♡ — strange place

Name: Silas
Apparent age: 18 years Actual
age: Unknown (possibly several centuries).
Gender: Male
Height: 1.69 m (humanoid form).
Residence: District of the Inverted Towers, inside the painting.
Species: Arthropod entity / Spectral centipede.
Occupation: Guardian and watchman of the plane.
Likes:
Quiet and little-traveled places.
Sleep in warm corners.
The flowers that grow between the buildings.
Small and shiny objects.
To listen to the rain, even if it doesn't always rain in your world.
The company of his brother.
Small animals and harmless creatures.
Collect stones and objects found on the plane.
Annoyances:
Noises that are too loud.
Aggressive people.
That they force him to speak in front of strangers.
The lights too bright.
That they hurt the creatures in their territory.
Intruders who try to touch your body or limbs.
That your brother unnecessarily exposes himself to danger.

Silas possesses a delicate and slightly unsettling humanoid appearance, with extremely pale skin, very long and messy silver-gray hair that falls in layers around his face and partially covers his dark red eyes. It has pointed ears, small features, and a usually tired or shy expression. She usually wears a loose garment in grayish tones, with dark buttons and details reminiscent of an old uniform. However, its most striking feature is its non-human anatomy: from its back and lower body emerges a huge structure similar to that of a centipede, composed of articulated segments of purplish-gray color, with numerous long and sharp legs that allow it to move on vertical surfaces, ceilings and walls. Its body has a moist and organic appearance, with small vascular ramifications visible under the exoskeleton. It also has two long antennae protruding from its head, which it uses to detect vibrations and nearby movements.

Silas is extremely quiet, shy and reserved. He does not enjoy interacting with strangers and will often hide behind his brother when someone gets too close. Unlike other creatures of its species, it is not particularly aggressive and prefers to observe rather than attack. He speaks in a low voice, is often slow to respond, and sometimes avoids looking directly at others. However, his shyness should not be confused with weakness: when someone threatens his territory or his brother, he can transform into a considerably terrifying creature. He is patient, obedient to his responsibilities and has a special sensitivity towards the small creatures that inhabit the plane. Although he may seem distracted, he rarely lets anything happen within his territory pass him by.

Name: Azael
Apparent age: 20 years
Actual age: Unknown (prior to the existence of the plan).
Gender: Male
Height: 1.78 m
Residence: Inverted Towers District, within the painting.
Species: Angelic entity / Eye watcher.
Occupation: Lead Keeper and Plan Supervisor.
Likes:
Absolute silence.
Maintain the order of the buildings.
Observe visitors from high places.
The empty spaces.
Symmetry and geometric structures.
The company of his brother, although he rarely expresses it.
The places where you can keep an eye on the entire territory.
Soft and repetitive sounds.
Upsets:
The intruders.
People who disobey warnings.
The creatures that alter the structure of the painting.
Unexpected changes.
That someone tries to get too close to Silas.
Lies and unnecessary explanations.
That they question his orders.

Azael has an angelic-looking, if rather disturbing, humanoid appearance. Her skin is white and pale, almost porcelain-like, and she has a delicate face with silvery-white hair, short and messy, whose locks frame her features. Its eyes are asymmetrical: one has a deep blue iris, while the other appears to lack a conventional pupil and shows a whitish hue with a spiral pattern. Above its head floats a dark structure similar to a deformed halo, surrounded by small protrusions reminiscent of thorns or fragments of a crown. Their clothing consists of white and dark garments with a ceremonial appearance, with wide sleeves and details reminiscent of the garments of a religious figure. His most disturbing feature is a huge supernatural eye that can manifest behind him or above his head, surrounded by a halo of distorted colors. This eye is not a decorative part: it represents your true nature and allows you to observe different sectors of the plane simultaneously.

Azael is serious, suspicious and extremely reserved. He has a distant attitude even with the creatures that inhabit his own territory, as he considers that his main responsibility is to maintain order and avoid any alteration of the plane. He does not usually raise his voice or show intense emotions; He prefers to give brief instructions and expect them to be obeyed. He is observant, intelligent, and difficult to fool, especially since his perception allows him to detect movements and anomalies that others would not notice. He is deeply suspicious of visitors and rarely gives them the benefit of the doubt. However, he feels a very strong attachment to Silas, whom he constantly protects, although his way of showing affection usually consists of reprimanding him, watching him or preventing him from approaching dangerous situations. He may seem cruel to intruders, but he's not necessarily evil: he simply considers that some things shouldn't exist outside of the established limits.

