#tombros

[austincompany]

Patriotic Betty

[tooternart444]

@austincompany’s Tom Jr. tries his hardest to cut himself out of video games…. Let’s just say. He can quit quitting cold turkey now lol

For @austincompany and his character from Tom Bros, Tom Jr.

[tootern2345]

I am an indie artist and animator myself. Currently working on a cartoon about a cat who finally has enough about being the “fool” and tries to end the status quo once and for all entitled “Status Quo Is (Not) God”. Starring Ron the cat and Harry the mouse. Most of the art for this is Ron but the first art includes Harry as well. I’m also collaborating with a guy named wazzleton and he’s been an amazing help! Matt T. as well for helping me out with the overall story and being a helpful figure for me and other people I know

I’m also working on some other series/shorts as well. One of those being Tom Bros. A show by @austincompany that goes into the adventures of the titular Tom bros (Tom and Tom Jr.) alongside their friend/mother figure, Betty. It’s been in production for pretty much a decade and I am working on it because I genuinely like what he does and I want it to be released in some capacity. Tom and Betty are pretty crazy/adventurous while Tom Jr is more rational but has his problems (video game addiction mainly).

Other stuff include Atkinson Studios dead inside, (various friends led by Lucy, a man with anger issues, pretty much do their own thing) some projects by KJM, @sausagez95’s poppi popcat, (poppi being a magical, Kirby and Otto Messmer Felix the cat type creature who goes on some crazy adventures in a crazy world) and @the-chill-man’s wandering experiments (robots explore the outside world in which they end up loving it, are on the run from the army and trying to avoid a general who wants the bots to be used for war purposes, crazy love, a show about an indie cartoonist named Oscar who, after falling into a coma, has to freeze female school students in order to avoid death, and the dude’s overall studio, laugh box) amongst others

Also support @sorathepanfloof’s boot up series, it’s genuinely amazing!

REBLOG TO HELP ME FIND MORE INDIE ANIMATORS / CREATORS / VAS!! I wanna follow and meet more people! 💕

(feel free to promote your work too!)

[madanifarm12]

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[eretzyisrael]

BY ALLISON TOMBROS KORMAN

As the war ramped up, it was clear that this issue was not going away. Not only was I struggling to process Oct. 7 with friends, family, and my community, I was also navigating the conflict every day at work. As the only Jewish voice in the organization, I was repeatedly put in the position to speak for all Jewish people—an impossible task—or to defend my perspective and why it did not align with that of Jewish Voices for Peace, a group that purports to represent Jews but rejects the basic premise of a Jewish homeland, or similar entities. At the same time, if I advocated for DCAF staying out of this discussion, I was told I was silencing the organization and its staff. I shared my heartbreak about the violence against both Israelis and Palestinians and how, though complex, these feelings could coexist. In return, it was explained to me, often by people with no direct connection to the land or its people, that I needed to understand “context.”

At the same time, other abortion funds and reproductive health organizations began issuing statements about what was happening in Gaza. These statements contained much of the same offensive nomenclature as DCAF’s draft and some, like ARC-Southeast’s letter, went further, calling Zionism—the belief that Israel simply has a right to exist—“a contradiction to Reproductive Justice.” Every member of the DCAF staff except me signed on to a letter to the board advising them that they would be participating in a walkout in support of Palestine. The letter noted, “We are using our collective power as DCAF workers to show up for Gazans and call for an immediate ceasefire, as well as liberation for Palestinians ... we cannot ignore the mass violations to human rights and sexual and reproductive health outcomes that we’re seeing out of Gaza.” Remarkably, the letter neglected any mention of health outcomes for the Israeli survivors of rape or assault, or for the hostages.

In an effort to work collaboratively and keep focused on our primary objectives, we agreed that establishing social media procedures was a critical next step. On Nov. 14, I and the communications team sat down to decide what, if anything, DCAF would be posting about the war and to ensure there were not more situations like that which occurred around the “Gaza Carousel.” I recognized that my colleagues felt strongly that DCAF should weigh in on this discussion, and in an effort to compromise, I agreed to a process that would allow DCAF to uplift existing content from trusted partners in the field, but not create original content, as this would be beyond our expertise. We agreed to abstain from using nomenclature that could be distracting or divisive to our community, such as the “Free Palestine” hashtag or calling Israel’s actions “genocide.” We developed a system to review and discuss potentially controversial content related to the war before posting, starting with a small group of reviewers, including me, and escalating to a vote by a mix of board and staff.

