#repurporsed

[ryuki-draws]

AU of an AU... lord almighty. (I'm playing with dolls again).

N°3 got shorts under a frilly coat because I'm a mother who doesn't want her daughter to run around indecent, meanwhile Erik is out there pulling TFP Silas :'D

[identityarchitect]

man that really lacks my comfort

[jarpadswalker]

I have a bunch of questions. You can ignore them or entertain them.

1. How has your view of Jensen changed after the prequel gate or do you think he was always like that and we failed to notice it?

2. Do you think a spn reboot will happen? Do you want it to happen?

3. Do you think Jared wants a spn reboot or he just simply entertains the idea at cons?

4. Do you want that rumoured Nova project to be true? I want it if Jared wants it😁

5. Was excluding Jared from the prequel deliberate or a miscalculation on jensen's part?

Hey Anon,

Sorry I couldn't answer the ask earlier. It is a festive week for us, so it's quite busy. Got a downtime now, so I thought of catching up on tumblr action. I'm glad I did because these are quite interesting questions.

Since these are different questions, I am dividing it into two post otherwise it will be a long post. I will answer reboot question in this post, and in the next post, I will talk about J2 prequelgate and Nova.

DO YOU THINK SPN REBOOT WILL HAPPEN? DO YOU WANT IT TO HAPPEN? DO YOU THINK JARED WANTS SPN REBOOT....

Well, Anon ... SPN is an IP (intellectual property) of WB, and in today's market, owning an IP is like owning gold. Just the way you can repurporse gold in various shapes and form, Studios can repurpose IPs. The moment studio feels that they have managed to build enough nostalgic sentiments around SPN , and if they feel their is a need for supernatural drama that can instantly attract the audience on their network. They will experiment with reboot.

Also, this is my personal opinion, if we look at the shows that were produced a decade and compare it to today, I feel there is a fatigue setting in. The constant race of churning shows on an almost daily basis on different platforms is hampering creativity, making it monotonous and formulaic. If something works with the audience, everyone is running to create similar stuff. And I feel for networks breaking the mold equals rehashing their old classics. So sooner or later, SPN REBOOT will happen.

Does Jared want to do Reboot, or is he appeasing fans? Frankly, I don't know what Jared wants, so I can only speculate. I feel SPN is his show, so he would like to be part of it in some form or another and that too on his term. When he started SPN, he was an upcoming actor, so he had to accept whatever was offered, but now he has experience and in a position where he can negotiate his own contract and put forth his own terms.

Also, SPN reboot is a set income for at least a year. Denying/rejecting it would not be a wise decision for any actor (when offered), and for someone at Jared position, it would also mean residuals. Remember Jared sacrificed two of his holidays and adjusted two days of his SPN shoot just so he can feature in the reboot of Gilmore Girls. Not just income, but reboot is also about a prestige and nostalgia for an actor.

Will it happen right now. I don't think so. For now, Jared is keeping the show alive within the audience as it got other businesses, namely merchandise and cons associated with it. Also, him outright saying no will kill the buzz around the show, and the toxic part of the fandom will immediately blame him. In the end, it is all about marketing and maintaining an image/ brand.

Lastly, Do I want it to happen?

Immediately, No. I think SPN as a series has run it course. Now, it's time for it to marinate in its success. It is like cooking meat. Meat without marination isn't as juicy as it is when it's marinated for hours. So I think SPN needs to just rest without anyone disturbing its legacy anymore.

And when it is ready for reboot, I want it to be done by someone who has seen the entire seasons and understands the core of the series. I don't want someone who wants a piece of social media traction or appease to a certain section of social media just to get the clout. A good reboot can only be made if the creator stays true the story and character without having any agenda.

I am ending the post here as it is getting long...will answer the rest in the second post

[mpartg371]

This week, we visited Coombs and took a look at what products were showcased there to take notes for our own projects. I chose the 'Clever' brand of non-alcoholic 'mock' beverages. 1) What does the packaging tell you about the brand?

It is premium. It is authentic and ‘natural’. It has plant infusions.

2) How does it do that, very specifically?

The visual aesthetics of the can incorporate natural elements like flowers and leaves. The type is elegant and refined and incorporates decorative elements. The colours are bright but not garish.

3) What differentiates each "flavour"?

The difference in label, denoting the flavour. A change in colour. A different illustration, such as leaves or flowers. Change in amount of white space.

4) How very specifically is this done?The overall saturation of the colours are similar, keeping brand identity, but being different enough to easily distinguish the flavours. The decorative elements on the can evoke different feelings related to the flavour.