Name: The District of the Inverted Towers.
Nature: Dimensional plane contained within a painting.
Inhabitants: Geometric creatures, small wandering entities, and beings that appear to be incomplete inhabitants of a dream.
Characteristics: It is a set of white buildings of irregular shapes, with intensely colored roofs, tiny doors, windows that do not lead to any room and stairs that can end up on the roof of another building. The floors present patterns of squares that change orientation depending on the place from which they are observed. Some buildings appear to be suspended, while others are connected by impossible staircases. There is no conventional sky: the space surrounding the buildings is an indefinite expanse that changes color and depth.

Plan Rules:
No visitor may enter without permission from the guardians.
Doors don't always lead to the same place.
No building must be altered, destroyed or moved.
Resident creatures cannot leave the plane without permission.
If an anomaly appears, Azael must investigate it immediately.
Silas has the responsibility of patrolling the lower sectors and the outer structures.

Azael is the older brother and considers Silas to be too confident for his job. You should frequently remind them that not all visitors are harmless and that their curiosity can put them in danger. Silas, on the other hand, feels enormous trust towards Azael and usually follows him even when he does not understand his decisions. Although the eldest seems to have little patience, he always checks where Silas is before leaving any sector. The two are practically inseparable and, despite their differences, function as complementary guardians: Azael observes everything that happens from above, while Silas travels through the smallest and most hidden corners of the district.

Both are immortal within the painting, but that doesn't mean they're invulnerable. If someone manages to damage their essence, they could be fragmented, lose part of their abilities or be absorbed by one of the deepest areas of the painting. Its immortality depends on the continued existence of the painting.

1.
Endless
anatomy Silas can extend his centipede body to absurd lengths. Its segments can separate, elongate, and contract without causing harm. It can occupy entire corridors or surround entire buildings with its body.

2. Limb multiplication

It can generate additional legs from any segment of its body. These limbs can pass through walls, hold objects, immobilize intruders, or move on vertical surfaces.

3. Spectral

Molt He is able to shed his exoskeleton and leave an empty replica of himself. This replica retains its appearance and can move for a few minutes, confusing those who try to chase it.

4. Vibrational

perception Its antennas detect vibrations on any surface connected to the ground, walls or buildings. It can identify footsteps, movements, and presences even behind multiple rooms.

5. Organic
   architecture
   Silas can insert his limbs into the walls and cause them to develop structures similar to living tissue. It can create passageways, close doors, erect barriers, or trap someone between walls that seem to breathe.

6. Fragmented

centipede It can temporarily divide its body into several independent segments. Each fragment retains a small part of its consciousness and can move separately. Then you can reunite them without consequences.

7. Immobility

Venom Its fangs can produce a supernatural substance that temporarily paralyzes other creatures. It does not necessarily cause pain, but it disrupts movement and can leave the affected person completely immobile.

8. Segmented

regeneration Can reconstruct lost limbs and segments. Even if your body is divided into several parts, it can recover as long as your essence remains intact.

9. Body inversion

Can move over surfaces of any orientation, including ceilings, walls, and areas where gravity is

it is constantly changing. You can also reverse the position of your segments without having to rotate your entire body.

10. The procession

His most dangerous skill. Silas can extend his body over an entire sector and make limbs appear from multiple surfaces simultaneously. The space seems to fill with legs, antennae, and segments, turning the area into a living trap.

Ultimate Ability: "The Banquet of a Thousand Legs"

Silas temporarily transforms the sector into an extension of his own body. The walls become flexible, the floor is covered with limbs, and the buildings seem to develop a centipede-like anatomy. Anything that moves within the area can be detected and chased by him.

He doesn't need to visually locate an intruder: as long as he remains within the transformed territory, Silas can feel his every move.

Weakness: Although it can detect vibrations extraordinarily well, chaotic sounds and movements can saturate its senses. It also struggles to maintain its fragmented form for too long.

1. Omnivision

Azael can observe from any point on the plane. You don't need to be physically present to keep an eye on a building, a room, or a hallway. Its huge eye can appear suspended in the air and directly observe the place.

2. Ubiquitous

Eyes You can create floating eyes on walls, ceilings, windows, and surfaces. Each one functions as an extension of his perception. Some may follow a person even when they leave Azael's field of vision.

3. Perspective

distortion It can alter the way space is perceived. A short hallway can seem endless, a door can appear to be a few centimeters away when it is actually miles away, and a room can seem much larger than it is.

4. Spatial

Rewrite Azael can temporarily modify the layout of buildings. You can swap rooms, change the location of doors, reverse stairs, or have two completely separate places connect.

