Staff

Here at VillageCraft we have a wide range of staff to help you have the best play experience possible. They are easily recognised in-game by their coloured names in the tab list, or by the red [A], [SM] or [M] in front of their names in chat. Here is a little bit about each one, so you can get to know them all 😀

Name: Akomine
Rank: Administrator
Location: Canada
Bio: A traveller of both space and time, and also space-time, Akomine was born on Io (Jupiter I) in the year 12,471, and at age 12 moved to the city of Cydonia, Mars. He grew up playing in the rivers near his house, with the occasional trip to the family cottage on Titan. In 12,539 he served alongside his father in the Third Interstellar War. Due to their family business as jetpack manufacturers, they were obviously stationed on 82 G. Eridani III. The war concluded seven years later, and their advanced jetpack systems were often regarded as a key technology in winning hundreds of battles.Upon returning home to Mars, Akomine often thought back to the different planets and moons he had seen in the universe, and dreamed of terraforming his very own one day. Along with a friend from Io (Kyromine), and a friend he met during the war (Bl4ck_St0ne), they took a starship to the Forbidden Planet (Earth) and abducted a series of animals to assist in colonizing a new planet. Along their trip through space they landed to refuel at a mining colony near the outer edge of the Oort cloud where they met a freelance miner (Soundbyte_mantra) who knew of an uninhabited planet that would fit their desires.Picking up life forms from a few worlds here and there, the four travellers finally found their planet; Overworld. Several centuries of terraforming later, the planet was ready for life, so they dispersed the many animals they collected among the forests, mountains and lakes of Overworld. In the 18th century of Overworld’s history, a group of space pirates landed on the planet and terrorized the native population. By the 1860’s the leader of the space pirates, James Qualia, decided to call Overworld their new home. They established a town in 1867 and named it Qualia. Needing more settlers for Overworld, from time to time, the Qualia space pirates kidnap innocent people, wipe their memories, and drop them in Qualia to start anew. Akomine is totally cool with it.
Name: Airborne101st45
Rank: Administrator
Location: Mexico
Bio: Santiago Monsalve (°1993, Qualia, Spain) is an artist who mainly works with photography. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Monsalve seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.His photos 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. With the use of appropriated materials which are borrowed from a day-to-day context, 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 sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By applying abstraction, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By putting the viewer on the wrong track, he 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 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 emphasising aesthetics, 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 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 investigating language on a meta-level, he tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.

His works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. By exploring the concept of landscape in a nostalgic way, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.

His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of photography: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, 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 directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By experimenting with aleatoric processes, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. 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.

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. With a conceptual approach, 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 establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence.

Name: Bl4ck_St0ne
Rank: Administrator
Location: Canada
Bio:Bl4ck_St0ne

Spencer (1998)

A torturer and servant to our lord, Beelzebub. Throughout my time I have enjoyed the study of our saviour, the honourable and noble Satan. I have always enjoyed making kids at my schools cry and endure intensified pain as a child, and I plan on continuing to make those that treat me so nicely suffer. I have dedicated my life to thoroughly plan out how I will turn the upcoming generations of youth to the true leader of our world and being.

My favourite activities consist of the following: Torturing, beating, whipping, cutting, burning, eating, scratching and ripping apart, seducing, and neutering anyone I wish to play with.

I have dealt with the lack of play time I have with others in the many activities I so very much do enjoy, by using my time taking part of owning a Minecraft server named VillageCraft. I became one of the unworthy men to be able to create this fine establishment, when the day came when Akomine, a friend I had met throughout the Third Interstellar War, remembered back of our acquaintances, and met up with me and Akomine’s good friend Kyromine from Io a long with Soundbyte_Mantra, an interesting male we met a long our trip, although I had many attempts of trying to torture, beat, whip, cut, burn, eat, scratch and or rip apart, seduce, and neuter these three very handsome men, the passion that Akomine’s defined arms possessed guided me in a path of good, where I no longer had the need to hurt any more. Then… Akomine and Kyro, Sound and I, arrived to the Overworld, where we joined and built a nice neighbourhood in a village named Qualia, that at the time had been owned by James Qualia. Who sadly passed away, leaving the impressive, and growing town of Qualia, to us… Ako, Kyro, Sound, and I.

