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> Painting descriptions, ((for those on the 28th Jan adventure))
Netheril
post Jan 29 2017, 05:09 PM
Post #1


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As promised, after studying these so thoroughly you all remember every detail of the paintings from the Halls of Time.

With the exception of the fourth painting, which only the paladin "Da" can recall the details of! smile.gif

Cheers,

Sean

THE PROPHET

A depiction of a young man, probably in his mid to late teens. A tall man with dark hair and a faintly sorrowful demeanour. His eyes have a very slight glow of hellfire, but his smile is warm and friendly. In his left hand he holds a small silver set of scales, and in his right hand is a crystal orb. Rather disturbingly his eyes seem to follow you as you move around. There is a vaguely depicted darkness seemingly growing and coalescing into a being stood behind him, of which he seems oblivious. Anyone who has read this far has inspected the painting closely enough and for long enough that they hear a voice speak in their minds, its tone dry and instructive but not without warmth. The voice says “Aviathar has no greater foe than knowledge, especially the knowing of the past and future, seek me out if you would learn important truths, but know that truth can be dangerous to all”.


THE HUNT

A collage of pictures, all showing young men of vaguely similar appearance and age to the man in the first portrait, the Prophet. None of these pictures are of him, but the resemblance is striking. In each picture the young men are being slain by a dark and misty figure in the background, of whom no real details can be made out. But very noticeable is the tip of a burning red shortsword protruding from the chest of each victim as they scream in silent agony, the blade driven clean through each victim from behind. Each picture seems to be of a different locale, villages throughout the Empire and Amlas primarily, but also one of Ishma. The collage has space for at least 30 pictures, but so far only seven are depicted.

TRIXIE, THE LOST WORLD SPIRIT OF MARTHEON

A beautiful fey lass is depicted herein, golden hair and pale skin and eyes that captivate your gaze and fill you with hope. She dances upon a blighted landscape, barren and lifeless, with a few grey skinned and aimless undead creatures wandering in the background. Nonetheless the joy exhibited in her dance seems undiminished, she seems somehow oblivious of all that surrounds her, as though not wholly there. The clothes she wears seem comprised of a kaleidoscopic rainbow of bright colours, but at the very edge of each piece of clothing, an encroaching absence of colour can be noted, as though it has somehow drained away. The contrast between her and her surroundings evokes a mild and short lived sense of outrage and despair in any viewer who isn’t immune to emotional effects.


Virasitael, the Chronomancer

An archetypal lich is displayed in this painting. He sits in a chair in a library or study, perusing a tome and seeming utterly absorbed in his studies. Burning orbs for eyes, skeletal features with an anomalous pink fleshy tongue visible behind the exposed jawbone. He wears simple robes, and a jewelled staff rests in a corner of the room. You notice a window through which can be seen a hint of a landscape in the background, but there is some form of obscuring distortion that makes it hard to see the details. Nonetheless there is a vague feeling of familiarity, as though you should be able to recognise the region visible through the window. Many books line the shelves, the titles impossible to discern, but a vague sense of unease fills you when you look at them too closely. As you take one last look, to your shock and dismay, the figure within the painting suddenly begins to move, and stares out directly at you, his eyes locking with your own. The burning red orbs swirl, and you begin to lose yourself. If you are still reading this, you can no longer look away, you can say or do nothing other than follow the instructions here. For the duration of this effect, you gain one grade of strength. You drop anything in your hands, and slowly begin to choke yourself, both hands gripping your throat with all your strength. You take 3 pts of damage to the head for each grade of strength you possess every 15 seconds from now. You can only be moved or stopped from choking yourself by application ofmore grades of str than you possess. If someone puts hands over eyes or fully blocks your sight the effect ends, otherwise ends when you fall unconscious. Whilst under this effect, you hear a dry, emotionless voice state with cold certainty “You face a fork in the path of your destiny, choose wisely and do not interfere, aid us and be rewarded, stand against us and you shall be crushed and join the forgotten, remember this lesson”


ONE MAN’S TRUTH IS ANOTHER’S HERESY

This painting has a slight distortion all about its frame, like a heat haze that pains your gaze to focus on for too long. The painting itself is an amazingly accurate and detailed depiction of the throne of glass, and the room within which it sits. The throne is empty, but the most noticeable aspect of the picture is the large crack that runs from the base to the very top of the throne. A battle rages all about the throne, with powerful undead seeming to defend the throne from assault by a horde of some of the foremost goodly heroes of Primus. The unmistakable conclusion this painting leaves you with is that these mercenaries of Primus, through their actions and decisions, threaten the security of the throne, and thus all of Primus. The undead pictured herein fight with every fibre of their being to thwart that outcome and keep the throne intact. Standing amidst the chaos is a single robed and hooded figure, head bowed as if in prayer, whose stance bespeaks a trained warrior but there radiates from him a power unlike any you have ever felt. His focus remains entirely upon the throne, and the combatants of both sides seem to part about him as if unable to bring themselves to disturb his reverie. It is as though the images you view impart their meaning to you, no matter how little you would normally care for such aesthetic concerns.


A FUTURE

A breathtaking pastoral vision of the town of Stonehaven. Incredibly detailed and accurate in its depiction, the only truly noteworthy difference to the town you have come to know is that every inhabitant shown within exhibits the taint of undeath. They are all engaged in the mundane activities of village life, including farmers tilling fields, ore being smelted, wagons pulling loads of fine marble and gleaming mithril into the distance, accompanied by guards wearing tabards emblazoned with a picture of a skeletal hand and a living hand, clasped together. The town looks prosperous and flourishing, with several new buildings shown. Jeremiah and Sara Stonehaven can be seen, standing hand in hand before their family mansion, looking proudly down upon their village. Sara exhibits the pointed fangs and pale bloodless features of a true vampire, whilst Jeremiah looks more human, just the slightly pallid nature of his flesh betrays his own undeath. Noticeable over the entire town is a dome of some mysterious energy, faint streams of light and energy only visible on close examination. And the light of day across the town seems somehow muted, not so much gloomy as just....different.


NOTHING LASTS FOREVER

This painting is the simplest, and yet the most inexplicable of all in the hallway. It shows a simple flame, flickering and dancing in an unseen wind, the static nature of the painting seemingly no obstacle to the illusion of movement. The flame is undeniably beautiful and magnificent in its depiction, aside from at its very core there is a miniscule seed of darkness that is untouched by the light all around. Try as you can you cannot tear your gaze from this seed, it slowly draws the attention of anyone viewing the painting, until the flame is nothing but a memory and the darkness now consumes all. You shake yourself free from gazing into this void with an effort of will, and when you look again, there is just the flame.
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