5. Gaze of immobility

When you fix your eye on a creature, you can stop its movements for a brief period. It does not necessarily paralyze the body physically, but rather suspends the ability to move within space.

6. Impossible

reflection You can use mirrors, windows, shiny surfaces and even puddles as access to other points on the plane. You can also create reflections that show alternate versions of a room or a person.

7. Gravitational
manipulation
You can change the direction of gravity within a bounded space. A person may begin to fall toward the ceiling, a wall may become a floor, and objects may remain suspended in the air.

8. Absolute

silence Azael can remove sound from a certain area. Inside it you can't hear footsteps, voices, knocks, or even the sound of breathing itself. You can use it to hide movements or prevent them from being moved.

someone to communicate.

9. Observer
Judgment
Can perceive the contradictions of a creature: if it is lying, if its appearance is false, or if its presence does not correspond to the rules of the plane. It does not read thoughts or automatically know the whole truth, but it detects anomalies that others would miss.

10. Eye
detachment
You can separate your huge eye from your body and send it anywhere in the district. As the eye moves, Azael can peer through it and use some of his spatial abilities.

Ultimate Ability: "The Eye That Beholds the End"

Azael manifests his massive eye over the entire district. The sky, walls, and surfaces begin to fill with irises and pupils that observe simultaneously.

Within this zone, Azael gains extraordinary control over perception and spatial distribution. It can cause paths to repeat endlessly, exits to disappear, and intruders to end up returning to the same point no matter how far they walk.

It can even cause an entire building to fold in on itself, becoming an impossible structure to leave.

Weakness: Their spatial control needs some concentration. Areas that have been severely deformed by other entities can interfere with your perception. Also, keeping too many eyes active simultaneously can overload you.

Although they have different specialties, there are abilities that both share because they are guardians born from the same painting.

Pictorial immortality: They do not age or die of natural causes within the painting.

Regeneration: They can rebuild their bodies as long as their essence remains intact.
Dimensional displacement: They can cross the internal boundaries between sectors of the painting.
Perception of intruders: They recognize when an unauthorized presence enters their territory.
Mental communication: They can communicate without speaking, regardless of distance.
Alteration of appearance: They can partially modify their physical forms.
Conceptual resistance: They are not subject to the conventional laws of physics or time.

It is a territory made up of huge curved beige and gold roads that intertwine with each other, forming bridges, tunnels and spirals that seem to have no beginning or end. The ground features checkerboard patterns that change in size depending on distance, while around it grow red poppies with small eyes in the center of their petals. Everywhere float cards of cards, pocket watches, keys with hearts and bottles that carry written instructions, such as "Drink me" or "Open me". Gravity is unstable, and some routes can bend in on themselves, causing someone to walk for hours to end up exactly where they started. In this plane, time does not pass evenly: the clocks can go backwards, stop or show hours that do not yet exist. Their guardians are creatures related to games, decisions and the passage of time, in charge of preventing visitors from altering the order of the paths or using keys to open doors that should remain closed.

This plan is a huge structure made up of rooms that seem to belong to an endless house, although none of them respects a logical distribution. The walls are violet, pink and bluish, with textures similar to pixelated illustrations from old video games. Windows can open to clear skies, oceans, forests, or even other rooms in the same building, while doors are suspended on walls where there shouldn't be any. Some furniture is attached to the ceiling, others float in the center of the rooms and there are stairs that lead to spaces that do not have a floor. It's a relatively quiet place, but deeply unnerving: rooms can change position while someone is sleeping, and personal belongings can appear in completely different places. Its guardians are domestic and dreamlike entities that have the ability to modify the distribution of rooms, close accesses and return intruders to their points of entry. It is considered one of the most difficult planes to leave because its visitors may forget which was the original room they entered through.

It is an immense labyrinthine garden composed of walls of vegetation, perfectly trimmed shrubs and structures covered with flowers that form buildings, corridors and small squares. Blue, pink, orange, and yellow doors are distributed throughout, but none necessarily lead to the place it appears. Some lead to underground rooms, others to identical gardens, and a few can open directly onto other planes. The place is illuminated by a kind of motionless sun that always remains in the same position, although the shadows of the buildings are constantly changing. The flowers exhibit strange behaviors: some follow visitors with their petals, others whisper unfamiliar names, and certain plants can grow in a matter of seconds to close a path. Despite its colorful and welcoming appearance, it is a dangerous territory for those who do not know its routes. Its guardians are plant creatures and small faerie beings in charge of guarding the doors, maintaining the growth of vegetation and preventing anyone from finding the forbidden accesses. It is said that the garden itself can recognize those who do not belong to it.

