View allAll Photos Tagged Yokai
Edited Public Domain Review image of of the Bakemono Zukushi, a scroll describing various monsters and demons. The second image source discusses each monster in detail.
Image source: www.flickr.com/photos/publicdomainreview/42579644741/
and
Image source: publicdomainreview.org/collections/the-bakemono-zukushi-m...
Original caption: These wonderful images featured here are from a Japanese painted scroll known as the Bakemono zukushi. The artist and date is unknown, though its thought to hail from the Edo-period, sometime from the 18th or 19th century. Across it’s length are depicted a ghoulish array of “yokai” from Japanese folklore. In his The Book of Yokai, Michael Dylan Foster describes a yokai as:
a weird or mysterious creature, a monster or fantastic being, a spirit or a sprite … creatures of the borderlands, living on the edge of town, or in the mountains between villages, or in the eddies of a river running between two rice fields. They often appear at twilight, that gray time when the familiar seems strange and faces become indistinguishable. They haunt bridges and tunnels, entranceways and thresholds. They lurk at crossroads.
The class of yokai characterised by an ability to shapeshift, and that featured in this scroll, is the bakemono (or obake), a word literally meaning “changing thing” or “thing that changes”. The founding father of minzokugaku (Japanese folklore studies), Yanagita Kuno (1875–1962), drew a distinction between yurei (ghosts) and bakemono: the former haunt people and are associated with the depth of night, whereas the latter haunt places and are seen by the dim light of dusk or dawn.
Amongst the bakemono monsters depicted in the scroll is the rokurokubi (ろくろくび), a long-necked woman whose name literally means “pulley neck”. Whether shown with a completely detachable head (more common in Chinese versions), or with head upon the end of a long threadlike neck as shown here, the head of the rokurokubi has the ability to fly about independently of the body. In his 1904 collection Kwaidan, Lafcadio Hearn provides the first extended discussion of this yokai in English, telling of a samurai-turned-travelling-priest who finds himself staying the night in a household of rokurokubi intent on eating their guest.
Yuki-onna (“snow woman” – 雪女) appears on snowy nights as a beautiful woman with long hair. Details vary from region to region — in some parts a sighting would mean your spirit being drawn from your body, in other parts she asks you to hold her baby. Explanations for her vary too, for some she is the spirit of the snow, for others the ghost of a woman who perished in the snow, or even as a moon princess expelled from the sky-world. Yuki-onna again appears in Hearn’s Kwaidan, where she visits two woodcutters caught in a snowstorm, killing the older by blowing in his face, and promising to kill the younger if he ever tells of what happened (which, many years later, he does).
Kami-kiri (“hair cutter” – 髪切) is a yokai known for sneaking up on people and cutting off their hair. The phenomenon of people’s hair being mysteriously chopped appeared in many urban legends, in the Edo period in particular. Sometimes the chop would be attributed to a “demon wind”, but often to a creature doing the cutting, such as the kamikiri-mushi (a “hair cutting- insect”, likely in reference to the praying mantis, with its scythelike front limbs, and named a very similar-sounding kamakiri in Japanese). In the Bakemono zukushi, it appears with a bird like face and huge pincer hand brandishing the severed crop.
Below we’ve featured our highlights from the scroll (see the whole thing complete here), the digitisation of which appears to have come from the International Research Center for Japanese Studies – Yokai Database. Many thanks to Pink Tentacle, from whom we’ve taken the image descriptions. If you want to learn more about yokai in general then do check out Michael Dylan Foster’s fascinating The Book of Yokai.
Yokai arrived home yesterday from getting her face-up by AngelToast~ I absolutely love her and so happy I decided to reshell her into a SD.
With a name literally meaning "Hundred Eyes," the Hyakume guard abandoned temples at night, keeping watch. If a person should encounter a Hyakume, it will detatch one of its eyes to watch that person for evidence of misdeeds or malfeasance.
acrylic on resin, vinyl and plastic, for "Yokai in Your Eye" at Bear and Bird Gallery
Jan. 14 - Feb 4th, 2011 at Roq La Rue Gallery. www.roqlarue.com.
