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> Paintings 2
post Mar 7 2017, 03:09 PM
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For those who saw on our travels of the 28th.


A depiction of a young man, probably in his mid to late teens. A tall man with dark hair and a compelling gaze. 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, though he seems unaware that he holds either object, and they seem translucent and etheric. He is stood in the courtyard of an obviously Amlasian monastery, his expression is of contentment as he seems to be listening intently to a figure dressed all in white. This man has his back turned and is impossible to identify, but there is a slight hint of familiarity, you are somehow sure this is one of the more legendary Amlasian mercenaries to have walked Primus. All around the courtyard can be seen the insignia of Clan Panama. 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, be sure to choose your questions wisely, and sparingly”.


A collage of thirty 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 the first seven pictures 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 black as night dagger 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. However the remaining twenty three pictures are now also filled, with identical representations of these young men passing away peacefully in their sleep, in varied locales but all with a look of peace upon their faces. There is a slight tinge of sorrow to these portraits, but the overall impression you are left with is of inevitability, and somehow even satisfaction at this resolution.


This fantastically detailed painting is a triptych, a large central panel and a smaller panel to each side. The side panels depict two young men in the prime of their lives. The physical resemblances between them are impossible to miss, both have dark hair, piercing green eyes and an intensity about them that is belied by the smiles upon their faces.

The first side panel is unmistakably of a holy knight in training. The man is shown in the courtyard of a mighty fortress, surrounded by his peers, and engaged in fierce melee training. All wear white plate mail armour emblazoned with the symbol of a solitary flame. Several of the combatants wield blades that glow with holy power, though this young man at the centre of the picture does not. There is an overwhelming sense of comradeship and dedication, but the intensity of the training suggests there is an expectation of true battle in the not too distant future.

The second side panel is of another courtyard, but this time a simple monastery can be seen in the background. Gardens can be seen to the sides, immaculately tended and laid out in patterns that suggest a grand overall design. The young man at the centre of this panel is sat in a cross legged pose in the centre of the courtyard. There is nothing remarkable about this other than the fact he hovers several feet off the ground, his eyes are closed and apart from a very slight smile, his expression is one of utter concentration. He wears the white robes typically associated with a novitiate, fastened by a vibrant blue belt. An older man stands to the side, watching carefully but seeming pleased.

Both of these panels somehow convey a sense of expectation, impending danger being met with youthful hope, optimism and determination.

The central panel shows the two brothers together. But they are barely recognisable, their eyes glow with an unholy light, their flesh has long since melted away leaving behind skeletal features. The knightly brother now wears black plate mail, wields a sword seemingly comprised of darkest night and stands with the confidence of an accomplished warrior. His armour still bears the symbol of a flame, but this flame seems comprised of differing shades of darkness.

His monastic brother stands by his side, wearing plain brown robes tied with a black belt. Around his neck is a simple pendant, carved in the shape of two clasped hands, one skeletal and one seemingly living. He wears no other adornment, and his cowl is up, so that only a hint of his features can be seen. Enough to be sure he shares the same undead nature as his brother.

Whilst on first inspection of the central panel the knightly brother commands your attention, longer observation unfailing draws your eyes to his brother. And a sense of great power sweeps over you before you can tear your gaze away.


This painting seems duller, and less detailed than the others in this hall. It is comprised of five panels, each side by side and each of exactly the same scale and scope. The same theme runs throughout, a devastated wasteland with no life visible. The only variance is in the nature of the landscape portrayed.

The first panel is of an enormous volcano, smoke and fire seemingly permanently forming a halo around its peak, and surrounded by ash covered foothills and the occasional smaller volcano. A small horde of figures can be seen on the slopes of the mighty volcano, red skin barely visible through a thick coating of ash, the pointed fangs and black lifeless orbs for eyes reveal their true nature as some manner of undead.

The second panel is of a series of endless rolling plains, without so much as a single blade of grass to break the monotony of dust and bare, lifeless rocks. Gathering in the distance can be seen horsemen…but the steeds are unlike any you have seen before, winged skeletal figures with vicious looking teeth and hooves that trail sparks of lightning behind them. The figures atop them are too distant to make much detail out, but seem vaguely human in shape and size.