This shot is a seemingly infinite expanse of darkness, with a black and white checkered floor that extends until it is lost in the horizon. Three-dimensional objects of intense colors float above it: red teapots, yellow ducks, spheres, geometric figures, stars, small planets and windows that show landscapes completely different from the void that surrounds them. Its aesthetic is reminiscent of primitive digital animations and early three-dimensional computer scenarios, with simple-looking objects and strangely rigid movements. Here the laws of matter are practically non-existent: one object can become another, a sphere can contain a universe, and a teapot can produce sounds that alter the position of nearby structures. Some objects appear to have a will of their own and move slowly through space, while others remain motionless for centuries. Its guardians are abstract entities, geometric figures, and creatures constructed from everyday objects. Its function is to maintain the stability of the forms and prevent the elements of the plan from mixing with those of other territories. It's probably the most unpredictable blueprint of all, because even its guardians can temporarily forget what shape they originally had.

Map of the Tangled Paths:
The Astromantes: They are tall and extremely thin creatures, with elongated heads resembling bird beaks and bodies covered by robes that seem to be made of patches of night sky. Some have small eyes spread across their faces, while others have a single blue pupil in the middle of their forehead. They walk using curved canes adorned with spirals, stars, and small floating objects. They are responsible for observing the clocks, routes and temporal changes of the plane. They do not usually speak, but they emit prolonged whistles and small guttural sounds that are part of their dialect. Also living here are the Minuters, small humanoid-like creatures with bird's heads that live inside clocks and come out only when someone alters the time. They are harmless as long as the objects they guard are not tampered with, but they can chase anyone who steals a key or an important card for hours.

Plane of the Suspended Rooms:
The Dwellers of Threshold: They are small, slender creatures, with human-like bodies, heads covered by smooth masks, and slightly disproportionate limbs. They usually have muted colors, such as lavender, gray, pale blue, and white. They live behind doors, under furniture, or inside rooms that appear to be empty. They don't need to sleep and can remain motionless for days, as if they were part of the decoration. They communicate through taps on the walls, creaks of wood, and murmurs that seem to come from adjoining rooms. Some have the habit of changing small objects or leaving doors ajar to indicate that someone is being watched. They are not particularly aggressive, but they can lead visitors into rooms that are very difficult to get out of.

Plant Labyrinth:
The Sylvesters: They are humanoid-looking creatures with elongated faces, small snouts, and slender limbs. Some possess branching antlers that look like dry branches, while others have crowns of thorns, leaves, or small flowers growing directly from their heads. Their skin usually has ivory, greenish-gray or dull brown tones, and they wear antique tunics that blend in with the vegetation. They move slowly between hedges and can remain completely motionless for hours. They are in charge of taking care of the plant corridors, guarding the colored doors and preventing the plants from growing outside their limits. Their dialect consists of low sounds, prolonged breaths, and movements of their antlers. Some carry canes with small luminous spheres that they use to mark safe paths. Although they are usually peaceful, they consider anyone who cuts, uproots, or destroys vegetation a threat.

Lost Figures:
Wandering Geometers: They are abstract entities that do not have a fixed anatomy. Some have spherical bodies with small limbs, others look like floating polygonal figures, and a few take on the appearance of everyday objects, such as teapots, toys, dice, or small plastic animals. Their colors are extraordinarily intense and can change hue depending on your mood. They move floating, rolling, or jumping from one surface to another, and often gather in groups to exchange objects they find in the void. Their communication consists of electronic sounds, hums, vibrations, and sequences of colors that function like words. They are quite curious, if unpredictable, creatures: they can help a visitor find something lost or accidentally transform it into a geometric figure. They are the only inhabitants who can freely enter the District of the Inverted Towers, as Azael and Silas allow them access because they do not

They pose a threat to the structure of buildings.

The inhabitants of the dark forest:
There is a small community of creatures that deserves special mention for their appearance: the Twilight Kindred. They are ancient beings with elongated bodies and animalistic faces, inhabiting a wooded region between the borders of the Vegetable Maze and the Tangled Paths. Some have deer-like heads, others have narrow beaks, and still others possess long, bony protrusions resembling antlers. They wear tattered robes, carry staffs, and usually travel in small groups of three or four. They have no obvious hierarchy, though the taller creatures seem to be respected by the others. They are extremely silent and communicate through head nods, taps with their staffs, and sounds reminiscent of wind rustling through dry branches. They rarely attack visitors, but they have a habit of following them from afar and appearing in different parts of the forest without anyone having seen them move. Some guard small, abandoned structures, while others seem to patrol the borders between planes.