Costume/wearable made in collaboration with Haruko Nishimura/Degenerate Art Ensemble for the Yokai ghost doll "Shiro" character in "Sonic Tales" from October 2009
model: Ella Wei
About “Honey and Lightening”
“Honey and Lightening” is a show of installation chambers, sculptures of talismanic birds and a series of staged photographs all revolving around examining the mercurial nature of human desire. The substances honey and lightening both have literary, mythical and archetypal references to the occurrence and evolution of desire and it’s fading. I see one as the slow ooze of pleasure and the other as the dangerous, uncontrollable and inexplicably instant occurrence of magnetism between two bodies.
The installation also includes a gathering of talismanic birds made of leather and more than a thousand individually cut and sewn silk and satin feathers, representing my imminent needs but using imagery used by a variety of ancient peoples and cultures — a desire for protection, for a guide, and harbingers of happiness in the form of a raptors. In photographs, close friends and my husband play out roles that tie into the everyday events of their lives, but represented as re-interpreted gods and goddesses such as Hecate, Demeter and the Green Man. The photos speak to themes of cross-roads, the double pull of isolation vs. community, a power buried in the beginnings of motherhood and the visceral erotic pull of the earth, volatile but buried like a dormant volcano.
Sponsored in part by by the City of Seattle Office of Arts and Cultural Affairs CityArtist Grant and 4Culture/King County Lodging Tax Revenue.
Photo/imaging/installation/costume: Mandy Greer
Tengu (天狗, "heavenly dog") are a type of legendary creature found in Japanese folk religion and are also considered a type of Shinto god (kami) or yōkai (supernatural beings). Although they take their name from a dog-like Chinese demon (Tiangou), the tengu were originally thought to take the forms of birds of prey, and they are traditionally depicted with both human and avian characteristics. The earliest tengu were pictured with beaks, but this feature has often been humanized as an unnaturally long nose, which today is widely considered the tengu's defining characteristic in the popular imagination.
The tengu in art appears in a variety of shapes. It usually falls somewhere between a large, monstrous bird and a wholly anthropomorphized being, often with a red face or an unusually large or long nose. Early depictions of tengu show them as kite-like beings who can take a human-like form, often retaining avian wings, head or beak. The tengu's long nose seems to have been conceived in the 14th century, likely as a humanization of the original bird's bill. The tengu's long noses ally them with the Shinto deity Sarutahiko, who is described in the Japanese historical text, the Nihon Shoki, with a similar proboscis measuring seven hand-spans in length. In village festivals the two figures are often portrayed with identical red, phallic-nosed mask designs. Source: en.wikipedia.org
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The small village of Kurama lies at the foot of Mt Kurama, a mountain famous for Kurama-dera, a Buddhist temple founded in the 8th century. It is reached in 30 minutes from Demachiyanagi station in Kyoto via the Eizan Railway.
10 minutes walk from from Kurama Station is Kurama Onsen, well known for its wide range of hot spring baths, especially it's outdoor bath. Source: www.secret-japan.com
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Kurama is a rural town in the northern mountains of Kyoto City, less than one hour from the city center. Kurama is best known for its temple Kurama-dera and its hot spring, one of the most easily accessible hot springs from Kyoto.
Outdoor and indoor baths can be enjoyed at Kurama Onsen, a ryokan located at the upper end of the town of Kurama. It can be reached in a 10 minute walk from the train station along the town's only road or along a nature trail following the river.
Staying guests can use the baths for free, while daytrippers pay 2500 yen to use all of the baths or 1000 yen for just the outdoor bath (rotemburo). See www.japan-guide.com
...a mutant denizen from the 1968 anime Yōkai Ningen Bem as seen in the Anime Hero Classic facebook group! On a post-it note!
@ SaNaRae February Round (26th 7pm slt)
maps.secondlife.com/secondlife/Spring%20Morning/192/136/4013
!!! SPOILER ALERT !!!
The glowing dagger, given by our mother Miyoshino, is one of 2 fragments that we have to reforged Sohayamaru, the legendary sword that can kill every Yokai, even Otakemaru too.
