseat, many of whom represent the genres that he embraced and arguably appropriated. As the election of Donald Trump looms on the imminent horizon (“He’s not going to win,” Alec Baldwin insists), the parallels between him and Presley prove to be inescapable—both are celebrities cross-branded to consumers and both are swayed into making self-destructive choices when prioritizing money over common sense. As the Rolls Royce starts to inevitably break down, the wheels have come off the very foundation of American democracy. I can’t imagine a more appropriately bittersweet closing night selection for DOC10 2018 than this triumphant ode to disillusionment. You’ll be discussing this one for days, preferably at The Bang Bang Bar.

“The King” screens at 7:45pm on April 8th, followed by a closing night tribute to Eugene Jarecki, complete with a Q&A and musical performance.

For the full festival line-up, visit the official site for DOC10.

from All Content https://ift.tt/2ImTn5k

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ramblingpillager-blog · 7 years

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VRC: Brandon

Brandon swaggered, as only a VR avatar could swagger, through the crowded bar. How stupid that VR bars were nearly impenetrable. It’s not like you could drink real alcohol in a VR bar.

His ID twinkled above his head, RecklessABrandon. That made him swagger too. He was proud of that one. Took him three days to think of it, and then he had to totally redesign his avatar to match. His avatar, like Brandon in the flesh, was muscular, fit, and attractive. He spent as much time running at the gym as he did in his VR headset.

Unlike many, VR didn’t suck Brandon in for days at a time. He liked being outdoors in the Minneapolis sun. Climate change had made the central US weather pretty erratic, but Minnesota had lucked out. The winters were milder, and the lakes and parks helped make the summers a little more bearable. Plus he had hockey practice three nights a week most of the year. His VR time had to pack a lot of entertainment for each minute, since he had so little.

The hot chick at the bar watched him cross the dance floor and worm his way through a crowd of cheering sorority sisters who’d gotten wasted and come to the VR bar to fuck shit up. But this girl wasn’t into that shit, and Brandon nodded approvingly.

Of course, everybody in VR looked great. It was the risk you took, building relationships with these projections of people’s illusions rather than their physical beings. “Outing” avatars had become a pastime for a whole sector of Internet trolls, members of the jealous class who hacked into less-secure VR networks and stalked social media for any clues that might link an avatar to its owner. The fact that RecklessABrandon wasn’t afraid to have his name in his handle meant he was either too solid in real life to care what people knew about him, or he was part of the troll gangs who loved to out their victims.

Of course, it was easy to dump one avatar identity and pick up another, so almost no one knew Brandon led the r/outage board for “kills,” as they liked to call them. It was all meant to be base human cruelty, but sometimes the cruelty hit its mark too hard and victims took themselves out of VR permanently, usually via suicide. If you couldn’t VR, you struggled to get anywhere in life. Unless you were Amish. Some of the outed people moved to Amish country, no joke.

Trolling had gotten so bad, Congress haggled over two bills, one banning the use of anything but real names (it got shot down immediately by privacy advocates and domestic abuse victims groups) and another to apply a 5 year Internet and VR ban to anyone caught outing someone else. The second bill almost passed, but some of the Internet freedom groups drummed up enough fear that the government couldn’t be trusted to identify trolls unless it also had access to everyone’s usernames, profile information, and location data, something the Privacy Act of 2027 had banned outright thanks to Senator Snowden’s efforts to reform the US’s privacy laws.

Brandon loved Senator Snowden. In fact, he donated money to his re-election campaign every six years as a quiet token of gratitude. Privacy laws had bolstered security around everyone’s account information. As someone who understood those systems too well, RecklessABrandon felt little fear that his side hobby would get him busted.

The girl at the bar was still watching him. Hm. Was that an invitation? Might as well knock on this door while it was available. Maybe she had one of the new suits that let people experience in the flesh what they were doing in VR. Because he sure did, and VR sex was way better than the original. If you had the right person. And a little daring.

Brandon nestled himself into his VR rig, moving gracefully in real space within a full 360° harness that allowed him to act out every motion he was performing within the virtual environment. His swagger may have been exaggerated a bit in virtual reality - a man’s got to represent, after all - but anyone who really knew him in VR could pick out his gait as he strolled IRL.

“Hey. What are you doing in a dive like this?” he opened, hoping a slight nod to film noire might score him some points with this woman who radiated confidence and allure. Mmmmm. He didn’t need his mesh suit to tell his body parts what to feel. She generated everything he needed.

She tipped up her chin in a manner of greeting. Too chill to be bothered to speak, he noted. “Want to join me in some whiskey and then some sex?” Brandon didn’t beat around. He’d learned that people in VR tended to be more upfront about their goals, since they had a level of anonymity to protect them. And he had to consider that this gorgeous model might be piloted by some dude in a half-assed piece of shit rig in a slum in Oklahoma City. You had to take risks, if you wanted to gain any glory. Besides, he loved outing the cross-gender VR avatars. Absolutely made his day.