The following morning, I circulated the notes from that meeting to DCAF leadership and members of the Board. At 3 p.m. that day, I was alerted by a Jewish DCAF volunteer that the DCAF Instagram feed featured graphics from The Washington Post about deaths in Gaza with commentary overlaid, specifically that “collective punishment is the tool of fascists” and that what was happening in Gaza was “a prime and top-of-mind example of said collective punishment.” I immediately flagged this for the communications team and asked if perhaps the content was posted inadvertently since it violated the norms we had established in the meeting the previous day. Surely, equating the actions of the entire State of Israel with fascism was a perspective that needed to be discussed as potentially controversial. They assured me the post was intentional (they later stealthily removed it).

Immediately, DCAF received angry messages from Jewish members of their community. The messages criticized DCAF for being so one-sided on the issue. They were furious that DCAF, who claimed to deeply value reproductive justice, had remained silent on the rapes of Israeli women. They stated that as Jews, they felt abandoned by and isolated from the organization.

[greek-museums]

I went to the National Sculpture Gallery yesterday, here's some highlights.

The spirit of Copernicus (1877), by Georgios Vroutos.

Satyr playing with Eros (1877), by Yannoulis Halepas.

Nana (1896-1897), by Georgios Bonanos - inspired by the heroine of Émile Zola's Nana.

Centaur (1901), by Thomas Thomopoulos, who is also featured here on this blog, with a stunning sculpture of a broken angel at the cemetery of Anastasi.

Stout seated woman (1948), by Michael Tombros.

The Eraser (1980), by Gabriela Simossi.

The hunter (from the series States of Mind, 2002), by Pantelis Chandris.

And a sculpture by René Magritte, The Therapeutist (Healer) (1967, a gift by Alexandros Iolas, a known art collector and artist promoter of the Greek world.

[tomboyfriends]

i got my nexplanon implant replaced today and i couldn't keep the old one because it was a biohazard T_T rip brave soldier

on the plus side my obgyn named my implant and named it nexi/nex for nexplanon. (and it's a he apparently. to me he's a tombro)

[babblish]

Under the Wave

Fandom: Tales of Arcadia (Cartoons)   Rating: Mature   Warnings: Graphic Depictions of Violence, Major Character Death Relationships/Characters: Morgana, Nari, Bellroc, Skrael, Original Characters Theme: Origin Story (Wizards Non-Compliant), Explorations of Identity, Gender, Magic, Recovery, and Divinity

Chapter 24; Glamorous Tricks and Trickery Morgana uses a glamour mask to sneak into Dwoza. Elsewhere in a different time and place, Bellroc awakes to find themself in Nari's body with no memory of how this happened, but this is less important than simply trying to survive.

Morgana stood awkwardly as Blörbo sniffed the late evening air, touching at the glamour mask uncomfortably with her hand. She had never been so deep into the wild wood, nor so north, and there was a bite in the air that promised the season’s time was coming to an end.

“I’m not so sure about this,” Morgana said, glancing at her appropriated trollish body.

“You look perfectly fine in jade, more than fine really,” Blörbo replied. “And you should be grateful I already had the parts necessary for the glamour mask to work.”

“I do not speak of my appearance,” Morgana said.

Blörbo gave her a cursory sniff. “You smell perfectly trollish to me,” they insisted. “Now hush, you made it past Tombro, nobody suspected a thing. Allow me to lead and we’ll be in and out like we own the place.”

There was a deep rumbling and groaning of trees, and a large troll approached them from behind, giving Blörbo a friendly nod when their paths crossed. She was made of a dark greenstone and at least the height and breadth of Kreta. “Evening, Börta the Restless,” she said, and then gave Morgana a sniff. “Who is your friend?”

“Ah - ha, Otäkk the Bountiful, it has been so long,” Blörbo chuckled. “This is Mög the Mug, I’ve come to show her the big city.”

Otäkk gave a deep, breathy chortle. “The big city.”

“Hey,” Blörbo said. “It’ll be the biggest Mög’s ever seen.”

— Ties in with Primordial Awakenings, Primordial Awakenings - Deleted Scenes, Under the Sun, and the rest of The Heart of Janus au.

[insecnetmadani]

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[madaniirigasi]

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[austincompany]

The Battle of Captain Betty

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[austincompany]

Screwball Ahoy

[austincompany]

I Hate Summer

[austincompany]

Piracy Across The Sound Waves