⁓Wallpaper facts
Yokai Watch - huge in Japan.
View more at www.dannychoo.com/en/post/27290/Shibuya+in+the+Spring.html
Film photography series.
Zenit-E, Helios 44-2, Kodak Vision 2 500T.
See more of my works:
Boosty - boosty.to/natalieina
Instagram - www.instagram.com/natalieina.photography
Behance - www.behance.net/natalieina
For all questions, as well as for the purchase of photo prints and about the collaboration, please write to my mail:
natalieinatree@gmail.com
Jan. 14 - Feb 5th, 2011 at Roq La Rue Gallery. www.roqlarue.com.
Costume/wearable made in collaboration with Haruko Nishimura/Degenerate Art Ensemble for the Yokai ghost doll "Shiro" character in "Sonic Tales" from October 2009
model: Ella Wei
About “Honey and Lightening”
“Honey and Lightening” is a show of installation chambers, sculptures of talismanic birds and a series of staged photographs all revolving around examining the mercurial nature of human desire. The substances honey and lightening both have literary, mythical and archetypal references to the occurrence and evolution of desire and it’s fading. I see one as the slow ooze of pleasure and the other as the dangerous, uncontrollable and inexplicably instant occurrence of magnetism between two bodies.
Two installation chambers create full body experiences of these ephemeral phenomena and crystallize them in tangible form as a way to signify the human longing for a perfect stasis of experience – which is impossible as emotion begins to degrade, evolve, fold in upon itself after the initial strike.
The Honey Moon chamber is a 10 foot tall mirrored jewelry box spanning 12 feet, enclosing a giant engorged golden chandelier formation encrusted with tens of thousands of gold-colored trinkets – the cheapest of the trashiest materials but representing the purest element from the bowels of the earth that has induced lust to the point of violence since pre-history. This giant mass of gold, as well as the body of the viewer, is reflected infinitely in 35 mirrored panels that create a simultaneously claustrophobic and expansive encounter that memorializes a temporary event. The mythology of honey, a bodily fluid produced from flowers, has long been associated with the ooze of erotic perfection. An ambrosial month of drinking honey-wine has followed the wedding ceremony since the Pharaohs. But locked up in the folklore of this transitional period is that the delirium ends and the state of bliss is forever sought after.
The Cherry Tree Root chamber is, in a way, a reverence to my own experience with Colpo di fulmine — “love at first sight” in Italian, which literally translate to “lightning strike”, and a craving to re-experience a place and time that no longer exists. Recently digging a 16 foot deep foundation hole, my husband and I removed 72 tons of dirt from our property to build a studio, exposing deep and gnarled roots that seems like frozen solidified lightening, long forgotten, dug up by us to lay the foundation for the rooms we hope we’ll die in. The root chamber is like entering this underground world hidden from view of long- ago electric ephemeral desires that have now turned into strong and sturdy roots- not as flashy as lightening but quietly enduring and growing. The roots are battered beautiful twisting accumulations of crocheted scraps of fabric I’ve saved for years, old ropes and remnants of past installations, hand-spun hair, rabbit fur and old clothes, all coated in the dirt from below my family’s foundation.
Creating a chamber to recede into is an homage to Jeffry Michell’s 2001 installation “Hanabuki”, the site of our own lightening strike, a catalytic phenomenon that lasted a millisecond. Like life itself beginning with lightening striking the primordial soup, the mythology of celestial fire recognizes its ability to create fast irreversible transformation. Despite the impossibility of it, I made my chamber as a way to revisit and remember the secret place Jeffry made, the fur-lined hut that was a pleasure palace where I fell in love, presided over by little dancing gods spreading the joys of the pleasure in all bodies, a beginning of something that seemed temporary and ill-fated but really turned out to be deep-rooted like an ancient tree.