Additionally, I have had some initial thoughts on the design for my next project - I was planning on having a premium tin of cookies designed to be given as a gift, showcasing their high quality on the packaging. I've already found the vessel for the package design - I'll be repurporsing some medium sized candle tins.

[magpiejay1234]

So, there are a lot of plot points to discuss for the last minute reveals, but let's start with Dark Seeds.

Dark Seeds (Dark Spores in the dub) are pieces of Millenniumon that initially got stuck inside Ken in the end of Tag Tamers WonderSwan game. Millenniumon itself is a Jogress of Mugendramon of Dark Masters, and Chimairamon from WonderSwan games, who is a random Dark Digimon associated with Dark Masters (it can be considered as a sort of collective herald of the Dark Masters).

Their life cycle has them grow from Dark Seeds to Dark Flowers to Dark Trees. We don't see Dark Trees in the 02 series, though there are many fanon interpretations. Since Dark Flowers are spider lilies representing death, presumably Dark Trees would have been Japanese cherry blossoms representing death.

As for why Millenniumon's pieces are plants, one of Millenniumon's final forms is Zeed Millenniumon, which is an evil tree, Exdeath style. So presumably each of these Dark Trees would eventually reconstruct Zeed Millenniumon, the same way Vamdemon reconstructed itself, or how Great Demon Lords can use human vessels to manifest themselves.

This is also presumably why Ken created Chimairamon, to reconstruct a new body for the old Millenniumon (which also means if Kaiser arc continued, he would have created a Mugendramon to match it, since Mugendramon is also an amalgam of various Digimon).

As for why Vamdemon needs them, it is a simpler explanation. Each of the Dark Masters, depending on the canon, are either pieces of Apocalymon delegated to rule over different Families of Digimon, or Digimon that were exalted by them. Vamdemon is part of Piemon's Nightmare Soldiers, was its previous canonical pre-evolution before Wisemon, and repurporsed as its Jogress partner for Voltobautamon. Since Millenniumon is also part Mugendramon, going from one Dark Master to another is not a big stretch.

As for why Demon needs this power, it is a bit more unclear. One possible explanation is that he is seeking Millenniumon's dimension warping power to turbo charge the merger of the multiverse, as Great Demon Lords can simply extract dark powers from humans, and travel between realms by their own power, but they cannot terraform the worlds in large, and fast scale.

The second likelihood is that, since it is implied that Great Demon Lords of Adventure era were the original celestial hierarchy, and Seraphimon & Holydramon's Golden Digimental powers come from Lucemon, who is the prototype of all Angel Digimon, Demon's longer goal might have been to take back the crests that were implied to be originally theirs before their fall, using the corrupt children as evil Chosen Children to steal the crests.

However, this is all speculative, in the series proper Dark Seeds are just generic Evil MacGuffins that cause evilness. Nonetheless, any of these speculation can become the basis of a reinterpretation in a future 02 project.

[pomrania]

Last night I read this over, to see what was all in it; now I'm doing a detailed pass and writing stuff down.

I really appreciate how you've clearly marked out, which sections are yet to be done.

Typo under 'what you'll need': "digital resourece pack" should be "resource"

First paragraph under 'rolling dice', "rolling on table" feels like it's missing a word, because two paragraphs later it says "rolling on a table".

I don't remember if "generate a total" is used elsewhere here, despite reading through the thing last night; that's what happens when something is just so familiar that I wouldn't register it. ((I don't believe I saw it on this pass, but the timespan over which I was doing this, was long enough that I completely forgot to look out for it.))

Under 'minifig assembly', is there a reason to specify the front base flap under the back base flap, as opposed to the other way around? Or is it a case of "one of them has to go under the other, and it's simpler to just pick one in the instructions".

I really appreciate the shaded text in the glossary; it's so CONVENIENT.

Typo in the glossary under 'damage control', "of from an adjacent station" should be "or from".

Typo in the glossary under 'extravehicular activity", "any may not participate" should be "and".

Probable typo in the glossary under 'hazard, major' and 'hazard, minor', as "if not appropriate mitigated" is missing something.

Typo in the glossary under 'leader', "pushing youreslf" should be "yourself".

Typo in the glossary under 'multitasking', "msy perform" should be "may". And, not a typo, but why the phrasing "exactly one test"; wouldn't "only one test" be more accurate? If it's possible for a space gerbil to be positioned such that they can't participate in any test.

