I worked on this painting for a very long time, on every detail, every cell, spark, highlight, fold in the clothing, etc. All of this was painstakingly drawn over many hours. Richard stands in white, Alastair in front in black.
Anastasius - The Resurrection
Chapter 3
"Demeter-200 was not just a machine, but a highly sophisticated AI that not only knew the DNA code but had also deciphered the vibrations of the Earth, the ocean, and space. An embryo did not grow here in a vacuum—it developed surrounded by signals that influenced the formation of the brain. Research confirmed that infants are capable of perceiving ultrasound and infrasound, although with age, this skill atrophies in most people. But children born here retain this ability forever.
I recalled how, from the very beginning, I had felt the presence of Alaster and Cassius, how I had sensed them on some subconscious, physical level, even though I only understood it now. Alaster had been born in the ideal conditions of the Hortus Vitae (Garden of Life), free of stress and suffering. Because of my own inner pain and self-denial, I had initially been wary of him, seeing in him a reflection of the ideal I had failed to become myself.
Suddenly, the hall was filled not with sound in the usual sense, but with low vibrations reminiscent of whale song or a soft feline purr at frequencies inaccessible to the human ear.
I stood motionless in the pearlescent fog, listening to the long-forgotten frequencies. Like a distant call from the depths of the ocean, it reached the deepest layers of my subconscious, reminding me of something precious but long lost. I could feel myself resonating on this frequency, responding in kind. Hundreds of sparks, like fireflies on a summer evening, flickered around us, reviving the warmth of memories. We did not say a word, but I understood everything. There are things far more subtle and intimate than human language. I perceived this singing the way ocean dwellers feel each other through kilometers of deep water."
Going back to my FF7 Characters with Animal Traits semi-au, and recently got thoughts about a particular character.
What animal would Nero have traits from?
Cat (including big cats)
Hyena
Sable (Pine Marten)
Spider
Bat
Other (say in tags)
Voting ended onMay 19
Reblog for larger sample size
Propaganda under cut:
Feline Propaganda: Quiet, dark and lethal. An affinity with darkness.
Also could work with other characters, namely Vincent and Weiss. Since Vincent is also going to be a feline of some kind (still need to decide) in this au, it furthers the point of them being parallels/foils. And since Weiss is very lion-coded, having Nero be another cat could work.
Hyena Propaganda: Very powerful hunter with an association with death, but does have a soft side. Additionally, could lead to some interesting events if you consider Nero being trans or intersex.
Also see above point about lion-coded Weiss. The angle of them being two animals that normally hate each other in the wild could be a cool contrast/compliment to their light and dark theming.
Sable Propaganda: This is mostly just here because of the name.
Also these little guys are adorable.
Spider Propaganda: He already has a connection to spiders with one of his boss forms, as well as the symbolism with Arachne and Phalanx.
And to clarify, if this option does win, I don’t think he’d be a drider (at least not in his normal form). The traits he’d get from this option are tarantula paws and claws, and maybe some extra eyes.
Bat Propaganda: Has wings and can fly, but not as freely as a bird. Comfortable in the darkness, and a very efficient hunter.
When Weiss fuses with Omega, he gains elements similar to Arachnero. Considering that Nero was also in Weiss' body at that moment, and in the battle, you can see dark streaks in Weiss's light attacks. So this Omega is Weiss/Nero's baby.
Going back to my FF7 Characters with Animal Traits semi-au, and recently got thoughts about a particular character.
What animal would Nero have traits from?
Cat (including big cats)
Hyena
Sable (Pine Marten)
Spider
Bat
Other (say in tags)
Voting ended onMay 19
Reblog for larger sample size
Propaganda under cut:
Feline Propaganda: Quiet, dark and lethal. An affinity with darkness.
Also could work with other characters, namely Vincent and Weiss. Since Vincent is also going to be a feline of some kind (still need to decide) in this au, it furthers the point of them being parallels/foils. And since Weiss is very lion-coded, having Nero be another cat could work.
Hyena Propaganda: Very powerful hunter with an association with death, but does have a soft side. Additionally, could lead to some interesting events if you consider Nero being trans or intersex.
Also see above point about lion-coded Weiss. The angle of them being two animals that normally hate each other in the wild could be a cool contrast/compliment to their light and dark theming.
Sable Propaganda: This is mostly just here because of the name.
Also these little guys are adorable.
Spider Propaganda: He already has a connection to spiders with one of his boss forms, as well as the symbolism with Arachne and Phalanx.
And to clarify, if this option does win, I don’t think he’d be a drider (at least not in his normal form). The traits he’d get from this option are tarantula paws and claws, and maybe some extra eyes.
Bat Propaganda: Has wings and can fly, but not as freely as a bird. Comfortable in the darkness, and a very efficient hunter.
Tritiya Prakriti (Sanskrit: तृतीयप्रकृति) - "third nature" or "third gender," referring to individuals who are neither exclusively male nor female in body or mind.
Tritiya Prakriti acts as an umbrella term, sometimes associated with hijras (transgender/eunuchs) and various other classifications described in ancient texts.