The installation also includes a gathering of talismanic birds made of leather and more than a thousand individually cut and sewn silk and satin feathers, representing my imminent needs but using imagery used by a variety of ancient peoples and cultures — a desire for protection, for a guide, and harbingers of happiness in the form of a raptors. In photographs, close friends and my husband play out roles that tie into the everyday events of their lives, but represented as re-interpreted gods and goddesses such as Hecate, Demeter and the Green Man. The photos speak to themes of cross-roads, the double pull of isolation vs. community, a power buried in the beginnings of motherhood and the visceral erotic pull of the earth, volatile but buried like a dormant volcano.
Sponsored in part by by the City of Seattle Office of Arts and Cultural Affairs CityArtist Grant and 4Culture/King County Lodging Tax Revenue.
Yet another almost free and omega friendly mesh head <3
This time I would like to say big thanks for the blog midnight magpie (Dawn Toykoska) for giving the heads-up!
Check her posts and wonderful freebie findings:
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Credits;
Mesh head: EVE - Mesh Head - New Free Version $0L Group Gift ($1L Group Join Fee)
Skin applier: 7 Deadly s[K]ins - Dawn (earlier mini mania gift - check store because there are always new omega and other types of skin appliers and skins are up for the lucky ones on mini mania and midnight mania boards for group members - fee to join)
Earring; Yokai - Feather earrings J&A hunt (free)
Hair: Truth: Ice (gatcha in the store 50L$)
60L$ Happy Weekend sale is available only @Mainstores of the participating Designers, March 5-6
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There are lots of giant head Yokai out there (Remember Spirited Away?), but Ookamuro is a new(ish) invention, based on classic art of a Tanuki trick – a mischievous Tanuki who transforms himself into a gigantic raccoon-dog head just to freak people out. But Ookamuro has taken on a life of his own, and even has a statue dedicated to him (granted, all of Mizuki’s creations have those – it’s a testament to his cultural impact that he has miles and miles of monuments along a historic roadway).
Featured on Life In Plastic: nerditis.com/2016/05/25/life-in-plastic-yokai-part-5-yes-...
Colored!
Grab a print here:
Or a ridiculously overpriced shirt:
www.redbubble.com/people/missmonster/t-shirts/2271405-2-t...
With each of its nine tails, the Yako Slizer embodies a different element of the Planet Slizer. Equipped with powerful arms, hidden rocket pods in its legs, and nine throwing arms, the Yako Slizer is a threatening force that combines Yokai legends and folklore with raw mechanical power.
I bought too many Throwbot arms. This is another one of my MOCs that basically boils down to "let's shove two unrelated things together and see what happens." In this case, I combined the concept of a Nine-tailed fox with the old Throwbot line. I've been wanting to do a Kitsune themed character for a while, and I have been wanting (and encouraged) to do another Slizer build after old Dusty in 2016, so I did both. This guy is weird, but his articulation is pretty good. He uses a lot of building techniques I have never used before. He was a bit of a pain to photograph because he's pretty darn big. I'm happy with how he turned out.
Culture, Japanese, Spiritual, Traditional - October 27, 2022
What are Tengu Masks?
Tengu, which can be translated as "Heavenly Dog" or "Heavenly Sentinel," are mythical creatures that are central to Japanese folk religion (Shinto). They are classified as yōkai, or supernatural beings, and are also revered as Shinto kami, or gods. In Japanese culture, tengu are known for their mischievous and trickster-like behavior, and they are often depicted as bird-like beings with human-like features such as long noses, pointed ears, and sometimes beards. Despite their reputation for causing chaos and disruption, tengu are also revered as wise and knowledgeable, with a deep understanding of the natural world. In some stories, they are even depicted as protectors of nature or guardians of the mountains. Tengu continue to be an important and enduring part of Japanese folklore and mythology to this day.
What Are Tengu Masks Used For?
Tengu masks are used for a variety of purposes, the most popular of which is to wear them during festivals or other special occasions. Tengu are a type of mythical creature in Japanese folklore, and they are often associated with the mountains. Wearing a tengu mask is said to bring good luck and protect the wearer from evil spirits.
There are many types of Japanese masks like the tengu, such as oni, kitsune, noh, and many others.