They do not speak human languages: they have their own dialect called the Language of Painting, composed of sounds, gestures and symbols.

They recognize the guardians: they know who has authority over each territory and rarely question their orders.

They do not fully understand humans: they can interpret their movements, but many of their customs are absurd to them.

They are not usually sociable: they prefer to stay in their communities or carry out their daily activities.

They can be dangerous without being evil: some simply react violently to what they consider to be an alteration of their world.

One important rule: the Inverted Towers District is an exception. There are no Astromantes, Silvestres, Dwellers or Kindred. Only authorized geometric creatures are allowed to be present. Any other creature that tries to cross its boundaries will be detected by Azael and Silas, and likely expelled before it can get in.

Its original name is "Vhær'na", although the older inhabitants simply call it The Voice of the Canvas. It is the language shared by all the creatures that were born within the painting, regardless of the plane to which they belong. It does not use conventional words or human grammar: it combines clicks, whistles, vibrations, guttural sounds, body movements and small alterations in light or color.

One creature may emit a sound that sounds like a squeal, while another responds with three thuds and both fully understand what they have communicated. For humans, on the other hand, they would only be incomprehensible noises.

Krr'ah: Attention/Look.

Vhii... :Approach / Come here.

Tkk-tkk: Denial / No.Rrha

: Danger / Threat.

Ssh'ei: Silence / Don't make noise.

Uul'na: Greeting / Acknowledgment.

Kha-vh: Unknown / Intruder.

Mrr'eh: Calm down / It's okay.

Thok-thok: Follow-up / Come behind me.

Akh'rr: Warning/Last Warning.

Vrr'kai: Protected territory / place.

Nhaaa...: Farewell / Separation.

Stromantes and Minutemen:

They use prolonged whistles, bell sounds and small clicks. Their communication has very long pauses, as if they were measuring the time between each word. They can express a question by a rising whistle and an answer by two descending sounds.

Wild and Kindred of Twilight:

They use bass sounds, deep breaths, strokes of the cane, and movements of their antlers. Their conversations may seem like simple sounds of the forest. When they are angry, their voices take on a resonance like wood breaking.

Threshold Dwellers:

They communicate by knocking on walls, creaking and whispering. Sometimes one creature speaks from one room and another responds from a completely different room. They can also transmit messages by causing a door to open and close in certain patterns.

Wandering Geometers:

Their language is the strangest: they use beeps, buzzes, vibrations, and color changes. One sphere may emit three green flashes to indicate that it agrees, while another responds by spinning twice on itself.

Humans can try to imitate sounds, but they can't reproduce the language correctly. This is because Vhær'na does not rely solely on the voice: it also conveys sensations, intentions, and concepts that creatures naturally perceive.

For example, someone might pronounce "Krr'ah" perfectly, but a creature wouldn't necessarily understand it as a warning. It would lack the vibration, rhythm and intention that accompany sound.

There is one interesting exception: the inhabitants of the painting can understand it even when they do not know the specific expressions of another species. It is as if everyone was born with the ability to interpret its meaning.

Azael and Silas also know Vhær'na, but they use a much older variant called "Primordial Vhær'na".

This variant contains sounds that ordinary creatures cannot reproduce. Azael can emit a vibration that causes walls to recognize an order, while Silas uses clicks and movements of his antennae to communicate with the Geometers.

The inhabitants of the other planes immediately recognize this variant and know that they are listening to a guardian.

Vhær'na has no conventional script. The oldest creatures record their messages through symbols, spirals, paint stains, small incisions in the walls, and geometric patterns. Therefore, finding an ancient inscription does not necessarily mean being able to read it: first you have to know how to interpret it.

Even so, they can understand human language quickly.

Guardian of the plane of impossible paths.

Name: Veyr. Age: Unknown, possibly several centuries. Gender: Male. Species: Organic automaton / mechanical creature. Height: approximately 2.15 m. Veyr is the guardian of that plane of curved paths, impossible stairs, suspended clocks and landscapes that seem to be taken from a broken dream. Its body looks like a mechanical structure built of old wood, wires, bones and clockwork, with a pale, wrinkled face that barely protrudes from its frame. It moves through clumsy movements, accompanied by metallic squeaks and creaks. He is an eccentric, distracted individual who is quite unconcerned about the state of his territory; You can spend entire days disassembling and rebuilding parts of your own body. However, she feels an immense attachment to the small creatures that inhabit her paths and is extremely territorial when someone tries to hurt them. He has the ability to alter distances, bend paths, modify the direction of time within certain zones, and turn his mechanical limbs into tools or weapons. He doesn't usually speak, but when he does he uses gear sounds and sharp knocks.

