#Desert Reflection

[2t2r]

Desert Reflection: des autoportraits surréalistes en reflets par Ari Fararooy

Nouvel article publié sur https://www.2tout2rien.fr/auto-portraits-surrealistes-en-reflets-de-ari-fararooy/

Desert Reflection: des autoportraits surréalistes en reflets par Ari Fararooy

[gentlemanmotorslifestyle]

[mystery-salad]

The world is safe now.

You tell yourself that as Zhaitan clings to a tower of decay, crumbling beneath its claws as the canons aim true. The shots hit, cheers raise as the dragon topples down. Falling from view through the miasma it created below. No one can hear it hit the ground over the relieved shouts of victory ringing across the airships. But everyone feels it in a resounding rumble that shouldn't have carried through the air like that. The celebrating falters, confusion rising but not fast enough to prepare for what follows. The shockwave hits like nothing you've ever felt. Everything goes dark as the screams begin.

The world is safe now, Orr is not.

You wake up in the rubble as survivors try to make sense of what happened. The dragon is dead, but no one accounted for where all the consumed magic had to go. No one planned for this despite generations of preparation. Perhaps there's a reason for the dragons, you hear murmurs through the tents. But you didn't come this far to call it quits, and one land riddled with a decaying radiation can't stop the mission. The contamination in your blood won't stop you.

The world is safe now. Orr is gone.

Mordremoth stares you down from within his mind. You're like a weed that won't die, small and foreign but resilient and ready to take everything. The odds are against you with the team sent away, you can't face the gaze of the dead like last time. They're safe at a distance, you have to hope they got far enough as you defy the odds and strike another dragon down.

The world is safe, but there's a catch.

Trahearne shudders as your mind returns to your body, as you look around in wonder that there isn't a shockwave like last time. He's so calm as he explains the truth of it, defying how terrified he is of dying, of asking a friend to do this and stand at ground zero once again. But you stand just as calm, picking up the blade and telling him to close his eyes. You hope he'll rest well, wherever his life takes him next. As the blade cuts through, you know it's real as the shockwave begins just like last time. You brace for impact as much as you can.

The world is safe now. The desert is gone.

It's almost tempting to let Balthazar handle the rest, let the god walk a path of destruction to each dragon, sparing yourself further damage. But his path leaves so much unnecessary devastation...so here you are alone with another dragon. Well, not completely alone now. You have Aurene, though you're still not sure if that's truly a blessing any more. The two of you corner Kralkatorrik, the perfect trap laid deep underground in old sunspear ruins.

The world is safe now, until the dragon takes a last stand.

Waking up in wreckage is becoming normal to you. When did that happen, when did the panic vanish? No time to think on it as new plans have to be laid out. You chase him down, you and your dragon, to kill her grandfather and save the world again. Setbacks are numerous. It's harder to work alone on this one, so many soldiers are ready to see it to the end with you. You tell them they don't know what they're asking for and send them away again. Aurene, still a child, fights the dragon's minions nearly overwhelmed as you get to his heart and strike. You've never seen the explosion from inside before. It's so bright.

The world is safe now. The island is gone.

Is it worth it all? It has to be, you tell yourself, as people celebrate your victories in a shrinking world. Refugees who have fled the fallout zones don't seem to agree, but at least they're alive right? And you know you're almost done. Jormag and Primordus, opposites and twins, rise together and somehow feel like childsplay after the last one. Perhaps it's because aurene is an equal to them now. You don't dare to think of the devastation that would be left if she were to die now. Thankfully you don't have to as the siblings tear each other apart.

The world is safe now. The mountains are gone.

No one has seen the final dragon in ages, hidden away deep underwater until you stumble into the truth while chasing a lesser threat. Soo Won was so gentle once, but the void ravages all. It feasts on the magic you released so willingly into the world, your devastations have paved the way for this chaos.

The world is safe now, for the void to reform.

You've survived so much despite the odds, held together by the very magic degrading your bones and poisoning your blood. The void pulls at those strings as it taunts you through the voice of the dragon who started it all. It's the hardest fight you've ever faced. As Aurene pumps you full of power to survive, you wonder if your death would bring destruction too in this moment. But it's left a mystery as Soo Won falls and the void fades. There's a moment of peacefulness you've never felt before, the grandmother hanging on long enough to comfort her granddaughter. But she can't prevent the state of her death. The jade sea shatters beneath your feet as she dies.

The world is safe now. But how much of it is left?

[thomaswaynewolf]

[hallowedfall]

Autumn Bridge, Montenegro by Andrija Raičković

[immaculatelyamiss]

Glen Canyon Dam

Page, AZ

[littlelamblittlelamb]

TOP 10 FAVORITE TRACKS FROM FINAL FANTASY XVI (pt. 2)

6. Sixteen Bells - composed and arranged by Masayoshi Soken

7. Writ in Water - (I'm guessing it was composed by Masayoshi Soken ???)

8. Heavensbound - Reverie - composed by Masayoshi Soken, arranged by Takafumi Imamura

9. Find the Flame - composed Masayoshi Soken, arranged by Soken & Yoshitaka Suzuki

10. Land of Eikons - composed by Nobuo Uematsu, arranged byMasayoshi Soken

[megidoreyn]

「僕は君と一緒に 今日の安寧が明日も続く世界を創るのだ…」 「A world where peace lasts forever…」

Drawn for the megaten ワンドロ/60min on 11/28. 💙twitter 💙misskey

[beaulesbian]

Trigun Stampede s01 || Vash + the reflection on his glasses

(edit: added one i missed)

( @crazymadredfox​ thank you for the mention of this part!)

[bacchuschucklefuck]

Can you expand on what you mean by Baron being "too cool" to really fit a horror monster? It's a very interesting concept and I'd love to hear your thoughts. Is it that they're too active/involved/tangible and it detracts from their scariness?