Typo in the glossary under 'success', "if the the chosen result" has an extraneous "the".

I also appreciate the written-out assumptions about the persona.

Under 'mech suit systems', the first paragraph says to roll for what systems you get, while the second paragraph references "the two you rolled or chose"; one of these should be changed.

…and I'm skimming over the 'systems' table because I WILL get caught up in it if I'm not careful, trying to consider what each possible combination might MEAN.

The 'starting upgrades' table looks awkward in the HTML version, with abbreviated names despite plenty of space; I trust an that was done because space is more of a consideration in the other formats.

Typo in the 'starting upgrades' table, "lauch bays" should be "launch".

So, to confirm, Alt Mode does NOT have the otherwise-standard plasma cannon? That would make sense; lose a bit of power in exchange for options.

Not directly related to anything here, but I'm so impressed by how you're able to clearly communicate information with this. I've recently started writing down stuff for a game I want to write, and it's hard to convey my meaning even when I'm just rambling with no requirement of efficiency or formality. It's one of those things that LOOKS easy when it's been done by somebody skilled in the task, but is absolutely NOT in fact that easy when you're just approaching it with zero-to-minimal practice. At least I know that you've a LOT of years of practice on me in that regard, so it doesn't mean that I'm stupid or incompetent; it just means I have a lot of work ahead of me.

'N-Space Corridors' feels like the name is a reference to something; is that a video game thing, a science fiction thing, or what? The closest an comes to mind is "L-Space", from Discworld, but I'm assuming an that was ALSO a reference to… whatever the thing was.

Under 'onboard AI', I really appreciate "the GM should answer honestly, but is not bound by their response if circumstances change".

Typo under 'finishing touches', "repurporse a picture" should be "repurpose".

"Space gerbils are very small, and thus don't have room to fit many rules inside of them", that phrase always makes me grin.

Question: for 'overclock', what happens if all stations ALREADY have a condition, thus there's no possible random station where adding one won't incur Strain?

Typo under 'name, callsign and appearance': "on our crew ID card" should be "your".

I appreciate the box about how there's no situations in the basic rules where an uncrewed station would be considered occupied; that's the kind of "but what if" that my brain automatically considers given a free moment and half an idea, plus it allows for future specific weird things.

Question about the 'reassign' task: if you wish to move to an occupied station, that's ONLY allowed if the other player agrees to swap, yeah?

I also appreciate the "it will almost never be a good idea to actually do this, but it's allowed".

Under 'multitasking', similar to something I mentioned earlier: "each space gerbil must choose one test to contribute to" implies that everyone has to pick one, but I think it's possible for them to be arranged such that a space gerbil isn't connected to either protocol. If that's mechanically impossible, then disregard this; otherwise, I think it should be rephrased.

I love how "threat" and "menace" are two different levels of severity, it implies that J Jonah J???on was actually asking a linguistically meaningful question about Spider-Man.

Under 'menace' and 'threat', it feels odd to have it say "the GM will", when the other complications are written in present tense.

Third paragraph under 'interpreting mixed outcomes', typo: "might eevn end up" should be "even".

I love the bit about an implicit "and escape in one piece" clause; not only is it important, but it also makes me grin.

Typo under 'effects of stress': "keep track of now many" should be "how".

Under 'removing conditions and strain', I think "using Damage Control task" should have a "the" in it.

Typo under 'extravehicular activity': "the acting space geribl" should be "gerbil".

The box in 'returning from extravehicular activity', I think "Action Phase though you'd performed" is missing an "as".

Under 'setting', I think there should be a "to" added into the sentence, as currently there's only one but that's making an infinitive, rather than a directional preposition.

I have questions about what "haunted" is supposed to represent, if not literal ghosts.

I'm noting how "cybernetic limb" is an option on the 'personal gear' table, and nothing about it requires it be ATTACHED to the space gerbil; it's a delightful mental image to just picture one of them lugging around a disconnected cybernetic limb, sometimes using it as a reach-extender….

Typo under number two of 'setting up an engagement': "at least one Obtacle" should be "Obstacle".

In the first bullet point under 'ending an engagement', there's no closing bracket.

Typo under 'moving forward from defeat', "the following table offer" should be "offers".

Under 'obstacle nature and key protocols', "usually default to be behaviour described by its nature" isn't TECHNICALLY wrong, but it feels awkward, and it took me a third read to realize it wasn't necessarily a typo.

Typo under 'very large obstacles', "comletely different Obstacle" should be "completely".