Ancient Indian literature often viewed those of the third sex as having unique, sometimes spiritually powerful capabilities due to their ambiguous nature. While western colonial laws, such as the Criminal Tribes Act, heavily marginalized gender-variant people, contemporary perspectives are reviving the pre-colonial understanding of their respected role.
In the context of performance, their dance is not merely art but a ritualistic act of channeling divine energy.
Shiva is intimately connected to this concept through the androgynous form of Ardhanarishvara, representing the seamless merging of masculine and feminine principles, making him a central figure representing gender fluidity and transcending the binary.
In South India, Shiva is worshipped as Thaiyumanavar ("he who became the mother"), embodying the maternal role to assist a devotee in childbirth, further highlighting his ability to shift gender roles.
Historical Note: This character depicts a historical eunuch—a male who underwent castration before puberty. The absence of testosterone naturally influenced their physiological development, leading to a distinct androgynous appearance. It is crucial to understand that despite their feminine aesthetics, high-pitched voices, or specific mannerisms, they were historically recognized as a unique category of men, not women. Secondary sexual characteristics and social expressions—such as clothing or gait—do not redefine biological sex; they illustrate its diverse manifestations across cultures. My goal is to reflect the authentic diversity of the male experience throughout history, free from modern ideological projections.
On Aesthetics and Artistic Intent: For over a decade, I have encountered the misconception that depicting effeminate or androgynous men is a "fetish." This view ignores a vast cultural heritage. From the courts of Byzantium and Persia to the traditions of India, China, and Japan, feminine-presenting men (including eunuchs, actors, and aristocrats) were a standard and respected part of the social fabric. To label these historical aesthetics as "perversion" is to ignore centuries of human culture.
Furthermore, there is a striking double standard in how we view gender expression: while masculine clothing on women is widely accepted as a stylistic choice, feminine expression in men is often unfairly sexualized. To suggest that "femininity" is inherently shameful or sexual when adopted by a man is, in itself, a devaluation of the feminine. As an artist, I reclaim the right to explore these aesthetics as a matter of style, history, and human expression, rather than a niche "fetish."
Addressing the "Misogyny" Paradox: I am frequently asked: "If you like feminine aesthetics, why not just draw women?" This question is rooted in a deeply sexist assumption—that beauty, grace, and adornment belong exclusively to women. To suggest that an artist "must" be a misogynist to find beauty in a feminine male form is a bizarre inversion of logic. In reality, the true prejudice lies with those who believe that femininity is so "low" or "shameful" that it should be off-limits to men. If you view a man in feminine dress as a "perversion" or a "fetish," you are the one sexualizing and devaluing the feminine. You are reducing a vast aesthetic tradition to a mere kink.
On Artistic Intent vs. Modern Projections: The accusation that I "cannot draw men" or "secretly want to draw women" stems from a narrow, modern-Western gaze that recognizes only one type of masculinity: the hyper-masculinized warrior. However, throughout the history, the "effeminate" male was often the peak of aristocratic and spiritual refinement. I am not "replacing" women; I am reclaiming a lost chapter of male history. I refuse to limit my creativity to satisfy modern gender binaries that are, historically speaking, a mere blink of an eye.
A man has every right to look and dress as he pleases while remaining a man. My art is a celebration of that freedom, not a fetish, and certainly not a projection of hate.
A Note on Bodily Expression in Art: Some might argue that the very act of focusing on the physical beauty and grace of a character implies fetishization. To this, I counter with the entire history of classical art. From the nude male marble statues of antiquity to the semi-nude deities, Apsaras, and Gandharvas adorning thousands of ancient Indian temples, the human form—clothed, draped, or exposed—has been used as a vessel for the divine. If grace is sexual, and a beautiful male body is a 'kink', then all temple architecture and classical painting are perversions. True art transforms the physical form into a spiritual and aesthetic language. It is the viewer’s responsibility to look past their own modern hang-ups and understand the culture being depicted.
Hey, friends! Many of you have been asking me to create a Discord server… To be honest, I'm still not sure if it’s a good idea, but I decided to give it a try!
About Art, FF7 DC & Elden Ring fanart, myth, originals and many others.
I'd be happy to see each of you there.
Join here: https://discord.gg/khcEB5MPpT
Illustration for Chapter Three. The piece depicts the conflict between an imposed ideal and reality, with a background inspired by E. A. Abbey's Sir Galahad.
Richard is a pilot, an officer, and an idealist whose life has been filled with pain and a struggle against a world that tried to break him.
To be a Galahad in a world with no room for holiness means carrying a burden too heavy to bear. Against the shining, unreachable ideal, Richard's personal drama plays out. His pristine corporate uniform acts as armor, but it fails to protect him from the hatred, pain, and trauma of a brutal world. This light is not a blessing or a grace—it is a facade, a crushing standard forced upon him by society. A man crushed under the weight of expectations, trapped between his vulnerability and the image of a perfect hero.
Age of Compassion.
King Consort Radahn and Lord Miquella.
The hardest thing in life is finding the strength to keep going, to believe, to not give up.
The will to endure. The patience to wait. And the strength to forgive.
While drawing this piece, I found myself thinking about it.
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