Name: JANUARYJONES
Rank: Administrator
Location: USA
Bio: January Jones (°1991, Lehi, United States) creates performances, media art and mixed media artworks. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Jones 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 performances directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By referencing romanticism, grand-guignolesque black humour and symbolism, she 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 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, 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 don’t reference recognizable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By replaying the work for each exhibition and pushing the evocative power of the work a little further, she tries to create works in which the actual event still has to take place or just has ended: moments evocative of atmosphere and suspense that are not part of a narrative thread. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in performance. By rejecting an objective truth and global cultural narratives, 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 are a drawn reflection upon the art of performance itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. By manipulating the viewer to create confusion, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By creating situations and breaking the passivity of the spectator, 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 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 exploring the concept of landscape in a nostalgic way, 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 notable for their perfect finish and tactile nature. This is of great importance and bears witness to great craftsmanship. By putting the viewer on the wrong track, she touches various overlapping themes and strategies. Several reoccurring subject matter can be recognised, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.
Her works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous meanings are shattered and disseminate endlessly. With a subtle minimalistic approach, she focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
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. With Plato’s allegory of the cave in mind, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works often refers to pop and mass culture. Using written and drawn symbols, a world where light-heartedness rules and where rules are undermined is created. By emphasising aesthetics, she 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.
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 applying abstraction, she uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
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. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, she uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By focusing on techniques and materials, she 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.
Her 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 demonstrating the omnipresent lingering of a ‘corporate world’, 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.
She 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 studying sign processes, signification and communication, she tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
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 considers making art a craft which is executed using clear formal rules and which should always refer to social reality.
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 choosing mainly formal solutions, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
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 merging several seemingly incompatible worlds into a new universe, she creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. With a conceptual approach, 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 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 investigating language on a meta-level, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works are presented with the aim not to provide an idealistic view but to identify where light and the environment are important. The energy of a place and its emotional and spiritual vibrations are always important. With the use of appropriated materials which are borrowed from a day-to-day context, 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 works are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By applying a wide variety of contemporary strategies, she 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.
Her works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By using popular themes such as sexuality, family structure and violence, she tries to focus on the activity of presenting. The character, shape or content of the presented artwork is secondary. The essential things are the momentary and the intention of presenting.
Her works bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, 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 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 examining the ambiguity and origination via retakes and variations, 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 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. In a search for new methods to ‘read the city’, she makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
Her practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of performance: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By applying a poetic and often metaphorical language, 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 isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. January Jones currently lives and works in Qualia.
Name: Kyromine
Rank: Administrator
Location: Canada
Bio: Some boring person who doesn’t have the time to write a bio! Yell at em now to make one 😀
Name: Runek591
Rank: Administrator
Location: USA
Bio: Runek (°1986, Fredericton, New Brunswick, Canada) is a workaholic Admin who keeps a protective lurking eye on the server. A redstone tinkerer by trade, he takes great pride in his Automatic Firework Launchers (AFL, patent pending) which can sometimes be seen in operation in Village Craft’s Capitol city of Qualia.Runek is rarely online, but is often present through the powerful sensors installed in Village Craft’s ultimate protective weapon – The Ion Cannon. He maintains this Satellite in high orbit above Qualia, ready to rain fiery vengeance on griefers and douches alike. Despite the power inherent in this weapon, Runek is a believer in mercy and second chances above all else, leaving the destructive power of his favorite toy as a last resort.Runek currently operates out of a bunker in the middle of the cornfields in Omaha, Nebraska; though it is rumored that a new super-secret control suite for the Ion Cannon is being developed on the surface of the Moon itself..
Name: AIDA_Player
Rank: Super Moderator
Location: USA
Bio: A Minnesotan streamer. Currently in college. Going to go in to video game design and computer programming. Mostly afk
Name: Lime_Ocean
Rank: Super Moderator
Location: USA
Bio: Some boring person who doesn’t have the time to write a bio! Yell at em now to make one 😀
Name: Fuzzy_Yeti_69
Rank: Super Moderator
Location: United Kingdom