The Origins of Tengu
The tengu origin is somewhat disputed, with some sources claiming they originated as celestial beings or gods, while others believe they were based on real-life animals such as crows or wolves. In some stories, tengu are said to be the spirits of humans who have died and been reborn as tengu, while in others they are depicted as entirely supernatural beings.
It's important not to confuse tengu with oni (Japanese demons). While the tengu mask and oni mask can look similar to some, they are entirely different. The tengu mask is often identified by its long nose and the oni mask by it's horns.
Despite their mischievous reputation, tengu are also often depicted as wise and knowledgeable, with a deep understanding of the natural world. They are revered in some parts of Japan and are sometimes depicted as protectors of nature or guardians of the mountains.
In Japanese culture, tengu are an important and enduring part of folklore and mythology, and they continue to be a popular subject in literature, art, and theater to this day.
The History of Tengu Masks
Tengu masks have a long and rich history in Japanese culture. They are said to have originated from the Heian period (794-1185), when they were used by the upper classes to disguise their identity during festivals or other special occasions. Over time, the use of tengu masks spread to the general population, and they became a popular way to celebrate the changing of the seasons. Today, tengu masks are still worn during festivals and other special occasions, and they are also used in theatre and dance performances.
Traditional masks are usually made of wood, and they are carved in a variety of different styles. The most common style is the zenko, which has a long nose and a wide mouth. Other styles include the karasu, which has a shorter nose, and the konoha, which has a pointed nose. Tengu masks can also be decorated with a variety of different materials, such as feathers, beads, and paint.
The history of tengu masks is a long and fascinating one. If you are interested in learning more about this important part of Japanese culture, there are many resources available online and in libraries.
How Tengu Masks Are Made
Tengu masks are traditionally made from wood, paper mache, or other materials. The most common type of tengu mask is the noh mask, which is made from a lightweight wood such as cypress. Noh masks are usually painted or stained to give them their distinctive appearance. Other types of tengu masks include the kabuki mask, which is made from thicker wood, and the ji mask, which is made from paper mache.
Noh masks are designed to represent a wide range of characters, from demons and ghosts to animals and humans. Kabuki masks, on the other hand, are usually designed to represent a single character, often a famous historical or literary figure. Ji masks are often used to represent animals or monsters.
Tengu masks are typically worn during special occasions or festivals, when people dress up in traditional Japanese clothing and perform traditional Japanese dances and plays. Tengu masks are also sometimes used in religious ceremonies or rituals.
The Meaning Behind Tengu Masks
Tengu masks have a variety of meanings and symbolism in Japanese culture. The most common meaning is that they represent the duality of good and evil. Tengu are often seen as mischievous or dangerous creatures, but they can also be benevolent and helpful. As such, tengu masks are often seen as a way to protect oneself from evil spirits. Tengu masks are also said to bring good luck and fortune to those who wear them.
Japanese tengu mask
Another common meaning of tengu masks is that they represent wisdom and knowledge. Tengu are often seen as wise and knowledgeable creatures, and so tengu masks are often worn by those who seek wisdom and knowledge. Tengu masks are also said to represent the power of the mind, and so they are often worn by those who seek to improve their mental faculties.
The Different Types of Tengu Masks
There are a variety of different types of tengu masks, each with its own unique symbolism and meaning. The most common type of tengu mask is the noh mask, which represents a variety of different emotions, including anger, sadness, and fear. Other common types of tengu masks include the kabuki mask, which represents heroism, and the ji mask, which represents wisdom. There are also a variety of other less common tengu masks, each with its own unique symbolism.
The symbolism associated with tengu masks varies depending on the specific type of mask. For example, the noh mask is often associated with anger and fear, while the kabuki mask is often associated with heroism. Each type of tengu mask has its own unique meaning and symbolism, and it is up to the individual to choose the mask that best represents their own emotions and personality.
Tengu masks are a popular choice for those who want to express their own unique personality and emotions. There are a variety of different types of tengu masks available, each with its own symbolism and meaning. It is up to the individual to choose the mask that best represents their own personality and emotions. Tengu masks are a great way to express yourself and show the world who you are.