I feel like I should preface this with a wall of disclaimers lmao 1/I am a hardcore, down-to-the-marrow, avid, deeply sincere horror enthusiast, esp. horror creatures. this usually means my mileage is vastly different from the average populace's, and my scaredy bone has been disintegrated by longterm exposure. most things in a piece of horror media won't scare me! so I practically never use that on its own as the scale to talk abt horror experiences, but when something does scare me it's always a special occasion to be treasured. 2/canon d20 is never really meant to be horror horror, and for good reasons: it doesn't fit the company's output, it takes a kind of carelessness in production estimation that is always a huge risk, it's often vulnerable in a way that kinda goes against how TTRPGs usually facilitates vulnerability, and for most people it's just! stressful! d20, even with the "horror-themed" seasons, generally just plays with horror tropes and stays focused in its goal of being a comedy improv tabletop theater show. 3/fantasy high's chosen system is DnD, which as I've mentioned before is before all a combat-based game system, which means the magic circle of play is drawn based on stats that facilitate and prioritize combat. want or not this affects every interaction you have in the game, and given fantasy high's concept from the ground up (everyone's going to school of DnD stuff to get better at DnD) it's doubly relevant. 4/This Is Fine I have no quarrel with this. my meters are internal, I do not ask this show to be anything it doesn't advertise itself to be, and what it is is fucking great! I like it! when I expand on this ask's question it will be like a physicist going insane in a lab. that's the mindset we're going in with.

disclaimers done. my stance on horror as a genre is that it's a utility genre rather than a content genre or a demographic genre; it is the discard of narratives. it's the trash pile. horror, above being scary, is about being ugly and messy, it's the cracks on the ground any story inevitably steps over to stay a genre that isn't horror. the genre's been around long enough to develop a codex and a general language that medias and makers and enthusiasts of the genre can use to talk about and build onto, but if you go into individual pieces there's really no unifying Horror Story. one person's beautiful life can be another's horror story, it's just how it is.

this makes The Monster a deeply intriguing piece of the genre. thing is a monster is in a decent percentage of any story - it's just when the antagonist force steps into something past a certain line traced out in the story's world. monstrousness is in pretty much every western fantasy story, it's in any story with a hero and something to vanquish or win; more than anything it's a proxy of that thing up there. the line in a narrative's world. the monster is the guard of the unknown lands, where heroic, civilized people don't tread.

what does this mean in the context of horror? the genre is about that perceived lawlessness, that "unknown land" so to say. we're in the monster's home. that's the literary context that we often walk into a horror piece with; the monster knows more than you about where you are. it may not understand you, but it holds more information than you, and with that it moves swifter than you, has more covered than you, and is more assured in its existence in this context than you. it's a struggle to catch up to it, it's nigh impossible to get one over it, and you're never sure it'll 100% work, because you just don't have the information necessary to.

with that framing you can kinda see where I'm coming from here: horror's often about the breaking of rules. I always think a monster's most effective when it breaks well-established rules of both existence and visual storytelling. think Possum (2018) or Undertale's Omega Flowey or the Xenomorph Queen - unique change in medium, unique change in graphic, unique change in design language, etc. in that sense I actually really like how canon baron plays out: they don't really function like anything else in the fantasy high universe, the bad kids have not managed to kill them when they've felled literal gods, their domain in fhjy literally introduces new mechanics to encompass their existence! from an experience design standpoint they slap mad shit. BUT! I can't help finding their character, like as a character riz (and the other bad kids, eventually) interact with, to be very... coherent? in design. this is kinda hard for me to articulate in words, it's more often a sense you get once you've looked at enough of these scrumptious fuckers, their general design and the way they show up is just kinda too clean, so to say. always kinda newly made? fresh unboxed. it, once again, makes sense for their lore - they are looking for more about themself from riz - and their function - they're an antagonist in a game experience, they're meant to be interacted with in a way that produces results and meshes with the existing magic circle - but that shininess takes away from the implied history they should have dominion over and the person they're haunting doesn't.

from another angle there is kinda something there about how put-together canon baron is as a concept; the domain they call home is riz's deep-seeded fears, extremely vulnerable things he's drawn borders around to quarantine and refused to walk into. things that from his perspective would irreversibly shatter certain pleasant fictions his world is built on top of. canon baron, While Extremely Cool, I feel is kinda too neat to connect with and signify the apocalyticized mess that'd result from this paradigm shift. the part where they're in riz's briefcase and looking through every mirror is Very Cool And Fucked Up! but ultimately the show draws a line around them as well, by making game-physical, tangible spaces they're in (the mirrors and the haunted mordred manor) and put riz and the bad kids there only when they need to confront stuff. riz is meaningfully narratively away from baron's unknown land for most of fantasy high.

with that and all of my disclaimers in mind my conclusion here is if canon baron wants to be a Horror Monster they'd have to cross way more lines. be a Lot more invasive. hence (holds up my class swap baron like a long cat)

[desert-love]

[cloudsndreamsxo]

[terrainunexplored]

On the road

Celia Paysan. Arizona.

[ktz-tl]

September 26, 2022.

[rosaacicularis]

thinking about writing a third act break up/make up scarian fic rn…… like where they both realise that they miss and love each other at the same time and their respective best friends have to tell the other “he just left to go find you” and when they finally meet back up it’s a passionate kiss and a breathless apology and confession and maybe it’s raining and maybe they don’t care and maybe they’re getting soaked but they’re laughing and they’re together……

[herbalnature]

A serene pool of water emerges like a gem from the vast textures of the salt flats in Tunisia. The setting sun casts a warm glow, painting the scene with a peaceful, golden light.