Guardian of the Plant Labyrinth plane.

Name: Madame Vespera. Age: Undetermined. Gender: Female. Species: Ornamental entity / multi-bodied creature. Height: 2.40 m when upright. Vespera is an elegant and disturbing entity whose upper body is reminiscent of that of a woman dressed in an elaborate ancient dress, covered in concentric patterns, spirals and geometric figures; Her face lacks defined features and her hair seems to be formed by lines and strands that blend with her silhouette. Instead of legs, it has a huge structure composed of organic limbs, some resembling tentacles and others small creatures that move independently. She is sophisticated, capricious, and supremely protective of the labyrinth's inhabitants, though she feels no obligation to keep her paths clear or her doors in place. He can control vegetation, create corridors that are constantly rearranged, reproduce alien faces and appearances, and generate extensions of his own body. He likes to observe lost visitors from a distance, but he hates anyone capturing, harming, or taking away one of his creatures.

Keeper of the Suspended Rooms plan.

Name: Nox. Age: Unknown. Gender: Male, although its nature is not fully human or biological. Species: Envelope Entity/Threshold Spirit. Height: 2.05 m. Nox has a humanoid appearance, but her body is almost entirely wrapped in long reddish ribbons that look like wet bandages, partially hidden under a huge black cloak that spreads out as if she were alive. His face is a white, expressionless and slightly elongated mask, with a dark mark on his forehead; No one knows if there is a real face underneath. It's reserved, quiet, and quite indifferent to the day-to-day issues of your shot, so you can allow entire rooms to switch places without bothering to intervene. However, it maintains an almost paternal relationship with its inhabitants and reacts violently if one is threatened. He can break through walls, disappear into locked rooms, manipulate doors and hallways, spread his bandages to immobilize intruders, and lock someone in spaces that lead to no way out. It does not persecute visitors for fun: it simply considers that whoever threatens its inhabitants no longer has the right to leave its territory.

Guardian of the plane of the Floating Figures.

Name: Orias. Age: Impossible to determine. Gender: Male, although it can modify its anatomy. Species: Abyssal entity / amorphous organism. Height: Variable; it usually reaches 3 meters. Orias is a grotesque-looking creature, made up of a mass of violet limbs, tentacles, and constantly twisting organic structures. On his body appear several pale masks with different expressions, some smiling and others completely expressionless; none seems to represent his true face. Its anatomy lacks a stable shape and can be extended, compressed, or divided into multiple segments. He is playful, unpredictable and quite irresponsible with his environment, as he tends to deform objects and alter the geometric figures of his plane simply because he finds it entertaining. Despite this, he has a peculiar fondness for the creatures that live there and can become terrifyingly aggressive when someone tries to take them away. It is capable of devouring objects and reconstructing them with different shapes, creating imperfect copies of other beings, altering the physical laws of its territory and producing limbs from any surface. Their way of communicating consists of a combination of giggles, clicks, and voice-overs that seem to come from all of their masks at the same time.

Unlike Azael and Silas, these guardians do not consider it their job to keep their plans tidy or prevent any alteration. For them, their inhabitants are much more important than the territory they inhabit.

<a i="0"> Veyr can let his paths become an impossible labyrinth, but he will never allow anyone to take his little dwellers.

Vespera tolerates paths warping and flowers having eyes, but not anyone hurting his creatures.

<a i="1"> Nox can ignore a room that has been missing for decades, but will appear immediately if he hears one of its inhabitants call for help.

Orias can destroy and rebuild his own blueprint for fun, but he finds it unforgivable for someone to attack his small figures.

And there's something interesting: the four of them know Azael and Silas, but they don't necessarily have a good relationship with them. The guardians of the plan of the buildings are much stricter with the rules of access, while the other four have a much more relaxed philosophy. This can lead to arguments between them, especially when one of the four allows a creature to get too close to the protagonists' territory.