Tengu Mask symbolism in Japanese Culture
In Japanese culture, tengu masks are often seen as a way to protect oneself from evil spirits. They are also said to bring good luck and fortune to those who wear them. Tengu masks have a variety of different meanings and symbolism in Japanese culture, and they are a popular way to celebrate the changing of the seasons. Today, tengu masks are still worn during festivals and other special occasions, and they are also used in theatre and dance performances.
Japanese tengu god yokai
Tengu masks are often seen as a way to protect oneself from evil spirits. They are also said to bring good luck and fortune to those who wear them. Tengu masks have a variety of different meanings and symbolism in Japanese culture, and they are a popular way to celebrate the changing of the seasons. Today, tengu masks are still worn during festivals and other special occasions, and they are also used in theatre and dance performances.
Tengu Masks in Kabuki
In traditional Japanese Kabuki theater, kabuki actors may don tengu masks to portray characters such as tengu, which are mythical creatures often depicted as bird-like beings with human-like features. Tengu are known for their mischievous and trickster-like behavior, and in Kabuki theater, they are often depicted as causing chaos and disruptions.
Where to Buy a Tengu Mask
If you ever are able to come visit Japan (which we strongly recommend), you can find some local shops that will offer varying levels of tengu masks in tourist areas. As we are based in Kyoto, my number one recommendation is Kyomizudera. You will find a number of interesting old shops along they way that specialize in these type of traditional Japanese items. Another option is Don Quijote, one of Japan’s favorite discount stores that is also loved by visitors of Japan. They will have a section with unique Japanese items and costumes where you will likely find a Tengu mask. Of course we also offer Tengu masks that we can ship directly to you, wherever you are! Tengu masks can also be made at home using materials such as wood, paper mache, or other materials.
When purchasing a tengu mask, it is important to consider the quality of the mask and the materials used. Tengu masks can range in price from a few dollars to several hundred dollars, so it is important to find a mask that is both affordable and of good quality. It is also important to consider the intended use for the mask. Some tengu masks are meant to be worn as part of a costume, while others are meant to be used for decoration or as part of a mask collection.
www.spiritjapan.com/blogs/ninja-scrolls-%E6%9C%AC/what-ar...
!!! SPOILER ALERT !!!
Enenra is an intimidating Yokai made of fire and ash and born through dark grudges of human. In spite of its hulking appearance, Enenra is quick and agile because he has no true form and so he can transform himself even into a fast moving fire tornado. The Enenra is linked sometimes to Yama, the great godking of hell in Buddhist mythology.
In short, Enenra is an very dangerous enemy who can burns you in seconds. If you see one, you better run!
⁓Wallpaper facts
The sing-song snickers grew louder once a loud snap echoed from my partner’s open mouth, originating from their throat. Any struggle from my partner stilled instantly, every guttural noise they made similarly silenced as their head, forced to face the sky, was forcibly thrust upwards.
The buckle that followed might have come from tension on the neck, but most of the buck seemed to come from the hardened muck that had collected in a thick mass from their waistline upwards. The thick, syrupy expulsion seemed to becontinually pulled by gravity, but the weight of the viscous liquid reminded me of the gentle magma plumes I had been lucky enough to shoot. This thick compilation of carnage seemed to allow the creature to better stretch the drooling opening so it could free itself.
Another bone chilling crack and what was once their mouth began to stretch open. Further and further until the upper and lower jaw aligned in a perfect circle. I thought it my imagination, but the end result made it clear that the teeth and jaw line must have grown in both size and circumference. What I had assumed were only the pained twitches and spasms of my associate turned writing piece along with the pulsating of rapidly infected dentures must have hidden the slow and steady growth.
The creature pushed, kneaded, and clawed at this opening until that haunting laughter was loud enough it made my ears pop. My legs had finally found itself as I began to run. Not without seeing the pitch coated skeleton that comprised of its upper half and that horrible head force itself from what had once been a friend. Now it was beginning to look more and more like a bundled cocoon.