In the box under 'obstacle traits', "may be possible work about" should be "possible to work around".

The note under the 'obstacle traits' table, "cost may doubled" is missing something.

Under 'hazard effects', I'm pretty sure that "any inccurred by the current cycle's tests" is a typo and should be "incurred".

Typo under 'running out the clock', third bullet point, "envirionmental seals" should be "environmental".

I really like the mechanics for taking an interlude in an open mission, and how it means there's a risk of previously-cleared spaces no longer being clear.

Question: if a mission has multiple interludes, can a single "once per mission" upgrade be refreshed multiple times?

Typo under 'away missions', "small teams assising the mech suit" should be "assisting".

Okay, I've gone through it all now; which is good because "gerbil" has stopped seeming like a word to me.

Playtest draft 0.4 of Space Gerbils is up. I wasn't going to cut it here, but then I realised that I'd re-written the same page three times in as many days, which is usually a pretty good sign that I need to pump the brakes and talk to other people about it!

Nearly every part of every chapter has undergone substantial rewrites, so a complete changelog may take some time to prepare, but the highlights include:

Updated character creation, including nearly twice as many mech suit upgrades, and support for random space gerbil proficiencies; also, you now have to draw a picture of your space gerbil

Cleanup of protocol scopes and phase cycle workflow, including the removal of mandatory Threat Clocks and drastically simplified scene-ending triggers

Stress and conditions persisting across scenes deprecated in favour of new mechanics for handling long-term damage

Split downtime and away missions into two separate rules modules

Reorganised supplementary playsheets, and created form-fillable interactive versions where applicable (assuming your PDF reader software supports that kind of thing)

Additional print-and-play minifigs and interior illustrations by @artkaninchenbau (including the one up top!); minifigs now include lineart-only versions in case you want to colour them yourself

New mech suit schematics by @pencilbrony

Finally, by repeated popular request, there is now a Penguin King Games Discord server for submitting support inquiries and playtest feedback. I reserve the right to repost any interesting comments or feedback submitted there to other social media platforms for better visibility – don't say I didn't warn you!

As always, questions, criticisms, and bizarre flames are both welcome and encouraged.

[gelainspired]

Feb. 16, 2024

Devotion: Dying to live

In God’s Kingdom, dying to ourselves is essential.

The invitation to dies is actually an invitation to live.

When we give ourselves to God, we’re choosing to surrender our plans, our desires, and our gifts. And that can be hard. But we also know there is something better, and someone better on the other side.

God can realign our plans, reshape our desires, and repurporse our gifts for His glory.

The only wat to live is by surrendering every area of our life to Christ.

[brooklynmuseum]

Conservators Ellen Nigro, Natalya Swanson, and Kate Wight Tyler discuss the use of repurposed and recycled materials in artwork and the overlap between Environmental and Art Conservation in this conversation inspired by Earth Day.

KWT: As themes like consumption and climate change are increasingly addressed by artists, we see more use of recycled, reclaimed, discarded, and degradable materials in their work. How has this evolved our role as conservators?

NS: Sustainability-themed art is challenging conservators to adapt our practices, partially because repurposed, reclaimed, and recycled materials tend to be more fragile and often require innovative solutions to preserve signs of use, and partially because it raises bigger concerns about the sustainability of our materials and practices. 

El Anatsui’s fabric-like metal tapestries made of recycled liquor-bottle caps and wrappers present interesting challenges. Every time the artwork is installed it is formed into a new shape. Variability is a defining feature of these works, but also requires a lot of handling which wears on the recycled metal tabs. Our conservation strategy includes attaching mesh onto the back of the artwork, which redistributes the weight off the metal tabs without restricting future iterations of the artwork. By using recycled materials and employing local community members to help construct the tapestries, El Anatsui not only comments on consumption and waste practices, but literalizes a foundational sustainability principle of prioritizing community well-being when making decisions. The more I work on this project, the more I wonder how conservators can embed sustainability values into our practices.

EN: The artwork cycle by Hugo McCloud is a collage made of single-use plastic bags adhered to a plywood panel. As a paintings conservator, working with the McCloud has been a different project than what I am used to, since there isn’t any paint used in the artwork. It was an opportunity to collaborate with my colleagues in objects conservation, especially Kate Wight Tyler. Although my education included lessons on plastics and plastic degradation, I haven’t thought about them in a while!  Having conversations with Kate really helped me understand the degradation that may happen in this work.