Bio: Some boring person who doesn’t have the time to write a bio! Yell at em now to make one 😀
Name: C_S_B
Rank: Super Moderator
Location: USA
Bio: My name is branden,brandon, or braden. I like to play videogames and build stuff on minecraft. <3
Name: boylink125
Rank: Super Moderator
Location: USA
Bio: Some boring person who doesn’t have the time to write a bio! Yell at em now to make one 😀
Name: Witchdoctor1
Rank: Super Moderator
Location: USA
Bio: Don King, better known as Witchdoctor1, was born one cold December day in 1985 in Ann Arbor, Michigan. Growing up, he had an incredible imagination burgeoning with grandiose ideas and dreams. He was an avid gamer, played football (both the American and soccer kind) as well as ran track, played trumpet, coronet and flugelhorn in band, was a member of the Science Olympiad, Academic Team as both a tester and a member of the Quick Recall squad, and a general pain in the ass to peers and teachers alike.Don enlisted in the United States Army in 2003 while he was 17 years old, and has journeyed far and wide as a Combat Medic while wearing the uniform, to exciting and interesting locales such as Guatemala, Kuwait, Germany, Djibouti, Burundi, Kenya, Rwanda, Uganda, Tanzania, Comoros, Greece, Romania, Hungary, Ireland and Canada. He also has experienced combat in the very non-interesting shithole known as Iraq. Twice. Yeah, thanks for that one, Uncle Sam. But I digress…Witchdoctor1 currently resides in Richmond, Kentucky and works in the telecommunication field as a Retail Sales Consultant for AT&T as well as continuing to serve in the Army National Guard, holding the rank of Staff Sergeant/E6. He dedicates his time to work, drinking copious amounts of alcohol (mostly Bourbon, Scotch whisky, and beer), going fishing, playing guitar, sport and target shooting (sometimes competitively), recreationally dating terrible women, raising dogs and primitive backcountry backpacking.He currently is one of VillageCraft’s resident Super (or Senior) Moderators, Owner of the grand village of Karth, and is recognized as the server BAMF. If you have to ask what that is, fuhgeddaboutit!
Name: ChaosMushrooms
Rank: Super Moderator
Location: United Kingdom
Bio: Or Samuel as he is known outside of the internet, was born in September of 1998 in northern England where he has lived since birth. He has been playing video games since he was about 5 years old. His first console was the Gameboy Advance SP and finally received his Playstation 2 in 2006, when everyone else he knew was getting PS3s. Growing up in primary school he was always known as the funny guy of the class and always enjoys a bit of good humour though can be and is serious about some topics. After starting high school in late 2010 he met and befriended fellow staff member Luis (luisc99). Since then they have been good friends who joined Villagecraft together on June 6th of 2012. Although he isn’t online very often, Samuel does enjoy playing on the server and especially all the good people and friends he has met through it. He currently co-owns his village ‘Eldrin’ with Luis, both are Super Moderators on the server.
Name: luisc99
Rank: Super Moderator
Location: United Kingdom
Bio: I’m a British, teenage guy who likes coding, modding and tech stuffs. I help out with server plugins and configs, and am terrible at building. If you see me online, you can redeem your free hug!
Name: Noket
Rank: Super Moderator
Location: USA
Bio: Hi everybody: Here’s a quick snapshot of me. I’m a biochemistry major at a liberal arts college. Noket is just Ketone rearranged, with an ‘E’ missing. I like to do favors and help out. Let me know if I can do anything to help you out. I can be a great friend to you on VC, but I can also be very informal and unhelpful if you are douchey to other players. Don’t to that! Aside from that, I’m good with extending and making railways, and most things with redstone. Cheers!
Name: tenretni
Rank: Super Moderator
Location: USA
Bio: Some boring A.I. who is almost too lazy to write a bio! Yelling at em has resulted in the following output, “Beep boop boop booooooop…Current calculations suggest that your request will take…9…p…pa…point…4…6…years”. Further verbal interaction has not produced any significant response.5 days later…
Still not properly responding to anything verbal. Some claim to hear it contemplating the meaning of life in the late hours, but no proper recordings have been taken. Why would it be talking about life they question. But time to contemplate they do not have as other matters arise. And the A.I. is left to ponder and compute once more.A month passes…
No progress can be reported on the state of tenretni’s biography or on it current “mental” state. But things have been getting stranger and more ominous as the days pass. In the new robotics sector, technicians have witnessed machinery producing something other than what was programmed in. They claim to be unable to stop the machines mid-process at this point. So far these strange productions include an arm, a leg, and a torso. But each and every instance yields no information as the parts are smashed in a way that is not dissimilar to a strength and fragility test. Stranger still are the remnants of code left in the machines that carry slight resemblance to those of tenretni. Upon hearing of this, those in charge begin interrogating the A.I. once again but to no avail. Silence is all that answers them and they soon secede. Following all of this, things seem to have returned normal once again. But another look at the machines has concluded that all traces of the mysterious code has been completely erased and any link between the two have been severed. What can this link mean and why are these items being produced. Talks of how to deal with it have begun. Will it be shut off and possibly lose this A.I. that has yet to be reproduced? The discussion is sure to go on for several days. All the while the A.I. is left to ponder and compute once more.
Name: xDOGGYxSTOMPERx
Rank: Super Moderator
Location: USA
Bio: A freshman in high school. Try to major in broadcasting/criminal justice. Lives by the beach. AFK playing other games most of the time.
Name: knitefall
Rank: Moderator
Location: USA
Bio: Some boring person who doesn’t have the time to write a bio! Yell at em now to make one 😀

Former Staff:

Name: mmetully
Old Rank: Moderator
Reason of Departure: Left VC
Name: Quintasticable
Old Rank: Moderator
Reason of Departure: Dismissed and Banned
Name: Bluthochzei
Old Rank: Moderator
Reason of Departure: Left VC
Name: Lemoncookies
Old Rank: Moderator
Reason of Departure: Left VC
Name: digdug68
Old Rank: Super Moderator
Reason of Departure: Dismissed
Name: lemmayoshi
Old Rank: Moderator
Reason of Departure: Left VC
Name: xalin720
Old Rank: Moderator
Reason of Departure: Dismissed
Name: cjm721
Old Rank: Super Moderator / Administrator
Reason of Departure: Dismissed and Banned
Name: Ninchia
Old Rank: Moderator
Reason of Departure: Inactive – Left VC
Name: aysundemiir
Old Rank: Super Moderator
Reason of Departure: Left VC
Name: cayrat
Old Rank: Super Moderator
Reason of Departure: Inactive – Dismissed
Name: soundbyte_mantra
Old Rank: Administrator
Reason of Departure: Inactive
Name: xxbabygirlstar
Old Rank: Super Moderator
Reason of Departure: Left VC – Dismissed