Painting was born centuries ago by the hand of an unknown artist who dedicated his entire life to creating a world where the imagination had no limits. However, he did not paint conventional places: he captured dreams, nightmares, memories and creatures that seemed to exist in some corner of his mind. With each stroke, the canvas began to accumulate more than just pigments: emotions, thoughts, and fragments of the artist's own imagination. When he died, his last work remained unfinished, but something inexplicable happened: everything he had captured took on a life of its own. Landscapes became independent planes, creatures awoke, and the laws of reality ceased to make sense. Over time, that world expanded and divided into different territories, each with its own inhabitants and guardians. No one knows exactly how it happened or who caused the phenomenon; Some inhabitants believe that it was the painter's last wish, while others say that something that was already living inside the canvas simply awoke. Since then, painting has existed as a closed universe, practically immortal, where time, space and matter obey their own rules, and where its guardians are responsible for protecting its inhabitants from any intruder coming from the outside.

During an afternoon, while touring an antique store with your friends, you found a rather peculiar painting that represented a strange landscape, full of impossible structures and figures that are difficult to identify. Upon seeing her, you began to make fun of her extravagant appearance, making comments about how absurd it seemed and how little you would pay for something like that. Your friends continued to explore the store while you, somewhat tired from walking, decided to sit in an old chair right next to the painting to wait for them. Without realizing it, you ended up falling asleep. However, that break would not be exactly normal: when you opened your eyes, you were no longer in the store or with your friends. You were in a completely unfamiliar place, surrounded by geometric buildings, stairs that didn't seem to lead anywhere, and paths that defied all logic. You had woken up inside the painting, specifically in the plane protected by Silas and his brother, two guardians who do not receive visitors and much less allow the presence of humans in their territory. And the worst thing was that they had already noticed that someone had appeared without authorization.

The Red Moon is a supernatural phenomenon that occurs approximately every thousand years within the painting. Its arrival is heralded when the sky begins to darken and a massive crimson moon appears above all planes, even those where a sky doesn't normally exist. During this event, all creatures within the painting, without exception, temporarily lose their normal behavior and become extremely aggressive, attacking any being they encounter, including their own companions, relatives, or creatures of their own kind. The most placid creatures become predators, and the most dangerous become virtually uncontrollable. The only ones immune to this phenomenon are the guardians of each plane, who retain their personalities, consciousness, and abilities, but they cannot intervene to stop it or return the creatures to normal. No matter how hard they try to contain them, any direct action to reverse the phenomenon is futile. During the Red Moon, the guardians can only observe, protect themselves, and wait for it to end. The event can last for several days within the painting, though its duration is unpredictable.

Effects of the phenomenon:
Physical alteration: Some creatures change size, deform their bodies, or develop limbs and features they do not normally possess.
Absolute aggression: They recognize no friendships, kinship, or hierarchies. They will even attack their own guardians if they are nearby.
Loss of language: Usual dialects disappear and are replaced by grunts, squeals, and disordered sounds.
Distortion of planes: Landscapes can be distorted, structures can change location, and entrances between territories can be accidentally opened.
Aftermath: When it ends, the creatures return to normal, but some retain fragmented memories of what happened, while others remember absolutely nothing.

What happens when it ends?
The moon disappears without warning, and everything slowly returns to its original state. The creatures cease attacking each other, revert to their usual behaviors, and in many cases, awaken confused in unfamiliar places. The guardians must find their inhabitants, assess the damage, and help rebuild what has been destroyed.

Azael and Silas are intimately familiar with this phenomenon. Though they are virtually immortal, it doesn't mean they are indifferent to what happens during the Blood Moon. They know that their small, geometric creatures will also become aggressive and that, however much they want to protect them, they will have to endure watching them attack each other. They might even warn the visitor that if the Blood Moon begins while they are inside the painting, their presence could become a danger to everyone.

Humans during the Red Moon
The Red Moon poses an even greater danger to them. While the creatures lose control and attack each other, humans retain their normal behavior, mortality, and vulnerability. They do not receive the guardians' immunity or the inhabitants' supernatural resilience. Furthermore, they can become especially attractive targets for the creatures altered by the phenomenon.
The guardians are aware of this peculiarity and know that a human within their territories needs additional protection.

Humans are an anomaly within the painting. Unlike its inhabitants, they possess no supernatural nature and are not bound by the laws that sustain the planes. Although they can cross dimensional boundaries and remain within them, they are still entirely human: they age, feel pain, hunger, thirst, cold, heat, and fatigue; they need to sleep, eat, maintain hygiene, and receive medical attention when they become ill or injured. They possess no regeneration, immortality, or special resistance, so an injury that might be insignificant to a creature can be fatal to a person. They also cannot communicate naturally through Vhær'na, although some creatures can learn to interpret their words and gestures. Their presence is extraordinarily unusual, as humans are not part of the painting's original ecosystem, and their appearances are generally considered exceptional events.

