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| do you have a master |
| yes |
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[ 76 ] |
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 Posted: Tue Oct 11, 2011 8:05 pm
I've yet yo find a master for Aingel.
Gaia Name:AINGELPROJECT667
RP Character Name: Aingel Project, Type 667
Nickname:Aingel
Age:25, but is mentally and visually 18 due to cybernetics stopping his again process.
Race: Human, with some cybernetic modifications
Gender:MAle
Sexuality: Straight
Appearance:
Personality: Shy, friendly, unwilling (and somewhat unable) to speak his mind, slightly naive but can be mature when asked to
Likes: chocolate, BBQ chips, rock music, being praised
Dislikes: assholes, being referred to as a machine rather than a person, cold water, dark places, EnteCom (his creators)
Bio: Aingel was kidnapped at an early age and sent to a secret testing facility to become the A.I.N.G.E.L. Project, a cybernetic super weapon designed for combating demons, but the company that was behind the project lost interest. So, instead, he was redesigned to become an servant/bodyguard. They attempted to brainwash him and remove his emotions to make him a willing slave, but it failed, and Aingel escaped. However, the brainwashing did partially work, and caused Aingel to have severe amnesia, as well as make it difficult for him to purvey emotions at times. He cannot remember his real name, so he goes by "Aingel" for the sole reason of being the only name he knows.
After Aingel escaped, he signed on with some mercenaries. He soon became a renown soldier, never disobeying his orders due to his programming. Anyone who knew his control phrase, "My name is Legion, for we are Many," was considered a superior in his eyes, and he would follow their commands to the letter. However, a local slave trader learned of this unique feature, and staged an ambush for Aingel, capturing him. After removing Aingel's combat protocols, leaving him defenseless and unable to rebel, and sparing only his obedience protocol, he converted Aingel into just one more of his slaves to sell. But still, Aingel had had a taste of freedom, and he is now desperate to get it back. Any mistress who wants to break this "little toy" will have to have as strong a will as he.
Master/Mistress: None, to be sold to the highest bidder.
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Posted: Sat Feb 25, 2012 12:24 pm
I don't and I'm getting boredc waiting for someone to post in the market
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Posted: Sat Feb 25, 2012 3:33 pm
I just brought in a group of masters
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Posted: Sun May 20, 2012 11:04 pm
r a z z b l i u t o
 Chihiro doesn't have a master either.OMFG is neko crona so cute! (funny cuz im watching the show right now
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Posted: Thu Jun 28, 2012 9:33 pm
Um my yuki could have one like a romantic one or sadistic
Yuki has a thread called
Yuki needs a romatic or sadistic master~
If any romantic or sadistic master's are interested.
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Posted: Sat Aug 11, 2012 5:12 pm
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Posted: Sat Aug 11, 2012 5:24 pm
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Posted: Wed Sep 05, 2012 2:37 pm
My slave needs a master. I joined this guild because i thought this guild would be more active then others I have joined. Which from the looks of it, its not really all that active.
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Posted: Fri Feb 21, 2014 3:00 pm
gnarsty
Chihiro doesn't have a master either.hey if you want i could be your mistress heres my mistress and if u dont want a mistress ill qoute u again. Name Antonia Marie Cloet age 21 gender female Looks: http://www.google.com/imgres?biw=1680&bih=949&tbm=isch&tbnid=uw3ZCZxPsuBNqM:&imgrefurl=http://www.deviantart.com/fanart/?view_mode=2&order=9&q=female+assassin&docid=I6YjNN-HIQ__GM&imgurl=http://th04.deviantart.net/fs71/PRE/i/2013/140/d/d/assassin_s_creed_plot_twist__female_assassin_by_hareo_badman-d5nzu3h.jpg&w=800&h=998&ei=7NUHU7TbHIrp0AGNhoGQBg&zoom=1&ved=0CHwQhBwwBw&iact=rc&dur=1808&page=1&start=0&ndsp=38 personality Serious outgoing and loving loves men and childeren hates dogs bio Antonia Marie Cloet Antonia Marie Cloet (Estonia) creates performances, performances and films. By applying a wide variety of contemporary strategies, Cloet makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing. Her performances isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By questioning the concept of movement, she formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages. Her works are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. By contesting the division between the realm of memory and the realm of experience, she often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation. Her works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By applying a poetic and often metaphorical language, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation. Her works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By creating situations and breaking the passivity of the spectator, she investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination. Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By referencing romanticism, grand-guignolesque black humour and symbolism, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated. Her works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By demonstrating the omnipresent lingering of a ‘corporate world’, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation. Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, she plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense. Her works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, she tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface. Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By manipulating the viewer to create confusion, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss. Her works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By investigating language on a meta-level, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system. Her works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By experimenting with aleatoric processes, she creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle. Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By exploring the concept of landscape in a nostalgic way, she wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important. Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear
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Posted: Fri Feb 21, 2014 3:14 pm
SaltyMeatballs gnarsty