“Hello, Brandon.” Her voice came through his headset as an alto, smoky with an undercurrent of bourbon and danger. She stood up and slid over a seat so he could have the stool. He noticed her incredible figure, her size D breasts, her dress slit up the thigh allowing him a glimpse of black lace panties. If she wasn’t here for sex, she sure was hanging out the wrong shingle.

“You mean RecklessABrandon,” he responded with a wink. Gotta make sure the bitches are clear about his self-confidence. Plus the wise ones would heed the warning: This guy is fine with you knowing his real name. Don’t fuck him over, or he’ll destroy you IRL.

“Fine. Then I guess you’ll have to call me PollyM0th, if we’re going to be all formal about it.” She swigged the last of her bourbon and set the glass aside. “I’ve got a room booked upstairs, and I’ve been itching to try it out. Are you wearing a suit?”

“Yeah. Top of the line Nike 2689, just came out a month ago. If you so much as brush a fingertip across my arm, I’d feel it.”

“Excellent. Let’s see how much it can take.”

***** One benefit of virtual sex was the avoidance of pounding and shouting in the flesh, which always had the risk of generating threats from the people next door or below. Brandon followed PollyM0th up the stairs to a room at the end of the 3rd virtual floor. VR had spawned an entire industry of virtual real estate, where brokers bought and sold virtual apartments and houses for real money. It made little sense to the aging Millennials but nobody gave a shit about them anyway. Whoever hadn’t made the jump to VR got left behind, as far as most VR residents were concerned. If you were the type to spend most of your time online, what did it matter how shitty your apartment was in real life?

This woman clearly loved her space. The oak door opened at a touch - virtual fingerprint lock technology, he noted. It wasn’t enough that the door probably recognized her ID; this was an additional security measure meant to ensure no one could hack their way into her VR space. Wise move.

The interior, as was common in VR apartments, vastly overflowed the physical “exterior” of the apartment. In virtual space, rules of geometry were irrelevant. Renters could pay for as much interior storage as they wanted. PollyM0th clearly paid for a lot.

She grabbed him by the tie (Brandon always dressed up to go clubbing; only slobs didn’t) and pulled him toward her for a kiss that was shockingly passionate. His Nike suit did not disappoint him; these models included a comfortable lightweight face mesh that enabled the wearer to experience exactly something like this, a kiss. He mentally praised his foresight in refusing to skimp on quality where it mattered.

A small file chimed in his vision. His hands were occupied though with this vixen chewing on his lip while she groped for his trousers. He put his hands to better use, feeling around her shoulders to unzip the back of her dress. It fell away revealing her naked torso. God, she was beautiful. He didn’t even care that she was probably a 250 pound middle-aged woman from some godforsaken corn town in Iowa. He’d hack her tomorrow to find out for sure; right now he wanted the sex.

PollyM0th maneuvered them both toward a spacious bedroom appointed with a variety of chains, hooks, and posts. Ah. A BDSM junkie. Of course. He’d been a little lax lately in checking out the women he banged in VR; and as a general rule, he avoided the kinky ones unless he had some reason to believe they were good at it. Hopefully, this one would let him handcuff her, bang her, and then leave her till the cuffs expired in an hour or two. Virtual BDSM was actually pretty dull even with a good flesh suit.

As if she’d read his thoughts, PollyM0th stopped kissing and groping and looked him over. “You probably think this is dumb, don’t you, my lair of sexual fantasy and bondage. Most men do. They just want to handcuff me to the bed, and walk out once they’re done. I hope you’re not so dull.”

He eyed her, letting his eyes wander over her gorgeous form. “For you, madam, I would do anything tonight.”

“Anything?”

“Absolutely. Do your worst. I can’t wait.” He pulled off his tie and threw it on a chair. Arms spread wide, Brandon dared her to make it worth it.

Oh, she did. Brandon lost track of time as they tumbled, groped, banged, sucked, whipped, tied, and teased their way through a pair of orgasms each. She showed little signs of slowing down, though he was getting pretty tired. His Nike suit transmitted every experience perfectly, though now he understood why the salesman had emphasized repeatedly that his suit was machine washable.

PollyM0th eyed Brandon up and down, his naked avatar reclining lazily on the bed. “I bet you’ve never actually done anything really interesting in VR,” she challenged, narrowing her eyes at his virtual penis with a questioning look.

“What? God, woman, you don’t even know me. I’ve done everything with this penis, both in the flesh and in pixels.” Brandon found himself genuinely offended.

“Are you willing to put that Nike 2689 through its paces one more time? Or are you done for the night?” She got up, turning her lucious rear view toward his appreciative gaze.

“I can take anything you can dish out. Tie me up, do what you will. I’m ready.”

“Did you notice I sent you a file awhile back?”

No, he hadn’t. His hands and brain and penis had all been busy when it’d arrived, and he’d completely forgotten to see what she’d sent. He flipped the file onto his virus checker and frowned. Yellow bar. That meant the file would execute a program. “What is this? I don’t run programs from strangers.”