KWT: When components creating an artwork are made for different purposes or already had a use-life it can complicate the terms of preservation. How does caring for these works reiterate and/or contradict the message the artist is trying to achieve?

EN: Cycle is part of a series where McCloud depicts workers in developing countries moving large amounts of materials, often in plastic bags. These works address class, labor, resources, and how they are all intertwined on a global scale. They call attention to the prevalence of plastic in our lives and throughout trade systems.

In this work, as well as others in the series, McCloud uses new bags and plastic sheeting in these works instead of upcycling materials. By doing this, I think he reiterates and highlights the message that plastic is present in many aspects of our lives and throughout global trade. It seems that McCloud wants to make an environmentalist statement by calling attention to the pervasiveness of plastic in the world, but by using new plastic, he is actively participating in the use of single-use materials and contradicting the environmentalist message.

Caring for this work of art involves gathering information from the artist through a questionnaire or an interview to learn about how he views degradation in his work. As conservators, we are trained to decrease the chance of physical change in an object, however, this is not always the best approach for treating works by artists that value degradation or change in the work’s aesthetic over time. We are still in the process of gathering this information. For example, if Hugo McCloud prefers for his work to remain as pristine as possible, we may implement preventive conservation measures like glazing to protect the surface from light, humidity, dust, and other pollutants. However, if he values degradation of the plastic, then we may take a more passive approach to the care of this work.

NS: I’ve been thinking about the question of artist intent in regards to the El Anatsui a lot, and wonder to what extent his emphasis on intersectional environmentalism (a term used synonymously with “sustainability” that only differs in the sense that it underscores the intersectional nature of sustainability work, rather than relegating it to the environmental sector) should affect our decisions as conservators.

Unlike the McCloud piece, El Anatsui’s Black Box embodies sustainable decision making in all aspects, from sourcing recycled materials to employing locals to create the works. Because of this, I’ve been feeling conflicted about our decision to use plastic mesh in our conservation treatment. Like all decisions, the rationale behind our choice was complicated: we needed to use a flexible but strong material that won’t change the physical properties of the artwork; we also wanted to use something that has a long lifetime, so we won’t have to redo the treatment in a few years. The plastic mesh meets all these criteria, but conflicts with the message El Anatsui communicates by making these works.

When conserving conceptual art, conservators sometimes have to make compromises with physical elements to ensure they are preserving what’s important (the concept). It feels like we are grappling with a similar type of problem with sustainability-themed artworks.

KWT: Art Conservation is sometimes confused with Environmental Conservation. In what ways are they connected and how do they differ?

NS: This is a challenging question. Both heritage and environmental conservation are based on the fundamental belief in caring for valued and shared heritage. Both fields are scientifically-oriented professions that use a similar technical language - and although we both use terms like “restoration,” “preservation,” and ��conservation,” we mean very different things when we use these terms! Also, both professions believe in and practice collaborative interdisciplinary work. 

Perhaps one reason why there are not more overlaps is because our guiding principles are significantly different: environmental conservationists believe in a holistic approach to community well-being achieved through balancing future and present needs; art conservation is primarily concerned with the long-term preservation of cultural property. Sustainability work has shifted away from an expert-driven decision making model, while this is still the dominant approach in heritage conservation. Over the past few years, the boundaries between our profession have gotten more blurry as heritage conservators realize that preservation of the natural environment is critical to long-term care of tangible heritage. We’re still working on how to integrate this thinking into our “best practices,” but there’s widespread agreement that we can begin by creating more space for collaborations and candid dialogue with our environmental conservation colleagues. 

EN: As I have worked on the McCloud, I’ve been struck by the difference in how conservators think about plastic degradation versus how environmentalists view it. While the two fields agree on the science of plastic degradation, what is perceived as acceptable or unacceptable is quite different. In the context of art conservation, plastic is a very delicate material and one that easily degrades through exposure to ambient light, humidity, and temperature, and something that may start to change in a relatively short period of time, affecting the function and/or aesthetic of a collection object. However, environmentalists express concern over the timeline of plastic degradation, and highlight that the plastic may not fully decompose for hundreds of years. The two fields have very different ideas about what timeline for degradation is acceptable.

Photos of El Anatsui (Ghanaian, born 1944). Black Block, 2010. Aluminum and copper wire, two pieces. Brooklyn Museum, Bequest of William K. Jacobs, Jr., by exchange, 2013.7a-b. © artist or artist's estate and Hugo McCloud (American, born 1980) cycle, 2020.