The claws were clamoring for a better spot to grip, the appalling digest bunching like loose clay at this point, regularly moistened by the noxious drool the chewy carapace never ceased dribbling. Especially as it began to lick, nibble, and suck at Lickyface’s spine almost in spite; a theorized reason for the golden skeleton parallel to its own is to protect itself from sudden separation from the lower half. Especially when it is particularly ornery, like with the fallen business associate. The colors seemed to naturally blend into the designs later pictured on its carapace, the more fluid blood having collected along the ‘stomach’ of the bug.
I was regrettably unable to see anything else of significance, such as the point the insectoid legs burst from the hardening muck that now survives as the lower half’s carapace, as this was when I began running. It was around this point I had obtained my first picture of it pursuing me through the mists, and the subsequent pictures of it cornering me in the shipping container.
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Now, my attempts to hold a more dominant presence seemed to do little more than egg it on. Not in the way an animal might flaunt its alpha tendencies either. It was playful. Once I had taken my pictures it leaned close, far too close for comfort, and gave me just enough time to take a picture before it seemed to grow tired of playing model.
It gripped my head and tried to force it open with its gruesome claws, covering my tongue and lips with a tepid mixture of the previous mention indescribable flavor and a number of exotic new “spices” that continue to haunt my tongue like the ghosts of the most abysmal particles known to the cosmos.
I am quite lucky my boss saw to giving me a few more tricks, as peculiar and useless as they had previously seemed. In this case, what Doc had called Lockjaw. I was able to seal my jaw shut and prevent the creature from opening it. I even sucked my cheeks and lips inwards causing a mild shield. It all felt natural, but I am sure the ritual Doc had performed was what also made it feel like a muscle I had my entire life. Similarly, Flaps of cartilage, which were quite difficult to adapt to, would cover my nostrils while a thin film would cover my ear ducts and eyes like another eyelid. Finally, the Tragus (or, the once useless fleshy nub) of my ear pressed against the external auditory meatus (ear hole) finished the work of sealing my head. I couldn’t breathe, but at least I was waterproof (The less explained about the other… Traits needed to do this the better.)
Do not get me wrong. I died almost immediately after taking that picture. Horrifically. To the point THAT is the part I can not remember. At least I didn’t have that infectious vomit tamped into my gullet, as it reportedly loves to do.
I also am uncertain what happened to my body. My boss has yet to explain the intricacies of my immortality, saying we all had plenty of time for that another day, but I do know I woke up in one of my boss’s little hide aways (normally a swamp hut like this one) with my similarly enchanted camera.
Horrific as this all is, being nigh unkillable SURELY will make up for it. Hopefully, all the pop culture I read is right that I will either get used to it or get used to it by losing my mind while gaining a more crooked sense of humor.
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=/=/ LOCATION /=/=
Ironwood Hills, Lost Boys
*~*~* BODY *~*~*
Shape by Me
Skin: + Fallen Gods Inc + Obsydian, Red Elemental, Shaved
*~* Head *~*
+ Aii + DreamWeaver (Rage) // Copied and Cobbled into the void in his head.
Hair: Magicka Things
Head: DRD / Death Row Designs | Faces Of Death / F.O.D | Blind Venomous Carnage
*~* Torso *~*
Ro / Remarkable Oblivion - Azrael Bone Wings - Red
Ro / Remarkable Oblivion - Broken Heart Necklace
- Cobbled and Copied by me over Torso and Arms -
+ Aii + DreamWeaver's Eye (Dream)
[ni.Ju] Cheeky Chompers
Yellow JesteR - Jeepers Peepers
*~* Arms *~*
+ Aii + Sinner Hands
*~* Waist & Hips *~*
+ Aii + Gluttonous Orifice
*~* Legs, So Many Legs *~*
+ Aii + Centipede Body
*~*~* CLOTHING *~*~*
*~* Head *~*
Tamagosenbei Purple Eye Yokai Pet
[ The Forge ] Witcher Headpiece, Gold
*~* Torso *~*
.aisling. Fangarth Necklace
.aisling. Ragun
DRD / Death Row Designs | Zombie Apoc - Zombie Arm
PFC / Pucca FireCaster creations ~ Bones - Choker