She turned around, holding a metal bar and a pair of handcuffs. “If you want to put me in these, you’re gonna have to open the file. Look, my dad runs a company that writes VRware for suits like yours. That’s why I have such a great suit myself. My dad programmed the software to perfectly fit my body. And he wrote an enhancer that works with any top-line suit. You’ll feel things you’ve never experienced before, I promise.”

He flipped the file open without a pause.

***** Oh god, oh god. This is horrible. He couldn’t say it, but it was all he’d been thinking for the past ... how long had it been? He had no idea.

If anyone had walked into Brandon’s actual apartment at that moment, they would have seen him frozen motionless in his $2500 VR rig, his ankles and knees and wrists suspended in front of him, in alignment with his head. On his screen, they would have seen the whole picture: his virtual body was locked in a steel frame, ankles and knees and wrists handcuffed to a bar that ran all the way to a metal collar around his neck.

He’d discovered some things about his Nike 2689 that the salesman hadn’t mentioned, or perhaps the girl was telling the truth about her dad’s programming abilities. Either way, once she’d locked him in place with what he thought were self-timed handcuffs, his face mesh had hardened into a mouth piece that blocked his ability to speak. The material covering his eyes went opaque, blocking his vision. And the suit otherwise responded realistically to being handcuffed to a metal bar and suspended from the ceiling.

But it wasn’t the physical pain that tore at him right now, though if the bitch was to be believed, she’d kept him cuffed for two hours already. His body suggested she was telling the truth, and his full bladder was beginning to force its way into his consciousness with urgent warnings. If I piss myself, and my girlfriend finds me in here in what looks like a whorehouse covered in my own urine, she’s going to walk out and never come back.

No, it’s what she’s saying.

“Well, Brandon, I’m glad you dropped by tonight. You know, I’ve been waiting in that hell-hole of a bar every night for four weeks hoping to find you. You’re a real piece of shit, you know that? How many people have you outed? One hundred? Two hundred? Your profile on r/outed suggests it might be closer to two-fifty.”

This is when he realized she wasn’t role playing anymore.

The virtual cuffs were made only of pixels, but his Nike suit squeezed even harder around his body, stifling his breathing and holding him rigid in places that weren’t meant to be immobile at this angle. His back ached, his neck muscles burned, his tongue felt wooly since it’d been probably 4 or 5 hours since he’d had a chance to drink any water.

“Two hundred and fifty people, lives opened up and smeared all over the Internet, for your pleasure. Dick move, Brandon. Brandon Lewis. Brandon Lewis of 365 Sycamore Street, Minneapolis.”

Underneath the mesh suit, beads of sweat formed on Brandon’s face as he blanched. If she outed him....

“Oh yes, you’re fucked. The only question is whether I’m going to fuck you and crush you, or just humiliate you. What’ll it be? Oh, right, you can’t say anything.” She waved a finger toward a menu and Brandon felt the mesh around his mouth loosen.

He panted and tried to lick his lips. “Please, I don’t know what you want, but this is genuinely painful. Please let me go.”

“Of course it’s painful, asshole. Why do you think I did it?”

“These cuffs are going to expire soon, right? Like, I get your point, ok? You think I’m a total dick because I outed people. Yes, I did it. I’m Brandon Lewis. Con-fucking-gratulations on your google skills, bitch--” A sharp pain shot through his back as she grabbed his virtual ankles and twisted them one way while turning his wrists and the bar in the opposite direction

“Look, Brandon, here’s the situation. These aren’t timed cuffs. I have total control of your suit. Also, while you’ve been hanging there, I’ve dumped your hard drive data and located your complete activity log for the past four years. One, I can’t believe you’re still using the same crappy hardware. Guess you put all your money into your fancy experience suit. Two, I’m about to doxx you into no tomorrow on r/outed. I know your troll buddies won’t care that you’ve been outing, but the FBI watches that board daily for clues, and I’m about to make sure they find you.

“Hopefully the FBI will figure it out soon, because I have no intention of releasing a piece of shit like you back into the wild. I’ve locked your door -- thanks for installing smart locks, by the way -- and posted the code along with your address and list of outings on the r/outed board. It’s currently 5am. Assuming the FBI checks the board first thing in the morning, you can expect someone to show up and release you by noon today. I’ve also texted your girlfriend that you were with me all night having hot sex, and she’s pretty angry with you. I think I watched her storm out the door via your security cameras. So I’d say you’ll be all alone until the feds come to lock you up.”

Brandon swallowed. He was numb all over, unrelated to his uncomfortable position. He raced for ideas, hoping to hit on something he could say that might work as a bargaining chip.

He didn’t even get to take a full breath to speak before the facial mesh tightened across his mouth, mirroring the gag PollyM0th crammed into his mouth in her virtual dungeon. She smiled. “I don’t want to hear it, Brandon. Save it for your lawyer.” She waved her left hand in the farewell menu gesture, but instead of disappearing from the frame, Brandon watched as her bedroom faded from his view. He was left looking at the grey grid of a blank program in his own developer software, watching the clock in the corner blink slowly toward sunrise.

#VRchronicles #fiction

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