The third panel shows a subterranean landscape, huge caverns joined by long sprawling tunnels. Ethereal figures can be seen moving with purpose throughout the area shown, all comprised of darkness and easy to miss at first.

The fourth panel is of a vast ocean, but depicting underneath the surface. No fish, no vegetation, just deep, dark waters and a multitude of burning red eyes visible swimming in the eternal night at the bottom of this sea.

The fifth panel is a little different. It is less vague than the others, the colours are brighter and more vivid, and the landscape depicted is of a civilisation at its peak. A large city is shown, with beautiful architecture for the dwellings within, yet surrounded by mighty fortifications; walls, towers and outposts that bespeak a people that have known great conflict. The populace go about their business as might be the case in any of the cities of Primus. The only significant difference being the fact all are visibly undead. All are clothed in garments that befit the nobility, and move with purpose about the city. Outside the gates of the city a squad of armoured knights can be seen, a flame comprised of shades of darkness emblazoned on their breastplates. They stand rigid and unmoving, and the impression is of statues that await only a command to burst into action.


This magnificent painting is of a troop of heavily armed and armoured undead warriors stood in the courtyard of a citadel seemingly carved from massive slabs of volcanic rock, veins of liquid lava can still be seen in the black obsidian.

All the knights have their visors raised, showing skeletal features. All wear identical black plate mail, and breastplates emblazoned with a flame comprised of several shades of darkness on a pale background.

They are split into four squads, numbering forty in the first group, twenty in the second, ten in the third and just five in the final squad. Each group has a label written on the frame underneath, starting with novitiates, then guardsmen, then wind walkers and finally death walkers.

Novitiates wield two handed weapons, guardsmen wield sword and shield, wind walkers wield a blade in each hand, and death walkers hold no visible weapon. All the blades radiate a dark power, and the armour and shields seem to be made of the very finest materials.

Standing at the front of the assemblage is a single solitary knight. Recognisable from the painting titled The Brothers, he wields the same sword of purest night, but in this painting he also bears a shield. The shield seems to be a thin layer of obsidian beneath which liquid lava glows with an unholy light. He faces the troops, and all stand rigid, their eyes fixed upon him. There is a sense of expectation, an eagerness barely held in check.


A somewhat misleading name, this so called tavern seems to be a huge feast hall spanning a multitude of levels. The exterior walls are all typical of the Halls of Time, a thin yet strong membrane holding the void beyond at bay. The interior walls however seem organic, as though the entire tavern is the interior of a single gargantuan creature. Rather disturbingly, this painting seems to somehow show each chamber of the huge complex occasionally moving, pulsating as though alive. Indeed as you observe more closely, rooms seem to appear and disappear, doorways are there one moment and gone the next. The entire effect is rather…disturbing.

The clientele of this establishment is equally unusual, comprising a multitude of beings from across the planes. A large number of humans can be seen, notable only for the wide variety of garments they wear. But many other humanoid races walk these chambers, some of the more noteworthy depicted here include drowe, silver folk and ancient folk. And stranger creatures still can be found, celestials and denizens of the lower planes mingle, their antipathy clear yet held in check. And many others, some familiar yet many strange and some quite possibly unique.

Patrolling every level are large bronze golems, identical to the Relentless that greeted you on arrival in the Halls of Time. There must be over a dozen to be seen here.

The “tavern” itself seems to offer every kind of entertainment and numerous libations, including many the like of which you have never seen before. There is a combat arena on one level, a casino on another, a series of dance floors fills one entire level, whilst the bottom most series of chambers seems to be underwater. There are innumerable bars and dining areas, and many booths and shady areas to cater to all manner of deals, from the mercantile to the licentious. It is almost impossible to take in the full vista of opulence and decadence on display here.

In the largest bar of all, at the very centre of the painting, a huge crowd are being entertained by a winged celestial bard. Whilst a four armed giant serves drinks to a demanding crowd, the impression being that few if any risk his ire as his gaze encompasses all.

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Original Darkness Skin Created by Danellis
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