The Empty Shells Of Fallen Dreamers, Those Caught By The Servants Of The King In Yellow, Tormented And

✶ The House of Fingolfin ✶

I just could your Dreamer stuff and I absolutely love it as a fan of the Carcosa mythos and SCP. My question is, what are some of the differences between Carcosa as and Allagada in this world, as one is very inspired by the other?

I am so happy you like it! I'll try to do my best to answer your question.

When I started the project I knew that I wanted to include both Alagadda and Carcosa, despite their strong similarities (I just had to paint them both, their aesthetic is just so perfect), so I ended up making some... bold choices in the matter of worldbuilding.

Carcosa exists as the lost city from the "King in Yellow". Once a thriving metropolis ruled by the sister-queens known as Cassilda and Camilla, now it's the place where Hastur lies dead-dreaming like the other Great Old Ones.

Alagadda has no direct ties to the Great Old Ones, nor with the Outer Gods, though it still is part of the Dream of Azathoth (or rather its equivalent in this story). It is an inversion of Carcosa in many ways, its mirror image. Alagadda was created (I think I borrowed the idea from Theology of a Snake, by Sunnyclockwork) when a man tried to reach apotheosis under the guidance of a mysterious entity, but was tricked and failed, becoming a negation of godhood, a "god-shaped hole". Everyone else paid the price, of course. Through this failure and from the binding of this Anti-god, Alagadda became what it is now, the city of Alchemists. Alagadda is to Carcosa something like what antimatter is to matter. The Great Old Ones and the Outer Gods cannot enter its dimension because it would mean mutual destruction.

One of the main themes of this project is the struggle between the overwhelming forces of the universe and the desire of mortals to become their own gods in order to free themselves. Carcosa and Alagadda in a way represent a worst case scenario for both sides.

Carcosa is now mainly uninhabited. Only the servants of the King in Yellow, and what remains of the fallen dreamers the King snatched from the Dreamlands remain (there is a reason why the Great Old Ones are kidnapping dreamers, I swear). It is visited still, by madmen and artists, that chase it in their dreams. Most of those who reach it never leave. Those who manage to return are broken. Mortals were never made for godhood.

Alagadda is as we see it in the SCP article by Metaphysician, but there are some changes that I had to make for the sake of the story, for example when the Dreamer first arrives at Alagadda, the Black Lord hasn't been banished yet. I and @amyma-ymamy also made up quite a lot of random lore to try and pull off some Alagaddan politics (because politics is fun).

I hope this makes some kind of sense, because the whole thing is still a work in progress.

(Also apologies for any spelling mistakes or weird syntax, English is not my first language.)

My first attempt at going from greyscale to color... I think it's kind of decent? If anyone has any tips on this technique for me they'd make me happy. Really happy.

Captains James Clark Ross and Francis R.M. Crozier posing for a portrait after their return from Antarctica.

(Featuring: JCR's extra fur from that other portrait and FRMC's other best friend, a dip circle)

The original idea was to leave it black and white to give it a daguerrotype feeling, but I am quite tempted to try and colorize it.

It has been a year an a half since I began painting digitally. Before I only worked with traditional media, mainly oil and watercolor, but between med school and moving to another city for studying, traditional painting became a little impractical. The first picture is my first finished digital painting (done on IbisPaint, on a stylus-less samsung tablet) and the second one is one of the paintings I am more proud of ( on infinite painter, on a samsung tablet with s-pen).

I do miss painting with traditional media but shifting to digital allowed me to grow a lot and keep painting in the scraps of time, which is GREAT. I also improved a lot beacuse I felt freer to experiment without the fear of ruining a piece forerver ( God bless the undo button, my saint and patron).

In case you are wondering, the first picture represents Sunspear, the seat of house Martell. I kinda love the concept and as soon as I have the time I wil probably paint in again. The second one, of course, is Carcosa from "The King in Yellow", reimagined for my "Tales of the Dreamer" project.

Morgoth's cry echoed throughout the valley, which from then on was known as Lammoth, for his cries lingered there from then on always. Ungoliant caught Morgoth in her web, tighter and tighter to strangle the life from him...

The Silmarillion, chapter IX "Flight of the Noldor"

Note: this era of darkness is not only a challenge to draw and color, but it's also dark and dreary. I'm looking forward to draw some scenes in light again. Might even skip ahead some scenes... although, there's some juicy scenes coming up that are demanding attention...

melkor and fingolfin……

The true impossibile nature of Carcosa as glimpsed by the Dreamer in her visions, as she wanders the lost city.

Work in progress (these are just the backgrounds) for my project with @amyma-ymamy .

To recover from the stress of med school (exams in September are a sign of Satan's influence on the world) I've been re-reading some of @therealvinelle and @thecarnivorousmuffinmeta 's brilliant fics (seriously, I spent whole afternoons laughing like an idiot).

To have it set in the muffinelle-verse I used these for the casting:

Carlisle

Renata (with a charming fur hat)

Aro

Here's a some quick paintings of a scene from Nebuchadenezzar's Dream, as screenshots form an hypothetical movie.

(Luckily all other characters don't have any close up shot and can have vague and blurry features.)

Overall it was a fun exercise in working fast and loose and not getting bogged down in the details as I usually do when I work digitally.

"The face of Elrond was ageless, neither old nor young, though in it was written the memory of many things both glad and sorrowful. His hair was dark as the shadows of twilight, and upon it was set a circlet of silver; his eyes were grey as a clear evening, and in them was a light like the light of stars. Venerable he seemed as a king crowned with many winters, and yet hale as a tried warrior in the fulness of his strength. He was the Lord of Rivendell and mighty among both Elves and Men."

I just finished reading the Lord of the Rings for the umpteenth time and I had to paint my favorite Elda-Adan-Ainu hybrid. Since I love to suffer I spent hours on rendering evey single detail I could think of and then some more.

So here is my depiction of Elrond Peredhel, as he travels around Second Age Middle Earth in order to perfect his education as a loremaster.

This painting was also inspired by @vardasvapors 's take on this character that made me love him even more.

Rumors of his death were much exagerated. 1hr sketch. May finish it decently in the future