Chihiro doesn't have a master either.hey if you want i could be your mistress heres my mistress and if u dont want a mistress ill qoute u again. Name Antonia Marie Cloet age 21 gender female Looks: http://www.google.com/imgres?biw=1680&bih=949&tbm=isch&tbnid=uw3ZCZxPsuBNqM:&imgrefurl=http://www.deviantart.com/fanart/?view_mode=2&order=9&q=female+assassin&docid=I6YjNN-HIQ__GM&imgurl=http://th04.deviantart.net/fs71/PRE/i/2013/140/d/d/assassin_s_creed_plot_twist__female_assassin_by_hareo_badman-d5nzu3h.jpg&w=800&h=998&ei=7NUHU7TbHIrp0AGNhoGQBg&zoom=1&ved=0CHwQhBwwBw&iact=rc&dur=1808&page=1&start=0&ndsp=38 personality Serious outgoing and loving loves men and childeren hates dogs bio Antonia Marie Cloet Antonia Marie Cloet (Estonia) creates performances, performances and films. By applying a wide variety of contemporary strategies, Cloet makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing. Her performances isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By questioning the concept of movement, she formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages. Her works are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. By contesting the division between the realm of memory and the realm of experience, she often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation. Her works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By applying a poetic and often metaphorical language, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation. Her works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By creating situations and breaking the passivity of the spectator, she investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination. Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By referencing romanticism, grand-guignolesque black humour and symbolism, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated. Her works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By demonstrating the omnipresent lingering of a ‘corporate world’, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation. Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, she plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense. Her works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, she tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface. Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. By manipulating the viewer to create confusion, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss. Her works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By investigating language on a meta-level, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system. Her works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By experimenting with aleatoric processes, she creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle. Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By exploring the concept of landscape in a nostalgic way, she wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important. Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear this is my boy name Alfred ( nick name is ayden ) johnsen benno age 19 gender male looks https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&docid=SRagJxkjrJddhM&tbnid=FJNvw-lxF1eEdM:&ved=0CAUQjRw&url=http://katorilikesindie.tumblr.com/&ei=JdsHU8eVAYWf0QGc1IDYCA&bvm=bv.61725948,d.dmQ&psig=AFQjCNFVAHv-OVV3n5PvwfX8Jmt079hi6g&ust=1393110077710566personality serious outgoing and funny loves cats and childeren he also loves you hates dogs bio Alfred Johnson Benno Alfred Johnson Benno (Georgia) creates performances, photos, sculptures and performances. By applying a poetic and often metaphorical language, Benno often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation. His performances establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By contesting the division between the realm of memory and the realm of experience, he presents everyday objects as well as references to texts, painting and architecture. Pompous writings and Utopian constructivist designs are juxtaposed with trivial objects. Categories are subtly reversed. His works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By rejecting an objective truth and global cultural narratives, he absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation. His works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense. He creates situations in which everyday objects are altered or detached from their natural function. By applying specific combinations and certain manipulations, different functions and/or contexts are created. By experimenting with aleatoric processes, he finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss. His works appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By exploring the concept of landscape in a nostalgic way, he creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position. His works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By focusing on techniques and materials, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations. His works are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. By demonstrating the omnipresent lingering of a ‘corporate world’, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination. His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By creating situations and breaking the passivity of the spectator, he creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle. His collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. With the use of appropriated materials which are borrowed from a day-to-day context, he tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface. His works are based on inspiring situations: visions that reflect a sensation of indisputability and serene contemplation, combined with subtle details of odd or eccentric, humoristic elements. By questioning the concept of movement, he wants the viewer to become part of the art as a kind of added component. Art is entertainment: to be able to touch the work, as well as to interact with the work is important. His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By choosing mainly formal solutions, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system. His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By investigating language on a meta-level, he considers making art a craft which is executed using clear formal rules and which should always refer to social reality. His work urge us to renegotiate performance as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By manipulating the viewer to create confusion, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages. His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By referencing romanticism, grand-guignolesque black humour and symbolism, he often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated. His works are notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By applying a wide variety of contemporary strategies, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation. His works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts.
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Posted: Sun Feb 19, 2017 1:22 am
oh my I need a new master
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Posted: Fri Sep 15, 2017 11:17 am
I haven't made any masters or mistresses yet; but I plan to tonight.
If anyone has any slaves they're looking to find an owner for you can let me know and I'll try to make a couple.
Just quote me here or PM me if you want. whee
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