[fencesandfrogs]

saw your reply to that post, and honestly i'm totally on your side. i see some of the tags from people talking about how historical accuracy could be more distracting to modern audiences and im like lol, it'd be distracting literally because historical dress is so often overgeneralized into this drab vague 'Old Timey' brush that when people show off the cool unique stuff people don't get it.

fucking THANK you anon.

i moved my ranting into private because i'm getting into loops and yelling into the void ain't healthy, but i will gladly discuss historical costuming any day.

okay so just to comment, i actually don't care all that much if costumes are historically accurate. i think they should strive to be, or they should deliberately deviate from history (e.g., having dresses in modern fabrics, but a historical silhouette, something that is ALWAYS fun), but it doesn't bother me when they aren't.

i'm also VERY EXPLICITLY not talking about shows like ofmd where they clearly aren't trying to be accurate.

i cannot make that clearer, the problem is not shows which are not trying to be accurate. the problem is shows that look accurate, but aren't. (anne with an e.)

like.

urgh i'm very pissed off at the moment and trying to be reasonable and calm and it's not working well. i don't do calm well.

but.

to your point, EXACTLY. FUCKING THIS.

like literally it wouldn't bother audiences if we just all agreed, "okay, we're going to try to be accurate now!"

it would not be distracting. because. like. we would expect that.

people will say "but passion!"

do you know what passion is?

passion is yards and yards and yards handmade lace, because they don't sell lace like you need. passion is pinning ruffs in intricate patterns, based solely off of portraiture, because you aren't going to get lazy with all that lace you made. passion is looking at fashion plates. passion is research. passion is caring.

fuck off if you settle for anything less.

[loftyideas4u]

#Loftyideas4u #upcycled #repurporsed #vintage #urbanfarmhouse #lighting #lamps #antique #modern #retro #steampunk #industrial #ebay #etsy #shoplocal #art #recycle #reimagined #furniture #feedsack #livingvintageia (at Living Vintage) https://www.instagram.com/p/Bw0WAlIlimX/?igshid=hqzq9j5kh7a6

[eternalglitch]

Leo was often told this: You're too noisy; too annoying; can you at least try to complete the task correctly?; I told you to cover for me, why are you doing what you want?!; can you be quiet at least a little?; your jokes are not funny at all; will go out of your skin but will please your requests;

How many times has everyone said Leo, that everything he does is wrong. Now the "perfect child" has returned home, he does not make noise, does not behave recklessly, will do everything he is told, this is what everyone wanted but... As a result, they are not so happy about his return

(sorry, I do not know English)

Now the thing was, his brothers were just being siblings. You mess around, tease a little. No harm intended. These things never really stung, because of course Leo knew that.

But over time, Draxum's words started to get to him. HE started to doubt his previously held certainty that those were just teasing jokes.

And that's where it really hurts both sides, because it was never meant to hurt Leo, but just like Donnie's gift, it's been repurporsed and weaponized.

And they couldn't have known.

[sayruq]

I'll always be amazed at the willingness of some Sansa "fans" to write fics where they repurporse her relationship with CATEYLN as restrictive and impractical or distant, and simultaneously paint NED as the caring and supportive parent. "Hmm, I know Sansa has some familial issues, let's make it about Cat (who loved her) and not Ned (ignored her) or even Robb (abandoned her)!" This f-ing fanon, sometimes. At this point it almost annoys me more than reading the boredom that is fanon-Daenerys.

it annoys the hell out of me. you don’t have to like catelyn but she adored sansa and sansa adored her

[jademight]

I can’t wait for A-Day Ultron to take over the Adaptoids and repurporse them so we fight the same enemies but they look slightly more silver

[vaginalarmageddon]

Remember that insane neon dress I bought at #Halloween bc it was in with the costumes and too beautiful to leave to someone’s 70’s zombie costume and end up ruined but was too small for my sister who is half my size? I bought this wrap skirt today that’s too small (no tags inside they’ve been torn out) and I think I’m going to use both fabrics to make a skirt/dress that will fit... #UhOhh #repurporse #MakeYourOwnStyle #werewolfstyleguide (at Bon Air (Pittsburgh))

[scuffed-tarot]

and now I have a go-to photo for whenever I bring up Jewish anything on this tarot blog - primarily if I don’t want my content repurporsed or if it’s an intra-community issue. 

Thanks to @nerdyqueerandjewish for the patch and the zine!

[fj45adventures]

When we're not working on the Troopy we're repurporsing old tools in a makeshift furnace.