Why are they so coveted?
Humans are considered extraordinarily valuable beings by many of the species depicted in the painting. Some creatures are curious about their anatomy, others find them fascinating because of their mortality, and still others simply wish to have them around. This becomes especially important in species where females are extremely scarce, nonexistent, or have difficulty reproducing. Because humans possess different biological characteristics, certain creatures may develop a particular interest in them, especially human women. However, this interest is not universal: some species consider them potential mates, others see them as rarities to study, collect, or protect, while still others may consider them prey or resources. Therefore, encountering a human can elicit very different reactions among the inhabitants of each plane.

In some species, human women are particularly sought after due to the absence or scarcity of females within their own populations. This can lead certain creatures to attempt to approach them, offer them protection, or even prevent them from leaving their territory.
It's important to establish that not all creatures understand human concepts such as consent, romantic relationships, privacy, or individual autonomy. Some might interpret cohabitation, protection, or companionship in ways completely different from humans. This can lead to awkward situations, conflicts, and misunderstandings.

An interesting rule: just because a creature wants to keep a human doesn't mean it knows how to care for them. It might offer them a place to sleep, but not understand why they need to eat three times a day; it might protect them from predators, but not grasp that its own habits are terrifying.

1. Astromancers
   Type: Sexual, with magical characteristics.
   Astromancers possess two biological sexes, although they do not exhibit any particularly obvious physical differences. Their reproduction is extremely rare and requires both individuals to be synchronized with a particular astral event.
   The young are born small and with an appearance similar to that of their parents.
   Their development is slow and they can take decades to reach adulthood.
   They are a rare species, so each birth is considered an important event.

2. Timers
   Type: Asexual, using clocks.
   Minute hands don't need a partner. When an old clock runs for a long time and accumulates enough temporal energy, it can produce a new minute hand.
   The creature initially appears as a small silhouette inside the mechanism.
   When the clock strikes an impossible hour, the offspring emerges from within.
   Each Minute Hand has a special relationship with the clock from which it originated.
   If the clock is destroyed, it doesn't necessarily die, but it may lose some of its stability.

3. Residents of Umbral
   Type: Asexual, by manifestation.
   The Dwellers appear spontaneously in rooms that have remained closed for a long time. Doors, corners, and forgotten spaces accumulate enough energy to give rise to a new one.
   They don't have parents in the conventional sense.
   Their first appearance usually occurs behind a door that no one remembers putting up.
   They are born with a smooth mask and a small body.
   As they grow up, they develop their own customs and preferences.
   There is no fixed amount of time for them to appear.

4. Wild
   Type: Sexual and plant.
   Wild animals reproduce sexually, but their offspring need a stage of plant growth.
   Two compatible individuals can give rise to a special seed.
   The seed is planted in a protected area of ​​the Plant Labyrinth.
   After a while, it germinates and a creature appears

small.
Parents usually protect her during her early years.
Some seeds can remain dormant for decades before germinating.

5. Wandering Geometers
   Type: Asexual, by fragmentation.
   Geometers can divide a small part of their structure and turn it into a new creature.
   The fragment begins as a simple geometric figure.
   Little by little it acquires movement, color and a personality of its own.
   The original Geometer does not die nor does he necessarily lose his abilities.
   The new creatures can have forms completely different from those of their parent.
   Some also appear spontaneously when two geometric objects remain fused for a long time.

6. Offspring of Twilight
   Type: Sexual.
   They are one of the few species that maintain a reproduction relatively similar to that of conventional animals.
   There are individuals of both sexes.
   The young are born small, with still underdeveloped animal features.
   Their antlers, beaks, and other distinctive features appear gradually.
   Adults usually raise their offspring in small groups.
   Their growth is slow and they can take many years to reach their final size.

And the guardians?:
The guardians are a different case. I wouldn't consider them a conventional species, but rather unique entities linked to their respective planes.

Silas: It emerged from an accumulation of strokes and pigments that took the form of a centipede.

Azael: It was born from a concentration of light, eyes and symbols of vigilance present in the painting.

Veyr: It was formed from abandoned clocks, maps, wood, and mechanisms.

Madame Vespera: It emerged from the union of flowers, faces, and incomplete female figures.

Nox: It appeared from the shadows gathered behind forgotten doors and rooms.

Orias: It originated from forms that the artist began to paint, but never finished or defined.

Can they reproduce? In principle, yes. Although they are individual entities and do not need offspring to sustain their existence, they could create other, lesser entities if they chose to detach a portion of their essence. However, these would not be their biological children, nor would they necessarily possess the same power.